102 FEB/MAR 2018
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LIGHT READING
MVRDV’s stunning Tianjin Binhai Library reaches new heights
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Frankfurt am Main 18.-23.3.2018 Hall 3.1 Stand B11
094 Tapio Rosenius Sarah Cullen joins renowned Finnish designer, innovator, artist and entrepreneur Tapio Rosenius on his quest to question the major topics within the lighting industry.
Pic: Mark Cocksedge
Contents
FEB/MAR 2018 030 032 034 036 042 056 058 060 062 212 250 254 258
Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source Stories IALD Column Case Studies New Products Event Diary Bucket List
092 Libraries We take a closer look at some of the stunning library projects currently being completed around the world.
124 JAC Studios Following their impressive work on the darc awards / architectural shortlisted Wadden Sea Centre, we spoke with JAC Studios to discuss its design philosophy, and the role that lighting plays in its work.
146 Residential Lighting Ian Clarke, Associate at dpa lighting consultants examines the special thought process that comes with designing lighting for a residential property.
168 Festivals of Light A closer look at some of the great lighting festivals that have lit up the winter months, from Lumiere to Amsterdam Light Festival.
233 Light+Building Preview A sneak peek at some of the products that will be on display at the upcoming Light+Building 2018 in Frankfurt.
252 Product Review David Morgan casts his eye over the Lif system from Selux: a comprehensive urban lighting system based on a minimal pole design.
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Romania_Bucharest State Circus
South Korea_ManCheonha Skywalk
WHERE
colour MEETS
archi
tecture www.griven.com
Visit us at Vietnam_Le Hong Phong Bridge
18-23 March 2018 Frankfurt am Main (D) Hall 5.0 Stand B45
GRIVEN S.r.l. I Castel Goffredo (MN) Italy I Tel. +39.0376.779483 I sales@griven.com
064 Tianjin Binhai Library, China Created by Dutch architects MVRDV along with the Tianjin Urban Planning and Design Institute, the Tianjin Binhai Library has attracted worldwide attention for its stunning design.
Pic: © Ossip van Duivenbode
Projects
FEB/MAR 2018
078 The Word, UK In the face of austerity, Desco teamed up with FaulknerBrowns Architects to create The Word, a stunning new library and social hub for the community of South Shields.
106 Inmaculada Concepción Church, Spain The Inmaculada Concepción Church has undergone an architectural and lighting renovation, improving the historic structure and bringing a spiritual, harmonious atmosphere for worshippers.
114 Canadian Museum of History, Canada The Canadian Museum of History has a new lighting design scheme thanks to Lightemotion, who wanted to create a visual narrative telling the story of Canada while highlighting the building’s architecture.
136 First Direct Access, Heathrow Airport, UK StudioFractal, alongside architects Pascall & Watson, provided the lighting design for the First Direct Access, a sophisticated security portal for first class passengers at Heathrow’s Terminal 5.
148 Residential Lighting case studies A look at a selection of impressive residential lighting projects, including work from the likes of Nulty, Light.iQ and Linea Light Group.
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EDITORIAL
Front cover: Tianjin Binhai Photography: Ossip van Duivenbode
Editorial Publisher / Editor Paul James p.james@mondiale.co.uk Assistant Editor Matt Waring m.waring@mondiale.co.uk Editorial Assistant Sarah Cullen s.cullen@mondiale.co.uk
Advertising International Advertising Manager Jason Pennington j.pennington@mondiale.co.uk International Advertising Sales Andy White andy.w@mondiale.co.uk Steven Willcox s.willcox@mondiale.co.uk
Subscriptions Moses Naeem m.naeem@mondiale.co.uk
Production David Bell d.bell@mondiale.co.uk Mel Robinson m.robinson@mondiale.co.uk Zoe Willcox z.willcox@mondiale.co.uk
Chairman Damian Walsh d.walsh@mondiale.co.uk
Finance Director Amanda Giles a.giles@mondiale.co.uk
Credit Control Lynette Levi l.levi@mondiale.co.uk arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 www.arc-magazine.com arc@mondiale.co.uk
Read all about it! As a print and book lover, it is very satisfying to be able to publish some spectacular library projects in this issue… I grew up living next to a library so spending time there, whether
revising for exams or just discovering books, became second nature to me. Of course, back then there was no such thing as Google and
even home computers were only just becoming available to all (OK,
I’m showing my age now) so visits to the library were commonplace for conscientious students like me!
A few years ago, well after I had left my home town for a career as
a journalist, I was sad to discover that the library had closed down
(although it recently got rehoused at the town bingo hall!). Without that library and the love it gave me for reading and writing I may well have gone on a different career path but here I am writing
as an editor about some new libraries that have caught our eye as
architecturally stunning buildings with lighting playing a crucial part in their success. Of course, the libraries of today need to diversify
to survive (and indeed thrive) and it is the re-imagining of libraries as cultural hubs that has led to projects like Tianjin Binhai and The Word becoming realised.
And it’s ambitious projects like these that allow light to come to the
fore. The lighting for both these projects, although not a huge part of their budgets, were crucial to their success as architectural icons in
their own right. In Tianjin, China the flexible cove lighting radiates throughout the building’s curvaceous cavern around the glowing
auditorium eye. The Word in South Shields, UK flies in the face of
the government’s austerity programme to create a phenomenally successful cultural hub with a spectacular lighting centrepiece
engineered in a cost effective way. It has been a pleasure to feature these projects and I hope you enjoy them too.
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copies of this issue as well as our decorative lighting magazine darc
us a visit at our stand at 4.1 FOY12. We’ll be distributing thousands of and the International Lighting Design Survey. See you there!
To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc, ISSN
17535875, is published bi-monthly by Mondiale Publishing, Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.
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Paul James Editor
PROJECTS
NEWS
Headlines Messe Frankfurt acquires Thailand Lighting Fair (Thailand) – The team behind Light + Building has expanded its international portfolio with the acquisition of Thailand Lighting Fair.
Neri Oxman to be Lightfair International keynote (USA) – Neri Oxman of Sony Corporation and MIT Media Lab will share her perspective in a fascinating keynote presentation at Lightfair International 2018.
Klaasen Lighting Design partners with Gooee
Pic Christian Fattinnanzi A beautiful sun sets behind the iGuzzini HQ Building in Recanati, Italy.
(Asia) – Klaasen Lighting Design has entered into a partnership agreement with Gooee, recognising the need for smart, connecting lighting systems.
Philips Lighting recognised by CDP
iGuzzini acquires Sistemalux (Canada) – Following more than 20 years of working together, iGuzzini has acquired Canadian lighting distributor Sistemalux. Read more on www.arc-magazine.com
(Europe) – Philips Lighting’s work in managing carbon emissions and addressing climate-related issues across its supply chain earned recognition from CDP.
Cooledge launches Boston Office (USA) – The opening of new commercial offices in Boston sees Cooledge increase its presence on the American east coast, in Waltham, Massachusetts, putting the company closer to the world’s largest concentration of architectural and design firms and related decision makers.
Nulty expands Middle East team (Dubai) – Architectural lighting design consultancy Nulty has expanded its team in the Middle East with the appointment of Amy Rossetti as Associate.
LG Innotek unveils new Flip Chip LED package Pic Adam Mørk Harbin Opera House interior, Lighting Design by Beijing United Artists Lighting Design.
IALD and LIRC release updated guidelines for specification integrity (USA) – The Guidelines For Specification Integrity offer tips and references to ensure that what is designed is what is built. Read more on www.arc-magazine.com
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(South Korea) – The newly developed “Advanced Flip Chip LED Package” is expected to implement stable 220 lumens per watt efficacy.
SGM hire Frank Hoehn as Global Sales Manager (Denmark) – Frank Hoehn joins SGM as VP of Global Sales, having previously worked as Director of Business Development and EMEA Hospitality for Martin / Harman International.
2017 Innovation Award
ARCHITECTURE + PRESENTATION
WINNER 18. – 23 . 3 . 2018 Frankfurt am Main
HALL 4.2 Stand E10
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dual axis Gimbals up to +/- 20°. Moto-Combo's built-in beam shaping technology, enables remote adjustability from narrow to wide beam. This flexibility in light direction and ease for frequent changes of light scenes is the ideal solution for museum and hospitality environments, such as banquet halls, large displays, multi-level venues and ballrooms. A minimalist design and fine Italian craftsmanship, the Moto-Combo is available in white and grey finish.
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EYEOPENER
Moving Creates Vortices and Vortices Create Movement Melbourne, Australia As the National Gallery of Victoria (NGV) in Melbourne, Australia hosts the NGV Triennial of contemporary art and design, art collective teamLab is premiering its interactive digital artwork, commissioned by the NGV. To be included in the permanent collection at the NGV, Moving Creates Vortices and Vortices Create Movement is an immersive and responsive digital installation that comes to life and transforms under the influence of visitors’ movement. The Moving Creates Vortices and Vortices Create Movement artwork transforms according to the presence of people. As visitors move through the installation, swirling vortices of light are projected onto the floor. The faster they move, the stronger the flow of light, until they stop and the room falls into darkness. teamLab created the installation to show to visitors how, through their own movement, seemingly unrelated things can affect the world in an uncontrollable way, beyond their intentions. Toshiyuki Inoko, one of the founders at teamLab, said: “Where I was born, huge tidal whirlpools called the Naruto Whirlpools are always occurring in the ocean. I was interested in the relationship between a whirlpool, seafood and people’s lives, which became our motivation to create Moving Creates Vortices and Vortices Create Movement. “Naruto Whirlpools are visible, but there are many other massive vortices being generated in many other oceans. This phenomenon
contributes to enriching the ocean, carrying nutrients that flow from rivers inland offshore, creating highly nutritious seawater. “In the ocean, it’s the small islands and complicated terrains that enrich the water by generating vortices. I find that very interesting. Perhaps humans are the same. We make complex motions, and as a result it generates an energy like a vortex. And I think it’s that energy that makes people move further.” teamLab’s immersive artwork is intended to allow visitors to see how the world changes through their actions and their existence, allowing them to feel as if there are no boundaries, and that everything exists in a continuity. The NGV Triennial, a large-scale, gallery wide exhibition of international art, design and architecture featuring the work of more than 100 artists and designers from 32 countries, began on December 15, 2017 at NGV International and runs till April 15, 2018 in Melbourne, Australia. teamLab has been the subject of numerous exhibitions at venues worldwide, and the collective has works in the permanent collection of the Art Gallery of New South Wales, Sydney; Art Gallery of South Australia, Adelaide; Asian Art Museum, San Francisco; Asia Society Museum, New York; Borusan Contemporary Art Collection, Istanbul; and National Gallery of Victoria, Melbourne. www.teamlab.art
Pic: teamLab courtesy Ikkan Art Gallery, Martin Browne Contemporary and Pace Gallery
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DRAWING BOARD
Pic: Frida Escobedo, Taller de Arquitectura, Renderings by Atmósfera
Serpentine Pavilion 2018 UK The Mexican architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyardbased design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich. Escobedo is the eighteenth and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK structures of some of the biggest names in international architecture. Escobedo’s Pavilion will take the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls will be aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard will align directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard
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marker of time and geographical distance. British-made materials will be used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall common to Mexican architecture – will be composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues. Two reflecting elements will emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy will be clad with mirrored panels, and a triangular pool cast into the Pavilion floor will trace its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months. Escobedo’s design enhances the Serpentine Pavilion’s reputation as a space of encounter and shared experience, following Francis Kéré’s acclaimed 2017 Pavilion, a bright and airy structure that was inspired by the tree at the heart of his hometown in Burkina Faso and visited by more than 200,000 people. Speaking of her designs for the eighteenth
Serpentine Pavilion, Frida Escobedo said: “My design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day.” Serpentine Galleries Artistic Director, Hans Ulrich Obrist and CEO, Yana Peel, added: “We are delighted to reveal the designs for Frida Escobedo’s Serpentine Pavilion, which promises to be a place both of deep reflection and dynamic encounter. With this bold interior, Frida draws history into the present and redefines the meaning of public space. We hope visitors of all ages will create their own experiences in the Pavilion this summer as we continue in our aim of bringing the urgency of art and architecture to the widest audiences.” www.serpentinegalleries.org The Serpentine Pavilion 2018 will be open every day from 15 June to 7 October from 10am to 6pm, excluding 18/19 June when it will close, reopening at 1pm on 20 June.
©2018 Soraa, Inc.
Frankfurt am Main 18 — 23.03.2018
Experience Soraa Arc: Hall 4.1, Stand H50
www.soraa.com
DRAWING BOARD
Fotografiska London UK Fotografiska London, London’s largest permanent dedicated photography gallery set across 89,000sqft of space in London’s Whitechapel, will open to the public in November 2018. Designed by Swedish architects Guise, the gallery will show up to seven exhibitions at any one time, all of which are accessible with one entry ticket, Fotografiska London follows the successful model of its current site in Stockholm, which since opening in 2010 has become one of the city’s top visitor attractions. The gallery will present major solo exhibitions of work by the world’s greatest photographers – past exhibitions in Stockholm include David LaChapelle, Annie Leibovitz, Bill Brandt, Helmut Newton, Sally Mann, Irving Penn and Andres Serrano – alongside work by new talent, commissioned series documenting current affairs, exhibitions drawn from Fotografiska’s growing collection and a wide range of themed group shows. As each show runs into the next, the result is a journey through a unique mix of programming, presenting different and varied insights into the ever-evolving world of photography with each visit. The space will include two top-level restaurants, offering sustainable cuisine, a café open seven days a week and a bar. The Store at Fotografiska London will stock everything from limited-edition coffee-table books to the latest photographic gadgets, while Fotografiska’s new retail concept, F Edition, enables a modern generation of art collectors access to limited editions from the world’s finest photographers. Fotografiska London will incorporate an Academy staffed by professional photographers and educators, running a series of classes through the week for amateur photographers focused on theory-based and practical training across subjects including creativity, human perception and design. A large-scale conference venue at the site will offer 360-degree projection in each venue, an on-site cinema and private dining, envisioned to become the go-to for the world’s top
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companies for product launches, conferences and charity events. Furthermore, Fotografiska London will see an expansion of the Fotografiska for Life initiative, which seeks to present new perspectives on important world events and people living on the margins of society. Run in collaboration with charities and media partners, these exhibitions are programmed to raise the profile of issues in the world, and materially help their subjects. A recent exhibition in Sweden, Refugee Phones, looked at the isolation of child refugees in Europe. Visitors were encouraged to donate their old mobile phones on entry, all of which were donated to child refugees so they could call home. The exhibition has since travelled to the United Nations, NYC Public Library and US Senate, raising money for UNHCR’s work with refugees globally. Tommy Rönngren, lead investor and Chairman of Fotografiska London, said: “Fotografiska London seeks to fully integrate itself into the social, cultural and culinary fabric of this great city. We will achieve this goal by becoming the best exhibitor of international photography and creating a world-class space for social interaction. Since opening in Stockholm in 2010, millions of visitors have passed through Fotografiska’s doors, standing testament to photography’s vast and growing popularity. We thoroughly look forward to welcoming Londoners and visitors from further afield when we launch in 2018.” Jan Broman, CEO of Fotografiska International, added: “Photography is an art form that can evoke emotion, inspire ideas and serve as a vehicle for self-expression. In Stockholm we believe we have created the finest space to view and exhibit photography worldwide, as well as a unique venue for people to meet, and it is this combination that we think will prove innovatory for London when Fotografiska opens next year.” www.fotografiska.eu
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Zonal lighting for office workstations Compar – a high performer for linear looks ERCO has perfected the potential of superior architectural lighting for high-quality office designs. The slim luminaires offer a subtle decorative detail in the ceiling whilst with five different light distributions also providing extremely efficient lighting tools with high standards of visual comfort, making them ideal for offices, conference rooms and foyers. www.erco.com/compar
Light is the fourth dimension of architecture
171121_en_cluster_work_mondoarc.indd 1
Visit us at Hall 3, Booth A10+A11
21.11.17 17:25
DRAWING BOARD
Pic: © HS2 Ltd/Grimshaw Architects
HS2 Stations UK Grimshaw Architects and Arup, alongside Wilkinson Eyre and WSP, have been selected to transform London Euston and design new, landmark stations in Birmingham city centre, Solihull and London’s Old Oak Common for HS2, the new high-speed rail network. With plans to open in 2026, this is the largest new station building programme in the UK since the Victorian age. Grimshaw will work with WSP’s UK office to create a station for HS2 services at Birmingham Curzon Street, while Arup and Wilkinson Eyre will design the Birmingham Interchange station. Meanwhile Grimshaw and Arup have also teamed up to design an interchange at London Euston, with initial plans for a new entrance and eleven additional platforms submitted in 2015. In the north west of London, Wilkinson Eyre and WSP will create a station at Old Oak Common. Sadie Morgan, co-founder of architecture practice drMM and chair of the HS2 Design Panel welcomed the appointment of these designers, and believes that they will “help deliver iconic stations which set new standards in design and ease of use, providing a legacy of great architecture of which Britain can be truly proud”. The stations will form part of the first phase of the HS2, which will connect central London with the West Midlands. The first services are expected to be in operation by 2026, before a second phase will extend this network further into the north, connecting
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Birmingham with Liverpool, Newcastle, Glasgow and Edinburgh. HS2 chief executive Mark Thurston added: “Our new stations in London and Birmingham will be at the heart of the first phase of the project, increasing capacity, improving journeys and helping to unlock opportunities for tens of thousands of new jobs and homes around what will be four new landmark buildings. “That’s why I’m delighted to welcome these designers to the team. We look forward to working with them to create station designs that showcase world-class architecture, ease of use and value for money that our communities expect and deserve.” “HS2 is a modern railway fit for Britain’s future, improving vital links between some of our country’s biggest cities, driving forward growth and significantly improving services for passengers with thousands more seats on faster trains,” continued Nusrat Ghani, HS2 Minister. “Appointing these leading creative firms ensures that passengers on our world-class railway will experience modern and accessible stations. I am confident that these firms will deliver these projects with designs that are both innovative and in keeping with their surroundings.” www.grimshaw.global www.arup.com www.wilkinsoneyre.com www.wsp.com
Icoon Afsluitdijk Netherlands Dutch designer and innovator Daan Roosegaarde, in collaboration with Rijskwaterstaat, has paid tribute to the legendary 32-kilometre Afsluitdijk causeway in the Netherlands, that separates the Zuiderzee from the North Sea with a series of special light installations. Gates of Light, Windvogel and Glowing Nature are part of Roosegaarde’s Icoon Afsluitdijk, a free-to-view installation that contributes towards strengthening the iconic value of the dike. Michèle Blom, Director General of Rijkswaterstaat, said: “The Afsluitdijk is a national symbol of our past and future relationship with water. The designs of Daan Roosegaarde emphasise the culturally historic value of the Afsluitdijk as an international business card for Dutch hydraulic engineering, innovation and Dutch design.” Through these three designs, Icoon Afsluitdijk exhibits the power of nature as a source of energy and light, and exemplifies a futuristic green landscape. The first, Gates of Light, is a new, futuristic entrance to the dike, bringing the monumental floodgates of 1932 back to their former glory. The structures, originally designed by Dirk Roosenburg, grandfather of Dutch
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architect Rem Koolhaas, have been fully restored, while small prisms have been installed on their surface. These prisms reflect the light of passing car headlights, illuminating the distinctive contours of the impressive structures. If there are no cars on the road, there is no light on the structures; this way of using light requires no energy and causes no light pollution. The luminous lining on the complex creates a dynamic entrance, as if the motorist is driving through a science fiction film, and is a concrete example of a futuristic and energy neutral landscape, in line with the governmental policy to have all national roads in the Netherlands energy neutral by 2030. For the Windvogel installation, Roosegaarde created smart kites with specially designed light lines that had the potential to generate up to 100kw of energy – enough for 200 households. These smart kites are tethered by a line to a ground station, and while aloft, they search for the optimal wind, generating power just like a dynamo on a bicycle. Roosegaarde designed the kite lines with specially developed glass fibres that are strong and light, creating a poetic dance of light emitting lines.
SPOTLIGHT
Windvogel has been tested on the dike as a concrete example of green energy, and generates a unique image of vertical lines on the horizontal landscape of the Afsluitdijk. Roosegaarde’s final installation, Glowing Nature, expresses the beauty of nature on the Afsluitdijk through a unique encounter between man, biology and technology. This interactive, mysterious exhibit features live bioluminescent algae, one of the oldest microorganisms in the world. Only under the perfect conditions, and with the right amount of maintenance and care, do the single cell algae give off a prolonged natural light when they are touched. The installation is intended to showcase how we can generate energy and light solutions from nature in the future. Daan Roosegaarde said of Icoon Afsluitdijk: “The Afsluitdijk represents a part of Dutch daring and innovation. It is the Madonna of our waterworks. By adding a subtle layer of light and interaction, we enhance the beauty of the dike and form new links between man and landscape, darkness and light, poetry and practice.” Windvogel and Glowing Nature were open until 21 January 2018, Gates of Light is a free permanent installation along the Afsluitdijk. www.studioroosegaarde.net www.icoonafsluitdijk.nl
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Wärmespeicher Germany 80 Anolis ArcSource 4MC LED fixtures were specified to illuminate the indicator for a new heat storage tank (Wärmespeicher) installed in the Drispenstedt residential district of Hildesheim in Lower Saxony, Germany. The impressive 17.5-metre high, 4-metre wide structure, which resembles a quirky piece of contemporary sculpture, was designed by pape+pape Architekten from Kassel. It contains an internal cylindrical water feature illuminated by the ArcSources, which are programmed to indicate how much of the energy generated from the nearby natural gas-fired combined heat and power plant (CHP) is currently stored and available for use. The lighting installation was commissioned by energy company Energieversorgung Hildesheim (EVI) and the lighting design was imagined and delivered by locally based architectural lighting specialist SSP Design, with Matthias Schiminski and Henrik Nolte as the project’s lead engineer and designer. When there is a lot of energy stored up and available for use to heat the nearby homes, the 20,000-litre water feature glows red. When there is less available, the colour gradually morphs through to blue. EVI and the city’s planning and development department Gemeinnützige Baugesellschaft Hildesheim (gbg) initiated the plan which also involved the renovation of heating systems in 1600 homes over two and a half years, at a cost of around €3million. The new heat storage system ensures the highest levels of flexibility and efficiency by storing un-needed heat that is generated during the power production process, which is then available for later use when the demand is higher. Drispenstedt local council was also a partner in the project, and one of their stipulations
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was that during the hours of darkness, the illumination should not be any brighter than the surrounding street and ambient lighting levels, and therefore not intrusive or distracting to residents. As such, lighting was essential for the achievement of this goal. Schiminski had specified Anolis for a previous project and found the products to be reliable and robustly built. He knew the flexible DMX controllability and super-smooth homogenised colour mixing of the ArcSource 1MC enabled via the multichip LED engine would be a perfect solution. However, the main challenge for the lighting installation was the timeframe. The structure’s perforated exterior membrane was fitted over the quirky, uneven steel sub-frame only a few days after a team from local specialist, Technik-Werft, completed the construction of the tower. Due to its resulting interesting shape and multiple curved surfaces – evoking horizontal layers of water – an amount of experimentation was needed to optimise the lighting. The goal was to have a dynamic mix between light movement and even coverage; so several different angles were required to get the fixtures perfectly aligned. The Anolis ArcPower drivers are connected to a port on the power generator control system, so they can receive the correct capacity and thermal data as related to the storage status, which is converted to DMX and then change the colour of the fixtures. The shifting energy storage levels are an effect that people can watch in real time and this has helped the installation become the local talking point that was envisioned. www.anolis.eu
Frankfurt am Main 18.â&#x20AC;&#x201C;23.3.2018 Hall 4.2 Stand H71 and Agora C10
KURV-Y Section
NEW
KURV-Y
The new fully diffused and flexible linear LED strip from KKDC. Surface Mounted and Recessed versions available.
www.kkdc.lighting
SPOTLIGHT
The Golden Portals, Carlsberg City Denmark The Carlsberg City District in Copenhagen is booming and by the end of 2025 it is expected to house close to 10,000 residents. The skyscraper Bohr’s Tower is the first building to be finished and ÅF Lighting was asked to design a lighting solution for the so-called Golden Portals at the south entrance of Carlsberg City. The façades of the portals are covered with golden anodised aluminium cladding consistent with the old Carlsberg brewery area’s existing golden architectural elements. The cladding is decorated with unique diamond shaped patterns, which causes optical illusions. “We wanted to enhance the spectacular architecture and create a lighting solution with the highest comfort possible. And as a tribute to the area’s historic reputation the dynamic shimmering light effect is composed to symbolise a cold sparkling Carlsberg beer,” explains ÅF Lighting’s Lighting Designer Frederik Borello. The space-frame that carries the lighting installation is customised to make them appear more airy and suspended from the ceiling to ensure that the façades can be fully enjoyed. They complement the patterns of the façade and are dyed to match the golden colour of the portals. The dynamic lighting, utilising 364 FOS 33 White 12 fixtures from DTS, adds an organic and modern character, while the warm white 2700K LEDs accentuate the golden colours, helping to make the portals appear pleasant and inviting. The lighting was designed in close collaboration with the architects Vilhelm Lauritzen Arkitekter who designed the building. www.afconsult.com
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C80-RR Scan to read more about C80-RR
Taylor-made light to the next level Please refer to our website for information about our 5 year warranty.
www.glamox.co.uk
SPOTLIGHT
Corridor of Lights USA World-renowned lighting consultant Howard M. Brandston and artist Dan George have created an important light installation in the City of Syracuse. The permanent installation, part of the larger Connective Corridor project, features SGM’s i-2 White IP66-rated POI lights, and was initiated to illuminate iconic buildings and public spaces between Columbus Circle and Armory Square. “The Jefferson Street project is really an investment in turning a typical motor-oriented roadway into a pedestrian-oriented city street. The installation reflects off people, making it essentially invisible until occupied; it takes people to show the light because the people become the light,” explained Brandston. The installation on Jefferson Street is the signature illumination under the larger Connective Corridor project, connecting Syracuse University to Downtown Syracuse. “The idea was to separate it from the standard street lighting, so you could look down the road from Columbus Circle to Armory Square and create a more pleasant walkway,” continued Brandston, explaining Armory Square as the cultural and entertainmentoriented part of the city. “We chose SGM’s i-2 because of its high intensity and our ability to control the beam. This installation focuses on the people, and with the right colour rendering, people actually look like humans, not orange distortion. By highlighting people’s emotions, we are creating a
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much nicer environment. In my opinion, this is how you should light a street; focusing on the people,” Brandston added. “There are many good examples of this around the city. Like Bryant Park in New York City, which used to be an unsafe place, until we illuminated it. We are hoping the same thing will happen here in Syracuse.” Focusing on improving the environment year-round, the designers decided to make the unstable weather conditions an essential part of the installation. “The volume in the weather is a really strong physical element to the installation, because there is always something to be illuminated. Sometimes it rains, sometimes it snows. Now, when it’s raining, it will look like it’s raining diamonds, because we have installed several SGM i-2 lights to illuminate all the raindrops, snowflakes, or sleet,” explained Brandston about the installation, which was completed in November of 2017. The Corridor of Light project in Syracuse University’s Connective Corridor is major part of an extensive transformation that this economic and educational hub of central New York has been achieving over the last few years. The project focuses on aesthetically improving the city using top-of-the-line energy reducing LED luminaires, easily upgradable to keep up with new technologies for optimal savings. www.concerninglight.com www.dangeorge.nyc
SPOTLIGHT
Guayaquil Moorish Clock Tower Ecuador Guayaquil, Ecuador’s Moorish Clock Tower is a timeless beauty, attracting thousands of visitors each year, and it has cemented itself as a main tourist attraction, especially at night with a new, colourful lighting scheme. Inspired by Moorish architecture, the structure rises up four floors from an octagonal base to a dome with a height of around 30-metres. The building is decorated with azulejo, painted ceramic tilework, and is located on the Malecon, a popular city boardwalk lined with historical monuments, museums and gardens. In coordination with Mantenimiento Técnico Especializado (MTE), Salotec Luminoplastia, Ecuador’s local architectural lighting company, was in charge of designing and installing a dynamic lighting system to illuminate the tower at night. Due to the height of the building and the tall trees surrounding the structure, the team could not use poles or place visible elements in the environment. To create an all-encompassing lighting system, Monica Velasco and Miguel Salomón, Salotec Luminoplastia designers, needed to find versatile lighting products to illuminate the 30-metre tall tower. The team reviewed numerous products that could provide precise, colour changing capabilities and the ability for control-driven lighting to enable scheduled and intricate lighting schemes. Based on their extensive research, Salotec Luminoplastia specified high-efficient,
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architecture LED products from Acclaim Lighting. “The new lighting scheme produced a beautiful and colourful result, obtaining the approval of the client and the happiness of the citizen. The tower is illuminated like never before,” said Velasco Eight Dyna Accent fixtures were chosen based on the design, performance, IP-rating and quality requirements. The high output, outdoor-rated flood fixtures with DMX and RDM drivers highlight the dome, offering colour-changing capabilities. They provides 1,423 lumens at 4,000K and maintain 70-percent of its lumens at 150,000 hours. Custom to the application, Dyna Accent fixtures offer a beam angle of six, 20, 40, 60 and 10x60-degree spread lens options for precise lighting placement without creating light pollution. To light the interiors and clocks, four Dyna Flood white, eight RGB floor luminaires with adjustable angle and 24 RGBW LED luminaries were installed. The quad colour technology, auto switching multi-voltage power supply and on-board touch sensitive menu allows for dynamic illumination in the tower, while balancing the lighting on the building’s exterior. The Dyna Flood fixtures provide 1,176 lumens at 4,000K and maintain 70-percent at 50,000 hours with a power consumption of 25-watts. The products
were chosen for the power and opening at short distances, with the capability to pivot 180-degrees to set the exact angle needed. In addition, two Dyna Drum SO fixtures positioned side-by-side were installed in the exterior grounds with 15mm tempered glass. The fixture provides 4,656 lumens at RGBW and maintains 70-percent of its lumens at 120,000 hours. Built with an excellent system of heat dissipation and ideal for façade lighting applications, the built-in lighting does not interfere with the landscape or surrounding area. The Dyna Drum SO fixtures brighten the exterior with colour changing capabilities. The lighting scheme for the Moorish Clock Tower is controlled by the ART500, a touch panel DMX controller with 1,024 DMX channels and 500 preset scenes. The controller is designed for RGB and RGBW lighting products and features a PWM output which can directly drive 12-24VDC LED fixtures. It allows four programmable static colour presets and a manual speed and dimmer function, enabling the most effective control system for the tower. The Moorish Clock Tower brightens the night with intricate colour schemes, coordinated for special holidays and occasions. Citizens and tourists alike can enjoy its beauty illuminating through the darkness. www.acclaimlighting.com
A tribute to good design
Hall 3.1 Stand C61
Stormbell Design by artec3 Studio Conceived as the successor to Lamp Lightingâ&#x20AC;&#x2122;s most iconic bell fixture. A tribute to good design inspired by a more rationalist approach. The interaction between different types of illumination and accessories makes it possible to create different environments, making this bell fixture an indispensable element for hospitality and retail applications.
www.lamp.es
SPOTLIGHT
Church of St. Mariä Geburt, Grevenbroich Germany The Roman Catholic parish church of St. Mariä Geburt in Grevenbroich, a small town near Düsseldorf, was built in 1930. The interior surprises with an unexpected, unusual, spatial form. The long rectangular, single-nave sanctuary is spanned by a low-pointed barrel vault that brings to mind an image of an upside down hull. Deep lunette-type window reveals accentuate the vault, lending the space a rhythmic structure. The interior was recently subjected to refurbishment, implemented by Planwerk a Büro für Architektur, which also led to a fundamental redesign of the church lighting. The interior was previously illuminated by two parallel rows of glass pendant luminaires. Replacing the old, plastered-in cabling would probably have meant replastering the entire vault. For preservation reasons, but above all to reduce the renovation costs in Grevenbroich, alternative lighting options were sought. The solution was found in Erco track spotlights, which offered an efficient and technically feasible approach to highquality lighting design with maximum flexibility. One of the many advantages for the builders was the fact that a track system did not require new wiring. The U-shaped layout of the track was achieved using the existing fixtures for the pendant luminaires. However, the most convincing argument as far as
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the parishioners were concerned was that the Erco solution significantly improved the quality of lighting inside the church. Whereas before, the decorative glass pendant luminaires had emitted diffuse, nondirectional light, the track-mounted Optec spotlights now allow for a differentiated and easily variable lighting concept. The solution combines general lighting with eye-catching accent light. Optec 24W lens wallwashers in warm white achieve uniform vertical illuminance for optimum ambient lighting inside the church, creating an atmosphere that brings its unique architecture to life. Supplementary accent lighting is provided by Optec spotlights of the same wattage and colour temperature, with spot and wide flood distributions, emphasising important areas and objects. Focus is given to the altar with the ambo, a lectern, in front, whilst at the same time accenting two chapel statues elevated on ledges either side of the chancel. In addition to this, special light scenes were programmed for occasions such as Good Friday or Easter mass, to underline the significance of these holy days. According to reports from Grevenbroich, the response by worshipers is consistently positive. In the new light, the space now appears much more friendly and festive than before. www.erco.com
Antoni Arola design for Fluvia
Loop invites you to create inspiring spaces of shapes and light.
Frankfurt am Main 18-23.3.2018 Hall 1.2/C-50
A brand of Simon Group
Loop
SPOTLIGHT
Light.ication v2.0 Dubai Light Middle East 2017 saw the return of Light.ication - an event created by Sakina Dugawalla, Principal at Light.Func, that inivtes architecture and design students to work with lighting designers on special, one-off installations. The second installment of the event featured Nathan Savage Lighting Design, Heba Hani, CD+M Lighting Design Group and DPA Lighting Consultants working alongside students from Heriot Watt University Dubai Campus, Manipal University Dubai and American University in Dubai. The theme of this year’s event was Holi Festival Interpretation of Light. “Following on last year’s Culture of Light theme, the Holi Festival seemed apt for what it represents - culture, colour, excitement, fun, interaction,” said Dugawalla. “The whole idea behind Light.ication is to infuse an otherwise 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.” The winning entry came from CD+M and Heriot Watt University, whose concept was to have visitors experience the Holi Festival. People dressed in white, throwing colour around in
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celebration signals the start of the Holi Festival. Initially, white light is used to depict calmness. A white sheet and artefacts dabbed in colour become visible, bathed in total white. Music progresses and washes of colour illuminate the booth blue, red, yellow and 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 handprints, pebbles and markings. Music and light are used in tandem, moving from calm, play, flurry of excitement, to aftermath. 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, were impressed by how simple the concept was, the attention to detail, and very realistic immersion of each visitor within their installation that gave the experience of being part of the Holi Festival. In arc 101, we mistakenly accredited DPA and the American University in Dubai as winners. We apologise for this error and for any damage this may have caused to CD+M and the students at Heriot Watt University. www.lightme.net www.lightfunc.org
PROLICHT MAKES A DIFFERENCE FRANKFURT A.M. | GERMANY 18â&#x20AC;&#x201C;23 MARCH 2018 HALL 3.1 | BOOTH A41 + A46
WWW.PROLICHT.AT/LB18
MANDARIN ORIENTAL NEW YORK PARTNER: ZANEEN | INTRERIOR ARCHITECT: TIHANY DESIGN LIGHT PLANNING: FOCUS LIGHTING OF NYC | PHOTO: GEORGE APOSTOLIDIS
VISIT USON: ON: VISIT US
NDYLIGHT NDYLIGHT is a total lighting design consultancy with a holistic approach, considering a building’s 24-hour use and appearance. The company’s designs are highly integrated into the architectural and interior designs and push boundaries with regards to the technologies and energy use. Centrum Chodov Shopping Centre Prague, Czech Republic Due to its status as a landmark of Prague, and a focal shopping centre for locals and tourists alike, the lighting design for the refurbishment and expansion of Centrum Chodov required an innovative approach that complemented the purpose of the building, and the architectural features throughout the space. The major feature of the lighting design is the curved lighting installation that flows throughout the main traffic spaces, providing general illumination as well as a calming sense that encourages casual yet purposeful movement through the thoroughfares. The key element of the design was the smart integration of the luminaires within the architectural features. The main thoroughfares are lit in exacting detail, with the lighting integrated into the ceiling features to conceal the fittings as much as possible. This created a seamless transition between spaces, while keeping the lighting to a comfortable level throughout. The project featured a tight timeline, as well as a preference for local light fittings to aid maintenance costs. NDYLIGHT collaborated with local teams to ensure that suitable light fittings could be sourced for each lighting effect throughout the mall.
