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103 APR/MAY 2018


Barbara Balestreri creates theatrical lighting in Dolce & Gabbana, Tokyo




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Cleveland House – Bath Anolis ArcLineTM Outdoor 20MC RGBNW non-optical linear luminaires were used above the public footpath the Grade Listed tunnel. The chosen luminaires had to be sympathetic to the tunnels heritage which is why Enlightened Lighting were the designers and installer, selected the ArcLine range for their low profile, non-intrusive footprint and performance that would not only make the tunnel safer but enhance the tunnels atmosphere.

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120 Victor Palacio During her trip to Mexico for ELA, Sarah Cullen sat down for a chat with former IALD President Victor Palacio.


APR/MAY 2018 022 024 026 028 034 042 044 046 130 190 194

Editorial Content Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source Stories IALD Column Event Diary Bucket List

048 dpa lighting consultants As the firm celebrates its 60th anniversary, we take a look back at some of the highlights from dpa lighting consultants’ extensive portfolio.

132 iLight Marina Bay The sixth edition of Singapore’s sustainable light art festival recently took place, with participation from artists from all over the world.

134 e-Luminate Cambridge The e-Luminate light festival transformed the historic streets of Cambridge this winter, lighting up some of its most iconic buildings.

136 Light+Building review The premier lighting exhibition came and went last month. We’ve put together an extensive review of Light+Building, looking back at some of the main talking points from the Frankfurt show.

186 Expo Lighting America 2018 International visitors flocked to Mexico City this February for the variety of workshops, lectures and networking opportunities on offer at Expo Lighting America.

188 The Perfect Light Citizen, with the help of Light Collective, has launched a competition to win a trip to Japan as part of their quest for the Perfect Light.


Smokestack Tower, Spartanburg SC, USA

Navy Pier, Chicago IL, USA - Sahar Coston Hardy Photography



Power & Light Building, Kansas City MO, USA - Jonathan Tasler Photography


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076 Dolce & Gabbana, Japan Italian designers Barbara Balestreri Lighting Design brought a theatrical quality to the flagship Dolce & Gabbana store in Aoyama, Tokyo.


APR/MAY 2018

064 Retail Lighting Neil Knowles, Director of Elektra Lighting Design, questions the motives behind lighting schemes for shopping malls - an often overlooked aspect of retail lighting.

066 ASICS, UK into Lighting has recently completed a stunning new lighting scheme for the sporting retailer’s new flagship location on Regent Street.

086 L’Occitane, UK Lighting designers at Nulty helped to create a luxurious retail experience for L’Occitane at its new London location, emphasising the brand’s natural aesthetic.

095 The Wedding Gallery, UK The former Holy Trinity Church at One Marylebone, London, has been transformed into a picture perfect wedding retailer and venue, with a beautiful lighting scheme designed by ErosPhos.

100 Retail Lighting case studies A selection of stunning retail lighting projects from around the world, featuring work from the likes of Soraa, Erco, Linea Light Group and Zumtobel.



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Front cover: Dolce & Gabbana, Tokyo Photography: Studio Curiosity

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

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

Subscriptions Moses Naeem

Production David Bell Mel Robinson Zoe Willcox

Chairman Damian Walsh

Finance Director Amanda Giles

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

Breakthrough! The technology on show at this year’s Light+Building will surely be viewed as a game changer for years to come… When heading to Light+Building most years, the feeling is often one of trepidation mixed with excitement. For too many years, and in

2016 in particular, I have come away thinking that the technology on show has failed to live up to the hype with a lack of true innovation on display. The mass adoption of LEDs has inevitably led to a ‘me too’ race to achieve high lumen levels and a new generation of

downlighters fitted with LED modules became the norm. There was no such issue this year. I came away from the exhibition

genuinely excited about the future of the lighting industry and the

technological advancements that will develop over the next few years (and you can see our 36-page report from p.136).

Bluetooth mesh, miniaturisation, liquid crystal beams, nano optics, laser light engines, ultra high CRI, real-time data, co-creation, IoT

ready, enhanced human centric lighting, LiFi... these were just some

of the buzz words flying around Frankfurt. And that’s before you took in the proposed name change of Philips Lighting to Signify!

It was during a Philips debate that I was chairing about IOT real-time data co-creation, that I realised how interesting all of this is going

to be. Here I was discussing how lighting fits in with the Internet of

Things with a lighting designer (the President of the IALD, no less), an integration designer at Arup, a product designer at Philips and, most interestingly, an interaction designer. The discussion was

fascinating (a precis of the debate can be found on p.170 and there’s

a video on YouTube). Whilst fears remain about ownership of lighting schemes, the level of excitement in the room about the opportunities this technology afforded was palpable. This can be translated to all the technologies listed above. It’s time to get creative.

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* In the next couple of weeks we will be launching 2018’s darc

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

and darc room, our two-day lighting exhibition in the heart of

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

awards / architectural, which this year will take place in December, London’s Shoreditch design district, as part of London Design Festival. Look out for details hitting your inbox soon.

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


Paul James Editor



Headlines Philips Lighting to change name to Signify (Netherlands) – Philips Lighting will change its name to Signify, while still remaining under the Philips brand.

Thorn celebrates 90th anniversary (UK) – The lighting manufacturer celebrated the milestone anniversary in March 2018.

Registration open for 9° LEDforum (Brazil) – The ninth LEDforum, held in São Paulo on August 23-24, brings together lighting professionals from Brazil and around the world for an upto-date industry outlook.

Osram and Nichia to expand IP co-operation

Inter-lux to acquire Whitegoods as Linea Light invests (USA) – US supplier to acquire all assets and IP for the integrated lighting brand from Whitegoods LLC, opening UK production facility and London design studio as Linea Light Group invests in Inter-lux. Read more on

(Germany) – Osram and Nichia will enter negotiations of a cross license covering around 7000 new patent applications.

Lightly Technologies offer investment opportunity amid expansion plans (Ireland) – As the company plans to expand into Europe, Lightly Technologies has launched an equity crowdfunding campaign looking for investors.

Rogier van der Heide to curate Trends in Lighting 2018 (Austria) – The 2018 edition of Trends in Lighting will be curated by Rogier van der Heide, former Vice President and Chief Design Officer of Philips Lighting and Chief Design & Marketing Officer of Zumtobel.

Flos appoints Barbara Corti as Head of International Marketing (Italy) – Corti moves from her role as Chief Digital Officer to take on the new position as Head of International Marketing.

Nedap and Osram join forces

Job Smeets to host darc awards / decorative (UK) – arc’s sister magazine darc has announced that world renowned designer Job Smeets of Belgium & Netherlands based Studio Job, will be guest host for this year’s darc awards / decorative taking place at the iconic London nightclub Fabric on 31 May. Read more on


(Germany) – A new partnership between Nedap and Osram will see the two firms further emphasise the message of connected lighting.

Pharos connects with SixEye (UK) – Pharos Controls becomes SixEye’s first partner, while Bas Hoksbergen joins as Business Development Manager.

Licht, mehr Licht! Nantes, France “Licht, mehr Licht!”, or “Light, more Light!” in English, were Goethe’s dying words; a mysterious utterance that can be understood as the mystical final pronouncement of the great author and scientific thinker, who developed his own theories on optics. Goethe’s wide-ranging creativity reflected the interplay of science, art, religion and philosophy – all fields in which light, both physical and symbolic, plays a key role. His dying call for more light similarly echoes near-death experiences, whose survivors describe a “tunnel of light” opening up beyond the shadows. Using these accounts as inspiration, French visual artist Guillaume Marmin created Licht, mehr Licht!, an immersive installation that paid tribute to Goethe while exploring the connections between light, sound and space. In developing this installation, Marmin sought to reach beyond the frontality of his previous work, while still working on the relationship between materialised light, sound and space. Working with composers Philippe Gordiani and Eve Risser, Marmin’s installation, presented at Scopitone Festival in Nantes, France, comprised of a dark, fifteen-metre long corridor punctuated by beams of light. The light was generated by 125 purpose-built


LED micro-projectors developed by Marmin. Dubbed Jayce, the projectors emit an ultra narrow beam of less than one degree at 2,600lm. These lights sketch out hypnotic geometric shapes, transforming the space into a living being. “It became clear during the testing phase that video projection was too energy-intensive if several sources were to be used, while lasers were too inflexible in terms of aesthetics and safety standards,” said Marmin. “I drew inspiration from the camera obscuras of antiquity to come up with using a high-intensity LED micro-projector to make beams of light converge in a single ray.” During Licht, mehr Licht! visitors were able to explore the corridor themselves, becoming key features of the work. Their kinetic sensations were intensified by a twenty-point sound system that created the conditions for an in-depth exploration of the spatial dynamic. “The synthetic relationship between light and sound underlines the impression of speed, and stretches and shrinks time at will,” said Marmin. “This is a chaotic universe shot through with flashes of light and bursts of sound, but one rich in potential for harmonious order.”


Pic: © Guillaume Marmin



Funan Singapore Funan is an experiential playground for the senses, offering first-to-market technologies and retail concepts to deliver a dynamic array of learning and discovery experiences. As a new paradigm for living, working and playing in Singapore’s city centre, Funan offers a synergistic combination of retail, office and co-living apartment components that are designed to appeal to tech and socially-savvy consumers pursuing a quality of life in a socially-conscious and creative environment. Truly mixed-use, this is a high performing commercial project that includes vertically connected retail, food and beverage establishments, serviced residences, creative office, cinemas, urban farm and rooftop public sports grounds. Located at the heart of Singapore’s Civic & Cultural District, Funan is owned by CapitaLand Mall Trust and designed by Woods Bagot. The lighting concept by Nipek, a Singaporebased lighting design collective, plays an important role in achieving the project’s vision to be the mall of the future, by fully maximising the potential of the latest digital lighting technologies. The lighting proposals include ever-changing dynamic internal


lighting to respond to the condition of daylight during day, an array of interactive kinetic light blades on an external feature wall designed in collaboration with Annolab, interactive bicycle path lighting and interactive projection in the atrium. The building will glow at night with the fully integrated façade lighting schemes. The perforated façade panels are backlit with the intensity of light gradually increasing towards the building entrances to pull visitors into the building. The most notable feature of the lighting design in this project is the Kinetic Light Wall, featuring more than 1,200 moving light blades, which are individually controlled via DMX. The kinetic light blade is internally illuminated with colour changing LEDs and constantly changes its rotating angle by reacting to the hue and intensity of the light. The kinetic light wall will constantly change its shape, colour and brightness by responding to the traffic and noise of the surroundings. It is an attempt to create a kinetic architectural skin to interact and engage with people and the surrounding environment.