Fenwick New Bond Street London, UK NDYLIGHT worked with Fenwick to create a new ‘look good, feel better’ ground floor for their iconic department store at New Bond Street, London. The design intent from Fenwick was to create an experience to escape the hustle and bustle of the retail streets. The ground floor lighting design creates clearly defined areas whilst highlighting the individual brands and providing pathways to guide shoppers. Within the Beauty area, NDYLIGHT were able to use a designed suspended beauty wheel to accentuate the smaller concessions by back illuminating each brand signage and using directional LED downlights to focus the illumination to the display cabinets. The delicate shelving within the Skin Wall area received discrete, decorative spotlights that
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blend in to the shelf design and illuminate the face of the merchandise. A key element was to provide clean ceilings through the main thoroughfares, with lighting concentrated onto each department zone, leading you to further explore the individual displays. The feature handbag shelving incorporates linear LED strips, which will accommodate the frequent rotating of the product. In front of the Handbag display is a number of circular, ‘floating’ antique mirror and bronze displays. These displays incorporate a coffered ceiling with concealed lighting to help create a floating effect. As part of the refurbishment, NDYLIGHT were able to replace the existing fittings with new LED energy efficient fittings, helping the store reduce their energy consumption.
SNAPSHOT
Medibank 720 Bourke Street Melbourne, Australia The Medibank fit out at 720 Bourke Street includes a range of architectural and interiors elements that push it to the leading edge of workspace planning. One of the key elements as part of this strategy was the Plaza level. On this level, four collaborating design teams developed separate spaces that link together to form the whole. Each of the spaces provides a different type of space, a different usage type and ultimately, a distinct visual and workspace experience. The Kerry Phelan Design Office (KPDO) clubhouse was designed to provide a lounge
environment with multiple meeting spaces and work settings. The lighting design to this space is focused around the development of a feature suspended light form to provide functional ambient lighting to the various spaces that visually linked with non illuminated feature ceiling elements to create a visual layer / pattern above the meeting spaces below. In addition to this, localised pendant lights were used to define separate spaces in the open area while articulated arm lights allow adjustable lighting to the oneperson settings.
Collins Square Conference Centre Melbourne, Australia Working with the design team from Carr Design and Walker Corporation, NDYLIGHT developed the lighting systems throughout all the front-ofhouse spaces of this new facility. Spread across two levels, these areas include the reception and bar area, pre-function space, dining room, flexible meeting rooms, conference room and a range of other meeting spaces. The client required a lighting solution to create a feeling of quality and exclusivity. To achieve this, NDYLIGHT used a blend of uniformly spaced lighting elements, rear illuminated feature walls and joinery. Directional luminaires were used to highlight particular
design elements, such as the uplights integrated into the wine racks in the private dining area that accentuate the rare and valuable vintage wines available, thus supporting the exclusivity and luxury requirements for this project. The use of integrated lighting systems in key areas dramatically adds to the occupant experience of the spaces. With the dark finishes palette, lighting is used to accentuate specific design elements providing drama and focus. This project is a prime example of how architectural lighting can add value to a project, and the benefits of considering integration and placement, rather than the traditional blanket coverage of lighting schemes.
NDYLIGHT NDYLIGHT is a specialist division of Australian consulting firm Norman Disney & Young, a Tetra Tech company with offices in London, Melbourne, Sydney and Auckland. They specialise in Architectural Lighting Design with a team that come from a wide variety of backgrounds directly from, or allied with, lighting â&#x20AC;&#x201C; such as industrial design, interior design and theatre. In the 29 years since its formation in 1989, they have designed projects from Abu Dhabi to Uzbekistan; from boutiques to sports stadiums; from Stonehenge to high-tech fit-outs, and its award-winning projects and repeat clients are testimony of its success over the last 29 years. www.ndylight.com
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Giovanni Bonazzi
Following the announcement that 3F Filippi had acquired Targetti, arc caught up with Giovanni Bonazzi, CEO of 3F Filippi to talk about the acquisition, and what it will mean for the two brands going forward.
What is the history of 3F Filippi? 3F Filippi (Fluorescent Fixtures Filippi) was founded in 1952, by my father, Romano Bonazzi, and his partner Martino Filippi, who died a few years later due to a traffic accident. The company aimed to design, produce and sell lighting fixtures equipped with fluorescent technology. The decision to enter this sector was based on the growing demand for high efficiency systems, able to illuminate the ever-increasing number of industrial plants that opened their doors every day in post-war Italy. My father understood the great potential of the lighting market development in our country and abroad, and continued to run the company along with my mother Mirella until five years ago, when he left 3F Filippi to me and my sister Cristina. What is your role at 3F Filippi and how did you get there? I hold the position of Chief Executive Officer, but I have been working in the family business for many years. After completing my studies, in fact, I joined 3F Filippi, dedicating myself to commercial activity and marketing. Over the years, I gradually joined my father in the choice of strategies to be undertaken. Why did 3F Filippi acquire Targetti? In our 66-year history, we have achieved high-level performance in our reference markets, such as industry, commerce and the tertiary sector, and have a consolidated experience in the design and production of efficient technical lighting systems. Our will to constantly test ourselves led us to take over a historic brand such as Targetti, aiming to expand our product range and develop industrial synergies with a move into the field of architectural lighting for indoor and outdoor environments. Furthermore, the wide range of products allows us to proudly bring ‘Made in Italy’ to more than 50 countries, and grow further in markets with great prospects, such as the USA, United Kingdom and China, thanks to the dense sales network and to foreign branches. Was it a straightforward process or was there a lot of negotiation? It was not a long negotiation (just consider that the IDEA Fund had acquired Targetti less than a year ago). Once we established that there was no lack of opportunities to grow together on international markets, we did not find it difficult to close the deal. What are your plans going forward with the Targetti brand? Our aim is to bring the Targetti brand back to the growth levels of a few years ago. It is a difficult challenge, the one we are facing, but we are convinced that, thanks to adequate synergies with 3F Filippi, the Florentine company has what it takes to regain the prestige it deserves.
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How will the 3F Filippi and Targetti brands sit together? Even if this acquisition has created one of the most important Italian lighting groups, it is important to remember that we never thought about merging the two companies. They will continue to move autonomously, in order to keep valuing the approximately 600 employees who every day contribute to the growth in their concerned sectors. We are extremely satisfied with how the company has been managed up to now, and we have found an excellent management team and a close-knit and motivated team of collaborators. That said, we will do everything to ensure that the pluses of one can become, from now on, a competitive advantage for the other. For example, I am convinced that the considerable commercial knowhow gained over the years by Targetti in markets such as China, USA, United Kingdom, Russia and the United Arab Emirates will also be useful to 3F Filippi to develop its business in these countries, where it has had little presence until today. Will there be any more acquisitions in the future? Even if we never say never, I believe that in the next few years we will be purely concentrated in the growth of current brands, including that of Duralamp (a subsidiary of Targetti). What will you be showing at Light+Building? Of course Light + Building will see the participation of both brands, each with its own stand. In the case of 3F Filippi, some new versions of our appliances for industry and retail, much better performance than the previous ones, will be shown to the visitors. Moreover, the company will present a world premiere of some new lighting fixtures dedicated to work spaces, and in particular to the office. These are products that we are planning and developing together with some important Italian architectural firms. How do you see the architectural lighting industry developing in the future? I believe that a future full of challenges awaits us. The progressive affirmation of LED in every sector, for example, will “push” companies to complete the adaptation of their devices by equipping them with this type of light source. But the challenge will also be commercial. The most successful companies in the coming years will be the ones able to offer the best on the market, with a wider range of offers. Leaving aside, at least in part, the world of design-oriented lighting, I think that the greatest successes will be achieved by those companies, or groups, which will provide any type of lighting solution, setting themselves not as a simple products supplier, but as a a real partner that offers high added value solutions for the customer. www.3f-filippi.com
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
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Specification Integrity: Getting from A to Built John Martin, IALD Public Policy Consultant, talks us through the IALD and LIRC’s newly published Guidelines for Specification Integrity.
W
hat is Specification Integrity and why is it important?
Every designer – in any medium – has been there: that moment when you see the final outcome of a project but don’t recognise your own work. Something’s happened along the way and the design has been
changed. If it can happen at the micro level where collaboration is minimal – say a ruined poster from a copy shop – the risks
of altered design at the scale of the built environment are quite literally monumental.
Specification Integrity refers to the importance of maintaining
the lighting designer’s original specification – and design intent – throughout the design-bid-construction process. A perennial
challenge in the process of creating the built environment is how to ensure that what is designed is what is built.
For designers, defending specifications against assaults is
important. It is generally pretty obvious to designers, but not
always to everyone else, that only by following the specifications
for a job can an installation embody the design intent and achieve
desired impact and results. Those results can range from occupant comfort to increased retail sales and everything in between;
they depend on building the project as designed. In short: design matters, and that means specifications matter. Where do threats to specs come from?
In general, threats to specifications arise for financial reasons. One or more participants in a project think a less expensive product will accomplish design intent as well as a product
specified. Financial arguments can take many forms: budget
constraints, “value engineering”, reductions through single-
source “packaging”, or contractor substitutions. Each of these
rationales suggests that different products from those specified
will accomplish the same project goals. The designer knows that
such substitutions usually won’t achieve those goals, and the trick is to convince everyone else of that fact.
How can a designer ensure Specification Integrity?
The twin keys to ensuring that projects are built as designed are excellent specifications and strong relationships. “Excellent specifications” are written clearly and concisely; they are
thorough and based on solid technical and optical data, informed John Martin, IALD Public Policy Consultant, Senior Design Associate, KGM Architectural Lighting
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by the designer’s aesthetic judgement. They are based on a
systematic approach to lighting challenges backed up by data and experience.
IALD
Relationships are equally important in making sure that projects
are built as designed. Lighting designer Kevin Theobald, IALD, says: “Writing a ‘water-tight’ spec is only helpful if you get everyone on your side. You must be able to explain to owners, contractors and others the reasons for your choices, so they see the logic of your choices and how your design works.”
If a spec is excellent and a designer’s relationships are strong, the result is credibility. Theobald points out that “‘Because I said so’
will not convince a design team or an owner to rely on you; you must build relationships and show you know what you are doing.” Defend the Spec at each step.
Threats to lighting specifications may arise at any point in the project process. If possible, a lighting designer must remain involved in a
project at all stages of design, bidding, and construction. Theobald points out: “It is necessary to reinforce your ideas, your credibility
and your expertise with the design and construction teams at every point. You never know when substitutions will be tried.” Lighting design practices often work globally, and similar threats go by
different names around the world, but the keys are always the same: knowledge, involvement, communications and relationships. IALD resource addresses Specification Integrity.
In late October 2017, the IALD and its manufacturers’ offshoot, the Lighting Industry Resource Council (LIRC), released the 2017 Pilot
Edition of the Guidelines for Specification Integrity, an update and reworking of a document first published in 2009.
To make the material as easy to use as possible, the guidelines are available as an online, downloadable publication with internal
links and references. Moreover, the IALD and the LIRC intend the materials to evolve and improve over time. The pilot edition is a
starting point for “crowdsourcing” improvements to the document, as we invite readers to share any additional checklists, examples, stories, or suggestions from your practice. Share your ideas and
submissions for additions with me by emailing me at john@iald.org.
Adherence to specifications helps both designer and manufacturer— the former by ensuring that the project is built as designed, and the latter by ensuring that the products best suited for the project are incorporated into it. The updated “Spec Integrity” materials help
clarify and publicise the importance of adhering to specified products in every project.
The Specification Integrity is available online at
http://iald.me/specinteg
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Eye Liner Designed by Dutch architects MVRDV along with the Tianjin Urban Planning and Design Institute, Tianjon Binhai Library, nicknamed ‘The Eye’, features illuminated floor-to-ceiling, terraced bookshelves able to hold 1.2 million books, and a luminous sphere that serves as an auditorium with a capacity of 110 people.
PROJECT DETAILS Tianjin Binhai Library, Tianjin, China Client: Tianjin Binhai District, China Architect: MVRDV, Netherlands Co-Architect: Tianjin Urban Planning and Design Institute, China Lighting Design: Tianjin Architecture Design Institute, China
All pics © Ossip van Duivenbode
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PROJECT
Pic: Justin Ford
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Above The Eye is bathed in cool white light creating a contrast with the natural, 4000K cove lighting of the terraced bookshelves and ceiling contours.
I
t’s not often that a newly opened
echo the form of the sphere to create an interior,
dusty, quiet rooms and bland
out and wrap around the façade. In this way, the
building normally associated with architecture attracts so much interest
in the international press. Both architectural and
popular media have drooled over the extraordinary design of the Tianjin Binhai Library in China by Dutch architects MVRDV and local designers Tianjin Urban Planning and Design Institute
(TUPDI). The 33,700sqm cultural hub, part of a
larger masterplan to provide a cultural district for
the city, features a luminous spherical auditorium
and floor-to-ceiling cascading bookcases not only as an education centre, but also social space and
connector from the park into the cultural district.
An oval opening punctured through the building is propped open by the Eye, a luminous sphere with
an auditorium, which takes the main stage within the atrium and enlarges the perceived space
within. The building is lifted upwards creating
cascading floor to ceiling bookshelves that also act as seating and walkways leading to more
private reading rooms. Terraced bookshelves
topographical, landscape whose contours reach stepped bookshelves within are represented
on the outside, with each level doubling up as a
louvre. The library’s open glass façade opens to
the park outside so it is a light, airy and welcoming space.
“The Tianjin Binhai Library interior is almost
cave-like, a continuous bookshelf,” says Winy
Maas, co-founder of MVRDV. “Not being able to touch the building’s volume we ‘rolled’ the ball
shaped auditorium demanded by the brief into the building and the building simply made space for it, as a ‘hug’ between media and knowledge.” Maria Lopez, MVRDV’s project leader,
commented,“The library building can be
understood as a zipper that transitions gradually
from a normal building to its eye (spherical) core.” MVRDV made proposals for the lighting design
during the design phase but eventually this task fell to TUPDI who designed the lighting for the atrium and then assigned Tianjin Architecture
Design Institute (TADI) for all other areas with lighting designer Huayi Jianyuan leading the
“Lighting was crucial to meet the final result. The lighting supports the concept of the interior which flows as a continuous element through space.” Maria Lopez, project leader, MVRDV
project for TADI.
The terraced bookshelves and ceiling relief are
highlighted by natural white flexible cove lighting (provided by Osram 4000k Value Flex G2) that
echoes the form of the sphere creating a luminous topographical landscape whose contours reach
out and wrap around the façade. In this way, the stepped bookshelves within are represented
on the outside, with each level doubling up as a louvre.
By contrast, the Eye is illuminated in cool white
emphasising this remarkable structure within the building.
Maas said: “The Eye is the centre of the library. It
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“The angles and curves are meant to stimulate different uses of the space, such as reading, walking, meeting and discussing. Together they form the ‘eye’ of the building: to see and be seen.” Winy Maas, co-founder of MVRDV
Pic: Vincent Laganier, Light ZOOM Lumiere
“The contours connect the library to the park outside and the public corridor inside, serving as louvres to protect the interior against excessive sunlight whilst also creating a bright and evenly lit interior.”
international team of architects including
Bernard Tschumi Architects and Bing Thom Architects.
The five-level building also contains
extensive educational facilities, arrayed
along the edges of the interior and accessible through the main atrium space.
“We opened the building by creating a
beautiful public space inside; a new urban
living room is its centre,” added Maas. “The bookshelves are great spaces to sit and at
the same time allow for access to the upper floors. The angles and curves are meant to
stimulate different uses of the space, such
as reading, walking, meeting and discussing. Together they form the ‘eye’ of the building: to see and be seen.”
Maria Lopez, project leader, MVRDV
The public program is supported by
subterranean service spaces, book storage, and a large archive. From the ground floor,
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‘hollows out’ the building and creates, out of
visitors can easily access reading areas for
to hang out, to climb and to access, to create
main entrance, terraced access to the floors
auditorium which mirrors the environment,
The first and second floors consist primarily
space inside; a truly reflective and pensive
whilst the upper floors also include meeting
The futuristic library sits within a sheltered
and two rooftop patios.
arches, which winds its way throughout the
GMP’s 120,000sqm masterplan which aims
four other cultural buildings designed by an
surrounding districts. Through its design,
bookshelves, an environment to sit, to read,
children and the elderly, the auditorium, the
an organic social space. In its heart is the
above and connected to the cultural complex.
giving a 360-degree panorama of the
of reading rooms, books and lounge areas
environment.”
rooms, offices, computer and audio rooms
gallery, topped with cathedral-like vaulted
Tianjin Library is part of German architects
scheme. MVRDV’s project is surrounded by
to accentuate the characteristics of the
PROJECT
Above Lighting design of the interior was realised by Huayi Jianyuan of Tianjin Architecture Design Institute (TADI), contractors for the project brought on board by local designers Tianjin Urban Planning and Design Institute (TUPDI) who were co-architects with MVDRV. Overleaf The contoured bookshelves create a multi-layered interior that add elements of light and shade to the design.
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project
the complex will become a junction point for the Central Business District, old town, residential
districts, commercial areas and the government quarter; hoping to compensate for any missing
programme in each. The libraryâ&#x20AC;&#x2122;s outer volume was given in the masterplan so the Eye and its surrounding semi-public area are an internal
space, like an inverted icon, acting as a central point and folly in the building.
The library is MVRDVâ&#x20AC;&#x2122;s most rapid fast-track
project to date. It took just three years from the first sketch to the opening. Due to the given
completion date site excavation immediately
followed the design phase. The tight construction schedule forced one essential part of the concept to be dropped: access to the upper bookshelves
from rooms placed behind the atrium. This change was made locally and against MVRDVâ&#x20AC;&#x2122;s advice and rendered access to the upper shelves currently
impossible. The full vision for the library may be realised in the future, but until then perforated
aluminium plates printed to represent books on the upper shelves.
In the Kindle era, the difficulty of getting people
LIGHTING SPECIFIED 3km Osram Value Flex G2, 800lm/metre, 4000K, CRI80 (the rest of the luminaires are locally sourced) Mean Well power supplies
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to visit libraries to interact with books is obvious.
However, since its opening in October 2017, visitor figures have gone through (or should that be,
undulating through) the roof. MVRDV has created
an iconic piece of architecture that will live long in the memory for as long as books are still enjoyed. www.mvrdv.nl
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Light is The Word In the face of austerity, Desco teamed up with FaulknerBrowns Architects to create The Word, a stunning new library and social hub for the community of South Shields.
Pics: Hufton & Crow
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PROJECT
PROJECT DETAILS The Word, South Shields, UK Client: South Tyneside Council Lighting Design: Desco, UK Architects: FaulknerBrowns Architects, UK
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I
Previous page The unique circular design of The Word was intended to mimic the fanning pages of an open book. Above Inside the building, an expansive, three-story atrium dominates the space.
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n the UK, the impact of austerity
Because of this, the design and construction team
hit certain sectors hard – particularly
efficient civic building, encompassing design
measures over the past few years has
created a shining example of an attractive,
public libraries. Cut backs on
features that reflect the town’s industrial and
expenditure have led to a raft of library closures
manufacturing heritage, enhanced by a
purposes, it appeared that the local library was
developed by Desco, to attract and engage visitors.
So much so that figures recently published by the
relationship with FaulknerBrowns, having worked
Professionals, there has been a 14-percent decline
Through this existing relationship, Desco were
That is not the case in South Shields though, as
Developments to join the team.
Developments and Desco, a stunning new library
involved from the project concept through
Dubbed The Word, the new building is not just
the technical aspects of the lighting scheme,
but an outstanding social hub for the community,
Alongside this, they worked with manufacturers
FaulknerBrowns to mimic the fanning pages of an
lighting solutions.
Located on a prominent gateway site linking South
explained how he worked with the architects to
Word is one of the first projects for the
initial concept of an open book with the pages
needed to be successful to provide a striking new
lighting design.
in which its community can take great pride, and
vision for a more wide-ranging, exciting visitor
across the country, and for all intents and
complementary, bespoke lighting scheme,
fading from British society.
Desco had previously developed a good
Chartered Institute of Library and Information
on numerous projects together over the years.
in library visitors over the past five years.
recommended by the architects to Muse
thanks to FaulknerBrowns Architects, Muse
From this initial recommendation, Desco was
building has been constructed.
coordination, installation, commissioning and all
intended to be another run-of-the-mill library,
including prototype design and approval.
with it’s unique circular structure designed by
Hacel and Atelje Lyktan to develop some bespoke
open book.
James Davison, Senior Design Engineer at Desco,
Shields’ riverside area with the town centre, The
develop the lighting concept: “FaulknerBrowns’
redevelopment of the area, and as such the scheme
fanned out was also the main inspiration for the
focal point in the North East town’s marketplace,
“The concept matured as the client’s ambitious
from which the wider regeneration will develop.
attraction emerged. As the brief and client
If you can draw it, we can produce it The ateljĂŠ Lyktan Studio specialises in bespoke solutions for architectural lighting
The Word Library, design by FaulknerBrowns 6,5 m diameter fitting with 66 independent colour changing light drums
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PROJECT
Previous page A bespoke chandelier, developed by Desco in collaboration with Atelje Lyktan, acts as the heart of the building. The chandelier features tuneable white LEDs that gradually change colour temperature throughout the day, simulating the progression of natural daylight. Left Large glass walls fill the building with natural light, while offering views of the River Tyne and the neighbouring Grade I listed Old Town Hall: two enchanting aspects of the building’s historic context.
“Faulkners had a very keen sense of how they wanted the building to look and the lighting needed to tie into this vision.” James Davison, Desco
expectations gradually evolved, so too did the lighting design,
retaining a flexible approach to the design being the key element.
“Faulkners had a very keen sense of how they wanted the building to
look and the lighting needed to tie into this vision whilst maintaining the element of flexibility throughout the building.”
However, while the lighting design needed to be flexible, there also
had to be a sense of uniformity. As the highly sophisticated building includes library and exhibition spaces, alongside a number of key
areas allowing interactive exhibitions, storytelling and social spaces, all co-existing alongside contemplative and study zones, Desco
sought to utilise a singular concept to illuminate all these areas, creating a sense of commonality in the space.
Davison explained: “We developed the notion of a linear extrusion with multiple uses, which could be interchangeable to reflect the
fluid nature of the architecture. These linear ‘spokes’ tied in with
FaulknerBrowns’ concept and the overall ‘language’ of the building.” The multiple uses of this bespoke linear extrusion meant that Desco
was able to adapt to the changes throughout the building as the areas and room boundaries ebbed and flowed by modifying the luminaire components to suit the spaces.
“Within the main luminaire housing there are three main sections,”
Davison elaborated. “High output linear sections to illuminate larger areas and displays, track mounted spotlights to emphasise
exhibitions and key artwork pieces, and lesser output linear sections with a more controlled and diffused light for areas where glare control was paramount – offices and reading areas.
“By interchanging these elements within the confines of the original ‘spoke’ design, we were able to be extremely agile to the client’s changes.”
This bespoke linear lighting design serves to complement the
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The Light.
18. 3. – 23. 3. 2018 | Frankfurt Hall 2.0, Booth A30/B30, B31
Museo delle Culture (MUDEC), Milan | IT David Chipperfield Architects Lighting solution: ARCOS
zumtobel.co.uk
MuseoCulture_236x333en_mondoArc.indd 1
29.01.18 13:43
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PROJECT
“I enjoyed the challenge of creating a lighting design that responds to and complements the architectural concept.” James Davison, Desco
structure’s circular, ‘fanning pages’ effect,
storey atrium. The whole building seems to channel
align with the architecture. The fluid solution of
revolves around this concept. The linear lighting
brings a sense of continuity to the design aesthetic
that the entire building is sloping inwards.
Desco collaborated with local manufacturers Hacel
6.5-metre wide LED luminaire, designed by Desco
“Hacel were in the midst of developing a linear
Lyktan. The chandelier – the largest single fitting
process and tailor the luminaire to our needs.
made to fit an architectural ceiling recess with the
needed to come in different lengths to tie in with the
vision. The installation is comprised of 84 ‘drums’
the individual components could be inserted almost
literally bolted to the soffit, all cables were hidden
The main feature, Davison explained, that
installation, with the cabling cast within the
Hacel’s Infinitas – with other linear installations is
completed.
the spotlights incorporated within the ‘carcass’
white LEDs, allowing for the atmosphere and mood
more than 10-metres, illuminating several areas
of day, as Davison explained: “The colour
commonality.
daylight; a warm 2700k light in the morning
into the soffit of the overhanging upper floors
as the sun peaks, then turning back to 2700k tones
encouraging the public to engage with the building,
“As the colour of the light changes so gradually,
space with natural light, while providing stunning
directly. This gradual change results in the mood of
listed Old Town Hall – two enchanting aspects of the
with the building awakening with the sun in rich
Due to its circular shape, the whole building appears
with a very clean natural light, and gradually
extending from the building’s centre outwards, to
visitors into this fabulous space, and the lighting
multiple linear sections within a single extrusion
emphasises this, while providing an optical illusion
while maintaining the desired element of flexibility.
At the heart of the development is a bespoke,
to create this linear system, as Davison explained:
and FaulknerBrowns in collaboration with Atelje
lighting system and we were able to exploit this
ever manufactured by Atelje Lyktan, was custom-
“We started with the continuous extrusion – this
depth of the fitting dictated by the architect’s
architecture. Once this ‘carcass’ was established,
mounted to a bespoke frame. As the chandelier is
like piecing together a jigsaw.”
within the bespoke mounting frame of the luminaire
differentiates this system – which later became
concrete before the installation design had been
the inclusion of the track section. This means that
The chandelier was incorporated with tuneable
allow a single extrusion to run for, in some cases,
of the building to be altered depending on the time
differently while maintaining a sense of
temperature of the fitting is designed to simulate
On entering the building, a halo of LEDs integrated
gradually changes to a colour temperature of 6500k
illuminates the building’s perimeter at ground level,
at sunset.
while the glazed triple height atrium floods the
most people don’t realise the subtlety of the effect
views of the River Tyne and the neighbouring Grade I
the building changing over the course of the day,
building’s historic context.
golden tones, achieving its peak effect at midday
to emanate from a central point, the large, three-
returning to the early colours, changing and
Previous page A large, sweeping staircase allows access to the centre’s four floors. Above By using a bespoke linear lighting system, developed in collaboration with Hacel, Desco were able to adapt to the changes throughout the building and modify each luminaire component to suit each individual space.
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PROJECT
Left The whole structure appears to emanate from a central point: the large, three-storey atrium, as the linear lighting system creates the impression that the entire building is sloping inwards. Below The LED solution of linear sections and adjustable spotlights within a single extrusion brings continuity to the design aesthetic, while also maintaining the element of flexibility.
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evolving the atmosphere of the building
Davison asserted that Desco has, through its
Desco was also responsible for the external
projects of a similar nature in the past,
enhance and enliven The Word’s context
towards this building was quite different to
new meeting place and community event
“Sometimes a client or architect gives an
Concord uplighters and integrated LEDs
not sure exactly what they want but normally
architectural form of the building, helping to
The Word though, the concept was well
landscape, and the external lighting scheme
ensuring the brief was met and maintained,”
structure at nighttime.
“The other major factor in how this differed
the building, while remarkable in its shape
aren’t too many spherical buildings built
surroundings, paying homage to South
creating a lighting design that responds to
materials chosen by the architect including
However, Davison revealed that, while he
“As such, the colour temperature of the
Word, trying to maintain the aesthetic while
bring out the rich tones in each of these
such a firm, restrictive geometric pattern
within the confines of dark sky initiatives to
“Avoiding over illuminating at ‘peak’ areas,
we were very keen to achieve.
a lot of work was done on the DALI lighting
building in light but we have picked out key
lines of light as they became closer together,
allowing the building to be highly engaging.
noticeable – we wanted to maintain a sleek,
placed to highlight the circular nature of the
“It’s a detail that isn’t immediately obvious
would have made the building appear flat and
something that for me, although relatively
the scheme without ever overpowering it.”
detailed thought pattern that has been
building, particularly for a library in the UK,
This detailed thought process has led to the
throughout the day.”
experience in the leisure sector, worked on
lighting design, in which they aimed to
although he did concede that the approach
within the public market square, creating a
other projects.
space. Peripheral lighting with a mixture of
open brief to the lighting design – they’re
clearly defines routes and complements the
have a strong idea of what they don’t! With
draw visitors in. The Word defines its
established and the challenge became one of
helps to transform and emphasise the
he said.
FaulknerBrowns worked hard to ensure that
from other buildings is the shape – there
and design, still held true to its
these days! I enjoyed the challenge of
Shields’ industrial heritage with a palette of
and complements the architectural concept.”
coal, salt, glass, stone and metal.
enjoyed creating the lighting design for The
luminaires needed to be correctly chosen to
having an eye on lighting requirements of
materials,” said Davison. “All of this occurs
was a ‘real issue at times’.
reduce light pollution, which is something
i.e. where the linear extrusions meet, meant
“It would have been very easy to bathe the
control system,” he said. “We dimmed the
components to the external façade instead,
but not too much so as it would be instantly
“The external lighting was also selected and
uniform light.
building, where traditional façade lighting
and possibly passes most by, but it’s
lifeless, the shape is highly accentuated by
simple, really captures the extremely
Despite The Word being an incredibly unique
applied to the lighting design.”
Smithsonian National Portrait Gallery, Washington, DC • Lighting design and photography by Smithsonian staff Luminaires by Lighting Services Inc. • Light sources: XIM Artist Series, CoB and point sources Lighting control by Xicato GalaXi™ , Zigbee, Medialon
Building a Successful Coalition (for Lighting Control)
Xicato GalaXi is a professional quality, fully featured Bluetooth lighting control solution that scales from a small home or shop to a commercial office building or university campus. But Xicato understands that complex problems require cooperation. At the Smithsonian, our GalaXi system controlled both Xicato and non-Xicato light sources in a shared lighting control network with a third-party Zigbee system, all controlled by the Smithsonian’s Medialon building management system (BMS). Our new Xicato Intelligent Drivers (XID) can provide deep, flicker-free dimming for virtually any indoor luminaire, and the simple Xicato Intelligent Gateway (XIG) API allows us to work with any 3rd party lighting control system or BMS. Despite the apparent complexity of this network, the Xicato GalaXi system and API were so easy to work with that Alex was up and running within hours. How can we work with you?
See our multi-vendor GalaXi network at Light+Building Outdoors, in the Agora (AG.0), Stand A10
@XicatoInc xicato.com AD 180206 Smithsonian.indd 1
Smithsonian Institution
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PROJECT
lighting specified Atelje Lyktan Bespoke Lighting Solution. Atelje Lyktan Birdie Concord Ascent 50 Concord Beacon Muse Erco Star Point Fagerhult D63 Fagerhult Notor LED Fagerhult Pleiad Evo Fagerhult Pozzo Hacel Bespoke Solution (Fitting that became the Infinitas) Lumiance Lumistrip Simes Megaring Simes Minizip Simes Movit Square Simes Nanoled Simes Rotating LED Tube Simes Walker Trilux Polaron IQ Zumtobel Craft Zumtobel Micros
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creation of a very effective lighting design
“Against the backdrop of gloomy figures recently
functional basis to emphasise the architectural
Information Professionals, The Word’s statistics
concept of the design, and also as a statement
One of the most impressive feats of The Word
dominating the three-storey space without ever
not under the big budget that privately-funded
“Both major applications achieve their goal and
authority deep in the midst of austerity measures,
expertise available,” said Davison. “Sometimes it is
remarkable.
especially from 2D plans and even 3D models as the
including the lighting package,” he explained.
“With The Word however, the vision we wanted to
maintaining a high level of design. This was
initial concept sketches and calculations and the
innovative thinking; all leading to the
Since its completion, the impact that The Word has
Overall though Davison is delighted that The Word
reflected in its success. Figures revealed that in its
providing a beautiful new location for residents to
venue has attracted 88,000 visitors, and as further
step in the regeneration of the town centre.
have joined the library – an increase of nearly
scheme was for it to be an icon for South Shields,
old Central Library. Alongside this, there has been
centre. The impressive visitor figures and positive
in the teenage demographic, which Davison puts
its intelligent and eye-catching design is already
of the building” being a major contributing factor
national spotlight on culture and design excellence
of readers to come.
www.desco.uk.com
throughout the new centre, serving both on a
published by the Chartered Institute of Library and
form of the building, blending into the overall
are very welcome news,” added Davison.
piece, with the bespoke Atelje Lyktan chandelier
though, Davison believes, is that it was completed
looking out of place.
developments are, but the slender means of a local
demonstrate the technical capabilities and
making the success of the project all the more
difficult to imagine how a building will look,
“All aspects of the design needed to reflect this,
light interaction within a space may differ in reality.
“Our cloth needed to be cut accordingly whilst
achieve was clear and the similarities between our
achieved by good design, collaboration and
finished building is striking.”
development of an iconic and flagship structure.”
had on the South Shields community has been
can serve as a social hub for the local community,
first two months of operation, this new cultural
take pride in and taking that all important first
evidence of its success to date, 867 new readers
“South Tyneside Council’s aspiration for the
400-percent compared to the same period at the
promoting footfall and tourism back into the town
a staggering 750-percent increase in library users
feedback serve to demonstrate how The Word and
down to the “sleek, modern and welcoming design
achieving that aspiration and helping to shine a
in creating appeal for new and future generations
in the North West of England.”
50°06’36.8”N 8°38’53.2”E
18 - 23. 3. 2018 | Hall 3.1 Booth B.61 Frankfurt am Main
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Book Smart We take a closer look at some of the other stunning library projects being completed around the world.
Albion Library Toronto, Canada As the urban base for Toronto’s diverse Rexdale neighbourhood, Albion is one of the city’s busiest public libraries. A responsive design approach by Perkins + Will delivers a tailored solution for a unique community in need of a reimagined social epicentre.
Reminiscent of a walled garden, the dynamic façade gives the illusion of a front porch trellis – its privacy veil injecting colour into the street.
Intentionally reflecting the vibrant personality of its local community, Albion Library brings a colourful counter to the suburban streetscape outside.
Inside, the library footprint is divided into a series of open zones, and careful
composition of these spaces creates a rich and varied plan that accommodates open, cellular and private spaces, ensuring ease of access and diversity of
experience. Courtyards weave nature and natural light deep into the library’s interior, while bright colours and geometric shapes create a sense of informality and playfulness in the curated greenspace.
Notched light is featured throughout; carefully placed windows and lighting fixtures illuminate each area.
Perkins + Will worked closely with electrical consultant Mulvey & Banani to
come up with a lighting design strategy that would complement the design. www.perkinswill.com
James B. Hunt Library North Carolina, USA Working closely with North Carolina State University (NCSU), Snøhetta set a new benchmark for technologically-sophisticated collaborative learning spaces with the design of the new Hunt Library.
As libraries move away from introverted spaces lined with shelves to more
vibrant social and collaborative spaces, the Hunt Library serves as a comfortable living room for students, as well as their intellectual base-camp on campus. A contemporary structure within a traditional context, the Hunt Library
provides a forward-thinking platform for influencing its surroundings. Both
technical and programmatic innovations are celebrated as part of the learning experience, providing a versatile and stimulating environment for the user. Generous open spaces connect all floors of the library, and open stairs emphasise the interactive and social environment. The building’s
design celebrates the role that physical space plays in the intellectual stimulation of its users, with the lighting design reflecting this also.
Self-regulated light fixtures are used in the interiors, while ample daylighting also reduces the artificial light load. With solar panels located on the roof, and the roof itself built with a high albedo, minimising the heat island
effect of the building, the library employs numerous sustainable measures and creatively- integrated technologies to achieve a LEED Silver rating. www.snohetta.com
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PROJECT
Stadkammer Zwolle, Netherlands Formed out of Zwolle library and arts centre,
18×64-degree optics, and is mounted end-to-
for information and advice, education and
top of the curtain wall at a height of
Stadkamer is a new organisation, and a hub development, language, literature, performances, art and culture.
It was opened following a 5,900sqm library
extension and renovation of a former city hall office building. The defining feature of
Stadkamer’s building is a frosted canal plate curtain wall façade, which is one of the first
cortex façades in the Netherlands. The façade is lit from within using acdc’s Blade Micro luminaire, creating a striking, even illumination.
For this installation, Blade Micro uses
end for a continuous wallwash effect at the
7.7-metres. Blade’s narrow elliptical beam creates an even light from top to bottom,
helped by the reflecting surface on the bottom of the concrete wall and façade, which reflects light upwards. The surface and structure of
plates also reflect the light in a diffuse way to create a homogenous lighting effect.
The translucent façade gives an understated appearance during daylight hours but once
darkness falls, the building takes on an almost magical appearance of a glowing box. www.acdclighting.co.uk
Tecnológico de Monterrey Monterrey, Mexico Sasaki worked with the Tecnológico de
this plaza are the upper floors of the library.
transform its original 1969 library building
views and connections are created across the
Monterrey in Monterrey, Mexico to
into a more relevant and collaborative
academic hub. The new library, situated on
the site of the previous library, embodies the academic mission of the Tecnológico de
Monterrey, a place where students, faculty,
staff, and the region’s industry leaders come together to access information, study, collaborate, and be inspired.
The ground floor of the library contains a
dramatic new student plaza bracketed by a cafe, an auditorium, a gallery, and a
makerspace lab. Dramatically perched above
By placing the library above this open space,
campus, and the plaza itself is shaded by the library above. Comprising four floors of
program elements, the library transitions from technology-rich collaborative study spaces at its base to quiet, contemplative
study at the top. A central staircase extends from the plaza level to the rooftop,
culminating in dramatic views of Cerro de la
Silla, the iconic mountain that overlooks the campus.
www.sasaki.com
The Library and Learning Centre Vienna, Austria The Library and Learning Centre, designed by Zaha
functions together. The lighting reinforces the
located in the heart of the University of Economics
of curved, linear luminaries; and by illuminating
Hadid Architects with lighting design by Arup, is
& Business (WU Wien) campus in Vienna, Austria. Arup’s lighting designers created the conceptual
and detailed lighting for the internal public spaces, library, offices, study areas and the exterior of the building.
The lighting was influenced by the architecture – two separate intertwined structures within one space. These two buildings hold the library and
administration offices and are connected by glazed ‘canyons’ that act as a glue to hold the two
intertwined nature of the building through the use the walls of the core structural elements with cove lighting.
The circulation spaces that receive a large amount of natural light are illuminated in a cool, white
light, while the library and administration spaces are lit with warm white sources. The source of
knowledge and education is therefore a warm heart of the building that draws visitors and users into the space.
www.arup.com
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“Peer review usually consists of the influential members of your field reviewing your work and deciding whether it is important and unique…. This dynamic reinforces the cliché of academics: learning more and more about less and less. It causes a hyper-specialisation where people in different areas have a very difficult time collaborating–or even communicating–with people in different fields.” - Whiplash: How to Survive Our Faster Future
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PROFILE
Renowned Finnish designer, innovator, artist and entrepreneur, Tapio Rosenius is on a quest to explore and question major topics within the lighting industry.
G
rowing up close to the Arctic Circle, Tapio Rosenius has experienced and learned a very alternative perspective and interpretation of light compared to many of us. With extreme variations in hours of daylight during the year and near enough none during the winter, Rosenius developed a strong fascination with how natural light is a constant, malleable force, which would in turn heavily influence his creative work as a lighting designer. With multiple aspirations as a youngster, Rosenius swayed between wanting to dominate the world as the biggest rock star to becoming a diving instructor or arthouse filmmaker. Heavily influenced by French cinematographer Sacha Vierny for his narrative driven and beautifully abstract lighting interventions, as a student, Rosenius pursued Photography and Film, and then moved on to study light as an expressive medium at art school in Tampere, Finland, before he eventually settled into the architectural lighting industry. Whilst living in London in early 2000’s, he completed a Master of Science in Light and Lighting at the UCL Bartlett. His first role in the industry came about through an interesting venture whilst still at school: “I started moonlighting for a Finnish architectural lighting designer around 1996. We used lighting design as a social integration tool for unemployed middle aged people in Lapland. We tried to re-train them as ‘nighttime gardeners’ with skills in ice sculpting and lighting design. Then in 1997, the art school offered to pay me to go and do an internship somewhere outside Finland. The condition was that I had to find a job in the next 24 hours. After a night spent searching for ‘Lightning Design’ companies in AltaVista I found dozens of weather stations, and amongst them Kevan Shaw Lighting Design from Edinburgh. I think Kevan might have misspelled the word ‘lighting’ on his front page, lucky for me! After a rather hilarious job interview over the phone, I joined Kevan’s team and ended up working for him until 2001.” Progressing on from this, Rosenius then moved to London to join Maurice Brill Lighting Design until he left the role as Director in
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PROFILE
Pic: Mark Cocksedge
2009 to bravely pursue his own lighting firm in Madrid. Not only was setting up independently a daunting prospect, Rosenius had also reached a pinnacle life changing point with his wife, who had just found out she was pregnant. London had become an increasingly busy and intense urban environment, so together they returned to his wifeâ&#x20AC;&#x2122;s home country, Spain, to begin family life and establish the now wellknown firm Lighting Design Collective (LDC). As Director of LDC, he works with light as a medium for architectural collaborations, digital interventions, product innovation and art, and seeks to create tangible connections between artificial light, digital futures, biomimetic and the human experience. Specialising in an imaginative and innovative approach to architectural lighting, the team really focus on state-of-the-art lighting schemes for architecture and the built environment, utilising high tech applications, digital content and artistic assets. A few years into the venture, Rosenius partnered with Jari Vuorinen to establish LDC Helsinki and then a little later with Kristian Krogh to establish LDC London. Spread across these three studios, the team now includes leading designers, software coders and digital artists who have built a portfolio of world-class projects for numerous international clients, and covers a wide span of applications
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from cultural, hospitality, retail, office, residential, landscape and infrastructure. Roseniusâ&#x20AC;&#x2122; intrigue and admiration of natural light is evidently at the root of the work LDC produces. The way natural light moves in infinitely different ways and how it relates to time, space and context is key to the design works produced, and research led, into lighting practices used, both as an art form and for its functionality. In addition to working on lighting schemes with LDC, Rosenius is also a product designer. He created the Light over Time (LoT) luminaire with Artemide in 2017, a series of lighting tools that allows designers to re-imagine, reveal, reinterpret and modulate spaces with precision optics. One of the most notable projects to come out of LDC is the SILO468, located in the Kruunuvuorenranta district in Helsinki. During darc room 2017 in London, Rosenius presented this remarkable project that brings together all of his recurring influences of natural light and the natural environment together onto one industrial canvas. The abandoned 1960â&#x20AC;&#x2122;s oil silo, sixteen metres high and 35 metres in diameter, was transformed into a captivating light installation. 2,012 holes were perforated in the structure, where existing rust stains already existed, and represent the year 2012, the Helsinki World Design Capital year. During the day, the sunlight shines through these holes to
Pic: Hannu Iso-oja
Pic: Hannu Iso-oja
Pic: Tuomas Uusheimo
Top Inside panoriamic view of the Silo468 illuminated in a bold red with white LEDs rippling across the walls to mimic the prevailing winds outside, live. Middle A close up view of the white LEDs used for the live illuminations of the changing environment outside. Bottom An exterior shot of the Silo468, showing its close proximity to the sea and the rugged environment it is situated in. Next Page Tapio working closely with his team at Lighting Design Collective.
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create moving patterns that mimic the sun reflections on the surface of the nearby sea. 1,250 LEDs were placed inside the structure that reflect against a red light background at night. Custom made software, controlling the lights, is used to monitor the outside environment and determine the white LEDs internally to match the movement of the prevailing winds like a flock of birds, live, ensuring the light sequence will never repeat. The installation’s aim was to become a signifier for the start of a major urban redevelopment for the City of Helsinki, and to become a landmark and a marketing draw on the landscape of the lesser-known district it is situated in. In turn, the area, with its 11,00 inhabitants, quickly became referred to as the ‘District of Light’. Rosenius describes himself as a “cross-over” designer that is constantly aiming to bridge the world of architectural lighting with other creative fields and new technological research. “The architectural lighting industry drags behind all of the other lighting fraternities (live, show, film, arts) in everything from creative software to innovative hardware to progressive design processes. I believe that our built environments could be made more inclusive, fascinating, practical, meaningful and beautiful for all inhabitants if better systems, better processes, more creative software and more quirky lighting hardware was available. So, I try to put my money where my mouth is and invest into achieving this goal,” Rosenius explained. “I try to encourage the studios to operate with an anti-disciplinary design philosophy where the knowledge, research, aesthetic and design is constantly mixed and the outcome is highly contextual.” ‘The Future is for Antidisciplinary Design’ is an exploration into the future of the lighting industry and the role and value of the lighting designer within that world today. Taking this theory as an approach
to the way he runs LDC, Rosenius cares deeply about the lighting design profession, perceives problems within it and opens it for discussion to provoke healthy debate within a professional audience. During PLDC2017 in Paris last year, he opened up this topic for discussion, beginning with the question, “What if Lighting Design was an ‘open ended’ profession existing at the creative edge of the built environment services? What if the current consultancy model is leading the profession towards irrelevance?” Providing an interesting look at our lighting industry, it is important to keep relevant and educated on the position you hold and what you are working towards in order to effectively manoeuvre your way through the constantly evolving industry. Throughout Rosenius’ lecture, he uses his own experiences with LDC as a case study, tracking the development of the Madrid based studio and how it has adapted and developed into a Dynamic Environments Group consisting of architectural lighting design company spin-offs for digital content and software development, virtual reality services, strategic design services and a new technology start-up. Rosenius clearly states that he is working on the basis of his own opinions and experiences from the industry, including research on programs such as ‘Think in a Tank’ and the EU funded ‘Towards Digital Paradise’. He also draws upon research taken from MIT Media Lab’s work with a particular focus on that from Joi Ito. Rosenius clearly encourages the exploration into the architectural lighting design industry and critically debates its insular practices. He comments during the PLDC lecture: “We don’t lead the innovation within our own field nor do we inspire related fields to follow us. We shy away from criticising our peer’s work or the state of our profession presumably for the fear of ‘spoiling the party’. So what? We all get along nicely, we are highly inspired by our
PROFILE
Pic: Luis Diaz Diaz
“I see myself as a ‘cross-over’ designer always trying to bridge the world of architectural lighting with other creative fields as well as with new technology research.” - Tapio Rosenius craft and there’s a nice community spirit. But this hides an important and worrying trend. For the rest of the built environment industry, we, the independent lighting designers, are becoming less relevant, less interesting, and less necessary by the day.” A bold claim to make, Rosenius passionately pulls this theory apart, discussing it with fellow designers alike and poses interesting resolutions to the problems. Is it merely an increase in competition in the industry or a lack of compelling value proposition towards the clients and the architects, which is a likely influencer? One of the concerns Rosenius has adopted is
through the client process. The combination of services and design output produced by Lighting Designers proves consistently identical as well as the inclusion of the services that aren’t design packages but instead a basic set of consultancy tasks. Rosenius explains further: “When a client compares any given lighting design companies, many are like identical twins where only the close family can tell the difference between the two. The clients have plenty of choice for these seemingly identical ‘lighting design’ services since they are offered simultaneously by numerous lighting designers, engineering consultancies, luminaire manufacturers, agents and suppliers, other design professions and even contractors. We need to ask ourselves what is our value proposition and what is it that truly differentiates us as a profession? And most importantly, do we innovate enough? The current model appears to be bringing the prices down, sometimes to zero, and begs the question: Is architectural lighting design already a commodity?” To explore this idea further, Rosenius performed an experiment with LinkedIn searches to see if different search results filtered by industry based titles gave a clear indication for the amount of pure lighting designers. The results proved intriguing, as the addition or subtraction of certain industry based titles whittled down to an estimated
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PROFILE
“Interdisciplinary work is when people from different disciplines work together. But anti-disciplinary is something very different; it’s about working in spaces that simply do not fit into any existing discipline.” - Joi Ito, Director MIT Media Lab
Pics: Anantara Hotels & Resorts
Pic: Artemide
Above The LoT (Light over Time) luminaire Rosenius designed with Artemide. Top Right Anantara Jabal Al Akhdar resort hotel in Oman was notable for its architectural lighting design for achieving the ambience that suited that context perfectly. Below Anantara Jabal Al Akhdar resort hotel spa area has a warm and tranquil feelings with neutral blue toned accent uplighting.
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10,000 ‘Lighting Designers’ as apposed to the somewhat 700,053 Lighting Design professionals. Whilst this does not highlight the Lighting Designers as an insignificant proportion, it does suggest the services are being commoditised as a result of an easily learned skillset for popular design solutions and trends. Rosenius moves along to then question the limbo like position Lighting Designers have found themselves in. “It is clear that architectural Lighting Designers exist as a minority group within the much larger lighting design activity. It seems to have adopted a role as educated (or in some cases simply enthusiastic) consultants rather than innovators. The technical innovation is driven by the manufacturing industry and their consultants; the conceptual innovation is driven by the ‘outliers’, the artists, VJ’s, architects, academic research organisations and the new technology companies,” he explains. In order to combat these issues, Rosenius recommends the industry encourage investment into the research and development sectors to avoid this commoditisation and continue to be relevant professionals. He also observes that Lighting Designers are continuing to ride along in their bubble of contentedness whilst manufacturers throw ample amounts
of budget into their own research and development and support education for Lighting Designers in order to mould them into their preferred format to suit themselves. Rosenius clarifies: “Whilst there is arguably nothing particularly wrong with this model of knowledge transfer, it does, however, weaken the position of the Lighting Designer, when it comes to innovation. I would even venture further to say it potentially suffocates creativity and allows complacency to creep in. If the Lighting Designer doesn’t need to innovate, they can simply apply ready-made solutions in a creative way to suit the project. A process that goes a little bit like this: Discover – Copy – Paste – Tweak – Shop for new solutions at a trade fair – Repeat. Should we as a profession change focus to remain relevant for years to come?” The majority of his theory for this can be drawn from previous lighting projects over the last twenty years and the trending creative results produced by these and the consistent amount of repetitive and predictable processes used. The future? According to Rosenius, one of the best resolutions for these issues is an interdisciplinary approach to running a lighting design practice. To achieve this ideal working environment, it is essential to have collaborators from various working backgrounds contributing to the lighting design
PROFILE
Above Inside a luxury lounge space at the Tieto HQ in Helsinki. The project uses a lot of new technology, such as thousands of sensors and live data visualisation. Right A corridor area in the Tieto HQ, Helsinki. Purple colour schemes are used throughout the space, creating a modern and cool environment.
Pics: Kuvio
team beyond their own discipline. As an avid promoter of new and exciting projects that challenge ‘the norm’, he believes the intersection of different disciplines creates interesting results and brings new values to a project. “This approach begins to push the company from a standard consultancy model, where each skillset is active within its own silo, towards a creative design company model. There are fantastically successful design practices that work with the interdisciplinary model such as IDEO, Fjord, Frog and many others. They offer great inspiration on how lighting design profession could develop and what the business models could be,” he states. When Rosenius originally established Lighting Design Collective, it was being run as a typical lighting design firm, following as he puts it, “the Anglo-Saxon model of services and deliverables”. With the ever growing demand for more complex concepts, broader skillsets from practitioners and content packages for media surfaces, LDC evolved into a multi-disciplinary firm. After six years, UNSTATIC developed as a spin off digital content team headed by Gorka Cortazar. Think-in-a-Tank was then developed as part of LDC in collaboration with sociologist Dr Marco Bevolo and has run annually since 2014. ReVR Studio was the next spin off to come out of LDC, when the demand for quality lighting
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visualisations and Virtual Reality became higher. In early 2016, ReVR developed into their own team to continue to collaborate with leading architectural firms and Lighting Designers creating integrated design processes. Moving towards the Digital Paradise that Rosenius refers to in his research, he explains the movements LDC went through. “In late 2013, LDC were invited to join a research consortium bidding for EU Horizon2020 funding under a topic of Connected Light and Sensing for Smart Spaces. We lost the bid but learnt a lot and got introduced to the futuristic world of new technology research run by VTT Technical Research Centre of Finland. Since then, we have been part of three winning consortiums, Delphi4LED, DecoChrom and Towards Digital Paradise, most receiving funding from the Horizon2020 program. The latter one led us to partner up with a group of professionals to create a new technology start up, Skandal Technologies, developing systems for Ambient Communications.” Skandal Technologies also uses new biomimetic and responsive technologies in lighting control in built environments. The idea that humans have a substantial ability to process ambient and peripheral information that directly affects emotions and subconscious contextual understanding without
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“If we could change ourselves, the tendencies in the world would also change. As a man changes his own nature, so does the attitude of the world change towards him. … We need not wait to see what others do.” - Gandhi, extract from PLDC 2017 Anti-Disciplinary
Pic: Luis Diaz Diaz
the need to activate cognitive thought processes is the bases of innovation for Skandal Technologies, which is currently developing its Generation 2.0 system. Rosenius states: “The future of the Lighting Design profession is precarious. A shift from a consultancy based business model to an anti-disciplinary design company model could foster more innovation and gain a new position closer to the edge of the larger lighting profession. Investment into research and strong promotion of critical debate should be a central goal of practice leaders. Our profession should own the process of visual narrative for our built environment and lead the conceptual innovation. We should provide application research and inspire related fields such as new technology companies to follow our lead. We should design our own tools and set the trends for the manufacturing industry. “The figure of the Lighting Designer has become more known and the field has grown, which is great. I haven’t seen a big shift in terms of design and creativity, however. Most companies operating in architectural lighting design appear to be very confortable with figuring out ‘creative solutions’ rather than behaving as actual design companies. I make a big distinction between design and consultancy activities. The latter dominates the lighting fields and you can see it in the project outcome very clearly”. As a starting point, Rosenius believes it is important to understand and define what value lighting can bring to the
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client. However, this in itself comes with difficulties, as Rosenius noted, many clients struggle to distinguish between the various specialists in the field, and thus a multitude of services are provided with a staggering variation in quality. “The value proposition is often vague, which has led to the drop in fees. In many markets, Lighting Design is still a cottage industry trying to find its way,” he observes. “Yet, there is still hope for young designers about to break into the industry, with countless opportunities to bring new approaches and desire for differentiation from the client’s side.” So, what potential does the future hold? Rosenius promotes: “Integration of new design tools in software and hardware will permit designers to develop more complex and integrated schemes into their designs”. As for LDC, their offices are growing across their three sites, and they are working hard to bring their creative message to the forefront of clientele business with great success. As an independent entity, ReVR is delivering virtual reality packages for multiple platforms in design and architecture, and London based UNSTATIC provides independent digital content services with designers in mind. Currently also working as the CEO of Skandal Technologies and as a pioneer in using biomimetic lighting control in built environments, Rosenius continues to develop systems, visions and technologies related to this field whilst coaching new generations of lighting designers through his own design practice mantra. www.ldcol.com
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Pics: Jesus Granada
PROJECT
Blessed by the Light The Inmaculada Concepción Church in Melilla, Spain, has undergone another architectural and lighting renovation to improve the historic structure and bring a spiritual, harmonious atmosphere for the worshippers. Lighting designer Javier Górriz and Reggiani stepped in to make this possible.
I
n recent years, the Spanish town
date back to late Gothic times, with uncertain
northern point of Africa, has had a
on in search of further details. Peeling back more
of Melilla, situated on the most
shadow cast over it with struggles
of immigration along the Moroccan border.
But casting a light on the historic town is the
renovation of the Inmaculada Concepción Church. Suffering severe damage from an earthquake
of 6.3 in magnitude back in January 2016, it was imperative that restorations went underway as
PROJECT DETAILS Inmaculada Concepción Church Melilla, Spain Client: IPCE (Instituto del Patrimonio Cultural de España), Diócesis de Málaga Lighting Design: Diseño y Consultoría de Iluminación (DCI), Spain Architect Chacel 8 Arquitectura, Spain
soon as possible to preserve the ancient building.
Headed by Javier Górriz from Diseño y Consultoría de Iluminación, the rapid restoration project was forced to seamlessly blend the lighting design
in with the architectural repairs, ran by Antonio Fernández from Chacel 8 Arquitectura, in order
to stick to the tight deadlines, all with the help of Antonio Bravo, a dedicated recovery historian. The church of Immaculate Conception is a
building of worship and prayer that consists
of multiple tiers of history. The earliest layers
origins, which archaeologists are still working
across the historic timeline, there is evidence of a
Renaissance church that overlaps, and finally turns into a Baroque church that has continuously been
added to and evolved into the church we see today. First and foremost, it is important to identify
lighting that will act as a functional balance to the natural light already present throughout
the structure. In order to fulfil its main purpose of housing worship, activities and religious
functions for the Church community, careful thought was put into designing a lighting scheme suitable for this environment.
Górriz explained the key architectural lighting considerations that were at the forefront of
the decisions made for the design: “We need lighting equipment that is as versatile as
possible, so that the same luminaire can adapt and change to the different needs, (possibly
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PROJECT
Previous Page Front view of Reggiani Yori Projectors lighting the main hall of the church, illuminating the freshly cleaned stone work. Left A close up of the spot luminaires washing the ceiling with bright light to accentuate the intricate architectural features unveiled during the renovations. Next Page Close up shot of the beautiful Oris pendant by Lucide hanging in a side room, creating a contrast between old and new in a spiritual setting.
“The lighting design in this architectural space has been designed from two perspectives to tell part of the story, one considering natural light and another through artificial light.” José Antonio Fernández , Chacel 8 Arquitectura
including different optics, anti-glare louvre, emergency kits, differing colour temperatures, light intensities and system
controls). The lighting had to be functional, respectful of the history, emotional, engaging in light and shadow, visually
comfortable and able to capture the whole look of the building.
During the actual renovation process, a series of secrets that were initially concealed, are revealed and emphasised with light.”
Situated in a fortified enclosure in Melilla, it was important for the designers and architects to work carefully in the delicate setting. With continuous documentation from beginning to
end, this project was careful to analyse the historical evolution in order to intelligently integrate the new lighting.
When working with Górriz to formulate a lighting scheme for
the project, Fernández describes the thought process: “We are so used to treating light as the element that covers the basic
needs of displacement as something that allows us to complete a task, but we should also look at it as the resource that lets
us tell a story that transports the visitor to another era that
attracts attention to the elements we want them to focus on.”
This impressive turnaround from earthquake destruction to dramatic reconstruction happened in record time. When discussing the
project with Górriz, he enlightened us to the fact that the lighting design was realised in a breathtaking three months and overall
completion of the renovation was after a staggering six months. With this tight timeframe naturally came some challenges and obstacles to overcome. Notably, one of the hardest hurdles the design team
encountered on numerous occasions was the ever-changing canvas
to work upon. Górriz reflected: “The principal problem was working alongside the architectural restoration and having to integrate a
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#theilluminationcollective
The big light show
reggiani.net
At Light+Building this year weâ&#x20AC;&#x2122;ve created a big light show starring some of our beautiful new products. Visit us on stand E81, Hall 3.0 to take a look and to pick up our new catalogue. Please register your interest at light-building.reggiani.net
Light+Building March 18-23 2018 Stand E81, Hall 3.0 Frankfurt, Germany
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PROJECT
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This Page Warm uplighting illuminates the stone pillars and church nave, creating a warm and spiritually inviting environment for prayer and worship. Accent lighting accentuates the historic architechtural elements with varied intensities and grazing lighting using a variety of fittings from Tridonic, Secom, Lluria, Astro and LineaLight. Opposite Page Three images demonstrating the three stages of illumination that can be controlled and altered depending on the necessary effects desired for individual religious events or services.
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PROJECT
“The final result was quite possibly the best, because with each new discovery, the lighting narration had to fit the new space. I am currently so in love with the work that I would not change a thing.” Javier Górriz, Diseño y Consultoría de Iluminación
new system of lighting in a space that isn’t
speed of the project and the execution of the
and wiring). Every time that you stripped the
and rapid correction at the same time. An
prepared for it, (we had issues with grooving plaster, you discovered a new door, or a new space that was sleeping for a long time that
wasn’t exposed, so we had to emphasise that with light. In summary, we had to ensure full respect for the skin of the building.”
Structurally, the team had to work around
issues of channelling pipes for new points
of light, working in tune with the architects in order to make the most of utilising new fixtures to their full potential to justify
their existence. Thus, designing a metallic
channel that had a triple function; containing electrical wiring for luminaires and drivers
without damaging the structure of the church in a longitudinal setting leading to the nave whilst at the same time dividing two stages of construction and highlighting the two
different eras of architecture in the building. Differing to previous projects he has worked on, Górriz reflected on the comparisons:
“The main differences are working with the
unknown in the church and the tremendous
work that required a very detailed follow-up
outstanding feature was the collaboration of
a large multidisciplinary team, headed by the
architect, director of the lighting work and even down to the smallest contributor of the team.” Using fittings primarily from Reggiani, the
team were able to create this emotive response to the historic building with great effect.
Warm colour temperatures reaching 3000K, the LED Yori Surface adjustable projector in
different power versions (10W, 22W and 30W)
were used with anti-glare along with recessed fixtures along with the Yori Channel Arm.
The flexibility of the fittings ensured a userfriendly experience and an overall modern
design. It was important to the overall impact to not use indiscriminate flood lighting, but
create an atmosphere of peace and welbeing throughout, making it a comfortable and welcoming space for worshippers. www.d-ci.es
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lighting specified Astro Lugo 0411 Wall Lights Linealight Beret Uplight Lluria SIDE 14,4 Angle flexible LED system for side lighting Lucide Oris Pendant luminaire versions, Oris Reggiani Yori Channel Arm, Adjustable Projector Reggiani Yori Surface Adjustable Projector (10W/22W/30W) Reggiani Re Low LED, fixed solid brass recessed luminaire Secom Protek Dali Secom Projector Tridonic Ilumarte LED Strip Tridonic Perfil lineal LED strip
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PROJECT DETAILS Canadian Museum of History, Quebec, Canada Client: Canadian Museum of History Lighting Design: Lightemotion, Canada Exhibition Design: GSM Project, Canada Architect: Moriyama & Teshima Architects, Canada; Douglas Cardinal Architects, Canada
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PROJECT
Oh, Canada The Canadian Museum of History has a new lighting design scheme, thanks to Lightemotion, who wanted to create a visual narrative telling the story of Canada, while highlighting the architecture of the building.
Pics: Gordon King
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PROJECT
T
he Canadian Museum of History,
to gobo projectors from ETC and miniature LED
most visited museum in Canada,
subtly illuminating even the smallest details of the
located in Gatineau, Quebec, is the
heads from the likes of iGuzzini and Sistemalux for
welcoming more than 1.2 million
displays, all equipment used throughout the
visitors each year.
museum was carefully studied and adjusted in order
country’s oldest public institutions and a respected
Roupinian continued: “Flexibility is important for
expertise in history, archaeology, ethnology and
left to chance, with features including
With roughly 25,000sqm of exhibition space spread
accessories, an integrated potentiometer to adjust
just right, in order to showcase the more than
ambience, and the option to add colour filters.
To create a new lighting scheme for the museum,
project were chosen with particular care so that a
specialises in the design and production of thematic
colour consistency.
Lightemotion, who through a combination of
such as this comes with its own set of challenges;
work of architect Douglas Cardinal, while
the warmth and subtlety of halogen, as LEDs are
François Roupinian, President of Lightemotion, said
museum, as Roupinian explained: “The use of LED in
create a visual narrative with the lighting that would
Manufacturers want to produce very high lumen
that tells the story of Canada. The light should act as
optics is not always available.
key areas.”
spills, and a good quality beam. We do not
of effects, the team at Lightemotion used more than
when you illuminate objects at 50 or 100 lux.
With roots dating back to 1856, it’s one of the
to create a unique path of light.
centre of museological excellence, sharing its
creating the right lighting.” As such, nothing was
cultural studies both within Canada and abroad.
interchangeable lenses, zoom, anti-glare
across four floors, the lighting design needed to be
the lighting level for conservation needs and
200,000 artefacts on display.
Because of this, the lighting manufacturers for the
Montreal-based GSM Project – a group that
wide range of choices would be available to ensure
installations and exhibitions – brought in
Beyond the myriad of fixtures required, a project
museum and architectural lighting, highlighted the
the first being the use of LED technology to recreate
showcasing the museum’s history.
often too bright for the more subtle needs of a
that the goal for the new lighting design was: “to
a museum with thematic environments is not easy.
take the visitors throughout the different galleries
output luminaires but the choice and quality of
a magic wand, directing the viewer’s attention to
“Also, in a museum we need control of the light and
To accomplish such a feat with a maximum spectrum
necessarily need a lot of light output, especially
40 kinds of light fixtures. From theatrical floodlights
“The problem then comes though, that even when
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Previous page Through indirect lighting, Lightemotion was able to make the large, dome-shaped ceiling the centrepiece of the museum’s ecosystem. Above Lightemotion worked with GSM Project to design a mounting system for the exhibit installations where the lighting could be positioned within a minimal track system.
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PROJECT
“The light should act as a magic wand, directing the viewer’s attention to key areas.” François Roupinian, President, Lightemotion
you have fixture equipment with integral dimmers, when the light is dimmed on an artefact, the LED lights become greyer.”
Roupinian and his team countered this though by working closely
with different manufacturers, such as ETC, iGuzzini and Sistemalux, that could produce fixtures with good quality optics that would give less spill and residual lighting.
“Also, to counter the greyish colour that certain luminaires would
produce through dimming, because of the lux level requirements, we used filters to correct the tonality of the light,” he explained.
Another important element to take into account was that certain
fragile artefacts are sensitive to heat. When fine-tuning the lighting, Lightemotion worked closely with the museum’s conservation team to provide consistent and suitable lighting, carrying out tests that
include thermal models to ensure optimal conservation conditions for the artefacts.
But one of the biggest challenges, Roupinian explained, was ensuring a consistent feel throughout the museum: “The one great challenge was keeping the same design aesthetic, quality and control of the
light in a situation where we had different ceiling heights, different
mounting possibilities and in some areas, we didn’t actually have any ceiling or lighting positions to hang the fixtures.”
This was evident in the case of the museum’s main, emblematic dome. Acting as a visual reference point throughout most of the
museum pathway, the dome is an immense structure, but it’s shape made it impossible to install lighting. However, the team at
Lightemotion employed a special approach: “We wanted to use this constraint as an advantage,” said Roupinian.
“That’s where we got the idea to use the dome to create light with indirect lighting. We wanted to make it the centrepiece of the museum’s ecosystem.”
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PROJECT
“Our goal was to illuminate this beautiful space architecturally, but at the same time design a lighting system that would serve the artistic and narrative purposes of the exhibit.” François Roupinian, Lightemotion
“So we carefully tested many tonalities to
sensibilities in lighting design both in the exhibit
while using indirect lighting within the space,” he
have to be in symbiosis, without upstaging each
mounting system for the exhibit installations
very fortunate to have had the opportunity to work
minimal track system.”
designers and architects.”
create their desired effect: a timeless tone for a
result, and he believes that their work in the
they have stepped into the museum’s very own
in the world of museum lighting. “This is a new
space architecturally, but at the same time design a
where it is possible to have good control and a high
narrative purposes of the exhibit,” explained
past with halogen technology,” he said.
“The light ultimately needs to tell a story. The
manufacturers in designing fixtures that would be
feats behind the scenes, the lighting should create
same type of fixtures for retail and museum
The Canadian Museum of History isn’t the first
solution. The industry has to adapt to the needs of
on, having built up an extensive portfolio of
control of lux levels on artefacts.”
far afield as China, Italy, New Zealand, Singapore,
success of the project: “I honestly feel that we were
Roupinian believes that this time around, it offered
with the technologies available when we designed
“It is quite a different museum project compared
“We are very happy with the result, and so are our
explained. “We normally design lighting for
spectator throughout the different galleries.
architecture is not very present, or at least is not
keeping the visitors connected to the space and the
“But in this project, we were able to apply our
www.lightemotion.ca
illuminate the dome to create a great ambience,
lighting and in the architectural lighting. Both
continued. “We also designed, with GSM, a
other. This was a great challenge for us, and we feel
where we could have lighting positioned within a
with such a great client and talented exhibit
Following these colour tests, the team was able to
As such, Roupinian is very pleased with the end
comfortable atmosphere, where visitors feel as if
lighting design could lead to new avenues for LED
world. “Our goal was to illuminate this beautiful
benchmark for uses of LED systems in museums,
lighting system that would serve the artistic and
quality of lighting, like we were able to have in the
Roupinian.
“I am currently working with different
visitors shouldn’t have to be aware of the technical
more suited for museum lighting. We often use the
a complete sensory experience.”
lighting, which I don’t think is a long-term
project of this sort that Lightemotion has worked
lighting in museums, that is mostly driven by the
museum projects over its 16-year history from as
This work, Roupinian feels, serves to add to the
and its home nation of Canada. However,
able to bring the lighting to its maximum potential
up a different challenge than usual.
the project,” he exclaimed.
to the others that we have done in the past,” he
clients. The lighting tells a story and guides the
exhibits that are very immersive, and where the
“I think the lighting helps to make a connection,
placed in the forefront.
artefacts that tell the story of Canada.”
Left A custom mounting system, designed by Lightemotion with GSM, allows for ETC’s Source Four projectors to be positioned within a minimal track system. Above Adjustable spotlights from iGuzzini and Sistemalux illuminate individual exhibits, while the use of LED technology means that it is possible to have good control and a high quality of lighting throughout the museum.
lighting specified ETC Source Four Mini LED ETC Source Four with replacement module Global track Tek 2 iGuzzini Palco Medium iGuzzini Palco Small Lighting Services Inc. BPL Series LED Sistemalux Faretto Large Sistemalux Faretto Small
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JAC Studios (L-R): Miroslav Mikica Veljic, Peter Bullough, Olga Sigthorsdottir, Anders Laustsen, Susanne Eeg and Johan Carlsson Pic: Stephen Dupont
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INTERVIEW
JAC of all Trades Following their impressive work on the Wadden Sea Centre, arc’s Matt Waring caught up with Danish architects JAC Studios to discuss its design philosophy, and the role that light plays in its work.