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Innnovations Inspired by Great Designers 2008 Xicato’s Corrected Cold Phosphor Technology®, still in XCA, XTM and XIM today, is the first and still only way to guarantee 1x2 SDCM initial color consistency and 3 SDCM color stability over time in a single source 2010 Xicato Artist Series® is the first LED light source to provide color quality comparable to incandescent 2013 Xicato Vibant Series™ is the first formula to bring out the brilliance of bright colors for retail applications 2014 Xicato Intelligent Module (XIM) is the first light source to integrate a flicker-free, 0.1% dimming driver 2015 Xicato Beauty Series is the first light source to enhance the subtle beauty of skin tones 2016 XIM Gen4 is the first light source to integrate Bluetooth® Low Energy control using XIMtroller and Xicato Control Panel software and EnOcean switches, OEM programmable using the Xcato Configuration Tool (XCT) 2017 Xicato Designer Series strikes a beautiful compromise between color quality and efficacy

Xicato deploys Xicato GalaXi™, a full range of Bluetooth mesh control devices and software, including XIM Gen4, Xicato Intelligent Gateway (XIG), Driver (XID), and Sensor (XIS), in many prestigious installations worldwide

2018 Xicato Linear Tape is the first tape solution good enough to be called Artist Series

Xicato Xtouch software for Android provides programmable control of GalaXi lighting nodes

Xicato Intelligent Gateway API enables several vendors to create software that Works with Xicato GalaXi

Xicato GalaXi Card (XGC) enables several third party vendors to create devices Powered by Xicato GalaXi

Xicato announces Xswitches, which convert standard 0-10V and contact switches into programmable Bluetooth controllers

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Central Station, Sydney Australia The renewal of Australia’s biggest railway station is underway, as Laing O’Rourke has won the $955million contract for the Sydney Metro City & Southwest upgrade of Central Station, including Central Walk. The station is a key one within the $20billion Sydney Metro project, Australia’s biggest public transport infrastructure project. Jointly leading the multi-disciplinary, international design team are architects John McAslan + Partners and Woods Bagot, whose bold, can-do architecture will give the station an entirely new functional and experiential vibe. Key heritage qualities of the 112-year-old station will be emphasised, along with the introduction of new architecturally inspiring elements as part of a scheme that amplifies Central Station as a Sydney icon. Signalling a step-change in the station’s functional, urban and cultural contributions to the city, the project will trigger much higher levels of people-movement and energy, and wider civic and commercial renewal. UK architect John McAslan + Partners previously designed the regeneration of London’s King’s Cross Station, restoring the 170-year-old station and adding an innovative concourse to accommodate up to 150,000 passengers per day. Woods Bagot’s transformation of Sydney’s Wynyard Walk commuter link injected civic, cultural and


commercial energy by connecting Wynyard Station with Barangaroo and the waterfront. John McAslan, Executive Chairman of John McAslan + Partners, said: “We are delighted at being selected to work on such a prestigious transport initiative, and are looking forward to contributing to this landmark project. “The world’s leading cities, Sydney among them, are under extraordinary pressure in terms of the development of transport infrastructure in relation to urban fabric. With 96 percent of Sydney train services currently calling at Central Station, this interchange performs a critical function and impression of the city.” John Prentice, Woods Bagot Principal, described customer-centred thinking as one hallmark of the design process to “transform Sydney’s Central Station into a place like no other”. “Generous, distinctive and memorable, Central Station’s new underground concourse will eliminate the ‘travel trudge’. Our design approach has been to walk in the shoes of the customer every step of the way to create a truly great experience. “Finding your way around intuitively in uncluttered and beautifully finished spaces has been a major design focus. Customers will freely and effortlessly move through the space, know where they are at any time, and change easily between trains, buses, light rail and the new Sydney Metro.”

Design leader for Woods Bagot, Neil Hill, said the concept design is intended to be purposeful, functional, sculpturally rich and synthesised with the historic qualities of the original station. While delivery of the core scope of works has been a priority, the design also creates a series of “urban rooms” – civic scale spaces such as new triple height spaces as part of a broader urban and civic approach. “The craft and richness of stonework evident in the existing building are reinterpreted to form new textured sandstone walls into the new Metro Box, establishing the exceptionally crafted subterranean architecture firmly within the historic precinct and providing a civic quality to the new station works,” Hill said. The Central Station metro upgrade includes the main concourse, Central Walk (connecting the Sydney Metro platforms to Chalmers Street), northern concourse (interface between the new metro and the existing station) and the metro box platforms. Central Station is the backbone of Sydney’s public transport network, with more than 250,000 people passing through the station every day. That number is forecast to grow to 450,000 in the next two decades. The Central Walk concourse will better connect customers to trains, buses, light rail and the new Sydney Metro.

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Pic: Mir

Nordic Museum USA The Nordic Museum in Seattle, Washington has undergone a dramatic new redevelopment, courtesy of local architects Mithun. Originally opened to the public in 1980 in an old school building with minimal museum infrastructure, the Nordic Musuem and cultural centre was created to celebrate the five Nordic cultures of Denmark, Finland, Sweden, Iceland and Norway. The new facility, spanning 57,000sqft across three stories, will provide climate controlled collection and exhibition spaces, with expanded areas for teaching, events and exhibitions. The new site is organised around a linear ‘fjord’ that weaves together stories of homeland and the Nordic American experience. Bridges crossing this fjord intensify the experience of migration, connecting Nordic and Nordic American exhibits. A vertically striated zinc skin wraps the building exterior, while inside, the fjord walls are composed of faceted white planes evoking its glacial origins. White light is tucked into the troughs on either side of the space. One of the troughs is also a skylight, and electric lights are mainly located on this same side, to mimic daylight coming into the space. The lighting design concept for this project came from Shannon Glover of Stantec, selected by Mithun because of her experience working with other museums in the region, including the Museum of History and Industry in Seattle, and it is designed to “revolve around how light in the Nordic Region feels”. “We spent time during Schematic Design


researching photos, artwork and architecture of the region,” said Glover. “We discussed different colours of white, and the feeling of soft, indirect, shadowless light. “We talked about connections between interior and exterior spaces, and how architecture and lighting together can reinforce those connections. Aurora Borealis came up in the discussions as well, as a strong counterpoint to the feeling of shades of white and shadowlessness.” The lighting serves to highlight the dramatic architectural elements of the site, such as the Fjord and the Great Hall, capturing the Nordic spirit in the fixtures and lighting approach. “The glowing pendants in the Great Hall create a warm and magical environment, while the wash along the chiselled Fjord walls highlights their folding geometries,” said Richard Franko, Partner at Mithun. Glover underwent extensive field-testing with the museum, testing various exhibition lighting and track heads to optimise user friendly, economical, robust and well designed track systems, and designed both the architectural lighting and exhibit lighting for continuity, creating a seamless experience throughout the museum. Decorative lighting for the museum was provided by Louis Poulsen, helping to create a ‘living’ lighting museum of Scandinavian design, while fixtures and fittings from Lumenpulse, WAC, Amerlux, Hornet, Acuity Gotham and Incito were also used.


The new Vode® ZipThree® Suspended. It’s off the wall. LFI’s Most Innovative Product of 2017 now goes where it’s never been. Over a sprawling boardroom table, perhaps. Or above a slender hotel reception counter. Narrow beam optics (40°, 60°, 80°) let it adapt to any environment. 95mm (3.75”) x 9mm (0.354”) and billiard table flat in lengths up to 8 feet. Standard Vode granular dimming. Optional EdgeGlowTM for when you want to let it all hang out.

Our Time UK United Visual Artists (UVA) has collaborated with Christopher Bailey and fashion label Burberry to create Our Time, a multisensory immersive installation piece, comprised of a number of kinetic swinging pendulums that oscillate and move unpredictably, seemingly unhindered by the laws of nature and gravity. An idea constantly in motion, Our Time finds its origins in Momentum (2014); it was then developed into an ambitious commission for MONA in Tasmania (2016), before entering into Bailey’s final runway show for Burberry, the most ambitious iteration of the work to date. As well as collaborating on the reinterpretation of Our Time, Bailey asked UVA to design a new original piece for the show’s finale. UVA created Spectrum, an installation that used more than 3,000 laser diodes to create an architectural intervention of pure light. Within the piece, 21 pendulums trace light paths


across space, responding to sounds, echoes and prompts from within an intricately designed program. Characteristic of UVA’s output, meticulous planning and engineering simulates the idea of a natural order at work beyond our own bodily limits, creating a brief respite from reality. Our Time is both elementally powerful, encouraging a suspension of disbelief but also to shed light on complex issues around technology, time, speed and control. “Time is something we all understand conceptually, but is very difficult to put into words,” said Matt Clark, founder of UVA. “Our brains are literally being rewired so that time seems to pass faster. UVA sets the modest task of creating a work that does the opposite – it slows everything down and hopefully creates space for contemplation. “Whether it’s a fashion show, an art installation or a piece of architecture, most creative processes are working towards a point of time where it’s


considered as being finished. I like to explore the spaces between traditional disciplines, this project proposed a number of interesting dynamics between fashion, art, performance and architectural space.” The spirit and ideas behind Our Time found a perfect counterpart in Christopher Bailey and his final collection as Creative Director of Burberry. After seventeen years at the esteemed British couture brand, Bailey drew on past and present for his February 2018 runway show, entitled Time. Bailey reinvigorates historical motifs from Burberry’s past, blending them with modern styles to reflect the chaotic, turbulent nature of the present. Just as UVA’s Our Time modifies the natural rhythms and orders of the pendulum in space, this final collection collapsed past, present and future – encompassing prominent reissues from their archive through to Bailey’s final interpretation of the Burberry check: finished with rainbow print, a homage to LGBTQ+ communities worldwide. Installed within the historic, cavernous space of the Dimco Building, the atmospheric effect of Our Time encapsulates the kinetic frenzy of the catwalk: seventeen years collapsed into minutes.



Paddington Station UK BDP has recently completed a sensitive transformation of one of London’s busiest gateways. The reordered shops and restaurants at Paddington Station reveal the beauty of Brunel’s original design, using the latest frameless glass technology to create well-detailed transparent enclosures to house the extended retail space. This elegant piece of placemaking has a tenant mix that caters for the ‘grab and go’ right through to quality dining and liquid refreshment in a unique and memorable setting. Beautiful use of lighting and materials,


the design sets a new level of quality thinking for major railway stations. BDP’s Retail Architecture team was brought in to transform the space that had originally been designed as an extended ticket hall for airport check-in. Over time, the space had gradually become more retail-centric, which it hadn’t been designed for. Colin Ball, Lighting Director at BDP, worked on the project alongside Senior Designer Lora Kavela. He said: “The lighting after 20 years was due for a major overhaul, for the technology as well as change of purpose. “From inception the concept was for maximum transparency, whereby the leasing could be doubled without impacting the views of the historic finishes. Our lighting brief was to transform the blue-grey interior to a warm and comfortable place to increase dwell time and comfort.” The lighting design from BDP de-clutters the ceiling by removing the existing large pendants and replacing them with discreet downlights from Reggiani and DAL, also minimising the contrast between the daytime and nighttime experience. All the significant vertical surfaces have been washed with light, using wall washers from Ecosense and iGuzzini, to increase the overall sense of spatial brightness during the day and to enhance warm intimacy during the night. The timber feature wall has been highlighted with a warm radiance, increasing

its visibility from the station concourse. The listed vierendeel structure has been given more prominence, along with the glass bridges, which once again glow with crisp white light, courtesy of LED Linear’s VarioLED Flex Hydra. Ball continued: “By concentrating our focus on warmth and the inclusion of warmer materials, we were to dramatically reduce the lighting equipment on the high level structure, enabling better views to the roof. “We were able to unify areas through minimising contrast between floor levels by integrating various lumen outputs and optics within a single range of small identical fittings. This means that singular details of the accent to the wood, and the ‘inverted skylight’ within the glass bridges stand out as feature details. During the day, these blend with natural light imperceptibly to create the impression of daylight penetration down to ground level.” Following the renovation, a statement from Network rail said: “BDP’s multi-disciplinary team was regarded as crucial to the success of the job. They have worked hand in hand with the client, wider stakeholders and delivery team to ensure delivery on time and within budget.” Ball added: “We are really pleased with how the resonance of the light and the materials really makes this space shine out at all times. Even during the day the warmth of the wood shines out and transforms the entire space, which really helps with London weather.”