S
candinavia is a region well regarded for its
approach to design, and not just in the world of flat-packed furniture; with its sparse,
minimalist aesthetic complementing the
vastness of the landscape. In the architectural
sphere, JAC Studios has brought this approach to its work, designing exhibition spaces and
residential projects that exist in harmony with their surroundings.
Founded by Johan Carlsson in 2009, JAC Studios was established, in
his words, “as a response to find a balance between, or a framework from where to explore spatial interventions and storytelling from both a practical and propositional perspective”.
After opening an art space, working with performance and
exhibitions in the international art scene and working within the field of ‘temporary interventions’ for eight years, Carlsson was
invited to design an exhibition about the Danish situationist artist Asger Jorn, something that he believes was a ‘generator’ for him setting up his own studio.
Now, JAC Studios is an architecture and design practice that explores “both the practical and the theoretical, aiming for results that are innovative, high quality and socially relevant.”
This is realised by utilising a philosophy that looks at the wider
contextual setting surrounding each project, regardless of scale.
This was evident in their work on the darc awards / architectural
shortlisted Wadden Sea Centre, and can be seen across the studio’s portfolio too.
“JAC Studios believe in contextual interventions, where the narrative or the thematic story is communicated through a one-off design, composed of investigations in movement, the specific room, the scenic setting, light, sound and furniture,” Carlsson explained.
“Projects should address the social, spatial and sustainable issues
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Interview
Danish Wars at the Royal Danish Armoury Museum Pic: Karina Tengberg
“Clever manipulation of light can create moods that form the essential experience when visiting a gallery.” Johan Carlsson, JAC Studios
and are developed physically and conceptually in parallel. This approach focuses on a deep understanding of how things are made with emphasis on hand-craft and production.”
Because each project must interact with their wider contextual setting, it’s hard for Carlsson to define what JAC Studios’ ‘signature style’ is.
Instead, he said, they “always aim to focus on spatial experiences, an
approach where the performative aspect of body and space creates the dynamics”.
Since its inception, JAC Studios, comprised of a team of architects,
designers and artists, has developed a more specific focus on interior architecture, and predominantly exhibition design, working on
internationally renowned projects such as the Yumin Art Nouveau
Collection in South Korea, and House of Sweden in Washington D.C., as well as UNESCO world heritage sites such as the Icefjord Centre in
Greenland, and the aforementioned Wadden Sea Centre in Denmark.
Alongside this, the studio has developed a focus on private sector work, completing a series of small-scale residential projects, such as the widely published Sturlasgade apartment in Copenhagen.
The core aspect to developing each project, Carlsson explained, is
rooted in context, relationship to the site, history, user preferences and
ambitions. “This is coupled with respect and sensitivity for the existing, valued ethics and aesthetics,” he said.
However, the studio is selective when it comes to what projects they take on and bid for, as Carlsson elaborated: “Our preference always begins with context and content: in the case of exhibitions, this is
often the artefact or object linked to a specific theme. We favour a nononsense exhibition, where the artefact is the main actor.
“We believe that the combination of scenography and architecture
provide a base for alternative thinking, which results in communicative spaces evaluated by storytelling, aesthetics, materiality, sustainability and user participation.”
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The Wadden Sea Centre Pic: James Medcraft
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â&#x20AC;&#x153;We believe that architecture should work as a social and communicative stage.â&#x20AC;? Johan Carlsson
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interview
Pic: Jeongyoun Hong
Far Left An installation for Copenhagen Ceramics, created for Milan Design Week 2016. Above The Peak Gallery at the Yumin Art Nouveau Collection, South Korea. Left The Digital Ornithology sequence, developed with Jason Bruges Studio for the Wadden Sea Centre, Denmark.
Pic: Peter Bullough
Pic: James Medcraft
Throughout the design and implementation
studio.
attention on maintaining good relations with the
self-proclaimed ambition to ‘embrace the sphere
process, JAC Studios place a great deal of care and client. Stating that the client is always “an integral aspect on the work”, Carlsson explained that
they always focus on “developing a good working relationship through hands-on workshops that
help to establish a collaborative approach within the team”.
Alongside its work in the practice of architecture, design and realisation, JAC Studios believe in the
importance of sharing knowledge and information, and they achieve this through their Residency and Salon programmes. “We believe that architecture plays a major role in contributing to debates and dialogue, and that architecture should work as a
social and communicative stage,” said Carlsson. As such, the studio is comprised of two key
aspects: one, as Carlsson explained, is “rooted in the practice of architecture, design and
realisation”, while the second is “focused in
sharing knowledge through the staging of events, ‘salons’ and gatherings that address a critical
approach to the wider field of architecture”. JAC also, through its Residency programme, invite
other practitioners from diverse practices into the
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This quest for a constant dialogue, and the studio’s between architecture and art’, has seen JAC bring
in collaborators “in the form of writers, scientists, filmmakers and artists that help add a depth and integrity” to each project. By working with these collaborators, JAC believe that they can find the
“balance between the rational and the poetic” in their work.
Such collaboration was none more evident than
in the Wadden Sea Centre project. As JAC Studios
acted as a general contractor on the project, as well as the lead designers, they were able to gather a
team with unique specialties and skills that formed the design approach and exhibition aesthetic.
As such, they teamed up with fellow Danes and
lighting designers fortheloveoflight, while also
working with Jason Bruges Studio and No Parking to create a serene exhibition space that matches JAC’s primary ambition and sits in perfect
harmony with the surrounding landscape.
“Good design should relate but not necessarily mimic, copy or respond seamlessly with
landscape,” said Carlsson. “There should be a
critical response that is formed through analysis
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INTERVIEW
Danish Wars at the Royal Danish Armoury Museum Pic: Karina Tengberg
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Pic: Karina Tengberg
and perception of each unique landscape and architectural setting.
“The landscape in the Wadden Sea is truly exceptional and was a core inspiration throughout the project. The site is in constant motion in
the area, tides and migratory birds follow their own rhythms and we felt the exhibition should respond to this.”
It wasn’t the first time that JAC worked with fortheloveoflight – the two practices share a studio space, and as such, Carlsson revealed that he and Nikolaj Birkelund, founder of fortheloveoflight, work closely together on the majority of projects that they have in the studio.
JAC and fortheloveoflight also created a bespoke light fixture
together for the Wadden Sea Centre. Working alongside Mike Stoane Lighting, they designed and developed the BBx.70 ‘Birdbeamer’ fittings.
“We developed the BBx.70 from concept and design to realisation through a series of physical 1:1 mock-ups and testing both in the
studio and on-site,” said Carlsson. “With the excellent help of Mike Stoane, we were able to produce bespoke fittings that offered a
uniqueness and high quality to the lighting units and interfaces.”
Further to this, JAC has developed modular furniture for the House of Sweden, crafting a thin wooden structure with integrated lights
but no cords. “To reach this, a low voltage system was developed and implemented into the magnetics that keep the modules together,” explained Carlsson.
This all ties into Carlsson’s belief that, in order to create an effective exhibition space, teaming up with lighting designers should be a top Pic: Yoonsung Choi
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priority. “When developing design aspects such as display cases it is
INTERVIEW
“Lighting is and will always be one of the core instruments in spatial design, the rapid pace of innovations within lighting opens up for new ways of how to integrate the light, but also what functions the light can perform in a space.”
Pic: Anna Linderstam
Johan Carlsson
Pic: Jeongyoun Hong
essential to work closely with a lighting designer
the core instruments in spatial design, the rapid
principal dimensioning,” he said.
new ways of how to integrate the light, but also
to form the project approach, materiality and
“We often work with priceless and rare objects, so a skilled command of lux levels and illumination
is fundamental to our projects as well as creating a suitable environment for the selected objects.”
This need for skilled expertise in lighting means that Carlsson understands the importance of
working with lighting designers, as he believes
that “lighting design is one of the most essential aspects in our projects, particularly within exhibitions”.
“Clever manipulation of light can create moods
that form the essential experience when visiting
a gallery,” he said. “As such, natural and artificial light should complement each other and work
together to form an overall theme and aesthetic. “When we generate a project, we set up a team
from the very beginning, which includes a lighting designer. Since many of our designs are developed
and custom-made, it is a must that all aspects that would affect the design or the way the design is seen are with us through the full process.”
Carlsson’s close working relationship with
Birkelund at fortheloveoflight has given him a
strong understanding of just how light can impact on a space: “Lighting is and will always be one of
pace of innovations within lighting opens up for
what functions the light can perform in a space,” he said. “Functions that sometimes go beyond
providing light, but also control the environment and the performance of the space.”
Because of this, and Carlsson’s experience of
Far left top JAC Studios’ residential work for a project in Sturlasgade, Copenhagen. Far left bottom The Lounge exhibition at the Yumin Art Nouveau Collection, South Korea. Top The Vasa Museum, Stockholm, Sweden. Above The Masterpiece Gallery at the Yumin Art Nouveau Collection, South Korea.
developing lighting fixtures, he explained that
lighting “will take an even more prominent role in the practice”.
“It is exciting to develop bespoke systems that
utilise the latest technology with mock-ups and
rigorous tests in-house, further challenging the
meeting between technology, craft and innovative solutions. That said, we strongly believe in
specialists and we will continue to collaborate with lighting designers.”
All of this means that for JAC Studios, the future
looks bright, and Carlsson agrees, adding that he
hopes to use the studio’s experiences to continue developing, and push on to new frontiers.
“We hope that the future will allow us to continue exploring and to create designs and experiences that make us reflect, question the ordinary and create new conditions.” www.jacstudios.dk
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First Class The new First Wing at Heathrowâ&#x20AC;&#x2122;s Terminal 5 provides a serene, luxurious setting for first class passengers to be screened away from the hustle and bustle of the main terminal building. StudioFractal, alongside architects Pascall & Watson, provided the lighting design for this sophisticated security portal.
Pics: James Newton
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PROJECT
PROJECT DETAILS First Direct Access, Heathrow Airport, London, UK Client: Heathrow Airports Limited Lighting Design: StudioFractal, UK Architect: Pascall & Watson, UK Contractor: MACE, UK
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PROJECT
W
hen traveling first class, it is
MACE and collaborations with Pascall & Watson.”
element of luxury – a high-end level
StudioFractal worked meticulously to develop
reasonable for one to expect a certain of sophistication that sets the
experience apart from standard class.
Such an experience is exemplified in the new First Wing at Heathrow’s Terminal 5. Now open for business, it enables esteemed passengers to
proceed from landside to the First Class Lounges in under five minutes.
Lighting designer practice StudioFractal was
invited to join the design team, working alongside architects Pascall & Watson and contractor MACE to create an atmospheric, luxury security portal, befitting a first class experience.
It’s not the first time that StudioFractal has
worked at Heathrow Airport; indeed, Ian Payne,
Design Director at StudioFractal and lead designer on the project, boasts of a “long and industrious affiliation” with Heathrow Airports Limited,
having brought many of their major undertakings
to fruition, including the multi-award winning T2 terminal.
“It has been a real delight collaborating with
numerous innovative partners, from architects to artists,” he said. “It’s that long-standing
relationship that led us to the appointment by
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Alongside MACE and Pascall & Watson,
designs within the challenging project deadlines, with a brief to create a security portal that fit
seamlessly within the high quality framework of the existing Terminal 5 concourse, while also
creating a high-class, premium experience for the First Class British Airways passengers. The scope for this design included all lighting components, along with the development of a feature wall.
The definitive solution for the feature wall includes sections of slanting perforated metal, with back and front lighting, in this case LED Linear’s
VarioLED Flex. Rhythms of timber sit between each panel, illuminated from the edges with warm white light, emphasising the rich tones of the wood. A
specification of warm lighting was implemented in pursuance of enhancing the rich and luxuriant materials palette.
StudioFractal took Heathrow’s initial client
aspirations and explored materials, texture,
pattern, movement, tone and integrated lighting solutions to give the space levels of quality and
tone more akin to a luxury hotel lobby than that of an airport.
This aesthetic wasn’t easy to achieve, according to
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PROJECT
Previous page The new lighting scheme from StudioFractal creates a warm, welcoming environment for passengers. Left and below Recessed lighting from LED Linear adds a soft glow to fixtures throughout the portal, enhancing the rich palette that both StudioFractal and Pascall & Watson sought.
“To maintain a premium feel it was important to integrate the lighting within the architectural framework.” Ian Payne, StudioFractal
Payne. “Airport security zones are inherently functional spaces where lighting must fulfil security objectives and facilitate the observation of passengers and luggage.
“To move away from a clinical environment and into a sophisticated ambience we developed a strong ‘material and texture palette’
alongside Pascall & Watson, to ensure materials would respond well to a variety of lighting techniques.
“To maintain a premium feel it was important to integrate the
lighting within the architectural framework, we developed a number of simple lighting details to allow key materials to be illuminated from concealed lighting sources.”
Elsewhere, low-level illumination achieves a more intimate
ambiance, in direct contrast to the high level treatments utilised throughout the rest of the terminal. This was perfected by clever
integration of the lighting into the furniture and cladding details,
and by developing sculptural wall-mounted elements that express
the same material palette used throughout the space. This was partly due to the constraints of working within the terminal building’s
existing framework as lighting needed to be coordinated amongst existing structural beams and proposed perimeter balustrades.
However, StudioFractal was able to develop a curved LED luminaire head with lighting from Kemps Architectural Lighting, mounted to the feature wall and to custom-made poles on the perimeter of the
security zone. This served to provide the ambient lighting levels that they were looking for.
All luminaires and feature wall components required stringent DFT Aviation Security in Airport Development (ASIAD) compliance, and were specified through the airport’s second tier lighting suppliers.
However, as Payne explained: “StudioFractal worked with Heathrow
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PROJECT
“A successful design is not just about how an environment presents itself but how you feel amongst it.” Ian Payne, StudioFractal
to ensure the challenges of designing within an
clearly defined concept and strategy from the
sophistication of the finished first class portal.”
said. “Though we’re obviously very proud of the
of solutions in order to ensure that they achieved
feedback and we’ve had exceptional responses
client experience – a constant challenge in an
and the design team.”
However, throughout its portfolio, StudioFractal
Project Director at Pascall & Watson, who said:
worked on airports both in the UK and abroad,
effective collaborator on the T5 BA First Wing
Stansted, Dublin, Abu Dhabi, Vienna, Gabon,
helped us realise a groundbreaking addition to the
The firm’s work on Heathrow’s Terminal 2A even
“The StudioFractal team has been instrumental in
Lighting Design Awards in 2015.
concept for the premium search facility.”
served StudioFractal well throughout the new
design of the new facility, Payne believes that for a
lean heavily towards highly engineered solutions,
emotions in its visitors.
defining character and wayfinding,” said Payne.
environment presents itself but how you feel
Direct Access, we had the added complexities of
materials sets a sophisticated tone for the first
and elegance amongst the bright, expansive
not to the vast space in which it sits.
Despite these complexities though, StudioFractal,
adds to the experience of moving from a busy light
relaxing, luxurious space for first class passengers.
connecting small visual details to the main
the client, Pascall & Watson, and StudioFractal,
yet it offers its own superlative experience.”
aviation environment did not encroach on the
offset, with the client and the design team,” he
As such, the lighting designers explored a number
project, we always measure our success in terms of
the right balance of form over function, safety over
from users of the new area, the Heathrow client
environment like this.
Some such feedback came from Nitesh Naidoo,
has an extensive aviation experience, having
“StudioFractal has been a valued, skilful and
developing projects for the likes of Gatwick,
project. Their input during the design phases has
Riyadh and Indira Ghandi International Airport.
luxury facilities provided at Heathrow Airport.
saw them claim Public Project of the Year at the
the design and realisation of the feature lighting
This experience and prior knowledge no doubt
But while there has been plenty of praise for the
project at Heathrow. “Aviation projects naturally
project to be a true success, it needs to stir
safety, sustainability and longevity, focusing on
“A successful design is not just about how an
“Whilst those things factored heavily in the First
amongst it,” he said. “The union of light and
designing a luxury environment displaying warmth
class route, your focus is drawn to the human level,
Terminal 5.”
“The contrast between cool and warm lighting
alongside Pascall & Watson, have created a warm,
terminal into the serene luxury zone. Through
And Payne believes that the collaboration between
terminal the First Wing sits comfortably within it,
immensely helped in reaching such a successful
www.studiofractal.co.uk
outcome. “It’s of upmost importance to develop a
Left StudioFractal developed a curved LED luminaire head, with lighting from Kemps Architectural Lighting, that was mounted to custom-made poles on the perimeter of the security zone. Above The feature wall includes sections of slanting perforated metal with front and back lighting from LED Linear’s VarioLED Flex. This illuminates the edges with a warm white light, emphasising the rich tones of the wood cladding.
lighting specified Kemps bespoke LED lanterns LED Linear VarioLED Flex
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No Place Light Home Ian Clarke, Associate at dpa lighting consultants, takes a closer look at the special thought process that comes with designing lighting for a residential property.
D
esigning the lighting for a home is a great privilege, responsibility and opportunity.
When developed in a sensitive way with a level of understanding for the clientâ&#x20AC;&#x2122;s needs and
likes the lighting of a residential property can
really touch people, totally changing how they experience and enjoy their own home.
It is very important that you listen to your client whenever you have
opportunity to meet with them. Learn as much as you can about what they expect, how they think the lighting should work and help them, their aspirations and ideas are important and should strongly lead
how a scheme is developed. We are designing for people in their own private homes and it is critical that we know how best to deliver a scheme to meet their needs.
The most successful lighting schemes are born out of good
relationships where you get to know the homeownersâ&#x20AC;&#x2122; ambitions for their home, how they use the spaces, what they like and how they
entertain or relax. It really helps to understand as much as possible as it is often the smaller details which people really connect to. Gaining this knowledge about the home or particular interests of the owners all provides information which can feed into the development and design of your lighting proposals. It is vital to explore all possible opportunities to make each scheme unique and special.
Most modern homes are hard working spaces and as such they must satisfy many functions. The lighting must therefore work hard in
response to these varied requirements. Bright, fresh and functional is
often the desired approach by day with an appropriate level of light where it is needed to support the available daylight within the home. Achieving this through a handful of lighting techniques will create an interesting
and multi layered scheme. It is discovering the best ways to engage with and enliven these spaces with lighting which makes the difference.
Homes are also personal and private spaces where, as always, lighting can support and enhance this through selective measures and
therefore plays a role in reflecting the character of those who live
there. A special chair, a fabulous architectural feature within the home or a simple group of family photos can be as personal and beautiful an
object as is required which, when illuminated gently offers a relevance and quality unique to that space alone. Artwork lighting provides
brightness to the vertical which is extremely valuable as a lighting technique while also adding character through the very personal nature of the artwork itself, selected and loved by the owner.
The lighting design for homes needs to be about heart and soul.
Everything about designing for residential projects is personal. For
most of us, home should be welcoming, comforting and safe. Carefully considered lighting can enhance these feelings during the evening.
We can encourage conversation, make guests feel comfortable and put people at ease through good lighting.
Using a selection of decorative floor or table lamps around a seating group or lounge area is a well proven way of building a comfortable
atmosphere when combined with high quality lamps, a lovely warm colour temperature and well coordinated dimming. Suspended
pendant lighting over dining tables puts light just where it is needed and offers opportunity for further expression of style and taste through the type of light selected.
With the advances in LED technology over recent years, we can now implement lighting in new ways. The development of miniature
lighting equipment has opened opportunity for integration within architectural or furniture details for example, where the light Ian Clarke, Associate at dpa lighting consultants
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source can be totally concealed thus eliminating the risk of glare
and avoiding the introduction of visual clutter within the space. The
Residential lighting
Pics: Matt Livey
dpa lighting was appointed to develop the lighting to this beautiful home and landscape within a greenbelt location in Oxfordshire. With architecture by Waind Gohil & Potter and landscaping by Angus Thompson Design, the strong modern scheme led to an appropriately considered and carefully coordinated series of lighting proposals. Lighting was integrated within joinery details, positioned discreetly and selected with minimal visual intrusion as a priority. This approach allowed the interior volumes and architectural rhythm to be exposed in the evenings. It was very important to ensure a softness was brought to the home through decorative lighting at low level and gentle highlights to artworks, making this a very comfortable environment for the family. Lighting to the landscape includes decorative wall lanterns around the property, with spike-mounted luminaires along routes and providing highlight to key planting elements. The nature of the lighting to the exterior was purposefully low key and respectful of the rural position whilst gently leading out to amazing lakeside views.
technical improvements in colour rendering and optical control allow
evening and present the home in a way far removed from its everyday
providing good usable light.
and an element of theatre or drama is as relevant in our homes as in
safely at night time with very little or no light at all through
attachment to our homes.
lighting to get around, but recognising this allows opportunity to focus
expanses of glazing at ground level, the lighting of exterior spaces has
these lighting interventions we can create safe passage for the
from a lovely garden or other interesting outdoor spaces, I would
well placed artwork with a soft brush of light may illuminate a landing
When it comes to gardens and landscapes, I believe a little light goes
your path in a distinctive way.
rural area where the sky gets truly dark, then only a very delicate touch
but also the balance of lighting within the space. Along with a well
lighting is often used to create a backdrop to a terrace or dining area,
using a lighting control system to allow dimming via an appropriately
key points of focus works well.
benefits to the use of a system like this it is important that the lighting
feature provides interest and movement as well as extending the
The most tech-savvy household is likely to still become frustrated
maintenance and avoiding trouble when considering lighting outside.
latest development of mobile apps from a number of lighting control
common goal makes the whole process so much easier. Architectural
access to individual scenes, channels and elements within an overall
the project and, of course, an early introduction to the project allows
conditions to their own taste and preference as they live with the
seamlessly knitted into the fabric of the building.
also provides opportunity to refine and revise the lighting control as
to us to create stunning homes with a generous warmth and quality
Architectural elements of interest are great tools when it comes
as closely to the aspiration and dreams of the family as possible.
rhythm of the building. When sensitively picked up with light these
importantly, as this is all about people, create a very happy client.
the use of the latest equipment in the home to dramatic effect whilst
function. The ability for light to transform a space offering variety
We are all extremely familiar with our own homes and can navigate
any project and arguably more sensitive due to our wholly personal
familiarity. We therefore, require very little in the way of additional
With many homes and extensions often being designed with large
efforts on enhancements to the architecture and interiors. Through
never been so important. When a home is fortunate enough to benefit
occupants through interesting and diverse lighting opportunities. A
encourage the introduction of lighting the outdoors.
or route perfectly well. Focal points can be used to guide you along
a long way. If the local lighting competition is low, such as a typical
It is not just the colour temperature which helps a space feel inviting
of light to the landscape is needed depending on the scale. Garden
considered and varied lighting scheme this balance can be achieved
and similar to the interior, I believe careful selection of a handful of
scaled architectural lighting control system. Whilst there are many
Light used to pick out a specimen tree, coloured foliage or water
control is absolutely instinctive to use.
view into the outside. Good quality, robust product is key to reducing
when a system is confusing or counter-intuitive. However, the
As with all projects, a good design team working together with a
manufacturers provides a really great level of interactivity. With
and landscaping teams help to structure the bones and skeleton of
scheme the client can continue to refine and tailor the lighting
the infrastructure and coordination of the lighting elements to be
scheme. This advance in control and promotion of user interaction
As lighting designers today we have all the necessary tools available
the interiors change or client preferences alter.
that we all react to positively. All we need to do is tailor our solutions
to providing visual structure in a space, defining the character and
The results should be special, well crafted and bespoke but most
can reveal an interior volume in a completely different way during the
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Take Shelter A large renovation project set out to transform an area of abandoned military land, known as the Bungenäs, on the northern tip of Gotland in the Baltic Sea. Here, we get an insight into what life looks like underground.
N
estled away in the cold wilderness of
building. The plan for the renovation was to develop
the far north-east side of the island,
bedrooms, a dining area and entertainment space. In
Sweden is Bungenäs on a peninsula in Gotland. During the winter months,
this part of the world experiences little daylight. A barren landscape, this part of Sweden is home to a
small, freethinking, population that has banned any
motor vehicles past the old military checkpoint fence. Previously, it was an abandoned limestone quarry
that was once a strategically located and prized piece of land for the military. Over time, this land was deserted and left derelict.
An ambitious development team decided to undertake this mammoth project in 2007 to transform the area into luxury high-end residential plots. Specifically, this particular bunker turned out to be the most
challenging but also most successful project for the architectural firm Skälsö Arkitekter.
The unconventional foundations for this build lay
upon a bed of earth where the three-storey structure was dug into. Pointing east (toward the enemy), is a large turret, mounted on the top of the sunken
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upon the existing structure to include a spa area,
addition, new architectural elements were integrated
to make room for additional living spaces spread over a further two levels that emerged partially or fully
above ground. A further two buildings were added to
include additional bedrooms, a kitchen and a garage. The entirely custom-made design (aside from the toilets), demanded a huge amount of attention to
detail through textures and colours. The materials
used for the structure simply consisted of concrete,
wood and steel all combined with a colour palette of grey, orange, silver and black.
For the lighting scheme, the brief was to create something ‘cold and welcoming’; a somewhat
unconventional desire for a residential space. In
keeping with the unique past of the building, lighting designer James Anderson with his lighting design firm, Fluidic Design, were brought in to re-create the atmosphere of a military bunker using light
sparingly, for both utility and elegance. Furthermore,
Residential lighting
Pics: James Anderson
he wanted to create a feeling of luxury and stark
natural and comfortable soon after the initial
woolen chandelier and custom wall light designs
functioning home. This fine balance was achieved
beauty throughout the residence. A custom
throughout the building came from Fluidic Design, whilst other manufacturers were used for a variety of functional installations, such as downlights by TAL and Soraa.
With function and beauty coming hand in
hand, it was important for the designer to be
specific with their fixtures and their functions.
Throughout the house, the lighting is controllable through dimming, while each room has its own
composition with pre-programmed levels at the touch of a button.
Fluidic Design encountered multiple challenges throughout the duration of this project, for
example lighting a three-storey staircase with
one single luminaire. The majority of the kitchen
illumination came through a large glass floor that
gave the room that ‘wow’ factor that was requested by the client.
It was also important for the space to feel
impact because, at the end of the day, it is still a through the flawless lighting design and its
fixtures by Mike Stoane Lighting that moulded seamlessly into Skälsö Arkitekter’s concept.
Accent lighting was brought in by iLED to create
contrasting light and shadow effects and linears by Rigbag and Lumino. Architect Erik Gardell
described the initial aim and results achieved by
Skälsö Arkitekter: “We didn’t want easily gained elegance. We didn’t want to use luxury products
of the kind you find in a first class hotel. Tactility has been important. The materials used are
unexpected; it’s supposed to be rough and sensual at the same time.”
Anderson has now retired Fluidic Design to
join Tengbom as part of the new Studio Ljus
Team where he continues to pursue sustainable architectural lighting.
www.fluidiclighting.com
Opposite page Inside the bunker, the stark and cold sitting room features a bright tube light stretching down the length of the room, illuminating the stylish leather seats. This page A combination of interior and exterior shots that give a true insight into this building and its surroundings. The cement blockade landscape is carried through to the inside, continuing with the straight lines and grey colour scheme. The kitchen presents the only warm tones with natural wood cabinets, which act as a juxtaposition to the cold stainless steel elements and light fixtures. The glass floor panels bring a high intensity of light to the room, illuminating the feature cement walls and reflects on the stainless steel wall. Inground linears by Lumenpulse and pathway lights by Lucifer create a dramatic landscape, whilst Orluna provided inground projectors to add to the effect.
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Residential Lighting
Mes que un Casa DesignPlusLight has brought a sense of luxury to a contemporary home in the hills of Barcelona thanks to a soft, subtle new lighting scheme.
D
esignPlusLight (DPL) collaborated with
a ceiling cove light that provides a perimeter halo. Floor
to design the lighting scheme for a
create a sense of rhythm and also lift the impression of
interior designers Carden & Cunietti
recessed uplights illuminate the partition screens to
contemporary, four-storey home in the
the space by providing a lit soffit.
hills of Barcelona.
As such, the eye is then drawn up to the double height
features a cantilevered metal staircase, running
piece designed by Sharon Marston, mounted on the
pendant was designed to cascade circular balls of light
that slowly sparkles and shimmers against black glass
suspension plate that allows the pendant to span across
light to the sheer curtains, and helps to connect the two
was suspended above the ceiling line, it makes for a
Square plaster-in downlights create a contemporary
daylight to filter down during the day.
recto-linear skylight. The latter is softly illuminated
cascading down the stairwell. This provides a general
Elsewhere, mini LED spotlights detailed into the vertical
square floor washers into the side wall to illuminate the
focal point within the horsehair cabinetry, creating the
to the staircase.
A perimeter ceiling slot provides a soft halo to the sheer
was no ceiling void within the concrete soffits in which
continued at the basin with a halo-lit mirror, providing
detailed into the base of the surface box so as to reduce
of light in the shower room and WC, and act as a night-
added to the contemporary feel of the space.
the space a spa-like quality.
because it may be listed or there is no void space, then
the form of the asymmetric block-like treads.
especially in a contemporary space,” explained Sanjit
a sense of depth, storage shelving is illuminated,
Elsewhere, the open plan living areas comprise a lower
the skylight light the central island, while linear
double height space over much of the reception.
surfaces provide a soft halo of light.
The house, developed by local architect Joan Guibernau,
space with the use of a customised fibre-optic light art
from the basement to the third floor. A custom Bocci
fireplace wall. Strands of light create a playful display
across the three floors, and DPL detailed a customised
panels. A high level slot creates a soft halo wash of
the top floor skylight. Detailed so that the fixing plate
ceiling heights by using the same lighting effect.
discrete installation, while still allowing sufficient
feel in the master dressing room and complement the
The result is a shimmering and delicate lighting effect,
at night to provide a subtle glow within the ceiling.
light level on the staircase, however DPL positioned
frame of the handbag shelving provide a glamorous
cantilevered treads and provide a further layer of light
overall impression of a luxurious fitting room.
DPL also designed surface box downlights, as there
curtain in the bathroom. The linear lighting effect is
to recess traditional downlights. A shadow gap was
a diffuse lighting effect. Floor wash lights create pools
the impression of the fitting on the ceiling, which
light when using the bathroom in the evening, giving
“If you can’t recess downlights into the ceiling
A secondary stair is lit with step-lights that play with
I think surface spotlights have an honest appearance,
The kitchen has a lower ceiling height, so to create
Bahra, Founder of DPL.
creating lit niches. Surface mounted spotlights within
ceiling over the music library and dining area, with a
striplights under the island and on the perimeter work
A sense of intimacy was created in the dining room with
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Pic: Matteo Piazza
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residential Lighting
Pic: Marco Campanini
Pic: Matteo Piazza
Pic: Marco Campanini
Eco-friendly Modernism A modern residential complex in the highly desired suburb of Fidenza, Italy, has broken all barriers of sustainability and eco-friendly design.
S
ituated in the upmarket Italian
programmed with various illumination modes
Park is an apartment block that brings
standards, including evening, utility and night and
suburb, Fidenza, the House on the all modern technology and design
to fruition. The original and expressive design has incorporated a huge range of eco-friendly
attributes throughout the building, thus becoming the first to obtain certification from the Active
House Italia, Passive House Institute Italia and the Multi Comfort by Saint Gobain, whose guidelines
examine the energy performance aspects but also
the quality of the building’s environmental impact, the sustainable building materials and the health and comfort levels of the living environments for residents.
Architectural Lighting Designer Rada Markovic had the task of lighting this edifice’s three different sections of varying sizes and heights for the
client, Montanari Costuzioni s.r.l. The façade was
in order to cooperate with the energy efficiency
day passage schemes. Cree LED strips and an array
of L&L Bright fixtures were put in place to light the entrance atrium, whilst a smaller light source was used to light the main columns, specifically a 3W
in-ground mini spot with +/- 15-degrees for glarefree scenographic lighting. The central columns
were placed as a reference of leaning tree trunks in the wind and treated in a certain way to act as a metaphor for ‘friendly nature’ as the central
running theme of the building and its source of
energy. Soft, diffused and indirect lighting is used for the central stairway that opens up the heart of
the building, drawing the eye up with a continuous line of light. 4W and 14W LED strips by Cree that
are sustainable, extra thin, flexible, powerful and easily adaptable, are used on each of the edges.
Opposite Page External shot of the appartment block. Tree lined streets are complimented with the exterior lighting. This Page Left Outside loggias with dimmed in-ground spots and illuminated shrubbery. The L&L Bright and Spot fixtures create a modern and warm sense to the external walkways and create a safe environment for residents to move around the building. Top Right Internal stairway presenting the contrasting light line using the Cree LED strip lights that draws the eye through and upwards. Bottom Right External entrance atrium lit with accent spots on the columns, stairway and ceiling LED lines by Luce & Light and Cree. Designed with DIALux software programming, the lighting can be adapted and altered according to the needs of the spaces and natural light.
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residential Lighting
Top Buck Lighting’s linear strip LED lights underline the garden beds in the outside walkways, creating a non-intrusive floor lighting solution, giving the outdoor space a modern feel. Middle Buck Lighting Slim Line LEDs light the underground garage spaces with bold, clean lines. Providing bright functional lighting, the LEDs also add a modern, artistic take on the typical underground carpark lighting. Bottom An ariel view of the outside space and surrounding gardens for the block of flats. L&L Bright and Spot fixtures are used throughout the outside space, creating a chic and somewhat majestic feel to the environment, allowing the varied plants to cast bold shadows across the white walls. Pics: Marco Campanini
Markovic’s lines of light also create a visual contrast and a dynamic interaction between the light during the day and night.
Surrounding pedestrian areas and garden features are
illuminated with in-ground light sources using L&L Bright
and Spot fittings, whilst pathways and communal spaces are lit with Buck Lighting’s Slim Line fixtures. The public access to internal parking areas are lit with L&L’s Bright 5.9D
fittings and are controlled using motion sensors, allowing five minutes of light per activation.
Depending on the time of day and the season, each of
the external light fittings are synced to individual modes and are adjusted accordingly with the Dali sensors. For
example, the Night passage settings reduce to 50% with some remaining on for security purposes, whereas the
Day passage adjusts depending on the amount of daylight, especially during the darker winter months. The Dali
sensors will dim the various strip lights to achieve the pre-set intensity, thus in-keeping with the electrical consumption targets.
Giovanni del Boca and Alessandra Amoretti, Architects and Co-owners of Studio DelBoca + Partners, which worked on
the project alongside Milano-Parma and Studio Architetti’s Simona e Giovanni Rossi, commented: “House on the Park
is a structure with a contemporary design located in a prime area of the town. The project combines sustainability,
energy efficiency and technological innovation within a
highly flexible and efficient layout of the spaces and traffic flows designed to safeguard the fundamental aspects of
the urban surroundings: the view and the greenery. It is
the result of a concerned mutli-disciplinary approach and the potent but not overpowering architectural design is
based on a qualitative approach truly capable of improving man’s habitat, and the well-being and quality of life of its residents.”
www.radamarkovic.com
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OVO 18 UN 3.5 °
Ultra Narrow Beam Up to 59lux at 80m
Strada Mirabella 10 ∙ 46040 Cavriana (MN) ∙ Italy T +39 0376 771513 ∙ F +39 0376 772235 nexoluce.com
RESIDENTIAL LIGHTING
Modern Elegance Italian architect Francesco DiNisio has transformed a historic building in the centre of Vicenza, creating a home that beautifully blends modern and vintage elements, with the help of some lighting from Linea Light Group.
F
rom the refurbishment of a
Branch, Vedette, Ribbon and Baton fittings.
anodised aluminium casing and neoprene
centre of Vicenza, Italy pops up
modernity and elegance, taking shape in
the outdoor lighting of hotels, private homes
historic building in the elegant
a delightful home that features,
in the limited space afforded by the ancient structure, several masterfully designed
rooms furnished with a refined style that blends modern solutions and vintage elements.
The flat was a loft conversion, with the
original beams left exposed and turned
into a feature. This is enhanced by Linea
Light Groupâ&#x20AC;&#x2122;s Pound projectors, installed
along the crossbeams and directed toward
the ceiling to create indirect lighting of the
rooms. Among the many antique paintings
and exquisite furnishings are the decorative Heli wall lamps and the modern and refined Branch suspension luminaire that envelops the dining table in soft lighting.
Throughout the residence, Linea Light
provided a range of luminaires, including the
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The Branch is a perfect combination of
a luminaire characterised by minimalist
design. Branch is a fissure in space, a tapered evanescent line caught in a play of light and shadows that disappears and reappears in all its glory. The fixture houses a topLED
source with CRI 90 concealed in the slightly recessed casing.
A square wall light with a minimalist
modern design, the Vedette allows the
creation of evocative light patterns with
astonishing visual effects. The powerLED source with four power levels ensures
reduced consumption and a very warm
light. Vedette_Q is characterised by highly versatile light management: the optics angle allows control of the light beam
width, creating several aesthetic effects
and meeting the most diverse needs. With a resin-potted driver integrated in the
cables, the wall light has been designed for and for urban lighting.
The Ribbon LED strip is made up of 60
carefully selected and tested LEDs per metre, mounted on a flexible circuit with adhesive
backing. The Ribbon Basic model is suitable
for any kind of application and can be folded or cut into 6-LED units without damaging the rest of the module.
Finally, the Baton is a lacquered aluminium cylindrical suspension, available in
different diameter, length and finishes.
Ideal as a single lighting point for creating sophisticated and refined atmospheres, it
can also be installed in compositions defined by different dimensions, finish or height.
A special integrated lens provides lighting
control, while visual comfort is guaranteed by a set back LED source. www.linealight.com
RESIDENTIAL LIGHTING
Six Levels of Luxury Nulty+ has brought its luxurious, stylish lighting design to Notting Hill, transforming a six-storey townhouse into a stunning new home.
A
Notting Hill townhouse has been
its movement and fluidity, opal low-level LED
luxurious, spectacular new residence
along the sides, while diffused LED lighting was
completely transformed into a
thanks in part to a new lighting
design from Nulty.
With five floors and a basement complete with
a swimming pool to consider – all bursting with
architectural details – this was no mean feat for the London-based lighting designers, but early
collaboration and a great deal of passion paid off to produce stunning results.
The lighting scheme works in harmony with
the stylish and contemporary architecture, and crisp, clean lines of the interior, yet it creates a ‘homely’ feel for the owners.
Illumination effects were concealed where
possible, while statement pieces were used to
create an ambience – for example, three Raimond lamps by Moooi hang elegantly above the dining room table, giving a ‘soft glow of a starry night’. A standout design feature in the property is
the ‘curved’ staircase – in order to emphasise
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luminaires from Brick in the Wall were installed integrated into the joinery, giving off a soft, warm light along the staircase.
Elsewhere, the subterranean swimming pool, gym and cinema ooze tranquillity, with the
minimalist architectural lighting provided by DAL and Ikon Design continuing throughout the nature-inspired space, defining quality
materials. A datum line of illumination around
the pool washes down into the water and extends across the double-height space at the rear, creating the perfect sense of serenity.
The task of creating a lighting scheme around the
unique architecture of a West London townhouse, from the basement pool, right up to the attic, was something that really appealed to Daniel Gray,
Senior Lighting Designer at Nulty, and the effort
from the lighting designers has helped to create a stunning property, across all six floors. www.nultylighting.co.uk
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.
BCO Award–winning The Capitol, Aberdeen
WWW.LUXONIC.CO.UK
ACCREDITED
SUPPLIER
Luxurious Living High-end residential lighting designers Light.iQ, in collaboration with Rigby and Rigby architects, created a cool, modern, luxurious living space for one London Mews property.
L
ight is so often misunderstood and
London, one particular project stands out for
is reduced to nothing more than a
“A client purchased a Knightsbridge Mews and
taken for granted, it is only when it shadow or evaporates completely that
we realise its power and hold over us.” So says
Light.iQ founder and Creative Director, Rebecca
Weir, of her firm’s mission to provide inspirational and innovative lighting solutions.
Light.iQ works in close collaboration with
architects, interior designers and private clients worldwide, and they pride themselves on their
long-standing relationships. One such partnership is with Rigby and Rigby, an international superprime specialist developer of residential and
commercial spaces. Both companies have seen a
substantial shift in the requirements of high net
worth clients who have been engaging much more with the lighting design process in recent years. With more than 20 collaborations to date in
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Rigby and Rigby and Light.IQ, as Weir explained: required a cooler, more contemporary scheme. The interior designers introduced black glass,
dark details and sumptuous finishes. It was easy
to add lighting to this wonderfully sexy ambience. However, the challenge included ensuring there
was plenty of light for more functional tasks such as cleaning!”
Of particular note was the car-stacking garage that ended as a piece of art, viewed through
panoramic glass in the basement. With an enviable car collection, the lighting through this moveable mechanism required the impact of a gallery. With
close collaboration from all teams, the end result, utilising Radiant Lighting’s Flex System 40, was breathless.
“As the car descended, translucent curtains
Residential lighting
opened to reveal the sparkling engine,” explained
explained. “Flexibility and personalisation is key
luxurious collectors’ item could be viewed in
that one solution will not fit everyone and ease of
Weir. “With several light settings in place the
multiple ways. The challenge as is so often the
case was to ensure we could conceal all the lights amongst the moveable parts.”
“Clients today are often incredibly well briefed
before starting their projects, often knowing what they don’t want whilst not always being sure of
what they do,” continued Weir. “We are looking
to provide that missing link, that seamless part of the equation that pulls all factors of the creative
process together.” An example of this can be found in the beautiful bedroom and bathroom, with
stunning fretwork and joinery detailing setting
off the Applelec light panels to maximum effect.
Elsewhere, Rinia LED tape from Lucerna Lighting provides a subtle, seamless light throughout the property.
“Much has been written about the effects of
Circadian based lighting, however, here we looked not to jump on the marketing bandwagon but
to the optimisation of these effects, we understand use is key.
“The challenge we often find is designing in the
detail whilst ensuring maintenance can be easily
carried out when required – there is no such thing as ‘forever’ with any light as we know!”
Within residential schemes lighting is so often
decorative, defined by the shape of a wall sconce
or pendant. However, Weir feels that the greatest
Previous page This property’s car stacking garage was transformed into a piece of art. Viewed through panoramic glass in the basement, the lighting through this moveable mechanism, provided by Radiant Lighting, had the impact of a gallery. Above In the bedroom and bathroom, Light.iQ utilised fretwork and joinery detailing to offset the Applelec Light Sheet lighting panels to maximum effect.
schemes are often more ethereal, where the
subtlety of the light dances and changes to the pattern of the day.
“Light should not be static,” she said. “Great
lighting design will rarely be discussed because it becomes part of the personality of the client,
the house, or the time of day and is thus invisible; only there to reinforce the character of the space. Hopefully we have achieved that.” www.lightiq.com
to provide a solution that would take the client
from bright early morning starts to more subtle,
mood enhancing ambient light for evening,” Weir
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RESIDENTIAL LIGHTING
Social Behaviour London-based lighting designers at Light Follows Behaviour have continued their inclusive, socially driven approach to design with the recent exterior renovation of the Shadwell Estate, located in East London.
A
s a practice, Light Follows
The use of low glare light fittings reduces
exterior residential projects
and does not contribute to the brightening
Behaviour is committed to
needing lighting intervention
as a way of improving the wellbeing of
local residents, and the renovation of the
Shadwell Estate is another example of this.
It is also the first example of a social housing project lit to higher standards, setting out
to push boundaries in public realm lighting, and especially in social housing.
The lighting scheme was developed as part of a multidisciplinary design team, in response to residents’ comments. The project
represents the beautiful integration of
lighting with the architecture, landscaping and exterior amenities, such as benches, storage and a children’s playground.
The project represents a well-lit exterior environment that is not only pleasing to
the residents, but also appreciated by those passing by.
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the light spill to the residents’ windows,
of the night sky. Elements such as accent lighting on façades, integrated bench
lighting from LED Linear, path lighting from Erco and moon lighting to trees, courtesy of Erco, Bega and iGuzzini, add to the overall
pleasant ambiance of the residents’ exterior environment.
The project serves to show that good
lighting can make drastic positive changes
to residents’ perception, regardless of their social status.
Light Follows Behaviour commented: “We
find that our proposed lighting schemes not only demonstrate good lighting in technical and design terms, but also result in great satisfaction and pride to the local built environment.”
www.lightfollowsbehaviour.com
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RESIDENTIAL LIGHTING
Pics: Tom De Gay
In and Out Astro Lighting’s Porto Plus range helps to bring a modern new aesthetic to the recent renovation of an Edwardian town house in London, that blurs the borders between outside and in.
I
n collaboration with Mulroy
wood throughout the house. In the kitchen,
studio Manea Kella recently
oak dining table and bench that sit under the
Architects, talented design
helped add an extension to a
family home in north London.
London-based Manea Kelly was briefed by
the client to maintain the period character of the front façade of the end-of-terrace
Edwardian home whilst the interior would be modern. One of the side walls of the house
was removed and replaced with a stock brick
cavity wall and joined to the rest of the house by a sliver of glazing. Directly outside this
glass passageway, a raised flowerbed adds greenery to the kitchen space.
Grey tiles underlaid with underfloor heating continue this theme, merging the kitchen
space with the similar tones of the outdoor concrete patio, which steps down into
the similarly grey-tiled terrace. For the
furnishings, Manea Kelly referenced the
original Edwardian oak staircase that leads
up to the first floor, continuing the use of the
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the design studio included a bespoke solid-
skylight, while a smaller version of the table is used as a coffee table in the ground-floor living room.
To add a contemporary touch, Manea Kella
chose Astro’s Porto Plus range of lights for
the kitchen, dining area and exterior of the house.
A contemporary wall luminaire perfect for any exterior space, the Porto Plus is IP44rated and available either with a dual or
single light source. Finishes include either matte painted silver or matte black.
Director of Manea Kella, Adrian Manea,
said: “We found the design of Astro’s Porto Plus lights to complement our minimalist
intervention. The lights were selected due to
them being elegant, compact yet striking due to the contrast created against the exposed brick and grey rendered walls.” www.astrolighting.com
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Holistic House The blueprint of Ori House features the clean, chic and eco-friendly designs from Ekkis and Studio McLeod, utilising daylighting design from Cundall.
E
kkist and Studio McLeod have come
about attention to detail. It involves a holistic
architectural blueprint called The Ori
together striking, sculptural aesthetics, strong
together to create this collaborative House.
With health and wellbeing at the forefront of
design for Ekkist’s architecture, six core principles are essential for the design process including; light, air, water, biosphere, atmosphere and adaptability and longevity. These principles
are based on the Passivhaus principles (that
ensure good levels of insulation, solar and heat sources, airtightness and air quality) and the
WELL Building Standard, as well as designed with BREEAM in mind.
It presents a highly adaptable design that can
be created to suit a range of different sites with
options to extend and form bespoke alterations. Olga Turner, Director and Co-Founder of Ekkist
explained: “For us, architecture for wellbeing is
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approach to the design process, bringing
environmental values and a focus on how
occupants will feel and interact within our
buildings. It is about designing for comfort,
beauty, resilience and, very importantly, our health and wellbeing.”
RIBA award winning architects Studio McLeod worked closely with Ekkist to form a design
encompassing daylighting into the heart of the project. Using guidance from WELL Building
Standard and the daylight strategy by Cundall, Ekkist aimed to incorporate positivity into the living environment, focusing on elements of improving the occupant’s circadian rhythm function.
It was important for the team to incorporate a large range of British-made products and use
Residential Lighting
Pics: Ekkist CGI’s
British brands throughout the project, for
aimed at being flexible depending on the
both designed and engineered in the UK.
interchangeable and alternative options are
example Astro’s track lighting, which were The importance of daylight in this design,
demanded particular attention to the room orientations, to allow maximum daylight
to enter through large windows. The open
plan layout with three metre high ceilings
also further maximises the opportunity for natural light to fill the space.
A striking geometric lighting rail is featured
in the main living areas, providing a modern answer to task lighting as well a bespoke-
designed sculptural light to illuminate the dining.
Working closely with Lucid Environments,
the architectural team produced numerous
visualisations of the project to see different
lighting necessities throughout the day and at different points of the year, to ensure the lighting installed would work with maximum impact.
As it is still a working design that is
client’s desires, these light fittings are
provided to align the lighting with the joists if a different design is desired.
Clayworks clay plaster provides a highly reflective surface for natural light to be
bounced back into the rooms. This eco-
friendly method of wall coverage using clay plaster instead of conventional plaster and
paint not only adds more light but also saves over one tonne of carbon dioxide.
Previous Page Open kitchen and dining space featuring the black geometric linear light fixtures that are adaptable for each individual design preference. This Page Left An external view of the kitchen/diner space, highlighting the triple headed pendant hanging over the breakfast bar and the black geometric linear fixture creeping over into the living space. Top Right Natural light is prominant in the open plan living and kitchen areas with walls of glass open to the exterior of the property. Bottom Right External shot of the building surrounded by endless greenery, a key factor the design team wanted to incorporate for the health and wellbeing of the residents.
Jonathan Baker, Director and Co-Founder of Ekkist, commented: “It is about curating all
the pieces of the puzzle, which contribute to our understanding of health and wellbeing through architecture, and coming up with solutions for how they can be delivered
in buildings, without compromising on aesthetics or sustainability.” www.ekkist.co
www.studiomcleod.com www.cundall.com
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167
Pics: Matthew Andrews unless stated otherwise
North South Divine The Lumiere festivals in Durham and London, organised by Artichoke, took place in November 2017 and January 2018 respectively, attracting more than 1.75 million visitors between them.
Eye Love London by The Coca Cola London Eye
F
or most festival organisers, one huge, national event is quite enough workload throughout the year. But
for arts charity Artichoke, organisers of the Lumiere festivals, one was not enough. Lumiere Durham and
Lumiere London took place within two months of each other and represented a scintillating feat of creativity and hard work.
The first Lumiere light festival took place in Durham in 2009. Originally planned as a one off, with the support of Durham
County Council and other sponsors, Artichoke has brought the event back to the North East every other year since. In 2013,
Lumiere Derry~Londonderry was the finale to the first UK City of
Culture celebrations and in January 2016, Lumiere London came to
the capital for the first time attracting over 1 million visitors to the city.
LUMIERE LONDON
The second edition of Lumiere London, commissioned by the Aether by Architecture Social Club with Max Cooper (London)
Mayor of London, transformed the capital over four nights, as its streets, buildings and public spaces were illuminated by more
than 50 artworks by UK and international artists from fourteen different countries.
More than 1.5 million people visited the festival over four nights,
with visitors traversing the pedestrianised city centre and taking in sites across six city destinations: Londonâ&#x20AC;&#x2122;s West End, Kingâ&#x20AC;&#x2122;s Cross, Mayfair, Fitzrovia, Westminster & Victoria, and South Bank & Waterloo.
More than 80 technicians and crew took part in the technical
install and build of this vast event, while almost 1,000 stewards and volunteers managed visitors over the four nights, ensuring that everyone had a comfortable and enjoyable experience.
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Festival
The Wave by Vertigo (London)
Know Thyself by Finola Finn (Durham)
For The Birds was a meditative and immersive journey through Durham University Botanic Garden with over 20 light and sound installations.
Impulse by Lateral Office & CS Design (London)
Frequencies by Kari Kola (Durham)
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169
Festival
Lampounette by TILT (London)
Origin of the World by Miguel Chevalier (London) Pic: Nicolas Gaudelet
Illumaphonium by Michael Davis featured in London and Durham. Pic: Oliver Rudkin
The Mayor of London, Sadiq Khan, said: “Lumiere London
Gardens.
ever to hit the streets of the capital. With more than 50
by French artist Patrice Warrener, who returned to London
has been one of the brightest and most exciting festivals
artworks across the city, this was an incredible opportunity to see our city’s iconic architecture and streets in a completely new way.”
Helen Marriage, Artichoke CEO and Lumiere Artistic
A firm festival favourite was The Light of the Spirit Chapter 2 to add to his digital painting of Westminster Abbey’s
intricately carved North and West doors, in bright and
luminous colour. In Seven Dials, people were delighted by
the return of Aquarium, a traditional red London telephone
Director, added: “Our aim at Artichoke is to create
box filled with tropical fish.
the widest possible audience. We’re very proud to have done
of winter, Lumiere London encouraged artists to use light as
extraordinary moments that disrupt the everyday and reach exactly this through Lumiere London 2018 and I’m
enormously grateful to everyone who has played a part in enabling this festival to take place”.
Lumiere London receives major support from London &
Partners, London’s West End, King’s Cross and Bloomberg
Philanthropies with additional support provided by a host of partners and funders including Grosvenor Britain & Ireland,
Wellcome, The Fitzrovia Partnership and the Victoria, South Bank and Waterloo BIDs, as well as Cain International,
As well as lifting spirits and bringing joy to the darkest days
a medium to address topical global issues. Dutch artist Daan
Roosegaarde flooded Granary Square to create an underwater world lit with blue LED lights.
His Waterlicht installation responded to the climate change crisis, showing viewers what it would be like if sea level
continue to rise. Meanwhile in St James’s Churchyard artist
Alaa Minawi played tribute to Syrian refugees with My Light
is Your Light and Tony Heaton explored subtle questions of
disability with Raspberry Ripple on the Southbank Centre.
Marriott and Universal Music.
Interactive installations proved a crowd favourite,
year, enthusiastic festival-goers were undeterred by the
London. Visitors laughed and beamed with pleasure as they
Despite taking place over some of the coldest nights of the wintry weather and thronged the streets of London. Artists from around the world adorned iconic London landmarks with work made from light; Child Hood by Collectif Coin
filled Trafalgar Square with a canopy of 256 luminous
encouraging children and adults to play on the streets of
took turns riding Impulse, a series of illuminated seesaws by Lateral Office that lined South Molton Street. In Grosvenor
Square, visitors became musicians as they made the musical sculpture Illumaphonium chime. On South Bank, The Wave
spheres; Ulf Langheinrich animated the National Theatre
by Vertigo, an 80-metre-long path of 40 glowing sound
Lantern Company with Jo Pocock created Nightlife, an oasis
Westminster Cathedral the public cycled on stationary
flytower with his abstract projection OSC-L, while The
with woodland creatures inhabiting Leicester Square
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gates responded sonically and visually to visitors, while at bicycles to light The Rose, a colourful work made from
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Waterlicht by Daan Roosegaarde (London)
thousands of recycled plastic bottles.
romantic soundtrack. In Piccadilly Circus,
2018 delighted visitors at Oxford Circus, who
viewers on a journey as they watched the hands
sphere suspended across the world-famous
time, created by duo Camille Gross and Leslie
Miguel Chevalier’s Origin of the World Bubble watched changing shapes project onto the giant junction. Grosvenor Square was transformed by Aleksandra Stratimirovic’s Northern Lights, an
artwork inspired by the experience of viewing
There were moments of contemplation too, with works such as Entre les Rangs, a field of 15,000
Company with Jo Pocock. King’s Boulevard in
Fitzroy Place; and the mesmerising Harmonic
lamps in a surreal nod to the area’s business
St James’s Church by Chris Plant.
Haselden’s neon ladder, Echelle, adorned the
content for some of the artworks. For Asalto
economy, while at St Martin-in-the-Fields, Ron steeple and was visible from as far away as
Droplets, a sonic installation by Ulf Pedersen in Portal, a soothing display of changing colour on
Londoners also provided the inspiration and
London, Spanish artist Daniel Canogar filmed
Parliament Square and the South Bank.
220 local people so that they appeared to be
In Fitzrovia, Cosmoscope was an ambitious
on Victoria Street. Light on Their Feet: Footfalls
Many of the works were accompanied by sound. sound and light installation supported by
climbing the 20-storey Westminster City Hall
for Rambert was created by artist David Ward
Wellcome, which explored our place in the
who photographed the soles of the Rambert
and featuring an impressive soundscape by Rob
and out of visibility on the Rambert building.
universe. The piece, created by Simeon Nelson Goodman and Nick Rodwell, was the
culmination of two years of research, used
12,000 LED lights and involved the participation of 700 primary school pupils from 25 schools across the country.
At King’s Cross, Architecture Social Club fused light, music, and performance in their electrifying installation Aether, while
breakdancers performed in front of Philippe Morvan’s DOT. In the Royal Academy of the
Arts’ Courtyard, Rhys Coren’s Matisse-inspired paper-cut figures in Love Motion danced to a
www.arc-magazine.com
Epsztein.
flower-like reflectors by artist Rami Bebawi;
King’s Cross was lined with TILT’s giant desk
172
of the Hotel Café Royal clock speed through
the aurora borealis, while in Chinatown viewers watched Flamingo Flyway, created by Lantern
CONTROL NO CONTROL by Daniel Iregui (London) Pic: Oliver Rudkin
Voyage’s specially created soundtrack took
dancers’ feet and projected images that faded in With an expanded festival footprint, which for
the first time took in sites on both the north and south side of the River Thames and a host of community outreach initiatives, the 2018
festival truly did transform the whole city,
making this extraordinary cultural event that benefited all Londoners.
Artichoke worked with partners in the outer London boroughs of Greenwich, Lambeth,
Sutton, Croydon, Redbridge and Waltham Forest to engage communities in the creation of new artworks. More than 500 community
Festival
What Matters by Shuster & Moseley (Durham)
participants helped to create artwork, Bottle
29 spectacular artworks and installations
and White Line by Adam Frelin, a deceptively
into glowing chandeliers. Local community
city.
former bridge over the River Wear.
Festoon, by repurposing 6,000 plastic bottles members were also at the heart of The
Umbrella Project, a glowing and meditative
performance piece that was choreographed after a series of community workshops and performed across various locations
throughout Piccadilly, Victoria, Mayfair and Fitzrovia during the festival.
Laura Citron, Chief Executive Officer of London and Partners, said: “Seeing
Londoners and international visitors alike exploring London’s streets, buildings and
neighbourhoods as they were brought to life
created an illuminated trail right across the Iconic Durham landmarks were amongst the sites transformed by art, including the
city’s historic Cathedral which Spanish artist Pablo Valbuena turned into a vast
synchronised artwork of sound and light. The beautiful Miners’ Hall at Redhills was
brought to life by an exciting 3D video-
mapped piece by Shared Space & Light,
featuring real-life stories from the workers in the police, fire and health services. Top visitor favourites included the
mesmerising Frequencies by Finnish artist
with colour, light and music was fantastic.
Kari Kola, which stretched along the
London’s ability – and appeal - to host
Castle.
The scale of Lumiere London showed
world-class events and cultural activities
Riverside under the Cathedral up to Durham Another firm favourite was For The Birds in
that are free and accessible for all.”
Durham University’s Botanic Garden,
LUMIERE DURHAM
light and sound installations inspired by
Around 240,000 people visited the fifth
edition of Lumiere Durham, many of whom explored the outer reaches of the footprint to discover some of the most popular
artworks such as What Matters, Cosmic
Architecture, and For The Birds. Lumiere
Durham is commissioned by Durham County Council with additional support from Arts
Council England, Durham University and a host of further funders and supporters.
an enchanting collection of more than twenty birdlife.
The programme included something for
everyone. Families enjoyed the interactive
installations at Walkergate, Prince Bishops Shopping Centre and Millennium Place, where hundreds tweeted their ‘love’ for
simple installation that elegantly retraced a This year’s programme had a strong
international element once again, with
artists from around the world, including the United States and Canada, Spain, Holland, Sweden, Finland, as well as the UK. More
than half of the installations were outside of the main ticketed area of the central Peninsula.
In his first UK commission, Spanish artist,
Pablo Valbuena transformed the interior and
exterior of Durham’s world famous Cathedral with Methods. Inspired by the tradition of
English change-ringing, which dates back to the 17th century, live bell ringing triggered lights in time to the sequence. Led by
Durham Cathedral’s Bell Major, Christopher
Crabtree, 60 bell ringers from the North East
and beyond performed live for six hours each night of the festival.
Local people have participated in the festival
throughout. Volunteers from the Chester-leStreet Area Action Partnership joined others in helping to plant a field of over 15,000
illuminated stems for Rami Bebawi’s Entre
les Rangs in the Cathedral Cloister. More
Lumiere in response to Aidan Moesby’s
than 70 local public-service workers, from
Milburngate, the vast kinetic fire installation,
and police officers, were filmed for The
periodic table of emotions: Sagacity. At
Fire Tornado by Ivo Schoofs drew enthusiastic
firefighters and refuse workers to teachers
Common Good, at the Miners’ Hall at
Since its inception in 2009, Lumiere has
crowds, whilst others contemplated quieter,
Redhills. British artist Hannah Fox collected
gallery every two years. For the 2017 edition,
Elvet Bridge, What Matters at St Oswald’s,
to 78, video mapping their facial expressions
transformed Durham City into a nocturnal art
more serene works, such as Drawn in Light at
the digital data of 66 local volunteers aged 5
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173
Festival
Our Moon by Hannah Fox (Durham)
Cosmic Architecture by Nina Dunn / John Del’ Nero (Durham)
Methods by Pablo Valbuena (Durham)
to create Our Moon, a moon face that watched over the city
To coincide with the festival, Artichoke hosted a one-day
night.
Durham County Council and supported by the European
from the walls of Durham Castle, ageing with each festival The BRILLIANT commission showcased the talent of five
local artists, including Aidan Moesby, Chris Plant and Amy
Welch, who took patterns within Durham Cathedral for her inspiration. Emma Boyes’ creation at Durham railway
station drew on the heritage of the North East while Finola Finn suspended a throbbing red heart inside The Count’s House exploring ideas of the self.
Supported by Wellcome, Cosmoscope was the culmination of
two years of research by a team of artists and scientists, led by Simeon Nelson and including academics from Durham
University’s Institute for Computational Cosmology. The full process involved 700 primary school pupils from 25 schools
across the county who participated in workshops designed to get them thinking about science. The ambitious sound and light sculpture used over 12,000 LEDs and an impressive soundscape, to explore our place in the universe.
Also responding to scientific questions in relation to the
universe, Cosmic Architecture delighted crowds at the Ogden
Centre for Fundamental Physics at Durham University’s
Science site, eliciting rounds of applause after each show. Projected onto the building, the video mapped sound and light work presented a mesmerising illustration of the marriage between the contemporary architecture and
the expert level of scientific research that takes place on a daily basis inside the building.
174
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conference at Durham’s Gala Theatre, in association with Commission. On Friday 17th November, audiences heard
from a range of visionary and renowned speakers including
artists, producers, academics and thinkers, who shared their experiences, expertise and opinions on the role of culture in our changing world.
Helen Marriage commented: “I think this has been my favourite Lumiere festival so far. Part of the joy of
programming this festival is thinking about ways to keep it
fresh and new each time, and I think we really have achieved that.”
Councillor Simon Henig - Leader of Durham County Council – said: “Lumiere has once again offered us the chance to
showcase our beautiful city, our unique history and heritage and our wonderful people on a world stage.
“I am also delighted that, as always, the public have shown
their huge affection for this event by turning out in the tens
of thousands to enjoy the 29 artworks that have illuminated Durham City in new and exciting ways.
“Together the five editions of Lumiere have seen more than
800,000 people counted through the peninsula entry points alone and I anticipate that the £21 million in economic benefits delivered by the first four festivals will rise significantly once we evaluate the 2017 edition.” www.lumiere-festival.com
Arc-Magazine-Ad_18-L+B-MARCO_OP copy.pdf
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Riverside Delights For its sixth edition, Amsterdam Light Festival welcomed 36 artists from thirteen countries to create Existential works of art throughout the historical city centre.
Whole Hole by Vendel and de Wolf Pics: Janus van den Eijnden
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Festival
Eye to Eye by Driton Selmani
T
City Gazing by VOUW
he sixth edition of Amsterdam
whether it is something that lies beneath the
November to 21 January, saw 36
Elsewhere, Kosovar artist Driton Selmani was
Light Festival, held from 30
artworks designed exclusively for
the festival illuminate the Dutch city centre.
surface.
inspired by the nazar amulet for the artwork
Eye to Eye. This amulet was designed to
Artists from all over the world submitted
protect Amsterdam, its inhabitants and
and activist Ai Weiwei, and Brit Cecil Balmond,
Dutch contributions to the water exposition
installations, including famous Chinese artist
based on the central theme of Existential, and
visitors could walk, cycle or take a boat ride
visitors from all forces of evil.
included Whole Hole by Paul Vendel and
Sandra de Wolf and ORIGIN by
along the festivalâ&#x20AC;&#x2122;s two exhibition sites, both
VENIVIDIMULTIPLEX. Visitors who entered
The water exhibition consisted of 21 artworks
a kind of wormhole, traveling to another place
on land and on the canals.
on and around the canals in the historic centre of Amsterdam. Ai Weiweiâ&#x20AC;&#x2122;s installation,
Whole Hole during a boat tour were pulled into
in space or a parallel universe.
The ORIGIN artwork was inspired by the origin
entitled thinline, was a 6.5-kilometre long
of light and featured many light rays that
representing a border. With this, he posed the
referencing a cosmic pop from which light is
line that ran through the city of Amsterdam, question of who is allowed to cross a border,
who decides this and how vulnerable a border actually is.
With her installation Infinita, Cecil Balmond
questioned whether the essence of our
existence is what we can see, touch and feel, or
Existential: a collection of individuals by AlexP
spread out above your head in a circular form, formed.
For the first time, the Amsterdam Light Festival land exhibition took place on
Marineterrein Amsterdam, within walking
distance from Central Station, and featured fifteen installations.
Infinita by Balmond Studio
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177
Festival
thinline by Ai Weiwei
One such installation saw Japanese artist
crossed the river IJ for the World Masters of
inspiration from a natural light phenomenon
projections were showcased on the façade of
Yasuhiro Chida create Brocken 6A, taking
that occurs when then sun is positioned
directly behind you, breaking and scattering the light rays.
Also part of the land exhibition was AlexP’s installation Existential: a collection of
individuals. This artwork consisted of 576
LED lights hanging from a circular frame.
Each individual light marked a spot of the
ground; together these spots formed a circle MYTH by Ben Zamora
of light. This circle wasn’t static though, as the welcome and unpredictable factor of wind kept it in motion.
Throughout the festival, Marineterrein
Amsterdam served as a meeting point for visitors, locals and artists, while the
exhibition also included an additional daily side programme, consisting of readings
www.arc-magazine.com
“We have a very good feeling about the sixth edition of Amsterdam Light Festival,” said
Lennart Booij, artistic director of the event. “I am delighted that we succeeded in our ambition to take the festival to a higher
artistic level. The careful consideration of the artworks, the land exhibition on
Marineterrein and the World Masters of
Projection Mapping all contribute to the realisation of this ambition.”
Following on from the success of Amsterdam Light Festival, organisers are already looking ahead to the seventh instalment of the
event. The upcoming festival will revolve
around the creative interpretations of the main theme: The Medium is the Message,
and has received more than 600 submissions
participating artists about the creation of
www.amsterdamlightfestival.com
their work, and special tours along the
178
EYE Filmmuseum.
about light art, public interactive
performances by artists, talks with the
Brocken 6A by Yasuhiro Chida
Projection Mapping (overleaf), where video
artworks on Marineterrein.
Also for the first time this year, the festival
from artists around the world.
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HALL 4.2 STAND E50 18. – 23. March 2018 Frankfurt am Main
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festival
The winning entry, Florian and Michael Quistrebert (FR), Stripes 5
Master Blaster
Data-based dialogues for algorithmic landscapes by Geert Mul (NL)
Paul James, editor-in-chief of arc, was among the judges for the first ever World Masters of Projection Mapping held in Amsterdam during Integrated Systems Europe 2018.
F
lorian and Michael Quistrebert were announced as the
Alida Dors & Manuel Rodrigues (NL), Close Up
winners of the first edition of the World Masters of Projection Mapping at the Awards Ceremony at
Integrated Systems Europe 2018. World Masters of
Projection Mapping is a joint venture initiative from Amsterdam Light Festival, Integrated Systems Europe and RAI Amsterdam.
The announcement came after a three-week period, during which some of the world’s leading video artists projected their artworks onto Amsterdam’s multifaceted EYE Filmmuseum.
The specific award for the Quistrebert brothers’ Stripes 5 recognises
The Best Use of Location and Technology.
In total, five artists were chosen to show their artworks on the
building. The challenge for them was both creative and technical.
Eder Santos (BR), Call Waiting
The other participating finalists were: Geert Mul (NL), Databased
dialogues for algorithmic landscapes; TelcoSystems & Spatial Media
Laboratories (NL), TESTFILM #4; Alida Dors & Manuel Rodrigues (NL), Close Up; and Eder Santos (BR), Call Waiting.
The selection of the finalists was carried out through close
collaboration between EYE Filmmuseum and Amsterdam Light Festival. The International Jury who judged the finalists on 8
February comprised: Lennart Booij - Artistic Director of Amsterdam
Light Festival (Jury Chair); Jaap Guldemond - Director of Exhibitions EYE Filmmuseum; Marente Bloemheuvel- Associate Curator of EYE
Filmmuseum; Jozef Hey - Founder and Owner of BeamSystems; Giny
Vos - Artist; Paul James - Editor in Chief, arc magazine; and Hartmut Kulessa - Panasonic Europe.
Lennart Booij commented on the winning entry: “The jury was very
complimentary about the composition and the use of the building in this display, including its underside. The artwork also answers the question presented by the challenges of projecting onto a large
surface. Creatively, it is graphically very strong and reflects on art
disciplines such as ‘op art’ (optical art) and early abstract cinema.” The theme of the first edition, ‘Bridging the Gap’, encouraged the
creation of connections, both physically in the city as well as between people and cultures. The theme also illustrates the combination of
the three disciplines of art highlighted in this project: light art, video art, and cinematography.
www.amsterdamlightfestival.com
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TESTFILM #4 by TelcoSystems & Spatial Media Laboratories (NL)
Alpin Panorama Hotel Hubertus, Bozen, Italy Photo: Alex Filz
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Pics: Nunzio Prenna
Bright Lights, Big City
Winter Lights, winner at the 2017 darc awards / architectural returned for a fourth year in January, illuminating Canary Wharf with a series of beautiful light art installations.
Halo by Venividmultiplex and Fosfor Design
L
ight graffiti, interactive light bubbles and flora light
drawings left the winter evenings aglow at Canary Wharf as its annual, award winning Winter Lights festival
returned on 16th January 2018 for a fourth consecutive
year. The spectacle showcased more than 30 works from some of the most innovative artists across the globe working in light art today. Now a firm fixture on the London arts scene and free to the public, the 2018 incarnation once again drew upon state-of-the-art
light technology to deliver spectacular artworks, installations
and experiences to Canary Wharf, many of them interactive or
responsive. The exhibition featured never-before-seen pieces and several UK firsts. New commissions this year included Dazzling
Dodecahedron by UK artist Amberlights, a beautiful 3D installation
that people can enter and enjoy the total rainbow spectrum of colour. Additional new works include Halo by Dutch artists
Venividimultiplex. The artists have created a giant halo, which was suspended above the fountain in Cabot Square. The ‘Halo’ is the artists’ representation of the sun, our greatest source of light, which shapes the conditions for life on our planet and emphasises the sacred being and bringing people together.