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The smallest motorized track spotlight on the market, mounted vertically or horizontally, with a cylindrical light head measuring only 40mm in diameter and 74mm in length. Featuring optics with a beam angle as narrow as 4°. Tiny yet versatile, the Moto-Zero Compasso 40 is ideal for applications in retail, museums, hospitality and residential - where size really does matter, and smaller is better. Motorized moveable light head (355° pan and 90° tilt) and dimmable light intensity, at the tap and slide of a finger on a smartphone or tablet screen, with the formalighting wireless app powered by


Poised UK Sculptor Andy Scott has created a stunning, elegant and visually powerful, galvanised steel leopard – Poised – on top of a 10-metre high steel column as the centrepiece of the newly developed, mixed-use Marischal Square urban quarter in central Aberdeen, Scotland. The work was commissioned by Muse Developments and Aviva Investors and was inspired by the City of Aberdeen’s ancient heraldic coat of arms, which features two leopards. The majestic beast is five metres high, with another five-metre reach for the tail hanging below. Weighing in at two tonnes, it is internally lit by eleven Anolis ArcSource Outdoor 4MC LED fixtures. The leopard’s lighting design – created to bring it alive after dark – was created by Scottish lighting and environmental design practice Atelier Ten, also responsible for lighting all the Marischal Square commercial, retail and leisure spaces for Muse Developments. For Atelier Ten’s Peter Kerr, the leopard lighting scheme started when Andy Scott sent him initial sketches of the piece, which gave a good sense of scale and shape. Once the leopard’s frame was completed they started making the first site visits together with Angus Cartwright from Glasgowbased Cartwright Lighting Associates, who supplied the Anolis fixtures and control system. Aberdeen is dark for much of the year due to its northern latitude, so creating a “year round 24-hour experience” was essential. Scott always intended the leopard to be internally lit – it is a technique he’s used before and he knew it would look fabulous combined with the right lighting fixtures. His knowledge and imagination, plus the lighting expertise of Kerr and Cartwright, pinpointed the perfect fixing positions for the ArcSource Outdoor 4MCs, which were chosen as the ideal light sources from numerous options trialled once the


Pics: Muse Developments

leopard’s skin was in place, both on site and at Scott’s workshop in Glasgow. Their small size, high quality output and lensing gave a smooth, refined spread of light that “beautifully illuminates the steel fragments without any hot-spots” confirmed Kerr. The challenges included getting the desired seamless, even coverage of light all over the leopard essential to capturing it’s potent implied movement, and reducing any potential spill and glare coming off the sculpture’s lighting which might affect or distract workers in the nearby offices with their extensive wall-to-ceiling windows. The Anolis fixtures are concealed in the hind legs, shoulders, head and top of the tail, while the ArcSource power supplies driving the lights are remotely fitted within the courtyard’s basement, with all cabling concealed in the column. In addition to the aesthetics, practical considerations for picking luminaires included longevity – with extremely tricky access once in position – and quality engineering. Anolis offers a long warranty, an advantage, as Kerr wanted a fixture that would theoretically last for at least a decade without needing to be changed. He also wanted a fixture with the ability to change colour. While the leopard’s’ signature lighting state is mixed to a ‘neutral’ white around 3500K, for events taking place in Marischal Square and special occasions, they wanted the potential and flexibility to be able to change the colour of the sculpture if needed, so the range of hues and shades of colour available was another parameter scrutinised during the lighting selection process. The leopard took over a year to complete and now installed, has already become a great local talking point and a tourist attraction in its own right. As anticipated, it is central to the plan for drawing people into this lively new area of the city, which is buzzing as a working and social community.

©2018 Soraa, Inc.


BLOK Shoreditch UK Following the success of BLOK’s first gym in a disused Victorian tram depot, hidden in the depths of London’s East End, interior designers Daytrip were approached to design the next venture for BLOK. This time the location would be at the foot of the new Norman Foster development, Principal Place, in the heart of Shoreditch. On first impression, the site was a raw shell of concrete and steel at the ground floor of a sleek towering office building, quite a contrast to the industrial appearance of BLOK Clapton. However, the aesthetic worked well with BLOK’s design-led references. Daytrip looked at galleries and art installation spaces rather than other gyms for inspiration. The austere concrete walls were left untouched, with new insertions apparent, in contrast to the finished aesthetic of Foster’s architecture. The unusual layout of multiple levels set over a single storey proposed an intriguing yet uncompromising space. Daytrip decided to work these levels into the gym experience, encouraging members to ascend to the highest point for the changing rooms and venture down gradually, with a studio on each tier. Daytrip selected materials with inherent industrial processes or patina; a combination of passivated and hot rolled steel clads the studio spaces and a poured concrete floor with glossy ‘liquid’ plaster creates fluid circulation routes.


The interiors of the studios are each tailored to suit their classes, for example, the calmness of a yoga class versus the high-octane ‘Box fit’ or ‘Blok party’. Their palettes utilise pale timber, tinted and etched mirrors, whilst integrated lighting and ventilation techniques help bring qualities of softness, natural warmth and reflectivity as needed. Behind the curtain glazing of the tower, the designers introduced a secondary layer of translucent fibreglass, which screens off the studios for privacy but still gives them natural light. By day this appears calm but in the evenings it takes on a new life as the lights and shadows created by the classes emanate from within. A high level of design detail is visible in every space. Great care has been taken with the changing rooms to provide a comfortable and luxurious experience, from the integration of grooming items to the offer of a steam station and USB charge points inside the lockers. On arrival, the cafe doubles as a gallery space. Its unusual proportions – being long, narrow and high – allow the walls to command an imposing display area. Members can enjoy protein shakes and fresh juices on bench seating facing inwards rather than outwards, and a large communal table recreates the neighbourhood atmosphere of BLOK Clapton for the busy streets of Shoreditch. Working along with Daytrip and the client team,

the lighting design concept was developed by There’s Light, and is led as a natural progression from the utilitarian ethos at the Clapton venue. Designers wanted to create a journey through the complex, beginning at the café, which makes use of discreet glass shades over tables and focused lighting to the artworks, promoting a welcoming, warm entrance to the space. There’s Light wished to retain the use of colour, but refined this concept in a more unconventional approach with a coloured shadow installation in the foyer, rather than the washes of colours seen at BLOK Clapton. Reaching the lobby, visitors are struck by the sculptural staircase and block forms, highlighted subtly with washes of light accenting the material combinations created by Daytrip. Lighting designers also brought graphic lighting into the corridor, with a unique gradient of cold cathodes mounted on the wall. Each studio has its own colour temperature designed to align with their purposes: warmer whites for lower intensity classes and cooler for higher. In addition, all lighting is fully dimmable. The façade lighting also reveals the interior activities and occupancy with a subtle gradient of white light emanating from each studio via in-ground light grazers and internal glow.

SYNTAX LIGHTING Independent architectural lighting design practice Syntax Lighting considers lighting to be an integral part of architecture and interior design, believing that attention to detail and coordination with the architectural design in all project stages is key to high quality lighting design.

Vicarage Gate House London, UK A carefully composed and highly detailed lighting scheme has evolved in conjunction with the architectural design development of this remarkable piece of new built housing architecture located in the heart of the conservation area of Kensington in London. Despite the constricted urban environment, the lighting concept is based on enhancing a sense of spaciousness, links between interiors and exterior

The Flower & Bar School London, UK The Flower Bar and School, an independent flower shop also offering floristry courses, is situated opposite Brompton Square, between Harrods and The Victoria & Albert Museum. Inspired by the shop interiors of the Victorian era, soft green, hand-painted timber wall panelling forms a backdrop for the explosion of colour of floral displays. The bespoke central teaching table and all counter tops are made from an exotic stone, beautifully patterned and worth displaying itself. Murano glass mirrors with incorporated decorative flower details complete an image evoking elegance, tradition and luxury.


A well-balanced lighting scheme combines the indirect ambient layer of light with accent display lighting, resulting in highlighting the product, whilst also enhancing the interior elements which sit side by side in perfect harmony. Delicate use of light creates the overall ambience of intimacy and comfort, a sense of pleasant familiar space in which the light illuminates, but does not impose. All lighting is dimmable and controlled via an automatic time-based central lighting control system, enabling flexibility in the use of space and catering for various daylight conditions.

and an experience of a continuous space flow. The eight-storey building offers a mix of thirteen duplex and lateral apartments, with concierge and complementing leisure facilities. The architects’ vision draws on both precedent and modernity with a contemporary interpretation of neighbouring Victorian buildings, whilst the south facing façade features full height windows maximising light and space. Duplexes are designed around generous light wells for visual interest and daylight access. This is supplemented by a lighting scheme where a sense of spaciousness and an improved perceived brightness are achieved by illumination of vertical surfaces and indirect lighting effects, an approach consistently applied throughout. Fully integrated exterior lighting solutions, promoting comfort and safety within controlled darkness, are a considerate response to the challenges of a sensitive location. All external lighting is concealed within bespoke architectural and landscape elements: handrail, door surround, stone copings, benches, planters, resulting in fixture free environment.


Villa Cape Yamu Phuket, Thailand This villa-style resort is situated at Cape Yamu, a private peninsula on the east coast of Phuket, Thailand. Originally envisioned primarily for private use, the project scale, complexity and the level of detail are comparable to an exclusive boutique hotel. The architectural design of the villa and surrounding pavilions emphasises the interconnection between the interior and exterior spaces. A number of external terraces, reflecting pools and landscape areas blend with the interior spaces that open up to magnificent views. Traditional architectural elements, such as high-pitched roofs, slatted screens and canopies, combined with the contemporary design and references to locally sourced materials such as timber, silk and gold, offered many possibilities for lighting integration to

support the architectural language and to enhance the quality of materials and interior design. Due to large glazed facade surfaces, the illuminated interiors of the buildings also form part of the external image at night. The project was designed to the highest specification. Warm colour temperature, its consistency and excellent colour rendering, ability to dim smoothly to very low levels and maximum glare control, were crucial to the scheme. The exterior and landscape schemes were developed with a particular care to minimise overall light levels, and to carefully control light distribution and glare, for maximum comfort and for minimal impact to the surrounding environment. As this is a resort, mood lighting and flexibility were essential, all controlled through a central lighting scene set system.

The Smallest Gallery in Soho London, UK The Smallest Gallery in Soho is a historic shopfront which faces onto Dean Street, in the heart of Soho. The aim of this intimate gallery is to display artwork that captures people’s attention on their journey through Soho and encourage them to stop, think and be inspired. The artists are being commissioned to create site specific curated art installations and displays are changing every two months. The ‘New Progress’ art installation aimed to emphasise the environmental impacts caused by our desire for cash crops such as coffee through a completely charred and blackened interior, with a pile of golden coffee beans at its centre. Viewers might think it’s a display selling luxury goods. Yet on closer inspection, they’ll see a much more detailed and thought provoking image. The art piece was illuminated to best effect using a minimal number of positioned spotlights of various intensities, with appropriate light beam angles and front accessories.

Syntax Lighting Syntax Lighting is an independent architectural lighting design practice run by Ana Stojadinovic based in London. Drawing on broad experience in architecture and understanding of light and design at all levels, Syntax Lighting has been consistent in providing well considered, meticulously detailed and thoroughly coordinated lighting schemes for all manner of high profile architectural projects and all over the world.



Lorenzo Maghnagi With formalighting celebrating it’s 50th anniversary this year, arc caught up with founder and president Lorenzo Maghnagi to find out about the company’s past, present and future. When was formalighting established and how did it come about? About 50 years ago in the UK, we joined forces with other Italian design industrialists to develop downlighters for the architectural lighting sector, promoting Italian design through our showroom in London. Later, I was inspired by emerging Lighting Designers and Architects originating from South-East Asia, and envisioned our focus on architectural lighting for the commercial project specifications market, and formalighting branched off to realise an international presence with the expansion of a Hong Kong office. The business soon evolved to manufacture its own range of Italian designed architectural lighting and the expansion of our European headquarters in Milan. How did formalighting look back then compared to now? This year marks formalighting’s 50th anniversary. We have progressed from an international multi-brand distributor of Italian architectural lighting in the UK , to designer, manufacturer and global distributor of our own range featuring over 120 product families in four collections (interior, exterior, motorised and now decorative). Our family business has grown to involve a new generation (including my daughters - a lighting consultant/PR specialist and a lawyer - and my son-in-law, a software engineer). The energy on our booth at Light+Building and the interest in our new products really made me appreciate how far formalighting has come and the recognition and reputable position it plays. The global scale of the company has also been a realisation of my dreams, especially the recent opening of our USA office. What was the big breakthrough in formalighting’s evolution? It’s been a combination of conscious decisions and relentless hard work. Our decision to be where we could control production, the prices and product design, by establishing our wholly owned European, state-of-the art manufacturing facility in China, has been significant in our evolution. It forced our continuous investment in manufacturing processes and technology, the component industry, machinery, factory processes and standards and electrical engineering innovations, to ensure long term quality and functions in our fixtures. In turn this enabled our understanding and vision for lighting trends, rising design, architectural trends and technology. formalighting’s Italy office furthered our exposure to talented designers and architects who have helped steer our image. We also benefited from the guidance and expertise of Architect Franco Mirenzi, who designed our booth at Light+Building. However, I feel like our ‘breakthrough’ is yet to come, as the recent decision to cross over to the US market, combined with our product engineering and compatibility with advanced market technologies, are just now coming into fruition. How important has your motorised technology been to your product portfolio and how did it come about? The motorised technology has raised our profile in the hospitality sector. The Motolux range, which we launched at L+B 2016, came about from our collaboration with a US engineer. Within two years formalighting’s engineers developed the Motolux range to include


over twelve product families and implemented innovative functions and mounting installations. We had the foresight to experiment with a range of technologies on the market, which led us to appreciate the benefits and applications of motorised lighting. We were amazed by the requests from visual merchandisers and lighting designers. The motorised lighting is not limited to architects and design needs anymore. It proves formalighting’s commitment to service and investment in R&D. We even took the motorised technology to a niche and developed a range for motorised jewellery and showcase lighting, which sparked a lot of interest at L+B 2018. You are incorporating new technologies into your products. How has this made your luminaires better? Synonymous with our commitment to service, these new technologies enable our luminaires to offer additional options to users, without requiring additional remote equipment or expensive set-up/installation costs. formalighting was first in the market to integrate the control of LensVector technology by the Casambi app (instead of another dedicated app), enabling users to adjust another feature, the beam angle, with a finger swipe of a touchscreen. Naturally it is an added benefit if the user can use the same interface to dim selected fixtures, move the fixtures, create scenes and timers. This is all in addition to our luminaires also incorporating the latest and most advanced LED technology with high density LEDs of CRI 93 or more and R9>60 offering perfect optics and interchangeable accessories. What did you launch at Light+Building? Product development is my passion so it was difficult to be selective. We presented eight new innovative product families in our Motolux range, of which many are the first in the market - for example, the Moto-Ola Pendant, a motorised disc-shaped light head that tilts vertically and also flips within its gimbal/disc remotely, so it can be used for direct and indirect light, adjusted by hand-held remote control or by our Casambi app. We also launched a collaboration with Italian designer, Maurizio Giuseppe Scutellà, the LineaVolo range, blending the line between architectural and decorative. Can you tell us any plans for the future? This next generation is our future. They have fresh ideas and plenty of energy, focused on growing the business by remaining fully committed to continuously invest in R&D, launch new designs and investigate packaging and material alternatives to reduce our carbon emissions. We believe that sensors together with IoT development, will become a key part in lighting management/data collection, so our plan is to continue to integrate new technologies and relevant softwares in our fixtures and systems as lighting having its own artificial intelligence, which is part of human needs and evolution, has become part of the world’s infrastructure. So we hope to continue opening offices worldwide to increase our global presence and to facilitate our product system offerings.



Dark Source Stories created by Kerem Asfuroglu



dpa lighting consultants was founded by Derek Phillips in 1958 as a combined architecture and lighting design firm. Now, 60 years later, the company is one of the largest lighting design practices in the world with over 6,000 projects under its belt. Here’s a snapshot to highlight their work through the years.

Row 1 ACTON, Fiona (Senior Designer); BARCAUSKAITE, Zyginta (Designer); BELFIELD, Nicholas (Associate); BOLT, Richard (Partner); BRENNAN, Douglas (Director); BUSBY, Adam (Senior Designer); CAMPBELL, Gary (Partner); CARLILE, Iain (Associate); Row 2 CLARKE, Ian (Associate); CURRY, Michael (Senior Associate); ENRIQUEZ, Randy (Designer); FISHER, Katie (Designer); GARRETT, Bryony (Personal Assistant); GIMIGLIANO, Tommaso (Associate); GRIST, Shayne (Associate); GRUNDY, Elizabeth (Communications Coordinator); Row 3 HANNAFORD, Barry (Partner); HARRIS, Stephanie (Senior Designer); HOGGETT, John (Finance); HOGGETT, Nick (Partner); JAMEEL, Azim (Intern); JONES, Hannah (Financial Administrator); KALECINSKI, Ingo (Senior Designer); KAREL KEEN, Ela (Senior Designer); Row 4 KAWABATA, Akihiko (Partner); KAWABATA, Naomi (Administrator); LACBAWAN, Jessebel (Administration Manager); LAMPAUG, Zyra (Designer); LEE, Chia-Hsuan (Designer); LEEDING, Tim (Senior Designer); LYKOU, Veronica (Designer); MARCOS, Javier (Designer); Row 5 MCNEIL, David (Director); MEDINA, Johanna (Senior Designer); MOORE, David (Associate); MORRIS, Tania (Designer); MOSKOFIDIS, Nikos (Associate); MUTCH, Amy (Administrator); NAKHAWA, Aijaz (Technical Design Manager); NICHOLLS, Rachael (Senior Designer); Row 6 ROBINSON, Kiah (Intern); ROGERS, Ashley (IT Manager-Designer); SANTIAGO, Louise Marie G. (Senior Designer); SHELLEY, Sue (Financial Administrator); SHETTY, Harshita (Designer); SIMPSON, Mike (Senior Designer); STAMATOPOULOS, Sotirios (Senior Designer); SULLIVAN, Declan (Designer); Row 7 SURENDRA, Deeksha (Senior Designer); SWEETMAN, Lee (Director); UY, Reynold (Designer); VOSS, Laura (Designer)



erek Phillips founded dpa in 1958 after

being influenced by Dennis Thornley, a qualified Architect, his friend and pilot

in the Royal Navy Fleet Air Arm in 1943 to study Architecture himself. When he had

the opportunity to either take an ‘educational release’ or a long term commission, he opted

for the ‘educational release’ and went to Liverpool University

to study Architecture. Phillips gained a First Class Honours in

Architecture at Liverpool and was then encouraged to apply for a Commonwealth Fund Fellowship which he was granted to

study Daylighting and Architecture at Massachusetts Institute

of Technology (MIT). Meetings with Frank Lloyd Wright and Le

Corbusier during his studies greatly influenced and inspired Phillips to think about light in architecture.

When returning from MIT in 1954 positions in architecture were

restricted, so Phillips took the opportunity to start work with the

lighting manufacturer, British Thompson Houston (BTH) Company, where he spent four years. Towards the end of his time with BTH

he was asked to design the lighting for the British Exhibition in the Tivoli Gardens, Copenhagen, but was restricted to only using BTH

products, which Phillips found unacceptable. He therefore set up his own practice, Derek Phillips Associates, in 1958.

During the early years of the practice, dpa won notable international projects such as The Mandarin Oriental Hotel, Hong Kong; the

external lighting of Westminster Abbey; the SS Oriana; the Esso Building; Victoria Street in London; the National Sports Centre

Bisham Abbey; and a UNESCO sponsored trip to Sri Lanka to advise on the lighting of their Ancient Monuments to mention just a few.

Nick Hoggett joined dpa in 1979 and, influenced by Phillips, focused his career on lighting design. During the 1980s the practice thrived

and opened an office in Hong Kong. Notable commissions included Durbar Court, London; Ismaili Centre, London; Liverpool Crown

Courts, Liverpool; redesigns of the Mandarin Oriental, Hong Kong; and Macau Ferry Terminal in Hong Kong.

Phillips retired in 1993 and the practice relocated to Oxfordshire

from Hertfordshire. Success continued with numerous international commissions, Barry Hannaford joined Nick Hoggett to set up a

London studio in 1996 and then moved to Dubai in 2005 to lead dpa’s Middle East office. Further studios were established in Japan in 2007 led by Akihiko Kawabata, and Edinburgh in 2016. Campbell Design

merged with dpa in 2007 and Gary Campbell became a Partner of the practice at the same time.

The practice has completed over 6,000 projects in 76 different

countries across the globe, and as well as remaining very proud of their history, dpa firmly concentrates on today and the future. Following lectures with the same title, dpa realised ‘Right

Light, Right Place, Right Time’, completely encompassing their

philosophical approach to lighting design and hence this statement has become synonymous with the practice.

The following pages feature ten projects that encapsulates dpa’s work over their 60 years.


SS Oriana 1960

* Pictures from original slides.

SS Oriana was the last of the Orient Steam Navigation Company’s ocean liners. She was built at Vickers-Armstrong’s, Barrow-in-Furness, Cumbria, in the UK and launched on 3 November 1959 by Princess Alexandra. Her maiden voyage was from Southampton to Sydney in December 1960, during this voyage the Oriana was the first Ocean liner to berth at the Fremantle Passenger Terminal. Originally resplendent with her owners’ traditional corn coloured hull, Oriana appeared as an Orient Line ship until 1966, when that company was fully absorbed into the P&O group. dpa was asked to coordinate the lighting design for the public areas by Sir Misha Black OBE, a British architect, designer and founder of Design Research Unit. This commission came about through a lecture Phillips gave on behalf of Concord Lighting, where when asked the best way to light a dining table he stated “by candle light”. Phillips’ idea of lighting a dining table by candle light was demolished by a lighting engineer who went on at length about costs and viability. Kenneth Bayes, a Partner at DRU, came up to Phillips at the end of the talk and asked if he would visit their office the next day, which resulted in the commission to act as lighting design coordinator for the Oriana. DRU were advising on the architects for the project which included themselves, Sir Hugh Casson, Brian O’Rourke and R.D. Russell. Suddenly dpa were working with some of the great names in design at that time. It was a great honour for Derek Philips to be asked to undertake this commission and one of the practice’s first major projects. The lighting was carefully designed in close collaboration with Sir Misha Black and reflected Phillips’ well-conceived philosophies on how lighting should be implemented into such projects. After 1966, the P&O white hulled Oriana was operated as a full time cruise ship in 1973 and was retired in 1986 whilst based in Sydney. The vessel was sold to become a floating hotel and tourist attraction first in Japan then in China. As a result of damage sustained from a severe storm whilst in the port of Dalian in 2004, SS Oriana was finally sold to local breakers in 2005.

PROJECT DETAILS Client: Orient Steam Navigation Company Architects: Sir Misha Black OBE, Design Research Unit, Sir Hugh Casson, Brian O’Rourke and R.D. Russell Lighting Design: dpa lighting consultants: Derek Phillips


“Right Light, Right Place, Right Time” ™

dpa lighting consultants

1958 - 2018




Formation of dpa lighting consultants by Derek Phillips FRIBA FCIBSE Honoury Fellow SLL MILE FIALD M.Arch B.Arch MCD in Hertfordshire