Keith Watson, Curator of Winter Lights, Canary Wharf Group,
commented: “Since its inception the Winter Lights festival has
really gathered pace and each year we strive to uncover new and
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On Your Wavelength by Marcus Lyall
The Cube by Ottotto
Intrude by Amanda Parer
Dazzling Dodecahedron by Amberlights
Apparatus Florius by Tom Dekyvere
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Sonic Light Bubble by Eness
Helios by dpa Lighting Consultants, LED Linear & Architainment Lighting
Abstract by Collectif Coin
Reflecting Holons by Michiel Martens & Jetske Visser
exciting works to dazzle our visitors. The exhibition remains
Westferry Circus with a work that stands for togetherness,
winning Best Creative Lighting Event at the darc awards
tension. The artwork aimed to illustrate the togetherness
London’s only annual Light Art exhibition and after
/ architectural 2017, we’re proud to be bringing more
commissions and never-before-seen pieces to the UK. “The calibre of artists this year is once again
outstanding and features some of the best minds and creators in the field. Interaction and immersion are again key features of this year’s exhibition and are what differentiates us from other festivals of this
kind. For us, it’s important that the pieces aren’t just
spectacles to be admired from afar, but works of light art which people can engage with and experience.”
Mark Evers, Chief Customer Officer at Transport for
London added: “We’re delighted to support this event
happiness and joyfulness but also for danger, friction and
and collaboration in contrast with nature and technology.
Meanwhile, returning for a second year was Marcus Lyall’s popular On Your Wavelength. Originally commissioned by Canary Wharf Group in 2017, the piece featured a mind-
powered light and sound installation of more than 20,000 LEDs which were controlled by a participant via an EEG
headset. As their thought patterns changed, the light tunnel fitted with the LEDs created intricate light patterns.
As well as outdoor pieces, a series of specially curated
indoor section of works featured throughout Crossrail Place and Crossrail Place Roof Garden. These included
Reflecting Holons by Dutch artists Martens & Visser,
by hosting Sonic Light Bubble. Canary Wharf is one of
which explore the ephemeral magic of light and
Elizabeth Line in December 2018 the area will become
that they are water drops, and Helios, the 2017 darc
the capital’s busiest stations and with the launch of the
movement using moving objects creating the illusion
even more accessible to people across London.”
awards / architectural winning installation created by dpa
from Belgian artist Tom Dekyvere. His piece transformed
www.canarywharf.com
Additional standout works included Apparatus Florius
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lighting consultants, LED Linear and Architainment.
Festival
To the Moon and back Coming around for its fourth edition, the Ghent Light Festival beautifully illuminates the dark streets of the Belgium city, and this year was no exception.
G
hent Light Festival appears in the city to help brighten the dark months. This year it was running between
the end of January and the beginning of February 2018 for five days, one day longer than previous years.
An updated light route has been modified from previous
editions in order to incorporate a full programme of sculptures, projections and installations, produced by local, national and
international artists that will shine against the cityâ&#x20AC;&#x2122;s backdrop. As a platform for emerging artists, this festival boasts an
incredible 37 varied installations at individually designated certain areas along the trail. Not only do the installations
illuminate the dark nights in mid winter, the new route also
puts a spotlight on the Historical Centre and the Arts Quarter.
Attracting an impressive 640,000 people to the festival in 2015, numbers were expected to match if not exceed these figures
during this yearâ&#x20AC;&#x2122;s event. Not only do the installations bring an
attractive artistic element to the city, they are also importantly lighting up local historic sites and monuments throughout the
city, educating those many international visitors each year round
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Pics: Stad Gent
4 through its historical charm after nightfall.
beautifully colourful collection of illuminated
cultural backgrounds featuring their work
in rows. Each jar contained a miniature
With such an array of artists from different
at this festival, it is interesting to see such a
variety of works produced for the same venue and how there is an overwhelming amount of
alternative adaptions to the same festival brief. An impressive installation in terms of scale, is
the Time Paradox by Limelight from Budapest,
who produced a large scale 3D projection
kilner jars, 448 to be exact, neatly stacked tableau with a unique character, ranging
from a laughing baby to a pink elephant,
a dancing man and a giraffe. On occasion,
pictures of the general public are invented at random and displayed in the Supercube.
An interesting installation, Pattern 5.0, Live
Sessies, by Milosh Luczynski from France,
mapping artwork piece of a time travel journey
illuminates the walls of the power plant with
and modern three-dimensional journey was
improvisation of audio clips, video mapping
across the city of Ghent. A historic, futuristic projected on the façade of the St Pietersplein building, taking the audience on a journey
exploring architecture, music and storytelling, exploring the paradox of time travelling.
Alternatively, Graffiti Lights from Belgium
(described as an arty nerd or a nerdy artist)
light and sound via a live DJ session. A five hour and electronic music compositions by Patrick
Vidal and A Man Called Adam creates a spectacle for the well loved suburban park in the city.
An interactive audiovisual piece was brought to the festival from Matthieu Tercieux from Lyon, called
You are Here…Somewhere Else. Portraying a world
produced a rebellious addition to the light
at the audience’s feet; snowy landscapes, world
illuminated materials, the artist wanders the
on screens immediately in front of the spectator
trail. Using homemade LED strips and other
street taking photos and sometimes interacts with street art using long exposures to create liquid light tracks. Using locations in the city where graffiti is forbidden, Graffiti Lights
created these temporary light art installations. A nature inspired piece of artwork came
from Ivo Schoofs, a Dutch lighting artist and his team. A sixteen foot tall fire
tornado towers above audiences, creating a powerful rotating swirl of light and heat. A mystical piece from Luke Jerram from
the UK is called the Museum of the moon. A
seven metre in diameter complete replication of the moon floats angelically over the
audience’s head in Kalandeberg, imposing a shroud of mystery over the spectators that
has inspired musicians, painters, scientists and historical and spiritual stories alike for
centuries. Jerram’s illuminated sphere brings us closer to the moon than ever before.
Stephane Masson from Toulouse produced a
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5
maps, city plans and starry skies are projected
6
and responds to the real time movements of those observing. The project initially gained
ground through a children-orientated artistic workshop previously completed in Ghent. A futuristic design blending romance and
efficiency, Habitat comes from Jerke Mulder and Bouke Groen in the Netherlands. This floating habitat sculpture is supposed to create a confrontation between Ghent’s
historic architecture and a contemporary office environment using fluorescent
lighting. Blending the inside and outside seamlessly, a strange environment is
created through romance and efficiency.
With lots more emerging talented lighting designers over the next few years, the
proceeding light festival in Ghent is set
to be just as exciting and full of intriguing and engaging lighting installations. www.lichtfestival.stad.gent
Left Page Museum of the moon. The seven metre diameter spherical moon globe floats above spectators who look upon it in awe. This Page 1. Pattern 5.0, Live Sessies. Colourful projections of light flood the local power stations and silos in a well like residential suburb. 2. Time Paradox. Large projections fill the walls of the St Pieterslpein. 3. You are here...Somewhere Else. An interactive installation with audiovisual qualitites 4. Large Fire Tornado. A sixteen foot tall tornado of fire spirals infront of audiences creating a hot light source. 5. Supercube, The Incredible Collection. 488 illuminated kilner jars containing minature characters in various colours. 6. Graffitilights. LED strips and other light sources used to create flowing light art in deserted areas of the city where graffiti is normally banned.
The Light Tunnel by Mathew Rosenblatt
Pics: Toronto Light Festival
Toronto Night Life The second annual Toronto Light Festival has brought a playful sense of adventure to the Canadian cityâ&#x20AC;&#x2122;s Distillery Historic District, bringing some much-needed warmth in the winter months.
Hyperspace Bypass Construction Zone by HYBYCOZO
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Festival
T
he second annual Toronto Light Festival, the city’s largest light art festival, opened in The Distillery
Moonburn by Stichting Barstow
Historic District in mid-January. Free to the
public, the festival spanned across thirteen acres,
starting at sundown, transforming the historic neighbourhood into one of the biggest open-air galleries in North America.
Throughout the district, visitors are taken on a visual journey
and imaginative adventure, designed to entertain and inspire. Held during the coldest time of the year, the festival aims to draw visitors out of their traditional winter indoor habitats,
and bring positivity to the city at a time that it needs it most.
“We don’t think of ourselves as a fancy schmancy art festival,” said Mathew Rosenblatt, Creator and Executive Director of the Festival, and artistic exhibitor. “This is an accessible festival
for everyone to enjoy. We’re simply trying to make winter not
suck so much by putting some shiny, pretty objects on display to make people smile.”
Featuring almost 30 light art installations from local and
international artists, one of the signature pieces showcased at
Gummy Bear Pyramid by Dicapria
the festival is Talking Heads from Hungarian artist Viktor
Vicsek, comprised of two spectacular heads that react to each other through their 4,000 individually controlled LEDs.
Alongside this, thanks to the sponsorship of Green P, is Heavy
Meta, a 30-foot fire-breathing metal dragon from Canadian
group Heavy Meta Collective.
Elsewhere, American artist Dicapria created an impressive, 14-foot tall pyramid made entirely out of ‘gummy’ bears.
Initially premiered at Burning Man festival in 2017, the Gummy
Bear Pyramid features more than 200,000 hand casted bears,
made out of custom moulds using urethane plastic, and dyed to radiate a rainbow prism of translucent hues. The structure,
constructed out of metal with custom dual-paned acrylic boxes that encase the mosaic of bears, is illuminated with LED lights
at night, while the translucency of the acrylic allows the sun to illuminate the bears during the day.
Rosenblatt himself also created an installation for the event – a
Heavy Meta by Heavy Meta Collective
100-foot long tunnel illuminated with no less than a trillion lights, named simply The Light Tunnel.
In partnership with Lyft, the festival introduced a weekly “You
Are The Art” contest. On Saturday evenings during the festival, visitors were invited to dress in a creative, fun, winter-themed costume. Participants entered the contest by posting a picture of their costume using the hashtag
#tlfcostume on Instagram – one top prize valued at $400 CAD, and five secondary prizes valued at $100 CAD were awarded each week.
The Toronto Light Festival once again partnered with the Yonge Street Mission (YSM) to raise funds to help people rise out of poverty. Through this initiative, rides taken to and from The
Distillery Historic District with Lyft resulted in a donation to
YSM. As well, proceeds from the sale of love locks and onsite dollars collected from guests will be donated to YSM. www.torontolightfest.com
The Guardians of Time by Manfred Kielnhofer
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Pics: Dan Paton
Radcliffe Observatory by Hoare Lea
Natural History Museum and Pitt River Museum by Projection Studio
English Heritage The Society of Light and Lighting transformed Oxford landmarks for the third Night of Heritage Light.
Museum of the History of Science by Iain Macrae from Wila Lighting
Ashmolean Museum by Lux Populi
I
n the third event of its kind, designed to showcase the talents of Society of Light and Lighting (SLL) members and the lighting community, teams
of lighting designers lit six of the most famous
historical buildings on the University of Oxford campus. Each site had a dedicated team of lighting designers made of up SLL members, from organisations at the forefront of the lighting industry.
This year, NoHL took place alongside the Oxford Curiosity
Carnival. The Curiosity Carnival gives members of the public a
chance to find out what research is all about, meet researchers,
ask questions and discover how research affects and changes our lives. Oxford’s Curiosity Carnival 2017 joined hundreds of other European cities in celebration European Researcher’s Night. The concept involved teams of volunteer lighting designers
lending their technical and artistic skills to demonstrate the creative and technical possibilities in the field of lighting.
Buildings being given the light treatment included the Ashmolean
Museum, Radcliffe Camera, and the Museum of the History of Science – buildings that are not ordinarily lit. The result demonstrated
the impact of lighting on architecture, transforming the shadowy presence of these buildings in into assertive, vibrant icons.
Night of Heritage Light was founded in 2015 to showcase the
talents of the Society’s membership and the lighting community and to celebrate the UNESCO International Year of Light 2015. The first event of its kind saw teams of lighting designers
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Bodleian Library designed by Owen from North Kidlington primary school
shining a ‘new light’ on nine UNESCO
“The Night of Heritage Light has become
In order to continue the legacy of NoHL and the
celebration of what our work is all about, the
World Heritage sites across the UK.
International Year of Light 2015, the Society
held a second Night of Heritage Light in York on
24 October 2016, focusing on two historical sites within the city centre, St. Leonard’s Hospital
and the Multi-Angular Tower, both situated in the Museum Gardens. NOHL II was held in the
run up to the annual light festival, Illuminating York, during which the Society ran an event with local schools called Pockets of Light. The second Pockets of Light took place
alongside NoHL and the Oxford Curiosity
Carnival, as SLL President Richard Caple, Regional Lighting Representative Sonia
Pepperell and SLL Secretary Brendan Keely
delivered lighting workshops to City of Oxford College, St Gregory the Great secondary
school and North Kidlington primary school, challenging the students to come up with their own lighting designs for the quad of
the Bodleian Library. With a winning design selected from each school, they were then
brought to life by a team of lighting experts. Richard Caple, President of the SLL, said:
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a fixture in the Society’s calendar as a
art and science of light, and this year’s was one of the most exciting we’ve seen so far. “We showed a new side to some of the
UK’s most iconic buildings on the Oxford
University campus, allowing the public to
see them in a new way, and really showing off the power of light to change how we
see the world around us. We also saw some top lighting designers showing off their best work, which I hope showed people what our profession is all about.”
The event prominently featured local lighting companies and designers including dpa
lighting consultants, Hoare Lea and LuxPopuli, as well as design themes focused around
the history and function of the buildings
that were featured. Combining their love of light and art, design teams showcased the practical applications of lighting and how it can improve and enhance architecture.
www.cibse.org/society-of-light-and-lighting
Radcliffe Camera by dpa lighting consultants
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Where Do We Go From Here? Using a creative blend of lighting and robotics, Jason Bruges Studio’s latest installation wowed audiences in December last year, as part of Hull UK City of Culture 2017.
J
ason Bruges Studio’s latest kinetic
this installation to reflect both Hull’s past, as well as
Here?, opened in Hull at the beginning
centre for both culture and, through green energy,
installation, Where Do We Go From
of December, and is the last major art
commission of the year for Hull UK City of Culture 2017. The striking multi-site installation in Hull’s Old Town features specially designed structures, some reaching more than six metres high. Plinths carry more than
20 large re-purposed industrial robot arms fitted with
light sources, mirrors, prisms and directional speakers. With the night-time sky and the city’s architecture
as a backdrop, the robots rise, swoop, curl, spin and
technological innovation.
“Art has an important role to play as a cultural catalyst and agent of change. In a world that is increasingly
digital and where the role of robotics is more prominent in our daily lives, I’m interested in exploring the ways in which we can use this technology to enhance our public spaces.”
Through the interaction between light, architecture and the viewer, Where Do We Go From Here? harks back
reach out, accompanied by specially commissioned
to Hull’s heritage as a leading centre for navigation
movement, light and sound. As they throw, reflect and
and encouraging them to rediscover their urban
soundscapes, producing a new choreography of
exchange light, the viewer may detect personalities amongst the machines.
Where Do We Go From Here? takes the viewer to four
different locations, illuminating the familiar, but
also overlooked corners of Hull’s night-time streets, creating a new urban journey of discovery.
Bruges explained: “I’m interested in how art
and technology combine to generate spectacle,
entertainment and equally stimulate learning and new ideas. Digital interventions can invigorate our public
spaces and shape how we behave within them. I wanted
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the transformation it is undergoing to become a leading
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in Europe, guiding people through the city’s streets, environment. Bruges continued: “The robots act as
‘beacons’, giving people a way to navigate through the streets. It’s very much like walking round an urban art
gallery; you can walk through in any order, you can take as long as you like, stay as long as you like, come on different days.”
With Where Do We Go From Here? Hull 2017 wants to start a conversation, about their city and its future,
about society, art, culture and technology. There are opportunities to join in around Hull’s Old Town, as
well as online, while local artists have been invited to
Festival
produce creative responses to the work and to Hull’s
been an important public space in Hull’s Old Town and
Martin Green, Director of Hull UK City of Culture
it as a key destination in the heart of the city.
City of Culture year.
2017, commented: “A key element of Hull’s year as
UK City of Culture has been the use of technology, to
has recently been extensively redeveloped, enhancing The nine robots here, forming the installation An
Inquisitive Acquaintance, present a choreographed
tell stories and to show the city in new ways. In Where
performance composed of light and sound, which is
striking artwork across four locations in the historic
encourages the viewer to explore the relationship
Do We Go From Here? Jason Bruges has produced a
heart of the Old Town. Each has its own atmosphere, sometimes playful, sometimes ethereal, sometimes contemplative. As we approach the end of this
incredible year, it takes us into 2018 and as we look
ahead to the future, asks a key question for our times, one we hope will get people thinking.”
Where Do We Go From Here? ran daily from 1 December
to 7 January 2018 across four sites in Hull’s Old Town:
Beverley Gate, Trinity Square, the gardens at Streetlife
focused at the audience. It is a playful encounter that between the light and sound, the square’s reflecting pools and the architecture around it.
In the garden setting of the Streetlife Museum, five
robots awaken from their old factory mode to perform together and demonstrate intelligence in the third installation, Collaboration. The robots pass light
beams between each other and form large moving objects in space.
The final installation, Conversation, is hidden behind
Museum and Wilberforce House.
the walls of the enclosed garden at the entrance to
Gatekeepers. Marking the historic entrance to Hull’s
between a robot and Wilberforce plays out. Peeking
The first location, Beverley Gate, was home to The
Old Town, the six ‘gatekeeper’ robots were designed to
draw visitors in with light signals close to the waters of Princes Quay that are also visible from Queen Victoria Square and Whitefriargate. This installation was
designed specifically for this location, because of its historical significance.
Taking inspiration from navigation beacons and
Wilberforce House, where a curious conversation
through the gate, or catching glimpses of the robot revealing itself above the wall, the audience can
observe the gestural animation that is created through light and shadow. At a site of historical significance, to Hull and the nation, this reflective piece asks the question: Where do we go from here?
Where Do We Go from Here? helped kick off Substance,
maritime signalling devices, the robots are a modern
a series of events, installations and provocations that
an entrance to the other installations around the Old
and reflecting on Hull and the North as a cultural
interpretation of them, which communicate and act as Town.
The second location, Trinity Square, has historically
took place in the first week of December celebrating powerhouse for the nation. www.jasonbruges.com
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Festival
Pics: Don Slater
Smart Lighting Using modern lighting solutions and cultural localised influences, the Nighttime Design team have put together an innovative and engaging solution to urban illumination.
B
ased in the dark streets of Columbia,
increase the economy of evening trading through
to look at the innovative ways to
it will increase the feeling of safety for the local
a research project was developed improve street lighting and the
overall nighttime experience in Getseman í, a
UNESCO world-heritage district in Cartagena. This collaborative team was built up of Arup, the urban
lighting leader Leni Schwendinger, Co-Director of
the Configuring Light research group at the London School of Economics Don Slater, Universidad Jorge
Tadeo Lozano and Despacio local mobility research
partners, iGuzzini as the technical partner, Findeter the Development Bank and Citelum with the site engineering and installation.
As a critical response to the experience on the
streets after dark, changing the environments will have a ripple effect on residents and businesses
alike. Extended walking hours will have a positive impact on social interactions after sundown, will
retail and social offerings and just as importantly, community and in turn, reduce the crime rates of the spaces.
Don Slater from LSE observes the impact this
project will have: “Good Nighttime Design is a
knowledgeable response to the needs and the life of a particular space, based on real social knowledge, a spatial knowledge and a technical knowledge as well.”
Working in partnership with Arup, they developed a project framework and conducted a night tour,
NightSeeing, along with the hands-on community workshop. This in turn led to the creation of the
sustainability appraisal tool called SPeAR, and is used for the application to night-time lighting design.
In order to build bridges and reduce friction
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Previous Page Full street view: a successful prototype-pilot. The atmosphere is typified by highly accurate colour-rendering, an average lighting level which meets requirements, the nighttime, streetscape character is defined by lightning and lanterns, and accented by sparkle. Left The universal lanterns were fabricated by iGuzzini, technical project partner, and then localised by the neighborhood community. This one has been designed by a workshop attendee to feature the Mariamulata bird, an important symbol of Caribbean identity. Below Getsemani - a UNESCO world-heritage district in Cartagena (Colombia): Citizen portrait. Bottom Architect students from Universidad Jorge Tadeo Lozano demonstrate sketch lantern on site.
between tourists, residents and commercial
included local politicians, artists, designers,
the district’s distinct character, blending old and
During the community based workshop session
activity, the lighting design aimed to accentuate new together in a symbolic and physical way.
One of the focal points the project based their inspiration around, was the idea of whether better lighting would in turn create a better
community. In this particular area the team
worked on, the community struggles with social upheaval and discord where stakeholders have conflicting interests. In order to explore this theme further, the Nighttime Design team
concentrated on local solutions. As a result, the site-specific workshops and social/technical
research led to the development of a universal
LED lantern, specifically customised to the local streets of Cartagena.
The two main aims the design team were
working towards achieving were based around formulating a concept and methodology from sustainable research and development in the area. Secondly, it was important to improve
the communal connections and stimulate local
stakeholders’ interest through the use of private property for public lighting. These stakeholders
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cultural organisations and local residents.
in July 2016, ideas and sketches of 3D lanterns were explored and developed to demonstrate
how a modern and plain idea can be transformed by cultural influences, values and symbols. With this brought the interest of local residents and
commercial actors together alike, accentuating
the character of Getsemaní through the modern lantern prototypes.
A pop-up pilot prototype installation followed on from the workshop in a commercial street
setting. High on the agenda of discussion was
historical preservation, infrastructure, heritage, tourism, mobility and visual effect.
Working in partnership with Plane Site, the
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Festival
Duet at Kew Gardens
English Country Gardens Taking to five sites across the UK, ITHACA created a series of beautiful light installations last winter.
B
righton-based studio ITHACA created a
series of outdoor light installations last winter, featuring more than 250,000
individual lights. Held across five UK
sites, including Kew Gardens, Blenheim Palace and
Birmingham Botanical Gardens, these installations were commissioned by Culture Creative.
Designed on and around the lake crossing and
islands, two voices sing out across the water as the bridge, islands and even the lake waters light up
in response in ITHACA’s Duet, an innovative light
and sound installation that showcases the iconic
curved bridge crossing the five-acre lake at the Royal Botanic Gardens in Kew, London. The 70-metre
crossing features 990 bronze uprights on granite sleepers and follows a distinctive ‘S’ curve.
The installation, shown from 21 November to 1
January, had to highlight the bridge, maximise water reflections, be aesthetically pleasing from all angles
of approach and allow large groups of people to cross without obstruction. While designing and installing,
ITHACA had to remain mindful of the garden’s daytime aesthetic and vistas, as well as ensuring that its fixings didn’t damage the metal uprights on the bridge.
Duet presented an animated light bridge of custom-
made, linear fixtures, with more than 26,000 individually controlled RGB LEDs. With the fixtures positioned pointing away from the audience, the perspective
was that of the ethereal, highlighting the illuminated bronze reflections. Special care was taken animating
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Festival
Sea of Light at Birmingham Botanical Gardens
Sea of Light at Birmingham Botanical Gardens
the flowing patterns of colour, showcasing
Sea of Light at Blenheim Palace
“With Duet our aim was to create an
Birmingham Botanical Gardens from 29
unique natural and built environment
arranged on the garden lawns synchronised
the different perspectives offered by
installation that really celebrated the
On the lake islands, Elation Fuze Par
of the lake and the bridge at Kew.
the architectural curve of the bridge. Z120 units were selected to highlight
trees and shrubs, complemented by 360 small, custom-made and individually-
controlled RGB light spheres, arranged
around the lower branches and bushes at
the water’s edge. The underwater lighting linking the bridge and islands combined submersible RGB Par fixtures and 60
kilometres of 0.75mm side-glow fibre
optic light strands, designed to float like trailing plants and held in place with a system of fishing weights and floats.
The whole experience was accompanied by ITHACA’s own music composition
and sound design, bringing together the
“Our work is often driven heavily by
concept as well as pure aesthetics and in this case we wanted to create the feeling of two illuminated voices singing out
to each other across the water, and in
turn the water and central environment
coming alive with light, while keeping the
surroundings extremely clean and natural. “The response was hugely positive, with around 300,000 visitors,
some fantastic feedback and many requests for the soundtrack.”
Elsewhere, ITHACA created an installation at Blenheim Palace, Oxfordshire, entitled
Sea of Light, which ran from 24 November
distinctive areas into one immersive
to 1 January. Here, ITHACA created a pixel-
cinematic soundtrack helped to create a
spheres, using a bespoke Art-Net system
audio-visual experience. A deliberately magical atmosphere within the natural
outdoors setting, utilising the designers’
own twenty-two speaker surround setup. Chris Evans-Roberts, Founder and Creative Director, ITHACA, said:
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mapped field of more than 8,000 50mm
to seamlessly link the hillside display with two 20-metre high ‘singing’ trees, which were dressed with 500-metre spirals of ITHACA’s own addressable LED strip.
ITHACA also took the Sea of Light to the
November to 1 January, where 8,160 lights with 1,200 metres of addressable LED
strip covering the framework of the listed
Victorian aviary to create a magical display. Andrew Rae, Lighting Designer at ITHACA, said: “Our creative vision for Christmas at Blenheim and Birmingham was to create
an animated audio-visual light installation that both complemented and accentuated the natural and unique landscapes and
architecture of both locations respectively. “The use of pixel-mapping technology
gave us the ultimate flexibility and creative freedom required to achieve this vision whilst also retaining that all important
Christmas theme. With Christmas in mind, we set out to ensure the installation was
very accessible, in other words; light hearted and family friendly for maximum impact. “We’re very happy with the outcome,
especially considering the sheer scale of
both installations, covering approximately 2,000-2,500sqm at each site.” www.ithaca.studio
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Light Art The third edition of the LewesLight Festival has proven to be another success, bringing together light, poetry and performance. The focus of this year’s event covers the history of the town through commerce, trade and industry. Festival Director Graham Festenstein tells us more about this year’s event.
L
ast October, LewesLight returned for its third year, celebrating light, history and culture throughout the quaint streets of the East Sussex town of Lewes. As a festival that brings together not just lighting installations but also poetry, performance and music, it provides an eclectic mix that catered for all spectators. For the festival, Lewes was transformed with installations inspired by the historic context of the town, which contributes to a narrative about the town and its people. Last year’s efforts saw the demographic of the event shift, with many young families out on the streets, enjoying the installations and atmosphere. Graham Festenstein, the Founder and Artistic Director of the festival, explains: “We can deliver much more by way of story telling, to engage a wider audience, particularly younger people, in a stimulating and exciting way. Lewes is compact and walkable, and lends itself to a sometimes dramatic and sometimes contemplative illuminated trail.” Not only does the festival bring the town obvious benefits through tourism, it is also highly beneficial to the local younger generations. As Festenstein explains: “Over 50 current students from Sussex Downs College took part this year as well as exstudents starting out on their careers. They were joined by undergraduates from the University of Brighton, and students from Northbrook College, Worthing and Plumpton College.”
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Festival
Opposite Page Top Left Church of St Thomas a Becket - Designed by architectural lighting designer Karen van Creveld, coloured lighting references ideas of rememberance and provision for those outcast by society, the modern-day equivalent of medieval lepers. Lighting includes backlighting of the stained glass windows, projections onto the external walls and candle light at ground level. Yellow lighting and candle light is used to represent the yellow symbols the lepers were branded with on their clothing, along with the sticks with bells on they were obliged to carry. The installation is paired with the sound of ringing bells and a poem by John Agard. Top Right Broom to Brunch - Touching on the British cultural past of growing fresh produce, this installation illuminates a lush market garden with an abundance of fresh flowers. This installation sees the collaborative work of Ellie Coombs from Nulty, who grew up close to Lewes, and of Claire Hamill, of Isometrix. Bottom Through the Window - Inspired by Peter Messer’s painting Wonderland, this projection at Lewes House, produced by Peter ‘Art’ Lewry and Jack Beccegato, takes the artist’s work out of the gallery, to display it in an entirely different and wholly appropriate setting. This Page Top Studio Fractal combined light, UV, video projection, colour, craft and sound for an installation at North Court and Malcom Rose’s workshop, which takes inspiration from Rose’s harpsichord workshop. Fading in and out is the sound of Elizabethan Keyboard music by James Johnstone, on a copy by Malcolm Rose of the Harpsichord by Lodewyk Theewes 1579. UV activating tape frames the architectural elements, whilst sound waves can be seen through the glass of the building. Bottom A Matter of Exchange - London-based artist and designer Jack Wates produced an animated light installation at the heart of the Market Tower that would characterise it as a place of exchange. The animation of light intensity is symbolic of the exchanges of money, resources and conversation in the marketplace.
The theme for the 2017 festival was Trade, Industry and Commerce, with installations inspired by the town, encompassing and celebrating stories from history including the iron works and foundries, the river, the railway, harpsichord making, resident art and jewellery collectors, the market garden and the English civil war. Local historians led guided walks across the more than 20 different installations that took over the town, and while each site hosted a specially commissioned illumination, some were enhanced further with performances from acclaimed poet John Agard, Ruth Kerr, composer, singer and director of the Lewes women’s Chamber Choir and the Paddock Singers. This festival provided designers with a platform to develop their personal profiles, highlight their practices and demonstrate the importance of lighting in a public space, showing how it can be used as a promotional tool to advertise the town and encourage tourism, bringing business to local establishments; all of which forms the foundations for lighting strategies in many developed towns or cities. The festival featured work from the likes of Jack Wates, Guyan Porter, Chris Beasley of Integrated Light, Susan lake Lighting Design, Ellie Combs of Nulty with Claire Hamill, Ruth Maskell, Karen van Creveld and Studio Fractal, alongside a number of student and community contributors. Alongside the numerous lighting installations and artistic performances, the event also ran a short program of talks from notable lighting designers. Colin Ball delivered a lecture titled ‘Archetypes of Night’, which delves into aspects of current physics transforming our relationship with the night sky as powerfully as modern lighting is removing it. The event was, as always, entirely dependant on the support it receives from the Town and District Councils, local sponsors and industry supporters such as Architainment, Commercial Lighting Systems and Meyer, iGuzzini, LED Linear, Light Projects and Rosco. www.leweslight.co.uk www.arc-magazine.com
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Festival
Making Waves Each winter, Lightwaves comes to MediaCityUK in Salford Quays with a handful of light installations from varied collaborations to brighten the water’s edges during the cold, dark months.
T
he annual event Lightwaves returned to
a new poem, which she delivered on the opening
last winter, brightening the dark months
The HYDROZOME, by Tom Dekyvere, is a pattern
the shores of Salford Quays again this
in and around MediaCityUK. Known as
the biggest digital light festival in the UK, the event
showcases and eclectic mix of digital art installations in public spaces for ten days in early December.
Each year brings with it new and exclusive artworks alongside emerging talents and workshops from
local, national and international artists. This year saw twelve light experiences span across Salford Quays
that are free to the public, between the plaza and the Lowry Theatre.
Jackie Kay, renowned Scottish poet and Chancellor
for the University of Salford, produced a large scale,
commissioned neon word sign in collaboration with
night of the event.
of illuminated rope meshed together in a web of
creativity, bringing to life the (dis) connections made between people, as a physical reflection of today’s
society and how we are all interwoven. The artwork
also posed an interactive element. A microphone was placed under the River Irwell to capture the sounds underneath the surface, translating them from soundwaves into lightwaves.
Exploring the boundaries between nature and
technology throughout his installation, Dekyvere illustrated the togetherness and collaboration
through the metaphoric symbols of sound and vision.
DUET is the third installation that made its debut in
Soup Collective and specifically for Quays Culture. The
Salford Quays. Quays Culture teamed up with Invisible
and provided an interactive platform for audiences
co-commissioning the DUET-app. As part of a social
neon sign titled I Forgot stretched fifteen metres wide
to engage. The full installation reveals the words ‘I Forgot To Say’, with the ‘To Say’ element only
illuminated when a message is left that is inspired by thoughts that epitomise a moment in 2017. A phone number was left alongside the installation where
passers-by could call from their mobile and leave
their ‘I Forgot To Say’ message, and thus intensify and change the colour of the ‘To Say’ section of the piece.
In accompaniment to this installation, Kay also wrote
Flock again after their successful collaboration in experiment, users of the app were anonymously
connected with other participants across the world. In this particular instance, the app anonymously paired
people from Greater Manchester and India and invited them to exchange details about their daily lives by answering one question a day. These connections
were then presented as public artwork through the
capturing of glimpses of the evolving relationships showing the differences and similarities of the
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Festival
thousands of conversations.
solo participants. The interactive workshop allows
Culture has brought the SHINE programme back to
which could then be downloaded and taken away with
In partnership with Light Night Leeds, Quays
the Quays for a second time, presenting emerging artists through four new pieces of artwork. Brink Dance Company and Howl Creative produced the
first piece in a collaborative installation of live dance performance and projection of digital and physical worlds.
Symbiosis is the second immersive and interactive
piece produced by Kira Zhigalina. It visualises human
breathing inside a digital dome, where sensors detect audiences breathing patterns and convert them digitally into LEDs.
Storyteller #2 by Naifei Wu is the third installation
made up of encoded robots that interacted with audiences and told local stories of people from Salford.
Part video game, part musical instrument, Will Hurt
produced the fourth edition to the SHINE programme.
Abstract Playground AP4 allowed audiences to
participants to create digital art through light graffiti, them.
Lightwaves continued to run between the eighth and seventeenth December 2017, with visitors
being able to view the eight artworks as part of the
humansbeingdigital exhibition in the Lowry galleries. Jennifer Taylor, Programme Manager at Quays
Culture commented: “Lightwaves 2017 was a great success and we were delighted by the audience response. This time, we were able present two
large-scale new commissions following on from one the year previously. We also increased the number of new SHINE commissions from three to four – a programme that supports emerging artists in the
early stages of their careers. The digital complexity
of many of the artworks combined with the outdoor
wintery conditions is not without it’s challenges for both us and the artists, but ultimately that’s what makes the work so exciting. We’ve continued to
reconfigure an iconic building from the Salford Quays
work closely with our Light Up The North partners,
their own digital version of the physical form.
support from funders and collaborators. This year,
Quays Culture to showcase a curated exhibition of
UK Winter Light Festivals. This coming year, we’re
This included popular characters, such as Pirate
in Montreal – producers of Quartier Des Spectacles
and Sooty and Sweep and Star Trek faces along the
also continue to be excited by contributing to the
Garden in Media City.
realm, and see Salford Quays as a natural home for
Light Graffiti Workshop, Sarah Wakeford brought
to the very best in immersive contemporary art.”
skyline and manipulate geometric designs to create
strengthening those partnerships with continued
Once again, Blackpool Illuminations paired up with
we were thrilled to be listed in The Observer’s Top 5
Blackpool Illuminations’ much-loved light collection.
delighted to be working with an international partner
Tableu, who was located along the water’s edge
– to jointly commission a major new artwork. We
footpath leading into the heart of the Blue Peter
development of artists and artworks in the public
Return by popular demand from last year’s successful
this type of experimentation that connects audiences
a creative session for all ages, whether in groups or
www.quaysculture.com
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Previous page ‘I Forgot To Say’ neon word signage shows the colour and intesity difference when a participant sends in their ‘To Say’ message via the telephone line. Left Neon green webbed rope inter-twines the map of emotions as a physical representation of today’s society. Top Inside the dome that mimics the audience’s breathing through a digital sensor, that is then projected into LED lights, filling the dome space in colour. Bottom The scene of the Pirate Tableau from Blackpool Illuminations lines the shoreline of the Quays and brightens the pathway between the Lowry Theatre and MediaCityUK.
CASE STUDY
Oriental Treasures A new temple complex has recently been opened in the traditional pilgrimage location of Nanjing in China. The central hall, with a priceless relic of the Buddha Shakyamuni, radiates in light from Erco.
L
egends saying that at one time
HKG, together with lighting designers from ATL
Mountain in Eastern China. Over the
meditative atmosphere of the space. They specified
Buddhas met together on the Niushou
Lighting design ensured that the light supports the
centuries many Buddhist buildings
warm white light with 3000K that brilliantly
were constructed here, including recently a palace
emphasises the warm colour tones of the artworks,
believers worship as a relic of Buddha Shakyamuni.
to the Buddha representations.
characteristic elevation on the back of the head
to avoid glare for observers despite the glossy
Sanskrit as â&#x20AC;&#x2DC;Usnisaâ&#x20AC;&#x2122;.
ceilings not only provide high lumen output, but
seen from afar; approximately 220-metres long,
maintenance. Furthermore, the light sources are
storeys above ground and six storeys below. The
impression that the space illuminates from within.
the complex, with an elliptical base and a dome
luminaires are hardly noticed, placing a focus on
A monumental memorial is situated in the centre,
48W and 5040lm were mainly installed with spot,
complex ornamentation in strong yellow, red and
washlights and Nadir recessed floor luminaires
famous Baoâ&#x20AC;&#x2122;en Temple, constructed in the 15th
security to visitors without detracting from the
Ten Thousand Buddha Corridor surrounds the
The relic is illuminated with Grasshopper
focusing on the Indian and Chinese history
with Beamer projectors from Erco. To install the
Shakyamuni. The Usnisa relic is located in its own
for reasons of space, outdoor luminaires were
within a memorial that, due to its open structure,
combined because of the same high LED quality
The Usnisa Palace is illuminated with Erco LED
www.erco.com
whose main attraction is a piece of skull bone that
while strong accents guide the attention of visitors
As a consequence the palace was named after the
The light is aligned precisely onto the target planes
of Buddhas that represents wisdom, known in
surfaces. The luminaires installed on the high
The Usnisa Palace, with its two domes, can be
are also controllable via DALI and largely free of
160-metres wide and 90-metres high, with three
as far as possible concealed from view and lend the
Thousand Buddha Hall is situated in the centre of
Thanks to their compact and discreet design, the
above reaching 28-metres high.
the light impact itself. Erco Parscan spotlights with
surrounded by Buddha representations. The
flood and wide flood light distributions. XS floor
gold tones is akin to the design tradition of the
from Erco communicate a feeling of safety and
century in Nanjing during the Ming Dynasty. The
religious character of the representations.
Thousand Buddha Hall, and contains exhibitions
projectors and the interior of the memorial
of Buddhism and the life and relics of Buddha
lighting tools to the base of the memorial and
room: the Usnisa Worshipping Palace. Here it lies
specified. Luminaire families can be ideally
enables the relic to be seen from outside.
used throughout all Erco product ranges.
lighting tools. Interior designers from Hyee Design
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CASE STUDY
Gas and Air New lighting from CLS partner Fairlight BV has given Gashouder, located in Amsterdam’s Westergasfabriek factory, a new lease of life, transforming the former gas holder into a stunning venue for exhibitions and live shows.
T
he Westergasfabriek is a former gas
effective light output meant that just 60 fixtures
district, a beautiful green oasis with
of the vast complex.
factory located in Amsterdam’s West various striking industrial buildings.
At the beginning of the 21st century the site
underwent a complete redevelopment and the new Westergasfabriek has since been in use as a venue for cultural and recreational activities.
CLS partner Fairlight recently installed new lighting in one of the buildings, which is
named after its former function: the Gashouder
(Gasholder). The building is now a frequent venue for exhibitions, large-scale presentations, live shows and dance events.
On the outside of the building the RGBA version of CLS Revo Direct DMX has been installed. The Revo RGBA serves as an uplighter to illuminate
the building with splendid colours. The Revo is an
extremely compact fixture of 17.5 x 10 x 10cm, with a power consumption of only 20 watts. The high
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proved to be sufficient to illuminate the upper side In addition to the colour changing Revo fixtures,
40 CLS Revo Compact 3000K units were installed as downlight fixtures. The exterior lighting
has a calendar-based system for switching the illumination on and off, providing a perfect experience in all seasons.
The striking industrial dome, without pillars, on
the inside of the building is illuminated with CLS Ares fixtures. CLS Lina Clip HP fixtures replaced
the fluorescent tubes that previously illuminated the space. The Lina Clip is dual purpose,
functioning both as effect light and as work light. The installation of LED lighting is part of the
Westergasfabriek’s large innovation project, which aims to make the buildings and outside areas more environmentally sustainable where possible. www.cls-led.com
CASE STUDY
Neutral Colours for Benetton Megaman’s LEDs were specified for global fashion brand United Colors of Benetton new store in Northern Ireland’s town of Ballymena.
T
he manufacturer of high-performance,
easy adjustment. 56, one head frame 10.5W Zeki
solution that was energy efficient,
suspended ceiling throughout the store.
low energy lighting provided a
luminaires were specified and installed in the
low maintenance, maximised the
Paul Howie, Director of T&E Howie, lighting
aesthetics of the store and provided a consistent,
designer and supplier said: “We recommended the
appearance of the merchandise.
lumen and tilted design meant that it was ideal for
clothes, so the owner of the store required a
the client wants to move display stands around the
customer inside. A former post office in the large
and position it to illuminate the clothes. We’ve
the necessary 3,000 square feet that could be
particularly like their robustness and high quality.
The 1950s two-storey building was stripped out
is really supportive.”
elevation to draw in daylight. The ground floor
its unobtrusive design.
space for the display of Benetton’s women’s and
of the Zeki lighting, which is very subtle. The
a store.
displays and draw attention to the merchandise. I
concept. It was considered that Megaman’s Zeki
away from the clothes. It has been a very successful
specified products, would meet the challenge of
According to Paul Howie, the client had never used
Michael Williams, Director of Williams Creative
combination of minimal maintenance, low running
said: “Given that there are no windows in the
benefits of LED technology.
customers to feel as if they were walking into a
Megaman Zeki product. He has been so happy with
quality of light with no changes in light levels,
for background lighting on two further Benetton
Megaman’s Zeki luminaire was also the first choice
concept stage.”
bright quality of light that enhanced the
Zeki luminaires because the combination of its high
Benetton is known for its vibrant, colourful
this project and gave the client lots of flexibility. If
space that was bright and would entice the
retail space all he has to do is move the downlight
town of Ballymena in County Antrim, provided
used Megaman products for many projects and we
transformed into retail space.
Also, the technical backup that Megaman provides
and a large glazed panel employed on the front
The Zeki luminaire was also a popular choice due to
was refurbished to create a modern, light and airy
Michael Williams stated: “I like the discreetness
children’s clothes while the first floor was used as
spotlights have been twisted to focus on wall
Creating a bright interior was key to the overall
didn’t want the lighting to take the customer’s eye
multi-head gimbal luminaires together with other
project.”
creating an even and bright distribution of light.
LEDs before, but was easily convinced due to the
Design Architects, designer of the Benetton store
costs, a five-year warranty and the environmental
shop apart from the glazed façade, we didn’t want
“It was a no brainer for the client to use the
cavernous space. The Zeki LEDs create a consistent
the result that he plans to use the Zeki luminaire
which is exactly what we wanted.”
stores in Northern Ireland that are currently at
for the Benetton shop due to its modular frame
www.megamanuk.com
and multi-directional tilting, which lends itself to
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OLEDWorks.com
Urban Lighting Zumtobel, alongside Graft Architects, transformed the traditional Gründerzeit building of Berlin’s Urban Nation Museum into a celebration of modern art as part of a new, modular design for the museum.
F
açades become screens, a courtyard doubles as
formulated by the Graft architecture studio demanded a
events fuel a creative dialogue: The concept
effectiveness of the overall concept. Zumtobel immediately
a temporary exhibition space, workshops and behind the Urban Nation Museum For Urban
Contemporary Art in Berlin intrigues and excites with its
fusion of diverse art forms and truly unique architecture. Exhibition rooms, a courtyard and an innovative
interchangeable façade were created for the modular-
designed museum in line with plans drawn up by Graft architecture studio.
A clear prerequisite for the success of the project is the
holistic interplay between architecture, art and light. With this careful balance in mind, a differentiated lighting
solution from Zumtobel has now been realised throughout the museum.
The Urban Nation Museum presents contemporary urban art crafted by a series of national and international artists. The impressive new venue has been shaped by architects from the Graft studio, who pooled their resources to transform a former residential and commercial building from the
Gründerzeit period in the Berlin district of Schöneberg. The result is an all-embracing centre for urban
contemporary art and a creative setting for artists, offering space for exhibitions, workshops, debates, cross-media work and archiving. The implementation of the plans
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client-oriented lighting solution to help maximise the
impressed by meeting the needs of the architects from Graft and simultaneously tailoring its offer to fulfil the specific requirements of the museum.
Urban Nation is an initiative from the Berliner Leben
foundation (Berlin life), founded in 2013 by the Gewobag housing association. Urban Nation has already worked
with artists from all over the world, and the museum has gained increasing prominence by providing a stage for
urban art that shines on an international scale, acting as a
mouthpiece for urban contemporary art and simultaneously making this art form accessible to visitors and residents.
This was evident at the official opening, when the museum hosted a two-day festival to stimulate a public discourse between the city, artists, residents and passers by.
Graft used the reconstruction of the interior to translate the 19th-century architecture into 21st-century design.
Suites of rooms, the likes of which can normally be found
in fine baroque palaces, create a real sense of space. At the same time, the rooms themselves stretch upwards over two storeys, leading to unexpectedly generous levels of
spatial perception and offering a vast range of possibilities
in terms of artistic expression. A defined route connects all
CASE STUDY
the exhibition areas, helping visitors see and experience the
by Graft serves as a creative canvas for artists. When the
rooms feature Supersystem II mounted horizontally at the
become extra exhibits in the museum’s collection. The
fascinating works from various distances. The exhibition
side of the route. Standard versions of the Maxi spotlight (with DALI control) are combined with a trimless profile,
delivering the additional flexible lighting solution that was requested by both the architect and the owner.
Zumtobel used the lighting solution for the multi-storey
rooms to place a strong focus on the uniform illumination of the walls in the exhibition spaces, while at the same
time including the option to set effective lighting accents.
This is achieved with the help of the Intro ceiling luminaire family. Extensive adjustment options mean that Intro
can be adapted to suit the different forms of architecture and thereby provide high-quality, tailored and efficient light throughout the rooms. Intro liteCarve, a spotlight
for vertical surfaces, and Intro M, an LED accent spotlight with a high light output, both play a major role here. The liteCarve reflector technology developed by Zumtobel
facilitates the homogeneous and effective illumination of
niches and walls, along with a precise and balanced rightangled light distribution, while the reflector itself makes
sure that the light is directed accurately and fully indirectly onto the vertical exhibition areas.
The modular and partially interchangeable façade developed
exhibition changes, these customised exterior elements shifting façade is impressively showcased by vertical
illumination from Blade Max, a flexible linear lighting
system developed by acdc. Coloured RGBW fittings add a special character to the window apertures on the fourth floor.
In addition to the actual exhibition, visitors have the
chance to appreciate numerous art installations even before they step inside, as the courtyard of the Urban Nation
Museum doubles as an event venue and presentation space for contemporary sculptures. The harmonious solution
from Zumtobel offers flexible lighting for the changing
compositions. Floor-recessed Magna luminaires from acdc
and Supersystem outdoor Accent, a product from Zumtobel that incorporates three swivel-mounted LED tubes,
combine to create the perfect lighting conditions in the courtyard.
When it comes to lighting management, the Litecom system from Zumtobel Group Services (ZGS) regulates the complete installation and offers simple and flexible lighting control for the whole Urban Nation building. www.zumtobel.com
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CASE STUDY
Lighting the Way Lighting specialist Cardi and Finnish luminaire maker Lival illuminated Åhléns City department store in Central Stockholm, Sweden, using Citizen’s CRI>90 3500K B.BBL.
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ounded in 1945, Lival is a Finnish family
the characteristics of the COBs combined with the
first products out of the wood gathered
give fresh and clean overall impression.
business that started out making its
from its own forest. Lival has always
brought an innovative and brave approach to
lighting, beginning in the world of interior design
with bright lamps and impressive chandeliers – first steps that revealed a company already on the hunt for cutting-edge ideas.
In 1981, Lival was the first company to introduce a PL compact fluorescent fixture. Then, in 1994,
Lival introduced ceramic HID technology, before
producing its first luminaire with COB LED in 2010, a technology that still serves well to this day. Over
the years, the company has also become one of the leading chip on board Citizen COB LED luminaire manufacturers.
Citizen’s latest LED technology gave Åhléns City
department store in central Stockholm a new touch. Now toys, clothes and interior design are presented
in a more appealing way thanks to a proper light, as
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Lival luminaires make the bright colours pop and Finding the right light, that fits perfectly to the
scene is no walk in the park and after numerous
test runs on different COBs, including Ver. 6 CRI>90 3000K B.BBL, 3500K B.BBL and 4000K, Åhléns City
chose to use the 3500K B.BBL Citizen COB along with Lival’s Lean DL, Trigger Cylinder, Lean Cylinder and Aspect series.
The 3500K B.BBL is an excellent choice for
highlighting a wide range of different colours. For
the purpose of Åhléns City, the 4000K version was too cold, while the 3000K B.BBL version was a bit yellowish. As for choosing the right luminaires,
Lival’s experience proved to be helpful. Lean DL, Trigger Cylinder, Lean Cylinder and Aspect are
just the tip of the iceberg in Lival’s eco-system of lighting.
www.lival.com
ce.citizen.co.jp
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Pic:s: Nicolas Cardin
Rediscover the Colour Linea Light Group has provided lighting for the Medieval and Renaissance areas of Paris’ Museum of Decorative Arts, bringing colour back to the artefacts on show.
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n creating the lighting scheme for the
colours of the works, adopting modern lighting
Musée des Arts Décoratifs (Museum of
Solutions were created that involve the visual
Medieval and Renaissance areas of the
the Decorative Arts), lighting designer
Emmanuel Clair of the Light Cibles studio turned to Linea Light Group to illuminate the delicate artefacts on display.
Located inside the Louvre’s Palace, the Museum of the Decorative Arts is the sixth most visited
museum of France and one of the most important in the world. Founded in the nineteenth century, it houses thousands of collectors’ objects and
artworks, offering a complete overview of arts from the Middle Ages to the 21st Century, ranging from toys to jewels, ceramics to furniture. The section devoted to the Middle Ages and the Renaissance
is full of remarkable altarpieces, everyday objects, 16th-century glass walls, religious paintings and beautiful tapestries.
The new lighting scheme had to respond to specific requests of the customer, with the main aim
of rediscovering and showcasing the authentic
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technologies in tune with the museum spaces.
experience of the public, while highlighting the
features of each work and the characteristics of the
setting. The fascinating challenge was to illuminate decorative objects from different dimensions and
finishings within a space that needs a suitable light for the visitor’s enjoyment.
The need to adapt to pre-existing structures
required custom solutions without replacements, thanks to devices specifically optimised to follow
needs. Solutions aimed to emphasise the spiritual value of colours according to the expressive
sensibility of the artist itself, rediscovering the artistic meaning of the original chromatism.
The project makes use of Iris T fittings with new UltraHD diodes that, developed in conjunction
with Cree, are able to retrieve every colour range with a fidelity reproduction almost equal to
that guaranteed by the natural light source par excellence: the Sun.
CASE STUDY
The exhibition rooms are fitted with adjustable optics luminaires that, alongside moulded Vektor fittings, create a suffused, staged lighting in which the light
beam is focussed only where needed on the artwork, becoming progressively softer towards the borders
and the frames. As a result, the paintings emerge from the shaded walls as if lit from within. The large glass display cases showcasing statuettes and artefacts in ceramic and glass have had Reika fittings installed. These linear profiles with asymmetrical optics
illuminate the objects placed on the shelves without
dazzling the viewers, and are dimmed individually to
provide adequate light based to the size of the display. The decorative glass panes located in front of the room windows are illuminated by Xenia fittings,
which at sunset replace natural light, illuminating the stained-glass windows for visitors in the evening. Old halogen devices have been replaced by LED technologies, which contribute to reducing
consumptions for a fundamental energy saving operation.
www.linealight.com
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CASE STUDY
Lighting Al Fresco Gewiss brought its Urban [03] environmentally friendly lighting system to Milan, illuminating its CityLife district park and offering up high energy savings in the process.
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panning an area of 168,000sqm, the
This lighting project aimed to provide inhabitants and
green area in north-western Milan after
enjoyment free from fear, promoting park life even
CityLife district park is the third largest Parco Sempione and Giardini Pubblici.
An international competition to design the district’s park, launched by the Municipality of Milan and
CityLife, was attended by 70 world-class architectural design studios. The main objective was to transform
this space into a prestigious public area for the entire city to enjoy, while keeping a meaningful link with the territory and the environment.
The park serves as a symbolic element representing a
sense of connection, deeply integrated with the city’s history. Safe and accessible to all, it is also a space
that respects the environment and is in tune with the surroundings.
The project, carried out by London-based architects Gustafson Porter, gave birth to a microcosm around the “Tre Torri” (three towers) area of CityLife
district. Between the mountains and the plains, the park reproduces the key features of Milan
landscape and surroundings, while fully meeting all customer’s requirements, including lighting.
Indeed, the architectural design initiative called for
the development of a lighting project able to meet a
number of fundamental needs of this venture, in line with the sustainable philosophy of CityLife district.
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visitors of the area with a feeling of safety and public in the evening. In terms of technical requirements, guaranteeing high energy savings and reducing environmental impact were the main goals.
Ferrara Palladino lighting design studio in Milan, in
charge of the project’s implementation, selected the Gewiss Urban [03] LED lighting system, because of
the wide range of fixing accessories and light sources of this product line, that satisfies many different
lighting requirements for public and green spaces. 85 Urban [03] devices were installed along all
pedestrian pathways, both in the outdoor area
reserved to CityLife housing and in the public park.
Characterised by a simple, pure design, the Urban [03] lighting blends seamlessly into the architecture of
the park, enhancing its aesthetic appeal. The system, which is equipped with a bi-power device to regulate the luminous flux during the darkest hours, enables energy savings of 50-percent. It also complies with
all requirements in terms of power and resistance to
overvoltage surges, with an IP66 degree of protection. Furthermore, the LED light sources have a lifespan of more than 50,000 hours, with a 3500K (CRI> 85) colour temperature. www.gewiss.com
MicroManage Designs with Tokistar's
M CRO SERIES
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light+building Frankfurt, Germany Hall 4.2 / Stand K15 2018 March 18-23
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Anaheim, CA, USA www.tokistar.com Tokyo, Japan www.toki.co.jp
2/8/18 2:14 PM
CASE STUDY
Paris Mon Amour Building on the know-how acquired over the years in the field of lighting works of art, Targetti was selected to light the 27 side chapels in the majestic Notre-Dame Cathedral in Paris.
A
s part of a project to renovate
fixtures along the vertical track and a flexible
historic Notre-Dame Cathedral
wide flood optics and the possibility to dim
the internal lighting in the
optical system – ranging from spot to very
in Paris, which started back in
individual fixtures according to needs. The
2011 as part of events to celebrate its 850
high quality LED lamps the Ledò projectors
designer Armand Zadikian, has developed a
rendering and protect the paintings from the
27 side chapels. This is familiar territory for
“I was familiar with the Targetti range and
the external doors of the iconic landmark.
that met the project needs. We needed a
historical and artistic heritage on display
into the architecture of the cathedral without
now fitted with new lighting designed by
Zadikian.
welcome the millions of visitors that cross
technology in the 96 projectors that were
of lighting and luminance ratios for the
LED lamps and the lumen output for every
week from the cathedral.
“In addition to having excellent colour
years ago was no longer suitable for current
advantage of Ledò is the possibility to dim
Zadikian. “The use of out-dated and
are different thanks to the Targetti optics, I
lack of light made it difficult to see the works
the works of art to be lit, taking into account
the television cameras to transmit services
Lighting the chapels inside the Notre-
Targetti LED Ledò adjustable projectors were
partnership between Targetti and Zadikian,
chapels. The type of installation is the same
lighting systems in the Paris churches of
tracks equipped with black projectors with
de-Lorette during restoration work on both
result is a highly versatile installation that
www.targetti.com
years, Targetti, in collaboration with lighting
are fitted with have excellent colour
lighting scheme to illuminate the cathedral’s
risks of photo-damage.
Targetti, given that 20 years ago they lit up
after careful selection I chose the product
With an aim to enhance and preserve the
sober and discreet product that could blend
inside the Cathedral, the side chapels are
compromising the historical setting,” added
Targetti and selected by Armand Zadikian to
100 works of art were lit using the LED
its threshold, while ensuring excellent levels
installed. Maximum power was chosen for all
television cameras that transmit mass every
single chapel was set personally by Zadikian.
“The original lighting that was installed
rendering and clean, precise beams, the main
expectations and needs,” explained
the light intensity. Seeing as all the chapels
miscellaneous materials, together with a
was able to adjust the emission depending on
on display and the lighting was too low for
the size, colour and finishes,” he said.
regularly inside the cathedral.”
Dame Cathedral is the beginning of a new
chosen to light the works of art inside the
who was also involved in developing the
for every chapel and consists of vertical
Saint-Germain-des-Prés and Notre-Dame-
an elegant and discreet matte finish. The
of them.
makes it possible to vary the position of the
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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/below: LED-LUC – magnetic MiniSpot
SQUARE S|M WHEN TECHNIQUE MEETS ART
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by TTC Timmler Technology
TTC Timmler Technology GmbH Christian-Schäfer-Str. 8 D-53881 Flamersheim T E (+34) 93 630 28 00 info@grupo-mci.com
grupo-mci.com
Come and visit us
HALL 4.1 BOOTH G11
+49 2255 921 200 info@ado-lights.com
www.ado-lights.com www.led-luc.com www.ttc-technology.eu
CASE STUDY
Touch of Glamox Two of the largest cruise ships in the Color Line fleet have been given a vibrant, colourful boost, thanks to the installation of LED strip lighting from Glamox, that help to create a warm and inviting atmosphere for passengers.
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lamox has helped to add a touch
In addition, changing to the AL45 also
lengths, colours and light intensity, allowing
Color Line cruise ships, Color
reduced energy consumption) upgrade to
across a wide range of marine applications.
of colour and glamour to two Fantasy and Color Magic, by
supplying AL45 LED strip lighting, which is
installed in the upper deck railings. The two cruise ships are the largest of their kind in
the world and operate a route between Oslo, Norway and Kiel in Germany.
Color Line recently completed an upgrade of the two ships, which included the
installation of more than 1,150-metres of
AL45 LED strips from Glamox in the upper deck railings of the two vessels. The new
LED strips provide a continuous line of light under the railings of the promenade deck, creating a warm, inviting and exclusive
atmosphere for passengers. When viewing
the ships from a distance, it is clear that this decorative and effective light adds a little
extra touch of luxury to the ships’ design.
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represents an environmentally-friendly (i.e. LED lighting.
“We chose the AL45 LED strips because they
have a high IP class, which implies that they are well suited for the waters and climate that we operate in,” said superintendent
Per Gunnar Strand at Color Line. According to Strand, aesthetic qualities were also
important when choosing a new lighting product.
AL45 LED strips from Glamox are specially designed and approved for use in marine
applications. Protected to IP68 means the lighting is suitable for both indoor and
outdoor use. AL45 LED strips can be used as
lighting for ship canopy rails, step lighting, shop lighting or for decorative colour lighting indoors and outdoors.
AL45 LED strips are available in different
decorative illumination of various shapes
AL45 is flexible, providing made-to-measure LED strips for harsh applications.
In its clear version, AL45 LED strips make
impressive lighting scenarios possible. It can be fitted quickly and easily with individual mounting options and is designed for
impressive lighting scenes for decorative purposes and ambient lighting.
The coloured version of AL45 offers a wide
selection of colours to suit the application,
giving flexibility in design, which is essential in creating lighting scenarios for several
areas onboard a vessel – for both indoor and
outdoor applications. AL45 LED strips can be installed into ceilings, walls, floors, steps, shops and canopy rails. www.glamox.com
CASE STUDY
Cause for celebration L&L Luce&Light is leading the new outdoor lighting project for the Vittoriale degli Italiani, allowing visitors to enjoy the architectural elements of the footpaths both by day and by night.
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&L Luce&Light has been involved
with a 60mm pitch and 12x40-degree elliptical
around the hillside estate of the
walls that line the walks, at approximately
by Gabriele d’Annunzio – one of Italy’s most
skimming light picks out the pathway very
Garda.
Meanwhile, the same fixture in a different
in a new trail of external lighting Vittoriale degli Italiani, erected
famous poets – in Gardone Riviera on Lake This new stretch of external lighting,
inaugurated in the summer with a celebration
atmospherically.
version, with a 120mm pitch and 45-degree
optics, placed at the base of the arch, together
with the Pivot 1.6 projector, lights the intrados
allows visitors to enjoy the architectural
Spot 1.6 and 4.1 outdoor projectors are
poet’s estate not only by day but also by night.
architectural elements along the path. The
elements and some of the footpaths in the
and picks out the profile of the archways. responsible for lighting the significant
This large lighting project concentrates on
former gives a theatrical prominence to the
d’Annunzio’s home and museum, to the MAS
small shrine, through a play of backlighting
the walk that leads from the Prioria (priory),
(Museo d’Annunzio Segreto, a museum filled with d’Annunzio’s personal effects) and the
sculpture of a female figure standing in a
between the statue and the semi-circular
background of the niche. The latter is used
Puglia cruiser, the evocative relic from the
to light the avenue that cuts through the
Made possible thanks to an agreement
positioning beneath the benches lining the
Great War.
between the Regione Lombardia e Fondazione Il Vittoriale degli Italiani, the initiative
enhances the estate’s architectural splendours while fully respecting its original character. A
significant number of L&L LED projectors and linear profiles have been installed.
The wall-mounted Neva 1.0 linear profile,
www.arc-magazine.com
30cm from the ground. Neva’s ground-
entitled Un Immenso Desiderio di Festa (a line taken from one of d’Annunzio’s own poems),
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optics, was integrated into the existing stone
olive trees, thanks to the devices’ ingenious way, from which they generate a light that skims the ground.
Finally, the Siri 1.0 projector lights the
imposing entrance to the Vittoriale and the visitors’ entrance that leads to the ticket office.
www.lucelight.com
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See us there. Hall 4.2 Stand B90
13/12/2017 15:44:05
LEADING THE WAY TO A CONNECTED FUTURE
CHICAGO, IL USA
McCormick Place PRE-CONFERENCE
May 6 – 7, 2018 TRADE SHOW & CONFERENCE
May 8 – 10, 2018
LIGHTFAIR.COM
PHOTO CREDITS © SCOTT FRANCES/OTTO & COURTESY BARNEYS NEW YORK
PRODUCTS
The Big One Light+Building 2018 is just around the corner. The show is always a hotbed for new product launches, so we take a look at just some of the products that will be on show at the Messe Frankfurt this time around.
arc / darc Hall 4.1 Foyer/Walkway Stand FOY12
The last time that Light+Building came to Frankfurt in 2016, a record-breaking 216,000 visitors from 160 countries graced the Messe Frankfurt, eager to check out the latest and greatest from the lighting world. This year’s instalment is no different, with 2,600 exhibitors all showing off their latest products and innovations. With that in mind, we’ve put together this comprehensive preview looking at just some of the product launches to help you beat the crowds in Germany. More importantly though, is the arc stand, partnering with our sister publication darc, we will be located on the busy foyer walkway outside hall 4.1, where you’ll be able to pick up extra copies of the magazine, along with our newly released ILDS 2018, and share your latest news with a member of the team. With a new motto of ‘Connected – Secure – Convenient’, this year’s show will take a closer look at the key issues of ‘smartification of everyday life’ and ‘aesthetics and well-being in harmony’,
while the industry prepares to present intelligent and networked solutions and future-oriented technologies alongside current design trends, which not only increase economic efficiency of buildings, but also the comfort, safety and security of the users. Alongside this, Light+Building 2018 will feature an extensive programme of events, from expert lectures with best-practice examples, special exhibitions and panel discussions to competitions and guided tours, there are plenty of opportunities to gather information, hold discussions and make new contacts. Off the trade show floor, the Intersec Forum on connected security technology will take place from 19 to 23 March, while the biannual Luminale festival of light and culture will once again take place across Frankfurt, providing some light relief away from the exhibition ground www.light-building.messefrankfurt.com
www.arc-magazine.com
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Dyna Drum HO Acclaim Lighting Acclaim Lighting will launch the second generation Dyna Drum HO. With a new chipset and optic system designed from the ground up, this high power floodlight now features higher energy efficiency, and features class leading output in both white and quad colour LED versions. In fact, the white version reaches more than one million centre candela, while reducing power consumption by 20 percent. Hall 4.0 K10 • www.acclaimlighting.com Archiline Linea Light Group Linea Light Group will present Archiline, the new family featuring a wide range of linear lighting fixtures with multiple configuration options that fit every lighting requirement. They can be installed with recessed mounting with steel or aluminium flange or without flange or in the wall version. The features that make this family of products unique and extremely versatile are its wide range of optics (Narrow Spot, Spot, Medium Flood, Flood, Wall Washer and Elliptic 20x50-degrees), different lengths and power packs, and the choice between monochrome versions (warm white and natural white) and multi-colour RGBW. Hall 3.1 E91 • www.linealight.com
Brite 2 panels OLEDWorks Light affects our mood, improves our well-being and enables us to experience and achieve more. But OLED light does even more. As OLED light emits no hazardous blue light, it’s the healthiest light available. Therefore, OLEDWorks invests in your health by developing state of the art OLED lighting. This is proven by the wide spectra of OLEDs, and OLEDWorks Brite 2 panels are, according to the IEC photobiological safety standard, exempt from any risk of hazards for the human skin and eye. Hall 4.1 G62 • www.oledworks.com
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Skim downlights Erco Specifically for the needs of today’s dynamic worlds of work, a new, unique class of lighting tools has been developed in the form of Skim downlights for track – as flexible as spotlights and as simple and efficient as downlights. Using the tried-and-trusted LED lens optics from the Skim range, they feature high levels of visual comfort optimised according to the application and enable the lighting to be adapted at any time to changing office structures or layouts. Hall 3.0 A10-11 • www.erco.com
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HD 3F Filippi A new suspended product by the Milan-based studio Park Associati, designed for offices, this device is made of aluminium and may provide direct, indirect and direct/indirect 4000k lighting. The lighting fixture is available with opal or microprismatic diffusers. The head cap’s diffuser is customisable and allows to instinctively distinguish the working activities within the same open space. 3F HD is available also in the recessed and semi-recessed versions and will be on sale by summer 2018. Hall 3.1 D60 • www.3f-filippi.com
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KURV-Y KKDC KURV-Y is the new IP67, fully diffused flexible LED lighting strip from KKDC. With full end to end homogenous diffusion, KURV-Y is designed to be recessed into curved architectural details and surface mounted via clips or extruded aluminium channel. Suitable for interior or exterior applications KURV-Y is available in 2300K, 2700K or 3200K warm white colour hues with 90CRI. 11.3W/m powered by remote 24V DC PSUs and dimmable via compatible sub-controllers. Hall 4.2 H71 • www.kkdc.lighting
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Natural & Healthy Light
• Improves the light experience for human health benefits • Closely matches the spectrum of natural sunlight • Harmonizes light output with natural circadian rhythms • Minimizes negative effects of conventional LED light sources
Visit seoulsemicon.com to learn more about SunLike Series LEDs.
PRODUCTS
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Hance Lamp Lighting The Hance from Lamp Lighting is an indoor spotlight model for accent lighting, available with luminous packages of approximately 500-2000lm for 48V powered and 1000-4000lm for 220v powered, with warm and neutral colour temperature and Super Spot, Spot and Medium Flood optics. Its unique body is made of lacquered aluminium injection, with finishes in texture white and black. Hall 3.1 C61 • www.lamp.es
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Void Astro Lighting Discreet and minimal in design, Void offers a comprehensive variety of trimless downlights that blend into its surroundings, while producing glare-free illumination. The option of different light beam angles ensures light is directed exactly where it is needed, while a ‘twist and lock’ mechanism makes for ease of installation. Both LED and GU10 variants are available within the range, which are all IP65 and fire-rated. Covering a wide range of lighting requirements, Void offers a selection of different colour temperatures, sizes, colour rendering and bezel choices. Hall 5.1 C90, Hall 1.1 H01 • www.astrolighting.com
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DRX5 RCL Measuring just 145mm in diameter, DRX5 enables you to pin spot or flood throughout a project with one cohesive aesthetic. The four-degree beam is the most precise in the market, perfect for pin spotting from high ceilings, whilst the ground-breaking DRX zoom light engine adds an extra dimension of flexibility. Each light has motorised 360-degree pan and 35-degree tilt controllable by a wide range of protocols, including RCL’s latest wireless control system, building on the award winning iDirect. Hall 4.2 A44 • www.rclighting.com
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Odeon Flood Claypaky The Claypaky Odeon Flood family is a range of compact, lightweight, stylish, easy-to-install floodlights for architectural use (IP65, IK09) available with various optical units (15, 25 and 35-degrees) and aesthetic finishes. They feature high-power multi-chip LED technology, which ensures excellent colour mixing and perfect DMX/RDM dimming. The Odeon floodlight enhances historic and artistic monuments, public and private buildings, architectural structures, and parks, trees and gardens, as well as businesses such as shops, shopping centres, restaurants, hotels, cinemas, gyms and leisure centres. Hall 8.0 F98 • www.claypaky.it
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Tetriss W+RGB Meteor Lighting Tetriss W+RGB offers flexible lighting with modular design, advanced bracket system, and various mounting options. It can be configured with any combination of white and RGB modules on one fixture. RGB and white light are usually controlled separately, resulting in control complications and increased system cost as two separate sets are needed. With Tetriss W+RGB, one system is able to control both RGB and white light. It is suited for applications in convention centers, sports arenas, theaters, and worship spaces. Hall 4.2 J11 • www.meteor-lighting.com
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Cardan Evolution Zumtobel The turnable and tiltable Cardan evolution luminaire from Zumtobel fuses outstanding flexibility with a timelessly simple design, enabling both sizes of this recessed downlight (M and L) to blend harmoniously into a wide variety of architectural settings. An extensive range of accessories adds even further creative scope by fulfilling a wide range of precise accent-lighting tasks. In this way, Cardan evolution stands out as a multifunctional lighting tool characterised by excellent colour rendering and a choice of light distributions. Hall 2.0 A30, B30, B31 • www.zumtobel.com
‘a new flexible line’ Flexi-Light-Optic Bends in X & Y axis for curved wall grazing
Available in Top Vew, Side View & various sizes
Flexi-Line-White
Flexi-Line-Media Flexi-Line-RGBW
Available in white colour temperatures, RGBW, Tuneable White & Dynamic Media RGB. Using our proprietary “colour-lock” technology.