Lighting in Architectural Design, by Derek Phillips


Flooring, a Design Centre Publication


Lighting, a Design Centre Publication, by Derek Phillips


Planning Your Lighting, by Derek Phi




SS Oriana


Church and Chapels, Stonyhurst Coll


Carpenters Hall, City of London, Banqueting Room, UK


Stowe School Chapel, Buckinghamsh


Esso Building Victoria Street, London, UK designed by Sir Denys Lasdun


British Council Offices, Carlton House


Mandarin Oriental, Hong Kong


Liverpool Daily Post & Echo, UK


Westminster Abbey, London, UK


Samuel Montagu Banking Hall, UK


Showroom for Rotaflex Concord, City Road London, UK


Institution of Civil Engineers, Council


Hemel Hempstead Town Hall, Culpin Room and Balcony Areas, UK


Automobile Association Building, Bas


Alliance Building Society Headquarters Building, Hove, UK


Royal Assurance Building, Liverpool,


Vanessa Frye, Sloane Street, London, UK


Lloyds Bank, Leeds


National Sports Centre Bisham Abbe


65 Buckingham Gate, London, UK

1960: SS Oriana

1963: Mandarin Oriental, Hong Kong

1965: Westminster Abbey, London



1958: dpa lighting consultants established in Bovingdon, Hertfordshire


Nick Hoggett, Partner joins dpa

1981: Formation of dpa lighting consultants Hong Kong


Barry Hannaford, Partner joins dpa


dpa lighting consultants relocates from Hertfordshire to Oxfordshire


Richard Bolt, Partner joins dpa


Formation of dpa lighting consultants London


David McNeil, Director joins dpa


Formation of dpa lighting consultants Edinburgh


Gary Campbell, Partner joins dpa


Formation of dpa lighting consultants Dubai FZ LLC


Akihiko Kawabata, Partner joins dpa


Formation of dpa lighting consultants Japan


Douglas Brennan, Director joins dpa


Lee Sweetman, Director joins dpa


n, by Derek Phillips


British Airways Regent Street, London



Crown Courts, Snaresbrook, UK


Sheraton Hotel Dubai, UAE in association with Howard Brandston


Ancient Monuments of Sri Lanka, including Dambulla Caves, UNESCO

lege, UK

1981/83: Refurbishment of the Mandarin Oriental, Hong Kong

hire, UK


Cityplaza,Taikoo Shing, Hong Kong


Liverpool Crown Courts, Liverpool, UK


Academy of Performing Arts, Hong Kong


Tai Yau Building, Hong Kong

l Chamber, UK


Ismaili Centre, Kensington, UK

singstoke, UK


Hong Kong Shanghai Bank, Jakarta



Macau Ferry Terminal, Hong Kong


The Reform Club, London, UK


Durbar Court, Foreign and Commonwealth Office, London, UK

e Terrace, UK

ey, UK

1985: Ismaili Centre, London

1987: Durbar Court, London

2005: The National Assembly for Wales

Nick Hoggett, Partner

Barry Hannaford, Partner

Richard Bolt, Partner


David McNeil, Director





2000: Lighting Modern Buildings, by Derek

The Waldrum Lecture “City Lights” by Derek Phillips

1993: Lighting Design: An Introductory Guide for Professionals

2002: The Lit Environment, by Derek Philli

by Barry Hannaford and Carl Gardner

2004: Daylighting, Natural Light in Archite


Lighting Historic Buildings, by Derek Phillips

2007: Five Careers and Dog, (Autobiograp




Hasbro European Headquarters, Stockley Park, London, UK


Bodleian Library, Oxford, UK


The Locarno Suite, Foreign and Commonwealth Office, London, UK


Grand Hyatt Dubai, UAE


The Private Office of the Foreign Secretary, Foreign and Commonwealth Office, London, UK


Industry Club of Japan, Tokyo, Japan


Hilton London Heathrow Airport, Terminal 4, UK


Hilton Athens, Olympic Games Com


Permanent and ‘Temporary’ Illumination at Battersea Power Station, London, UK


The National Assembly for Wales, C


Palm Jumeirah Masterplan, Dubai, U


Heathrow Gateway London in collaboration with Peter Fink, UK


Arcapita Bank HQ, Al Manama, Bahr


University of Oxford, Radcliffe Camera Lower Reading Room, UK


Champalimaud Foundation, Lisbon,


Caernarfon Castle, Caernarfon, UK


New York University, Abu Dhabi, UA


Charterhouse School Memorial Chapel, Godalming, UK


Towner Art Gallery, Eastbourne, UK

2007: Arcapita Bank HQ, Bahrain

2007: Champalimaud Foundation, Lisbon

2012: Central Market, Abu Dhabi

Gary Campbell, Partner

Akihiko Kawabata, Partner

Douglas Brennan, Director

Lee Sweetman, Director

2008 - 2018 PROJECTS:

k Phillips


Prins Claus Bridge, Utrecht, The Netherlands



Capital Gate, Abu Dhabi, UAE

ecture, by Derek Phillips


Central Market, Abu Dhabi, UAE

phy) by Derek Phillips


Worth Abbey, Sussex, UK


Night of Heritage Light I - Blenheim Palace, Oxfordshire, UK


Chutney Mary, London, UK


Hilton Amsterdam Airport Schiphol, Amsterdam, The Netherlands


Lighting of Zephyr Chandelier at The Fairmont St Andrews, Scotland, UK


Corpus Christi Chapel, Oxford, UK

mmittee Hotel, Greece


Otemachi Park Building, Tokyo, Japan

Cardiff, UK



Tiffany Gallery, New-York Historical Society, New York, USA



Night of Heritage Light III - Radcliffe Camera, Oxford, UK



Four Seasons Hotel London at Ten Trinity Square, London, UK

, Portugal with Charles Correa


The Mandrake Hotel, London, UK



Hackney Town Hall, London, UK



The Founder’s Memorial - The Constellation, Abu Dhabi, UAE

2012: Worth Abbey, Sussex

2017: Otemachi Park Building, Tokyo

2017: Tiffany Gallery, New York







Mandarin Oriental Hong Kong 1963 and 1981/83 * Pictures from original slides.

Originally called ‘The Mandarin’, the hotel became one of the most famous and luxurious hotel properties in the world, with a reputation for gracious service of the highest standard. The hotel quickly drew recognition for its elegance and, in 1967, was listed by Fortune Magazine as one of the eleven great hotels in the world. Leigh & Orange was the architectural firm responsible for the project and dpa went on to work with Leigh & Orange many times thereafter. dpa was asked by the Council of Industrial Design if Phillips would like to go to Hong Kong with a view to assisting designer Don Ashton to light the new Mandarin Hotel. Ashton was a Hollywood Art Director for such films as The Bridge on the River Kwai, Indiscreet and Billy Budd and transferred his skills from film to architectural interior design with great success. Phillips agreed he could be on the next plane and was asked to lunch by a director of the client, Hong Kong Land, the Hon. Geddes, a sort of ‘knife and fork course’ to check Phillips’ suitability. Fortunately he had been used to these sort of things in the Navy during the war and on one occasion spending time before being commissioned at The Royal Naval College, Greenwich and dining in the Painted Hall. The meeting went well as Phillips was asked to go to Hong Kong as soon as possible. On arriving in Hong Kong he was met by Ashton, who said the reason he had requested an independent consultant was because he had sent his drawings to all the major lighting companies in Europe and America to request free lighting schemes but had been disappointed by the results. Philips worked very closely with Ashton over many years in addition to this project, Ashton having homes in both Hong Kong and Amersham, near to dpa’s Hertfordshire studio. This was the first major hotel project that the practice undertook and it could not be a more significant one. The Captains Bar was renowned throughout the world. The central column in the lobby and the decoration Ashton added to all the spaces required careful and well thought out lighting, which was duly designed and implemented. dpa worked on all the public areas, some names of which are retained to this day like The Mandarin Grill & Bar, The Clipper Lounge and as previously mentioned, The Captain’s Bar. The project utilised low brightness downlights that Phillips so strongly believed in - ‘dark lights’ and a combination of main voltage GLS and state-of-the-art Par Lamps. In 1983 the practice, working again with Ashton, was engaged with the refurbishment of the property through dpa’s Hong Kong office and to this day dpa continues its long relationship with Mandarin Oriental Hotels. Work at the London property has recently been completed and the practice is currently engaged with two new-build Mandarins.

PROJECT DETAILS Client Mandarin Oriental Hotel Group Architects Leigh & Orange Interior Design Don Ashton Lighting Design dpa lighting consultants: Derek Phillips


Original sketch by Derek Phillips

Westminster Abbey London 1965 The mid 1960’s saw an interest in the relighting of historic buildings and the Benjamin Electric Co. were asked to offer proposals in competition with others for floodlighting Westminster Abbey. They hired dpa to prepare their proposals and Phillips produced some beautiful black and white sketches illustrating his carefully conceived approach to the project. The scheme duly won and was implemented. The design included the use of state of the art linear tungsten halogen projectors, some sunken into the ground so they were not visible from normal viewing angels during the day. Creating light and shade was an important part of the scheme so buttresses were lit on the inside face with the outer element left unilluminated to emphasise their form. The scheme was extremely successful as illustrated by the pictures and the accuracy of Phillips’ competition sketches against the finished scheme can be clearly seen. * Pictures from original slides.

PROJECT DETAILS Client Westminster Abbey, London Lighting Design dpa lighting consultants: Derek Phillips



* Pictures from original slides.

National Sports Centre, Bisham Bisham Abbey 1977 Bisham Abbey, located on the Buckinghamshire/Berkshire border is a manor house built around 1260 and takes its name from the now lost monastery that once stood alongside. The 800-year-old Abbey has been home to many English nobility and aristocracy but the extensive surroundings of the manor house and associated buildings are now home to one of three National Sports Centres run on behalf of Sport England. The facilities are used for residential training camps for athletes and teams along with community groups. There are extensive, stateof-the-art facilities including a ÂŁ1.2 million international water-based hockey pitch, a tennis centre with four indoor courts, four outdoor French Court clay tennis courts and four floodlit acrylic courts, nine hole golf course and sports therapy performance centre which provides elite sports science and medicine services on site. Bisham Abbey has seen many high profile teams and sporting individuals train at the facility including England Rugby, Barcelona and Portsmouth Football teams and British tennis stars Andy Murray and Tim Henman. dpa was asked to design the lighting for this new sports complex by engineers Robert Somerville Associates. Working closely with the client and the professional team dpa developed appropriate lighting solutions for the new sport facilities such as the indoor tennis court, where glare was a significant consideration and the illumination of the old Abbey buildings themselves.

PROJECT DETAILS Client National Sports Centre, Bisham Abbey Engineers Robert Somerville Associates Lighting Design dpa lighting consultants: Derek Phillips


Ancient Monuments of Sri Lanka UNESCO 1980 In 1980 Phillips’ mentor Bill Allen of the Building Research Station had been approached by UNESCO to provide advice on the lighting of ancient monuments in Sri Lanka. At that time Allen was too busy to do this and therefore recommended Phillips to undertake the work. Phillips flew to Colombo to investigate what the project would involve and it was on this trip that he met Roland Silva, an AA trained architect who was at that time the deputy director of archaeology in charge of ancient monuments. With Silva, Phillips investigated many sites at Sigiriya, Polonnaruwa and Dambulla to gain advice on the exterior lighting. The cave temple at Dambulla became the focus of Phillips’ initial investigations and he spent time taking photographs of the existing lighting and preparing the design work he would carry out on this return to the UK. Phillips discovered that the beautiful paintings on the ceiling of the cave had been obscured by fluorescent batten fittings and the first thing that had to be done was that the battens were removed and paintings restored. The paintings would then be up lit with low level light sources. It was an important consideration that only light sources available in Sri Lanka and handmade housings to conceal the lights were used. Phillips demonstrated how pots from the market place could be used to conceal PAR 38 lamps which were readily available in Sri Lanka at that time. The light from the PAR 38 illuminated elements of importance such as the giant reclining Buddha with the peripheral spill light softly illuminating the painted ceilings showing off their beauty. After a month in the UK completing the design work Phillips returned to Sri Lanka to start work on the mock up of his concepts to present to the Government. Unfortunately after completing this and gaining agreement from the Government the project was put on hold due to insufficient funding being available. It was a year or two later Phillips heard that the scheme, with the backing of the Sri Lankan tourist authority, had been given the go ahead.

* Pictures from original slides.

PROJECT DETAILS Client UNESCO and Roland Silva, Director of Archaeology, Sri Lanka Lighting Design dpa lighting consultants: Derek Phillips



* Pictures from original slides.