MADE IN THE UK Compatible with our FLO iOS Wi-Fi controlled App
vexica.com
PRODUCTS
Io Arkoslight Io, designed by Arkoslight’s Head of Design, Rubén Saldaña, is an LED spotlight miniaturised in a fixture that is so small that it fits on the palm of your hand. Designed for accent lighting applications, its small dimensions mean it can be fitted in display cabinets, shop windows and small places without generating an invasive presence on the scene. Io has been awarded with the Good Design Award, ADCV Award, Delta Award Silver and IF Design Award. Hall 3.1 C91 • www.arkoslight.com
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Dynamic COBs Luminus Luminus Dynamic COBs are ideal for human centric lighting applications where warm-dimming or CCT-tunable spots with high centre beam candlepower are required. With options from 6500K to 1800K and CRIs of 90, 92, and 95 minimum, Luminus Dynamic COBs offer the industry’s widest range of choices. The warm-dimming line is an easy-to-use single channel COB, which is specified and tested hot (85-degrees Celsius) and uniquely offers either a linear dimming curve from 3000K to 1800K or a ‘halogen-like’ dimming curve. Hall 4.0 B30 • www.luminus.com
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Atto Precision Lighting LIT award winner Atto is the smallest architectural spotlight in the market. So tiny in fact, that one of the designs is smaller than a one Euro coin and another fits inside a toy plastic egg. Flexible and lockable, the spotlight delivers clean light distribution from exceptionally discreet modular designs. Supplying 105lm with just 1W, Atto is available with a wide range of optics, finishes and mounting options, allowing selection by aesthetic, beam distribution and colour temperature, to suit any type of display. Hall 4.2 A44 • www.precisionlighting.co.uk
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Yori Evo Ghostrack Reggiani The new Yori Evo Ghostrack range works on standard three-circuit track, Ghostrack three-circuit track and 48V tracks. New invisible adapter and a patented invisible driver that is up to 35W, which can work with up to four standard projectors or 15 mini spots. It features Precision lenses and TIR for very narrow, narrow and medium beams with high candela values up to 64.000cd and Performance reflectors in 99.9% pure aluminum for narrow, medium and wide beams, with efficacy values up to 118 lm/W. Hall 3.0 E81 • www.reggiani.net
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Zedge Pro Targetti Zedge Pro is the new floor washer lighting fixture designed by Targetti in collaboration with Gensler. With larger dimensions (200mmx200mm) it maintains its perfect proportions and sloping design of the smaller version with particular attention to every aesthetic and functional detail. A professional tool ideal for lighting pedestrian walkways or large horizontal areas, Zedge Pro is equipped with a special optical system that allows for maximum flexibility of use for specific design requirements of architects, designers and lighting designers. Hall 3.1 A51 • www.targetti.com
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Focus Unilamp Focus is a completely new family of outdoor spot lights engineered from scratch. The shapes and overall small dimensions make it possible to install Focus in most professional and residential lighting applications. High quality optics provide accurate beam control and offer a wide selection of light distributions. Focus can be customised with accessories such as filters, honeycombs, shields and various mounting solutions for poles and surfaces. The minimised amount of needed tools and usage of quick connectors simplifies the installation. Hall 5.0 C80 • www.unilamp.co.th
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CAS 140D Instrument Systems Visitors to the Instrument Systems stand will be able to experience advanced measuring stations for spectroradiometric and photometric measurement tasks: The new stray light corrected CAS 140D is the first high-end array spectrometer that can reliably assess the blue light hazard from light sources within the prescribed limiting values. Accredited light measurement solutions for colorimetric quantities with unique measurement accuracy and future-proof service are also shown, e.g. the CAS 140D in combination with the ISP 2000 integrating sphere. Hall 4.1 K89 • www.instrumentsystems.com
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GoboLED 7-Pro Griven Packed with multiple effects and patterns, GoboLED 7-Pro offers broad creative design integration for permanent exterior installations. Fitted with one high power LED, this image projector delivers a bright and accurate rendition of graphic designs or logos in outdoor and indoor locations. Hall 5.0 B45 • www.griven.com
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Venus True Color LED Linear Venus True Color is an LED luminaire using a new polyurethane encapsulation technology offering an IP67 ingress protection combined with optimum rendition of the LED spectrum, avoiding any CCT shift: True Color. It is available in two variants. Top View variant takes over for 2D bends perpendicular to the luminous surface. 3D variant extends the boundaries of lighting design by providing a perfectly homogenous light line which can be twisted or bent in 3 dimensions (3D) in order to follow any curves present in modern architectural concepts. Hall 4.2 J61 • www.led-linear.com
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Moto-Palla In&Out Forma Lighting Moto-Palla In&Out, part of the Motolux collection, is available in three sizes. The fixtures can be tilted 90-degrees out and ten degrees inside the ceiling through the revolutionary Motolux remote control or Casambi smart-phone app. The series is equipped with Xicato or Soraa modules, super narrow beam (four degrees) and Tuneable White/DimToWarm versions. Moto-Palla 70 with a ceiling cut of 130mm and a height of 145mm discretely fits in low ceiling voids. Hall 4.2 E10 • www.formalighting.com
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Orao Cariboni Orao offers solutions with LED technology for lighting façades, streets, walkways and urban spaces. The innovative optical systems designed for the Orao line guarantee visual comfort, safety and enhanced quality of space. The Orao system includes different installation methods and a tilting system for meeting the specific functional and architectural requirements of any environment. Rotosymmetrical, symmetrical, asymmetrical and street optics are available, as well as solutions for pedestrian crossings and wet road surfaces. Hall 3.1 B61 • www.caribonigroup.com
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Bitpop L&L Luce&Light Bitpop is a recessed downlight with single or multiple optics that can be installed in false ceilings in two ways: flush with the ceiling or recessed. The family is made up of three versions: single optics, four optics in a line (elements in 1x4), and four optics in a square (elements in 2x2). All three versions feature recessed optics, designed to guarantee the user’s visual comfort. The optics are available with different beams: 17, 30, and 42-degrees, 17x45degrees; white light with CCT 2700K, 3000K and 4000K. Hall 3.1 D25 • www.lucelight.it
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1 Cosmo FX ES-System Cosmo FX is a series of versatile and easily maintained luminaires with an increased resistance to adverse environmental conditions. Because they have been optimised for use with LED technology, their parameters exceed those achieved by similar competitive products, despite their compact size and low weight. In addition, the original design of the housing is emphasised by optional colour versions. The use of different optical systems provides high quality lighting. Cosmo FX is the perfect solution for numerous lighting applications: from residential interiors to offices, schools and industrial facilities. Hall 3.1 E15 • www.essystem.pl
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Bow Grupo MCI Bow is a stylish and versatile luminaire designed to highlight the outer edge of windows and arches. It creates an amazing uniform monocolour, smart white and RGBW line of light to enhance architectural façades. The sophisticated inner mechanism allows you to easily adjust both the beam angle and the luminaire’s tilt without breaking its pure shape. Hall 4.1 G11 • www.grupo-mci.org
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Ikar LED Luks Characterised with a ring light, Ikar is a fascinating alternative to conventionally shaped downlights. The completely adjustable head can be freely rotated through 360-degrees (track version) as well as in ±90-degree direction for an optimum adaptation of light on different objects. The downlight family offers different mounting options (track, ceiling, recessed) and colour temperatures (27005000K). Being available in two sizes (65, 127mm) and in different beam angle versions, Ikar is the ultimate downlight solution for a wide range of applications. Hall 4.2 A02 • www.ledluks.com
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Hydrotwist IP65 PUK Hydrotwist is PUK’s brand new project in collaboration with Paolovilla Design: a swivel Floodlight whose head can be oriented and fixed in endless positions. You can choose a different shape for the head but the result is always the same: target the light beam in a strategic way. Hydrotwist is not only a piece of design but it’s also a high-performance light. Thanks to its Special Optics with ‘invisalight’ technology, this becomes practically a glare-free floodlight. Hall 4.2 E50 • www.puk.it
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Centura Radiant Lighting Centura is a flexible LED linear lighting system, designed to make complex designs simple. An innovative design offers the flexibility to follow curved surfaces, encircle columns and domes, and to make irregular shaped pendants. Available in uplight and downlight versions, surface mounted or suspended, and with a lumen output of up to 5,000 lumens per metre, Centura is ideal for a range of application areas including architectural, hospitality, leisure and retail. Centura offers complete flexibility, adjustability onsite and a choice of colour options ensuring there is a solution for any lighting challenges. Hall 4.2 A16 • www.radiantlights.co.uk
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Oreo Roxo Lighting The Oreo range, with its minimalist 35mm aluminium profile as well as the elegant and clearly defined contours, allows new lighting concepts, contemporary visual effects and unique creative solutions for your space. Equipped with the latest LED technology, the Oreo range is available in suspended horizontal, angled and even vertical positions that you can combine with sixteen colours and inside or outside light distribution. Hall 4.2 H21 • www.roxolighting.com
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LIGHTING
2018 NEW COLLECTION
PRESENTATION HOSTED IN THE PRESTIGIOUS ZEFFIRELLI MUSEUM 22ND MARCH 2018 F L O R E N C E , I T A LY info@uozulighting.it www.uozulighting.it
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Gabriella LEDiL Gabriella is an RGB and tunable white colour mixing lens family from LEDiL. Its unique surface design provides excellent colour uniformity and comes with a black holder and an optional installation tape. A 10-degree spot beam will be followed by medium and wide beams in 45mm and 35mm diameters. Hall 4.0 B21 • www.ledil.com
Bilton Air Bilton The new Bilton LED module series Bilton Air is a highly flexible silicone tube and, in addition to protection class IP67, guarantees top light quality, an effective heat dissipation and is resistant to external influences (UV, salt, chlorine, etc.). The LED strip light can be shaped flexibly and is available in three different light colours. Agora B10 • www.biltongroup.com
Glassiled UNI AGC Glass AGC Glass Europe presents Glassiled: when LED inspires Glass. On top of its Glassiled Sign (embedded monochrome LED) and Glassiled Motion (embedded individually addressable RGB LED), AGC introduces Glassiled UNI, its new product with LED (monochrome or RGB) that enlightens your façade uniformly, offering fantastic aesthetics to your building. Hall 4.1 J10 • www.agc-glass.eu
Marco Megaman Marco is the latest low energy lighting solution from Megaman – a versatile, compact LED track light that allows 330-degree rotation and ±90-degree tilt angle. The LED’s hybrid reflector technology and range of optical accessories including; spread and rectangular lens, honeycomb louvres, barn doors and coloured filters, allow for complete control over light distribution. At the same time, Marco will minimise light spill and reduce glare, making it ideal for retail or gallery projects. Ingenium ZB compatible, Marco allows users to have wireless control of their lighting and integrate it with existing ZigBee systems. Hall 4.0 G03, Hall 4.1 H70 • www.megamanuk.com
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L-UGR Lamp83 The combination of high performance, low glare and modern design, the L-UGR series is ready to answer all your needs in terms of general lighting. L-UGR has two different recessed body options at 140x140mm and 190x190mm. Homogenous and low glare illumination thanks to 60-degree diffuser and reflector combination and 109lm/W efficiency. Optionally, L-UGR can also be produced with the highest level of optical technology, with a low level of glare effect (UGR<19) that can be used in the office environment according to the European Union norms. Hall 3.1 B18 • www.lamp83.com
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Fusion DesignLED The lighting industry has been looking for diffuse area lighting products with the function of OLED giving low glare, high uniformity and scalability, but at lower cost, increased reliability and better performance. DesignLED’s Fusion OLED-alternative product is mechanically flexible, 3mm in thickness and without a bezel. The product consists of DesignLED’s patent protected inorganic LED/ light-guide technology. The product is 150mmx150mm size, with an efficacy of >100 lumen per watt and a surface luminance of over 20,000 Cd/m2. Hall 5.0 C30 • www.designled.com
IP IP6 69 8 K s Hi ubm gh e pr rsib es le su > re 50 cle m an in g
Expert in high-end, innovative & tailor made LED solutions www.liniLED.com
18 20 1 i E6 ild and u t B t+ .1 S h 4 Lig all H ng
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Diffuse LED strips liniLED liniLED Diffuse LED strips are rated with the highest protection available. DEKRA tested and approved the luminaires to be IP68+ submersible and IP69K. They can be used in water more than 50-metres deep, while being protected against ingress of dust and close range, high pressure and extreme temperature spray downs at the same time. The liniLED Diffuse range is available in Top and Side emitting LED strips and comes standard with IP68+/IP69K Mirror Welded Connectors. Hall 4.1 E61 • www.liniled.com
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SmaCT range Sagitario The SmaCT range is a set of multi-functional digital controllers, even for OEM applications, designed to provide full control and data tracking of the light fixtures installed in a project, in terms of voltage, current, working temperature, light output and smart performance. Between the main specs, these devices can support the standard common protocols (DALI, DMX, 0/1-10V) as well as a proprietary Sagitario protocol; include digital and analog ports and NTC sensor; allow scenes programming thanks to the featured clock and calendar and can be totally managed remotely. Hall 3.0 B11 • www.sagitariolighting.com
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Terra Plus Studio Due The Terra Plus family of In-Ground LED lighting has been designed for architectural and landscape applications. These powerful fixtures are suitable for the illumination of buildings, sculptures, pedestrian areas and gardens. The new range offers has optimised beam control and delivers exceptional lighting performance. All of the Terra family are easy to install, they are compact in size and conform to standard building regulations. Available in RGBW, Monochromatic, and Tuneable white, the Terra Plus family features very high lumen output, and motorised tilt adjustment of -2 to 10-degrees. Hall 4.1 C39 • www.studiodue.com
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SIO3 Junior Lenses Khatod Free form lenses, for COB LEDs, nine to 23mm LES, eight beam angles. Made of Ultra-Clear Silicone (LSR). Excellent transparency, high optical clarity, long term durability. No need for extra protection. Engineered for Street/High-Bay/Area Lighting, Outdoor/ Indoor, SIO3 Junior Lenses are in great demand in horticulture, greenhouses and urban vertical farming applications. The lenses allow immediate switching from conventional lighting to SSL, and can be easily installed in existing fixtures. Temperature resistant from –40-degrees Celsius to 200-degrees Celsius, they are UVresistant, with a non-yellowing effect, and designed to comply with IP65 and IK10 ratings. Hall 4.1 F39 • www.khatod.com
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C95-W Glamox The new square addition to the popular C95 family is finally here. Glamox C95-W is an elegant wall-mounted luminaire, in two neat sizes. The family is characterised by a clean, minimalistic design and fully illuminated surfaces. The edge lit technology allows for a slim profile and sleek design. Glamox C95-W is also available with integrated emergency lighting. C95-W is one of the many products we will present at Light + Building. Hall 3.0 C51 • www.glamox.com
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Module range Tryka The 2018 family of Tryka Modules encompasses a full range of power options from 3W through to 48W, delivering a CRI >90 and efficacy of up to 100lm/W, this series of luminaires provides a suitable power/performance package to meet virtually any external and internal application. Designed and manufactured in the UK, all use powerful Cree XP-E2 LEDs coupled with high efficiency Ledil lenses. This is combined with three or four channel customisable LED population, enabling Single Colour, RGB, RGBW, RGBA, Tuneable White or bespoke colour arrays. Hall 4.1 E73 • www.tryka.com
GLASSILED UNI
Light up your facade uniformly with LED-embedded glass
WHEN LED INSPIRES GLASS Play with an infinite range of colour tones and variations on your facade glazing! Scan to watch the video.
Visit us @ Light + Building Hall 4.1 – Stand J10 AGC Glass Europe – sales.glassiled@eu.agc.com - www.agc-yourglass.com
PRODUCTS
Devina Fagerhult Devina combines a timeless design with scope for customisation to provide an exterior lighting solution, which not only illuminates but also creates an identity in public spaces. The perfectly symmetrical cylinder was developed according to the most enduring of design principles, the Golden Ratio. Each Devina has a distinct visual language, which speaks through the carefully curated composition of materials. Choose between the pre-defined styles or create your own expression with different textures or colours. Hall 3.0 D91, D95 • www.fagerhult.com
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Lunata LTS The discreet and elegant Lunata can be used as a ceiling, wall or pendant luminaire. It’s available in five different sizes and comes with the option of ceiling lighting, light effect ring or tunable white light. You can also choose from different luminaire colours and colour temperatures. The luminaire can therefore be individualised according to personal taste and tailored to suit the most diverse requirements and spatial conditions. Hall 3.0 D91, D95 • www.lts-light.eu
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Accessory Package Optics Tridonic The Tridonic portfolio has been expanded to include a complete accessory package of lenses with various beam characteristics. The lenses are suitable for all DC LLE 24mm modules and are easy to mount. For the three-row LLE 55mm modules, the company also provides the corresponding optics enabling various light distributions for applications in offices and shops. This accessory package supports luminaire manufacturers in developing luminaires in a quicker and more cost-optimised way. Thanks to the high-quality PMMA materials used in the manufacture of the lenses, they achieve optical efficiency of up to 95 percent. Palais Livingston • www.tridonic.com
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MCPET Furukawa A lightweight reflector with unrivalled levels of diffuse and overall reflectivity, the MCPET is perfect for low glare, indirect lighting solutions. This lightweight reflector is easier to process and more rigid without backing. Custom created in either sheets, cut, folded or formed to customer requirements, this fitting provides complete surface homogeneity with more than 100% diffuse and overall reflectivity compared to BaSO4. Hall 4.0 F31 • www.furukawa.co.jp
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Esalite Gewiss The Esalite features Italian-design, modularity and robustness mould into a new, originally-shaped range of functional high-bays and architectural floodlights for green areas and general outdoor lighting. Assuring high performances from 3000 up to 48000lm outputs, Esalite guarantees high degrees of protection and impact resistance, especially for industrial applications. Equipped with built-in DALI control system, high-quality LED source and optics, this Gewiss product range perfectly matches specific needs and expectations of end-users and lighting designers. Hall 5.0 C70, Hall 8.0 A30, Hall 9.2 D34 • www.gewiss.com
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DIALux mobile app DIAL The new DIALux mobile app makes it possible to design and plan lighting directly on site in interior spaces. In the latest version of the DIALux evo 8.0 lighting design software there are yet again many new features, which will simplify the designer’s work and speed up the workflow. Hall 3.0 A80, Hall 9.1 D66, Galleria.1 B21 • www.dial.de
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Mondo Feb 2017 full page.indd 1
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A look at some new product releases from those not able to make it to Light+Building 2018.
Synthesis Acolyte The Synthesis LED Linear is a modular based LED fixture that is easy as ABC to configure. Choose your beam angle and tailor this fixture to your space and lighting needs in minutes. Multiple direct and indirect beam angles range from ten to 120 degrees. Symmetrical and asymmetrical lenses make the Synthesis LED Linear extremely versatile. It’s also efficient and delivers up to 116 lumens per watt. Square and rounded profiles are available with a combined power and support cable. The Synthesis LED Linear is available in black, silver, white and gold standard finishes. Custom powder coat and anodised finishes available upon request. www.acolyteled.com
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Caliber Wall unonovesette Caliber Wall is an extremely efficient compact LED wall-light recessed wall or in-ground drive-over, designed with an angled perspective of 30 degrees for optical excellence and engineered for complete resilience. Caliber Wall features the unonovesette Smart Shield system, complete with an integrated constant current driver, which allows the luminaire to be powered in parallel with a 12Vdc up to 24Vdc constant voltage power supply. www.unonovesette.it
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Aspen Hacel Designed and manufactured in the UK by Hacel, the new stylish and sculpted Aspen range of prismatic LED pendants offers excellent light distribution and performance. The range is available in a choice of lumen outputs delivering up to 8386 lumens with efficacies up to 135lm/W. Hosting a classic design with perfect proportions, the Aspen is a versatile solution for a range of applications. www.hacel.co.uk
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iP Stealth illumination Physics The Stealth direct view luminaire was created to be almost invisible in daylight against a dark façade, where a diffused LED tube would have looked discordant. The neutrally filtered clear prismatic lens and black body and internal surfaces mean that ‘iP Stealth’ disappears when not illuminated. The clear lens increases the light output compared to a diffused lens so the energy used can be reduced. The unique section shape is customisable to mimic the form of the building. www.illuminationphysics.com
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LED Lightline ADO Lights The LED Lightline provides luminous lines when darkness falls. Sometimes an eye-catcher, at other times showing the way, it accentuates entrance areas or emphasises architectural contours. Lightlines can be integrated in façades and floor spaces – they are always an optical highlight. Ideal for public spaces, façades and entrance areas, it is available in straight or curved versions. It is safe to walk or drive in for vehicles with air-filled tires, and can be implemented in variable applications from user-friendly small applications to building automatism systems. www.ado-lights.com
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Wall Director KIM Lighting The new Wall Director from KIM Lighting is the first wall pack LED with a -5 to +10-degree lockable tilt adjustment. The lower housing rotates against the mounting arm housing, providing precise adjustments without significantly changing aesthetics. The standard clear lens provides up to 17,000 delivered lumens at an efficacy range of 95 to 145lm/W, immediately establishing the Wall Director a spec-grade, market leader for performance and output. www.hubbell.com/kimlighting
Always Light David Morgan casts his eye over the Lif system from Selux: a comprehensive urban lighting system based on a minimal pole design.
S
elux Lighting, originally known as Semperlux, Latin for ‘always light’, was started by
Hermann Bansbach in Berlin in 1948, when the city still lay in ruins with hardly any electricity – or light.
Hermann Bansbach brought light into this dark time by brightening the Berliners’ buildings
with his simple, affordable battery charger. The Selux brand name replaced Semperlux in the 1980s and a craftman’s shop in Berlin
turned into a global company with 553 employees in Europe, North
America, and Australia. Today the company generates more than 80% of its revenues outside Germany.
Selux has produced exterior amenity and street lighting since the
1960s and has lit major cities around the world. The Lif system is one of the latest amenity lighting ranges to be added to the Selux range
and was launched at Light+Building in 2016. Lif is a comprehensive urban lighting system based on a minimal 180mm diameter pole
design. As many elements of the system as possible are designed to fit within this diameter. These include a variety of LED luminaires, CCTV cameras, Wi-Fi hotspot and loudspeaker modules, and this
provides an integrated and elegant appearance that could reduce the visual clutter of many city centres. The only elements that extend beyond the pole diameter are signage, phone charging points, emergency phones and information points.
The LED lighting elements of the Lif system include pole top
luminaires for general lighting, façade lighting arrays, directional
projectors and diffuse rings of light available in various colours. The
luminaires and other system elements can be stacked on top of each
other to provide the precise combination of outputs and distributions required for the particular location in an urban space.
The lighting and other modules are mounted in cylindrical housings available in four different heights, which can be independently rotated to aim the light output from the projectors and façade
lighting in the correct direction. The smallest housing is 250mm
high and large enough for the twin projector module with the largest
housing being 1.5 metres to accommodate up to three façade lighting arrays.
Within each LED luminaire type there are multiple options. The façade lighting luminaires are available in horizontal or vertical beam types with ten distributions and two colour temperature options of 3,000k and 4,000k. The design detail and construction of the 500mm long
façade lighting luminaires is particularly well executed. Twelve high David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk
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power LEDs with TIR optics are aimed sideways towards individual
scoop shaped faceted reflectors that direct the light into the correct beam pattern and direction for the various distributions. For each
distribution type the reflectors are positioned and aimed in different configurations. The front glass is bonded to the die-cast enclosure
DAVID MORGAN
with an attractive screen-printed pattern to hide the bond line.
The Lif system is a very well engineered and elegant system that
individual sub-assemblies including an LED ring, heat sink, moulded
amenity lighting task.
The post top lighting element is also beautifully detailed with
prismatic lens and highly engineered facetted, vacuum metalised,
moulded reflector. Two or four sub-assemblies comprise each post top element with either symmetrical or asymmetric distributions.
The twin spot projectors incorporate hybrid optics that combine a
facetted-moulded lens with a metalised reflector coating to produce a narrow beam distribution from a shallow component. Two beam
angles are available and can be combined in the same twin projector
module. The front glasses are again bonded to the die-cast heat sink housing.
The final luminaire type is the diffuser ring. This can be provided in any fixed colour for zoning or as part of a wayfinding scheme.
These can be located either at the top of the pole under the top cap
or between any of the other elements in the stack. Dimming for all luminaires is via DALI.
can be configured in multiple ways to meet almost any city centre It is understood that the design and development was all undertaken in house over an eighteen-month period by the Selux design and engineering team.
The visual logic of the systemâ&#x20AC;&#x2122;s design is minimal and the detailing is clean and very well executed with high-quality components.
My only concern about the design is that the projectors and façade lighting luminaire are all sealed for life and would not be able to
be maintained on site at the end of their life or in case of any LED failures. However, bonding the glass directly to the casting does
give a very effective seal and it may be that these luminaires can be reworked in the Selux factories if necessary.
This new system is an interesting, elegant and practical addition to the Selux amenity lighting range. www.selux.com
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PROJECTS
EXPO DIARY
Event Diary Industry events where youâ&#x20AC;&#x2122;ll find arc in the months ahead EXPO LIGHTING AMERICA 27 February - 1 March Mexico City, Mexico
INTERLUMI 11-13 July Panama City, Panama
IALD ENLIGHTEN AMERICAS 11-13 October Seattle, USA
www.expolightingamerica.com
www.inter-lumi.com
www.iald.org
LIGHT + BUILDING 18-23 March Frankfurt, Germany
DARC AWARDS / ARCHITECTURAL 13 September London, UK
PLDC 25-27 October Singapore
www.light-building.messefrankfurt.com
www.darcawards.com/architectural
www.pld-c.com
LIGHTFAIR INTERNATIONAL 6-10 May Chicago, USA
DARC ROOM 19-20 September London, UK
HONG KONG INTL LIGHTING FAIR 27-30 October Hong Kong, China
www.lightfair.com
www.darcroom.com
www.hktdc.com/fair/hklightingfairae-en
DARC AWARDS / DECORATIVE 31 May London, UK
LIGHT MIDDLE EAST 23-25 September Dubai, UAE
IALD ENLIGHTEN EUROPE 7-9 November Barcelona, Spain
www.darcawards.com/decorative
www.lightme.net
www.iald.org
GILE 9-12 June Guangzhou, China
TRENDS IN LIGHTING 25-27 September Bregenz, Austria
ILLUMINOTRONICA 29 November - 1 December Bologna, Italy
www.guangzhou-international-lighting-
www.trends.lighting
www.illuminotronica.it
exhibition.hk.messefrankfurt.com
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LED Pixel Mapping â&#x20AC;&#x201C; Refined And Redefined.
The leading international magazine for lighting in architecture
Subscribers benefit from: - Reviews of the most exciting projects in the world - In-depth profiles of leading figures from the lighting design and architecture profession - Special features on stand-out products and collaborations - Coverage of international exhibitions and conferences - Bonus subscription to International Lighting Design Survey
www.arc-magazine.com/subscribe/
ADVERTISERS INDEX 3F-filippi..................................................................... 1 Acclaim.................................................................. 189 Acolyte................................................................... 105 ADO Lights............................................................ 227 AGC........................................................................ 247 Alto..................................................................... 27, 31 Anolis...................................................................... 8-9 Applelec................................................................. 201 Arkos........................................................................ 41 Artemide................................................................. 97 Astro...................................................................... 165 Atelje Lyktan........................................................... 81 Barrisol.................................................................... 77 Bega....................................................................... 163 Bilton..................................................................... 239 Bridgelux................................................................... 3 Cariboni................................................................... 91 Chromateq............................................................ 215 Citizen Electronics.................................................. 59 Clay Paky................................................................. 17 Climar.................................................................... 103 CLS........................................................................... 12 darc awards........................................................... 6-7 David Morgan Associates.................................... 249 Dial......................................................................... 215 dpa lighting........................................................... 257 Electron................................................................. 255 Erco.......................................................................... 39 ES-Systems............................................................ 143 Fluvia....................................................................... 53 Forge Europa........................................................ 231 Forma...................................................................... 33 Fuhua Electronic ................................................... 16 Furukawa.............................................................. 229
Glamox.................................................................... 47 Griven...................................................................... 27 Grupo MCI............................................................. 227 Grupo Prilux......................................................... 221 Guangzhou International Lighting Exhibition............ 186 GVA........................................................................ 211 Hacel....................................................................... 4-5 Heper..................................................................... 259 Huda........................................................................ 23 IALD....................................................................... 198 illumination Physics............................................. 171 Imperial................................................................. 195 Instrument Systems............................................. 217 InterLumi.............................................................. 192 Isometrix............................................................... 257 Khatod..................................................................... 24 KKDC........................................................................ 45 Koizumi................................................................. 241 L&L Luce&Light...................................................... 10 Lamp 83................................................................ 185 Lamp Lighting......................................................... 51 LED Linear............................................................. 260 LED Luks................................................................ 208 Ledia........................................................................ 22 LediL........................................................................ 19 Lightfair International......................................... 232 Lightgraphix.......................................................... 139 Ligman..................................................................... 49 Linea Light Group................................................ 157 Lival.......................................................................... 25 Luminus.................................................................. 21 Luxonic.................................................................. 159 Madrix................................................................... 255 MBLD..................................................................... 257
MBN......................................................................... 20 Meteor................................................................... 205 Molto Luce.............................................................. 15 Neonlite................................................................. 175 Nexo Luce............................................................. 155 Nicolaudie............................................................... 13 Nordic Light.......................................................... 101 OLEDWorks........................................................... 217 P.U.K...................................................................... 179 Panzeri.................................................................. 121 Prolicht.................................................................... 55 Recolight............................................................... 202 Reggiani................................................................. 109 Remote Controlled Lighting................................ 131 Rise........................................................................ 229 Rising Dragon Technology.................................... 14 Roxo....................................................................... 213 Sagitario.................................................................... 2 Seoul Semiconductor.......................................... 235 Soraa....................................................................... 37 Stanley................................................................... 127 StrongLED............................................................... 18 Studio Due............................................................ 251 Teknolight............................................................... 66 Tokistar................................................................. 225 Triolight................................................................. 245 Tryka...................................................................... 117 Unilamp................................................................... 11 Unonovestte......................................................... 251 Uozo Lighting........................................................ 243 Vexica.................................................................... 237 Wibre..................................................................... 181 Xicato....................................................................... 89 Zumtobel................................................................. 85
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK arc (ISSN No: 2516-1504, 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
dpa lighting consultants has the following positions for suitably talented candidates Senior Lighting Designer - London and Dubai Studio We require a creative and technically knowledgeable Senior Lighting Designer with fully rounded lighting design experience and skills to join our London and Dubai teams. Excellent written and spoken English is essential. We would expect candidates to have a wide portfolio of work including hospitality projects (interior and exterior). IT skills must include Microsoft Office, AutoCAD, InDesign, Photoshop, DIALux and are a requirement for this post. Knowledge of BIM/Revit would be beneficial but not essential. Duties and responsibilities would include, but not limited to, working within a team environment to produce concept and detailed design packages, including AutoCAD plans and design details, specifications and schedules, build mock-ups, prepare sketch design proposals and liaise with architects, interior designers, and equipment suppliers. Attend design and site meetings in the UK and overseas. Supervise the work of lighting designers within the studio and contribute creatively and technically to projects including research where appropriate. Only applicants with professional independent lighting design experience will be considered. The candidate must be able to present a portfolio of work that demonstrates both creative/technical knowledge and skills associated to lighting design. Salary: ÂŁ32,500.00 - ÂŁ44,000.00 / per annum depending on experience. Remuneration will be commensurate with experience and includes bonus opportunities. The Dubai position enjoys a tax free environment subject to personal taxation circumstances. For further details about dpa, please refer to our website: www.dpalighting.com. Closing date for applications: 30th March 2018.
Lighting Designer - Oxfordshire Studio We are currently looking for a Designer to join our Oxfordshire Studio. The role will involve being part of a design team and providing support in the production of concept presentations, layout drawings and details, specifications etc. with the opportunity to progress within the Practice. Applicants should have excellent AutoCAD and Photoshop skills. An understanding of InDesign, Visualisation programmes and other lighting related packages such as DIALux, and BIM/Revit would also be advantageous but not essential. Excellent written and spoken English is essential. Please note that our Oxfordshire Studio is in the rural hamlet of Clifton, therefore candidates would need a car to travel to the office as there is no public transport available. Remuneration will be commensurate with experience and includes bonus opportunities. For further details about dpa, please refer to our website: www.dpalighting.com. Closing date for applications: 30th March 2018. Please e-mail your application letter and CV along with a portfolio of examples of completed projects where you have had a significant contribution, to Elizabeth Grundy eg@dpalighting.com. Please clearly state on your covering email which studio you are applying for.
JUNIOR LIGHTING DESIGNER ASSISTANT LIGHTING DESIGNER & INTERMEDIATE LIGHTING DESIGNER MBLD are expanding the London Studio, and as part of this expansion we are looking for a number of new creative designers to join the team on projects locally and globally. The diversity and range of projects is extensive. You will be working with highly experienced designers, and a company that has been pioneering design for over 30 years. MBLD has a track record of innovation, excellence, and quality. You will be working on many hospitality and corporate collaborations all from the MBLD new Studio base in Shoreditch. We need an Assistant Designer and an Intermediate Designer with degree qualifications. Salary is depending on ability and experience. Please send your cover letter, cv and portfolio to: Jill Farrow jill@mbld.co.uk 35-47 Bethnal Green Road London E1 6LA T: +44 (0) 20 7729 5633 W: www.mbld.co.uk
Based in Central London, we are an award winning architectural lighting design consultancy and are seeking a creative and enthusiastic individual to join our talented and experienced team. Our global portfolio includes all sectors of lighting design including Hospitality, Food & Beverage, Retail, Residential, Exterior, Commercial, one-off Events and Exhibitions. Dealing with projects from conception to completion, you will learn through working alongside Senior experienced lighting designers on complex projects. This is an exciting opportunity that offers real career development for candidates with some experience in lighting or lighting related fields. Candidates should be proficient in; AutoCAD, Adobe and Microsoft Office and should be able to demonstrate excellent visualisation skills including hand sketching (2D and 3D) and Photoshop renderings. A willingness to learn, pro-activeness and good communication skills are essential. International travel will be required with a competitive salary, plus bonus, and generous benefit package are offered. To join our dynamic multi-national team please send your CV and work samples to: ltg@isometrix.co.uk or 8 Glasshouse Yard, London, EC1A 4JN, UK www.isometrix.co.uk
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#02 ÅF Lighting
Curated by
“Live hard, die old, leave a beautiful corpse.” Kai Piippo What: Experience the extremes of arctic light. Where: The small Swedish village of Abisko, 200km north of the Arctic circle, has become a hotspot for experiencing natural light phenomena like the polar day (midnight sun), the polar night and the northern lights of World Records. How: Between the end of May and mid-July, the sun never sets - a phenomenon called the polar day. In December, on the other hand, the sun stays under the horizon for three consecutive weeks with only two gloomy hours of light during the day. This is called the polar night. Why: In Abisko, everything is pushed to the extreme. In summer, you get so much energy from the sunlight that every cell in your body tells you to stay awake. You tend to sleep no more than four hours a day. In winter, it’s the opposite. With no daylight, your body needs at least ten hours of sleep. To personally experience how incredibly dependent on light our bodies are to function properly is life changing and really brings home the true importance of light.
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www.afconsult.com/lighting
VarioLED™ Flex VENUS True Color Dot free encapsulated 3D bendable LED design light • Optimum rendition of the LED spectrum (no color shift) – True Color • 3D bendable with a bending radius of 15 cm (5.9") • Optimal fixture to fixture overlap – no light gap • Flexibility combined with high durability: IP67 protected against water, salt water and UV radiation by an opal polyurethane encapsulation
Incheon International Airport, South Korea. Lighting design: ALTO Lighting, South Korea Customer: ALTO Lighting & ALTEK Technologies, South Korea
Come and be amazed!
www.led-linear.com