Durbar Court, Locarno Suite and Foreign Secretary’s Office, Foreign and Commonwealth Office Whitehall, London 1987-1990 Cecil Denny Highton was employed as the architect to refurbish various parts of the Foreign and Commonwealth offices in Whitehall. dpa was introduced by the architects to the Government’s property company, the Property Services Agency (PSA) who was in charge of the refurbishment and were duly engaged as lighting consultants. The first space that dpa undertook to design was the Durbar Court, which historically was part of the old India Office. The courtyard was originally designed as an open space but a temporary roof was added later to enable its use in all weathers. The lighting design consisted of the latest lamp technology, compact metal halide sources were used at high level within the roof structure, which had an access gantry added to softly illuminate the flanking walls. The two end elevations with their balconies utilise compact metal halide projectors uplighting these façades and providing an interesting contrast to the adjacent elevations. The internal lighting of the rooms around the Durbar Court and particularly the major Fine rooms were also an important part of the vision for the court itself, giving depth and silhouetting structure. The final part of the design was the inclusion of eight 4m high specially designed candelabra, two flanking each of the four stairs which were symmetrically located in the centre of each elevation. This was an important lighting element to bring the scale back down to the base of this space but was unfortunately cut from the initial implementation on the basis of cost. The space was so successful that a year or so later money

was found for the candelabra and these were duly manufactured by Arnold Montrose and added, which really completed the project. Following the Durbar Court dpa then dealt with the Foreign Secretary’s Private Office, a historically sensitive and highly decorated room, illuminated by a series of decorative fixtures, floor lights, table lights and two chandeliers. The Foreign Secretary of the time (dpa dealt with three different Foreign Secretaries during the project) felt there was inadequate illumination to his desk and meeting table. The solution to sympathetically enhance the light levels was to design a chandelier that was historically appropriate but included fibre optic spotlights focused at these two elements. The metal halide light box was concealed in the chandelier making the fibre runs short and very efficient. The solution proved extremely successful. Another part of the refurbishment was the Locarno Suites, a fine and historically important space. Here again specially designed chandeliers and wall lights were conceived and developed to appropriately illuminate this space. The work included other elements within the Foreign and Commonwealth Office which made up this series of grand spaces.

PROJECT DETAILS Client Foreign and Commonwealth Office, Whitehall, London/Property Services Agency Architect Cecil Denny Highton Lighting Design dpa lighting consultants: Derek Phillips, Nick Hoggett



The National Assembly for Wales Cardiff 2005

PROJECT DETAILS Client National Assembly for Wales, Cardiff Architect Richard Rogers Partnership Structural Engineer Arup Environmental Consultant BDSP Services Consultant BDSP Lighting Design dpa lighting consultants: Barry Hannaford


dpa lighting consultants was invited to join the project team by architects Richard Rogers Partnership. They worked closely in association with services consultants BDSP in order to achieve an energy efficient, sustainable and flexible lighting installation. The energy usage targets were demanding, yet achievable by the use of high efficiency lamps and luminaires, used in conjunction with the automated building control system. The control system is used to enable the appropriate lighting scenes to be easily selected at the touch of a button, so that the lighting exactly suits the requirements of many of the spaces, which have varied uses ranging from informal meetings, through to televised parliamentary debates. The building control system ensures full use is made of available daylight, automatically switching off lamps when not required to help ensure minimal energy consumption and maintenance requirements. A particularly challenging part of the project was the main debating chamber, which is an impressive circular structure within the heart of the building. The lighting had to satisfy the demanding needs of television broadcasting standards, whilst being comfortable to work in and ensure the avoidance of glare to the public viewing areas. The external lighting comprises; the architectural lighting of the building, public roadways and footpaths, parking areas and surrounding landscaping.


Otemachi Park Building Tokyo 2017 dpa lighting consultants completed its third major building in the Marunouchi / Otemachi district of central Tokyo in 2017. They worked with Mitsubishi Estate Co. and Mitsubishi Jisho Sekkei and was part of the incredible repositioning of Marunouchi over the last fifteen years. This development is the first project extending Marunouchi into Otematchi, including a residential component as well as containing large amounts of prime office space overlooking the Palace gardens. dpa was responsible, in collaboration with Mitsubishi Jisho Sekkei, for designing the exterior lighting of the towers, gardens and roof terraces together with the substantial office lobby, apartment lobby and apartment public spaces. The buildings’ close proximity to the Emperors Palace is highly significant and the carefully sculpted landscape around the base of the towers has a harmonious link to the Palace Gardens. The architectural lighting of this structure focuses on the crown of the two towers with their slightly varying architectural forms. The lighting utilises warm 3000K sources to contrast the office space below and to be in line with the overall masterplan for Marunouchi. The taller tower upper part contains the residential component, so the external lighting of the internal spaces at the top of this tower also utilised warm light sources, clearly defining the space.

PROJECT DETAILS Owner Mitsubishi Estate Co Architect and Electrical Engineers Mitsubishi Jisho Sekkei Landscape Architect: Mitsubishi Jisho Sekkei Lighting Design dpa lighting consultants: Nick Hoggett, Akihiko Kawabata, David Moore, Shayne Grist, Ashley Rogers Photography Courtesy of Kokyu Miwa Architectural Photography and Taisuke Ogawa


The crowns of both towers are lit with several lighting layers to illuminate the different components and expose the depth of the structure. The vertical fins are illuminated with narrow beam projectors, with the flat surfaces in between the fins illuminated with a wall grazing optic. The spill light hits the chamfered head detail and frames each elevation. The various components are all controlled separately and the sequence of lighting scenes changes from early evening through to late evening, with different elements being utilised at dusk and after midnight and in between all lighting elements are on together. An important aspect of this building is its relationship with the water surrounding the palace, which provides reflections of the buildings both day and night. The landscape lighting around the base of the building to both the hard and soft areas has been carefully integrated to provide appropriate functional light to safely navigate the spaces whilst showing off water features, trees, general planting and the various sculptures. The relationship between the external spaces and the internal areas such as the entrance lobbies to the offices and apartments is also important and the glazed façades allow a visual link between the two. The main entrance lobby is nearly 100m long with every surface carefully considered. Lighting features include the back lighting of the vertical finned wall to the upper level, the wall washing of the marble wall to the escalator, the living walls and the textured wall that leads to the lift lobby. Instead of having a general grid of downlights, groups of four fixtures recessed in the ceiling provide pools of light which lead from one end of this lobby to the other and provide visual interest to the large open space.


Tiffany Gallery, New-York Historical Society New York 2017 dpa lighting consultants worked in collaboration with the office of renowned architect Eva Jiřičná to create the Tiffany Gallery for the redesigned Luce Center on the fourth floor of the New-York Historical Society Museum & Library. dpa also worked closely with New-York Historical Society on this project. Specifically the brief required the creation of a spectacular, custom-designed glass gallery showcasing the Museum’s preeminent collection of Tiffany lamps. The gallery of Tiffany lamps, comprises a 4,800sqft, two-story space measuring nearly a city block with its elegant glass Norman S. Benzaquen Grand Staircase. As the centrepiece of the fourth floor, the gallery features 100 illuminated Tiffany lamps from New-York Historical’s collection displayed within a dramatically lit jewel-like space that visitors can access through the Geduld Family Gateways. The project was inspired by New-York Historical’s discovery of the unknown story of Clara Driscoll and the ‘Tiffany Girls’, who designed and created iconic Tiffany lamps at the turn of the 20th

PROJECT DETAILS Client New-York Historical Society Architect Eva Jiricna Architects Local Architect PBDW Architects Structural Designer for Staircase GL&SS Consulting Engineers Lighting Control Systems and Integration Westview Productions M&E Consultant ads Engineers Lighting Design dpa lighting consultants: Nick Hoggett, David Moore, Ian Clarke, Ashley Rogers Photography Corrado Serra and Jon Wallen


century, many of which are in the Museum’s collection. The glass stair underwent considerable design input by all concerned, dpa and EJA carried out numerous studies and mock-ups, which has culminated in the carefully integrated linear LED lighting elements to the stair treads and supporting fins. A cool crisp white light was chosen so as to complement the glass structure whilst also complementing the warm white light used within the Tiffany lamps and elsewhere within the gallery space. Eva Jiricna Architects designed special curved glass showcases to house part of the Tiffany collection and perimeter glass showcases for the remainder of the various Tiffany lamps that are now on show. Artificial lighting has been carefully coordinated within the showcases with a combination of fibre optic spotlights and various LED sources. The lamping of the Tiffany lamps themselves raised some interesting philosophical questions which were debated with the curatorial team at the museum and internally at dpa. One key question was whether the lamps used should provide an accurate representation of the tungsten lamps used historically or whether the visual impact of the Tiffany lamps was the most important factor. After much debate and trialling of numerous retrofit LED lamps, a palette of high CRI ‘filament style’ LED lamps was settled upon which paid respect to tungsten sources in terms of look, colour temperature and colour rendering but offered the energy savings of LED and reduced the heat build-up within the display cases. Another question included whether specific lamps should be provided with additional illumination to further reveal and highlight the craftsmanship and decoration of their bases. Several mock-ups were carried out using fibre optic sources but it was eventually decided that the lighting of the bases should reflect how they were presented historically using the spill light from the shades above.

GVA_Final Approved.pdf











5:08 PM


Night of Heritage Light III – Radcliffe Camera Oxford 2017 dpa was invited to take part in an event on 29th September 2017 showcasing the talents of the Society of Light and Lighting (SLL) and in particular the local members, the wider community and research expertise within Oxford. This event was part of another Night of Heritage Light & Pockets of Light (NoHL & PoL) organised by the SLL and CIBSE. It was also in collaboration with the Curiosity Carnival as part of the European Researchers’ Night across 25 countries celebrating research and science. Lighting is an art form as well as a science and as lighting designers we are challenged with new technologies, which ultimately provide an improvement to our ability to design creative schemes. Science and technology play a huge role in lighting development and provide us with more incredible tools in which to design, sculpt and paint our environments with light. dpa’s Oxfordshire studio was delighted to be given the iconic Radcliffe Camera to light as part of the NoHL & PoL, along with other local lighting design practices and artists working on several other notable and significant buildings. For ‘The Camera’, as it is fondly known in Oxford, dpa’s story starts with the beautiful neo-classical architecture and their desire to expose this at night, as it has never been artificially lit as an architectural treatment since it was built in the early 1700’s. dpa’s design approach therefore started with darkness. They looked at key architectural features and how ‘layers of light’ could best represent the building at night. They only lit half of the building to express the significance of how lighting intervention could expose the beautiful and intricate details, materials and marks of its history. Coincidentally a half moon fell on the night so that influenced dpa’s thoughts during the design process. They also controlled the ‘layers of light’ with the use of a lighting control system which was sequenced every half hour running through the various ‘layers’ from a dark building to a fully lit one, from the ground up and back. Again, this little nod to the power of light was intentional as part of the overall night to showcase the importance of light, science and art or however individuals interpret the medium.

PROJECT DETAILS Lighting Design dpa lighting consultants: Michael Curry plus all of the dpa Oxfordshire team Photography Courtesy of Sotirios Stamatopoulos, dpa lighting consultants


Yo u r partner in urban enhancem ent

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Waterfront, Belgrad Lighting design: Buro Happold Ltd

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Promenade du Paillon, Nice Lighting design: Coup d’Eclat

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Creation . Innovation . Design Technilum® designs and manufactures urban lighting furniture. From «ready-to-use» quality products to entirely custom-made solutions, Technilum® is considered as the specialist in responding to market needs with a strong focus on creation, innovation and design.

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20/04/2018 10:27:15

Let’s go to the Mall Neil Knowles, Director of Elektra Lighting Design, examines the shopping centre experience, questioning what goes into this often under designed area of retail lighting.


n this article I want to focus on an often underlooked and certainly often under designed

area of retail lighting – the shopping centre

experience. For many, retail lighting starts and stops at the front door to the unit. But what gets people to the unit in the first place? I can remember as a child being driven

to Oxford Street to see the Christmas lights. The street was lit

with lasers and (ahem) a few years later I can still remember the

excitement. This was the first time lasers had been seen in public and it drew crowds to the area. Afterwards we went to a café for

something over-processed and sugary. If you think about it, this is what good Mall lighting design will do – increase footfall, increase

dwell time, increase spend. Getting people in the door, getting them to stay.

Lighting design is of course a subset of shopping centre design,

but arguably the one that will create mood the most, that can add

the critical components and touches but that can also have people walking out if you don’t get right – without them knowing why. We’ve worked on several shopping centre projects recently for

companies such as Capital and Regional. Their Director of Projects, Joe Swindells, says that lighting “subtly creates a mood and sense of theatre that enhances the guests’ journey and experience”.

Whenever he needs a centre to be repositioned or enhanced to attract a new market, or to improve the offering, he will look at the lighting

as a matter of importance. Increasingly, shopping centre design is all about the story. It is about people and how people make it into their story, how you relate to it and how you make the space your space. It’s often not a requirement to increase or improve lighting

levels or energy efficiency. Clearly, given the advances in recent lighting technology we are usually able to reduce the lighting

power consumption – often down to a third of its previous level. However the driver is more often to increase footfall or change

market segmentation, with lower costs a side benefit. This drive

to reposition the centre is a result of the large changes that have

occurred in the last 20 years, which has left a lot of centres behind.

For example, shopping centre interiors are not a homogenous space any more. They are increasingly subdivided into separate areas, and need different lighting solutions. Some areas might be for top end fashion, whilst the lower level might be where all the children’s

shops are. Lighting cannot be a standard solution across the entire

space – in the fashion area it might be warmer, less uniform and with more decorative touches. In the children’s area it could be brighter, playful, more primary, more uniformity.

Secondly the food offering is changing. Jonathon Doughty of ECE

Shopping Centres in Germany estimates that if you create a food hall that is a destination, where people actually want to come to dine, it increases footfall to the shops by around 30%. As a result many

shopping centres are looking to create this kind of dining experience. Add this to the current trend in hospitality – authenticity – and it is clear that a collection of fast food outlets in Formica does not cut it

anymore. Lighting needs to adapt to this brave new world. In many senses the food mall area should be a restaurant not a retail outlet Neil Knowles, Director at Elektra Lighting Design


and the lighting has many differences:

Colour temperature – malls are typically 3000-4000K, whereas

Retail lighting

Elektra Lighting Design created the lighting design for Walthamstow Mall in East London, helping the owners transform the retail space into a more modern, welcoming and warm shopping environment. Designers aimed to create the impression of an Eastern market, with a large number of lit signs and graphics on the interior façades creating a streetscape, while floor to ceiling linear profiles divide up the retail units. This lighting changes temperature from 4000K in the day to 2700K at 5.30pm, creating a signal shift in the space that subtly suggests that it is now evening. A large perforated ribbon feature flows through the centre of the Mall, through which Elektra threw lighting, creating textures and patterns on the floor. Elektra also commissioned custom artwork from nearby neon artists Gods Own Junkyard, creating a connection, authenticity and grounding for the centre in its locale.

restaurants seldom go over 2700K, and recent advances in warm LED

These signs seem to grow out of a linear profile running floor to

as 2200K in these spaces.

signs, all change temperature from 4000K in the day to 2700K after

uniformity, with little in the way of drama or accent. Often this is to

space and subtly suggest that it is now evening.

uninteresting. Restaurants on the other hand are often lit with very

perforated, we used it to throw lighting through. So on overcast days,

and lowest light levels) of 50:1 or more.

high output spotlights turn on and throw light through the ribbon,

which can be used to actually safely navigate a space, such as a grid

dots but in two locations they are taken from William Morris’s works

uplights a sculpture, or adds colour or atmosphere. Traditional retail

well worth a trip for anyone interested in design), thereby connecting

amounts of it, possibly with very little else.

Later this lighting is supplemented with theatrical profile spots

Capital and Regional, although not the last.

give patterns to the walls. These strong lights increase the drama in

ten years. Previously an unloved suburb of London, it has become

Additionally we commissioned custom artwork from local neon

have kids. The mall was still stuck in its earlier incarnation, full

get the chance, it’s a café in a neon factory), a local institution, again

extend the opening hours with an A3 offering (currently The Mall


attract new customers away from vintage markets, increase footfall

centre design – tunable white LED, evening lighting designed for

We wanted to create the impression of an Eastern market – the

local heritage and has roots in its community. Long gone are the

with a large number of lit signs and graphics on the interior façades,

downlights, the bar has been set much higher.

technology means that we are increasingly using temperatures as low

ceiling which also divides up the retail units. These lights, and the

Uniformity – shopping malls are often lit to high levels of

5.30pm. This is not overly warm but enough to signal a shift in the

“let the shops stand out” but in reality it makes the space bland and

The centre has a large ribbon feature running through it. Largely

non-uniform light, with illumination ratios (between the highest

when light from clerestory windows is not enough, a large number of

Non-functional lighting – here I draw a distinction between lighting

creating texture and patterns on the floor. Mostly these are abstract

of downlights; and lighting which does something else – perhaps

(a former Walthamstow resident, his house is now a museum and

malls have very little of the latter and hospitality spaces have huge

the lighting to the locality.

I’d like to review these elements with a project in mind – our first for

which throw these patterns down to the floor directly, or light up and

For Walthamstow Mall, the area has changed remarkably in the last

the space.

fashionable amongst young parents – it’s the place hipsters go to

artists Gods Own Junkyard (which again you should really go to if you

of pound shops and not a craft ale in sight. The owners wanted to

creating connection, authenticity and grounding the centre in its

has a small number of fast food outlets such as KFC). They wanted to

Overall, we see that the centre is a break from traditional shopping

and thereafter increase per square foot rental rates).

A3 use, decorative items, custom artwork, space that reflects its

bustle of Hong Kong and the busy chaos of the streets. This is done

days when shopping centre lighting was a uniform 300 lux from

creating a streetscape.


PROJECT DETAILS ASICS Regent Street, London, UK Client: ASICS Lighting Design: into Lighting, UK Interior Designer: Brinkworth, UK


Retail lighting

Sound Body Sound Mind Continuing their good work with ASICS, into Lighting has recently completed a stunning new lighting scheme for the sporting retailer’s new flagship Regent Street store.


Retail lighting

Previous Page On entering the store, customers are greeted with a bespoke, kinetic lighting installation, supplied in conjunction with Skratch AV, that runs the length of the store and pulsates at the same pace as the heart rate of a 100-metre sprinter. Above Suspended feature planter displays in the basement ASICS Performance area provide a key focal point, and careful consideration has been given to illuminating these areas with the correct colour temperatures and diffusion of light needed to sustain plant growth. Top Right A unique, state-of-theart ‘robotic shoe delivery system’ has been introduced to the store, enhancing the delivery of products to the shop floor. Intuitive robotic arms placed in the shop window demonstrate key products. Below Right The glazed motion ID consultation area is illuminated by light stipulated by ASICS via a surface mounted, linear LED profile with track mounted adjustable spotlights, provided by Reggiani, to highlight the machinery.



nto Lighting was appointed by

consumer’s natural posture and movement

designers Brinkworth to provide

of product types best suited to them.

ASICS to work alongside interior

when running, to inform recommendations

the lighting design for the

A unique, state-of-the-art ‘robotic shoe

largest ASICS retail store to date, which has

delivery system’ has been introduced to

Street and embodies the new concept retail

floor. Intuitive robotic arms placed in the

Featuring all four ASICS brands under one roof

striking kinetic lighting installation runs the

Tiger and Haglöfs will now all be sold within this

as the heart rate of a 100-metre sprinter.

to ASICS for over six years, completing more

normally successful due to the lighting specifically

Darren Orrow leads a team of five, comprising

into have worked closely with landscape experts

service ASICS as a client internationally.

provides the plants with the correct light in order

sana in corpore sano’ – A sound mind in a sound

been developed within the long stainless-steel

have created a concept that reflects the harmony

The retail furniture has been developed with RFP

that balances the highly technical aspects of

product range. A modular post system provides

finishes, features and materials (a sound mind).

range of display components fits inside, including

holistic sports environment where both the

digital panels, racks, shelves and shoe stands.

Mind, Sound Body’ ethos of the brand will be

Brinkworth to realise their joint vision for the

installations, sustainable products, natural wood

The lighting was to be as energy efficient as

a complimentary juice bar and in-house DJ booth.

product types and displays, to help zone areas

the innovation that has been at the heart of the

The 9,040sqft, two-storey former French

MOTION ID zones, using sensors to capture each

area with two mezzanine levels and a basement

recently opened on London’s iconic Regent

enhance the delivery of products to the shop

approach for the brand going forward.

shop window demonstrate key products and a

for the first time, ASICS, ASICS Tiger, Onitsuka

length of the store, pulsating at the same pace

one store. into has worked as lighting consultants

Large-scale integrated planting within retail is not

than 90 stores Europe-wide, into Director

required for product display. Brinkworth and

lighting designers and project managers to

to incorporate a bespoke lighting system, this

ASICS is an acronym of the Latin phrase ‘Anima

to grow. A bespoke drip feed watering system has

body. As such, interior designers Brinkworth

planters to ensure clean and safe installations.

of this philosophy and a store environment

to deliver the best possible system for the ASICS

the brand (a sound body) with natural, warm

a perimeter wall framework into which a whole

The concept offers consumers a fully integrated,

integrated LED lighting, graphic backdrops,

mind and the body are stimulated. The ‘Sound

into were appointed by ASICS to work alongside

consistently evident, with the use of living plant

lighting in this new concept retail flagship.

finishes, LED lighting, and technology, as well as

possible, all LED and tailored to different

The concepts within the store are a reflection of

and to create a theatrical environment.

brand since its inception. There are four ASICS

Connection store comprises of a vast ground floor

Thank you Frankfurt! At Light+Building this year we created a big light show starring some of our new products and we launched “The yellow manual”, our new catalogue. We hope you picked up your copy but don’t worry if you didn’t make it down. Download your digital copy at or scan the QR code:



retail lighting

“Our new Regent Street store is a beacon for the ASICS DNA.” Scott Wakefield, ASICS EMEA


retail lighting

“The lighting concept is tailored to suit each of the ASICS brands within the store, further enhancing their own visual identity.” Darren Orrow, into Lighting

Previous Page The concept for the store, created by interior designers Brinkworth, pairs sound mind with sound body by balancing the highly technical aspects of the brand with natural, warm finishes, features and materials. Above Lighting for the ASICS Tiger area, on a mezzanine level on the right of the store, utilises a cooler, 4000k colour temperature to accentuate the whites of the trainers on display while creating a fresher, more daytime ambience. Below The exterior of the new store, located on London’s Regent Street.

level, complete with the ASICS motion ID and body scanner area. On looking through the store windows and entering the store, customers are greeted by a large-scale ‘wow factor’ bespoke

kinetic lighting installation. This feature was developed, supplied and installed in conjunction with Skratch AV. The installation comprises a series of suspended RGB LED tubes on winches

controlled via DMX to enable infinite colour change, chase patterns and a kinetic effect. A Madrix Luna 8 with a purpose-built program links to a Skratch Assist tablet control system to provide the

store with a quick and simple method of controlling the light

effects. The Skratch Assist tablet allows the store manager to

turn the lights on and off with a simple tap, as well as changing between the pre-installed movement and light sequences.

The accent lighting to the ground floor is provided by low glare, high level Reggiani Yori track mounted LED fixtures in a matte

black finish, which has a minimal visual impact against the dark ceiling. These fixtures have been carefully located to work with the listed ceiling constraints of the venue. The fixtures have a

colour temperature of 3000K and CRI 90 coupled with a 15-degree

optic to provide focused illumination of the apparel merchandise, whilst avoiding light spill to the vertical surfaces to ensure the

video wall and screens stand out and are not flashed with light.

The mezzanine level to the right of the venue houses the ASICS Tiger brand. The accent illumination to the merchandise is provided by

a smaller version of the track spot with a wide 47-degree optic, to

accommodate the low ceiling height, in 4000K CRI 90 with a bespoke, diagonally suspended LED profile with yellow light to accentuate

the branding. A cooler 4000K colour temperature has been selected here to accentuate the whites of the trainers on display and create a more daytime/fresher ambience for the ASICS Tiger area.

The Onitsuka Tiger section is located below this mezzanine and

is lit by recessed Reggiani adjustable LED downlights due to the low ceiling height. These fixtures have a colour temperature of 3000K and CRI 90 coupled with a wide 51-degree optic to provide good vertical illumination to the merchandise.

The ASICS Performance area is housed under the mezzanine of

the left-hand side of the store. This area is defined by the timber

slatted surfaces which draw customers into the space and surface mounted bespoke linear LED fixtures that have been integrated


retail lighting

Above Accent lighting on the ground floor is provided by low glare, high level Reggiani Yori track mounted LED fixtures in a matte black finish, creating minimal impact against the black ceiling while still providing focused illumination on apparel merchandise while avoiding light spill.

lighting specified Encapsulite AP LED-RD suspended LED tubes Lightnet Bespoke LED profile Reggiani Yori Track Maxi Reggiani Yori Track Mini Reggiani Trybeca Round Reggiani Unimosa Adjustable Skratch AV Bespoke RGB kinetic lighting installation Skratch AV Digital screens, video walls, robotics and X-Y shoe selector Assorted suppliers for linear LED and nodes integrated into joinery


within the slats to provide a uniform ambient level

downlights with an opal diffuser to soften the

as 1-10V dimmable so that the light level can be

integrated into the mirror to provide a halo

On the mezzanine above the Performance area sits

areas are lit by bespoke recessed LED profiles

system’ that has been introduced to enhance

Darren Orrow, Director at into, commented: “We

has been highlighted using a combination of

with ASICS continues with the development of

with a blue linear LED to frame the architectural

concept is tailored to suit each of the ASICS brands

The open staircase leads you down into the

visual identity whilst the overall scheme provides

area along with the Haglöfs brand. The accent

and providing the desired ambience throughout.

by further Reggiani adjustable track mounted

concept being applied to new stores throughout

and CRI 90, with exception to the fixtures

Scott Wakefield, Direct to Consumer Director

cooler 4000K CRI 90 to accentuate the whites of

store is a beacon for the ASICS DNA. Through

a fresher ambience. The suspended feature

physically interact with the brand, witnessing

a key focal point and careful consideration

Mind, Sound Body’ philosophy. We will take

the correct colour temperature and diffusion

of-the-art offering and translate it through

The glazed motion ID consultation area, which

The New Global Retail concept is currently rolling

a light level stipulated by ASICS via a surface

Amsterdam, Paris, Cologne, and New York Firth

with track mounted adjustable spotlights to

interiors and lighting concept is scalable for

these provides an excellent uniform light whilst

stores feature unique, site-specific add ons such

Changing rooms throughout the store are lit

of illumination. These fittings have been specified

light and avoid glare, coupled with linear LED

locally controlled within the area after dusk.

backlighting effect. Changing room lobby

a unique state-of-the-art ‘robotic shoe delivery

integrated within the timber ceilings.

the delivery of products to the shop floor. This

are very proud that our longstanding relationship

track mounted LED spotlights in conjunction

this fantastic new retail concept. The lighting

opening within which the ‘robot’ sits.

within the store, further enhancing their own

basement to an additional ASICS Performance

a homogenous lighting design creating theatre

illumination to the merchandise is provided

Our work for ASICS continues with the lighting

fittings with a colour temperature of 3000K

Europe, the USA and the rest of world.”

illuminating the trainer walls, these are in a

ASICS EMEA, added: “Our new Regent Street

the trainers on display, again helping to create

the innovative retail space consumers can

planter display within the basement provides

the technology, breadth of product and ‘Sound

has been given to the illumination of these as

all of the positive elements of this state-

of light is required to aid the plant growth.

further store openings across the globe.”

can be viewed from the store, is illuminated to

out with completed flagship stores including

mounted linear 4000K CRI 90 LED profile

Avenue, all with lighting design by into. The

highlight the machinery. The combination of

smaller outlet stores and concessions. Some

minimising any shadowing for the cameras.

as a yoga studio, exercise studio and juice bar.

with a combination of recessed ambient LED

KURV-Y / KOH 40 As showcased at Light + Building 2018, KURV-Y – the new homogenous flexible light source and KOH 40 – the new general lighting system from KKDC now available. Please contact one of your local KKDC sales engineers for more information.


Another Successful Show for KKDC Thank you to all visitors to our stands at this years international Light + Building exhibition in Frankfurt.

PROJECT DETAILS Dolce & Gabbana flagship store, Aoyama, Tokyo, Japan Client: Dolce & Gabbana Lighting Design: Barbara Balestreri Lighting Design, Italy Architects: Studio Curiosity, Japan


retail lighting

The World’s a Stage Italian firm Barbara Balestreri Lighting Design teamed up with Studio Curiosity to create a theatrical environment for the flagship Dolce & Gabbana store in Aoyama, Tokyo.

Pics: Studio Curiosity


retail lighting


he Dolce & Gabbana flagship store

sharp lights and shadows which frames the

to engage in an innovative shopping

customers with an inspirational display.”

in Aoyama, Tokyo, invites visitors

products like they were on stage, and embraces

experience, channelling the sun of

The term “lightecture” is one coined by Balestreri,

Sicily, where the Italian designers are originally

intended to express BBLD’s way of working, and

Designed by Gwenael Nicolas of Studio Curiosity,

implies a wider meaning than lighting design,

Lighting Design (BBLD), the store blurs the lines

technical features,” she explained. “It includes the

conceiving the space as a stage in which customers

of the cultural, social and geographical contest.

a creative narrative, a retail storytelling”.

its urban environment, we believe that crafting

Studio Curiosity have worked together – the Italian

space should require the very same care.”

on a number of projects, including Fendi’s flagship

with a large number of high-end, designer retail

Roman architecture into the Japanese metropolis

Choo, Armani, Moncler and more. “Each brand

Gabbana location in London, in which Balestreri

and values,” Balestreri said. “And each retail

For the Aoyama location, Dolce & Gabbana

“Our job is to translate these inputs into light.

create something that would surprise”. Barbara

experience of the customers. Creating emotions

challenge triggered ‘lateral thinking’ with Studio

In Tokyo, BBLD looked to social media for

be able to also enhance the shopping experience.

store. “The project takes inspiration

from, into the Japanese lifestyle and shopping vibe.

its architectural approach to light. “Lightecture

with lighting design from Barbara Balestreri

which is too often linked to products, interiors and

between retail establishment and fashion show,

creative process sprung from an understanding

become the actors and the display “would unfold

“You wouldn’t design a building detached from

The project is not the first time that BBLD and

lights for a showroom, a museum or a public

lighting designers have worked with the architects

Such care and attention has seen BBLD work

store in Ginza, Tokyo, where they “merged ancient

establishments, from Dolce & Gabbana to Jimmy

lightscape”, and the Sloane Street Dolce &

is like a planet with its own history, narrative

and her team created a “fluid lightecture”.

space must meet the vibe of its own city.

had a very simple brief for the designers: “to

But the focus must always be on the final

Balestreri, Director of BBLD, explained: “Such a

and teasing their curiosity is our goal.”

Curiosity, and we worked on a design that would

inspiration for the new Dolce & Gabbana

“The result is a dynamic lightecture of

from how millennials choose their look


Previous Page The flagship Dolce & Gabbana store in Aoyama, Tokyo, features a strong contrast of black and gold, an elegant combination close to Dolce & Gabbana’s own style. Above The lighting design blurs the lines between different disciplines, combining traditional retail lighting with theatrical lighting, conceiving the space as a stage in which the customers become the actors.

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Retail lighting

Above Theatrical lighting was used throughout, creating a sense of movement to contrast with the statuesque poses of the mannequins and items on display. Below Taking inspiration from social media channels such as Instagram, in which pictures are slotted into grids, the “lightecture” aims to plunge customers into an immersive non-digital version of the social media experience.

while surfing on social media,” Balestreri continued. “On Instagram, the eye scrolls through never ending

pictures slotted into grids to find catchy inspirations.

“In the Aoyama showroom, objects are constantly appearing and disappearing, creating a choreography of light. With this design

solution, we aimed to plunge customers into an immersive, non-

aggressive and non-digital version of the social media experience.” It is here that BBLD sought to create a more theatrical lighting

scheme, framing the products as if they were on a stage. Through cross-pollinating contrasts, the retail environment embraces the dramatic world of theatre, as traditional retail lighting solutions were implemented by using stage projectors. “Light is a composite matter,” said Balestreri. “When

tailoring lights on a volume or surface there are so many

variables that most often the wanted effect must be achieved only, but combining different technologies, creating subtle contrasts or borrowing inspirations from different worlds. “Bringing theatre dynamic lighting design was the perfect solution to combine movement with the statuesque poses of the mannequins and items on display.”

Professional ellipsoidal LED spotlights from Silver Star and

ETC with interchangeable heads were positioned across the

flagship store as if it were a stage. Thanks to framing shutters, the whole system proved to be highly flexible and precise in

defining the sharp geometries required by the main concept. Balestreri tested disposition of the projectors with physical

mock-ups on different scales in order to tailor in the slightest detail light interactions and effects on products.

The dynamism of the retail space was achieved by orchestrating units that could be DMX-controlled independently. In this way


WHY system

Unlimited office lighting possibilities

Why WHY? Four different lighting configurations – direct, indirect and sideways light – make it possible to use the luminaire for general, workstation and decorative lighting The opal diffuser ensures uniform light distribution The parabolic louvre guarantees low glare The high color rendering index and two color temperatures provide exceptional visual comfort

One of the top 20 innovations at Light + Building 2018


retail lighting


retail lighting

“Bringing theatre dynamic lighting design was the perfect solution to combine movement with the statuesque poses of the mannequins and items on display.” Barbara Balestreri, BBLD

it was possible to compose light sequences by

“Our work as BBLD was to shape the light in order

and tuning the whole system with music.

continued Balestreri. “At the same time, this

alternatively switching on and off the projectors Jewels and watches are nested in bespoke,

golden-framed niches hosting scenographic

miniature interiors, each one lit by miniature theatre projectors hidden within the alcoves. Outside, street windows catch the eye with

floor to ceiling niches dressed in white marble,

and a metal profile nested in the wall hosts the lighting system. Elsewhere, small directional and custom-designed projectors focus on the

products, while couples of floor-to-ceiling linear light sources from DN Lighting and Moriyama enhance the rhythm of the building, echoing the dynamic contrasts inside the store.

In the store’s interior design, Studio Curiosity played with black and gold colours – an

extremely elegant combination close to Dolce & Gabbana’s style. These gold elements, surfaces and stairs refer to the Sicilian sun, bringing an Italian flair to the Japanese retail market.


to highlight the chromatic balance of the spaces,” added a Japanese-style, tech-oriented touch.”

BBLD has been involved in the project since its

inception, meaning that they could team up with

Previous Page On the store’s façade, floor to ceiling windows dressed in white marble and illuminated with linear LED profiles from DN Lighting ant Moriyama enhance the rhythm of the building, echoing the dynamic contrasts inside the store. Above The use of gold throughout the store intended to invoke images of the Sicilian sunshine.

Studio Curiosity to develop the main concept

from the beginning, thus avoiding any technical difficulties that could have arisen had they

joined the project at a later stage. “The design process evolved smoothly,” Balestreri said.

“The teamwork was extremely inspirational.”

“Working on a project is always an opportunity to experiment new ideas. Being involved since the beginning is always a great

chance to find and create tailored solutions that fit organically into the project.”

The end result is a stunning retail establishment firmly in keeping with the designer brand’s luxury aesthetic, and definitely living up to Dolce & Gabbana’s wish for a “surprise”.

lighting specified DN Lighting linear LED Profile ETC Small ellipsoidal reflector LED spotlight Moriyama linear LED profile Silver Star ellipsoidal reflector LED spotlight USHIO single recessed spotlight

Featured products: Dunbar 160 & 120

Because good design demands simplicity. ™

British lighting design since 1997 |

PROJECT DETAILS L’Occitane Flagship Store, London, UK Client: L’Occitane UK Lighting Design: Nulty, UK Interior Design: FutureBrand Uxus, UK


retail lighting

Botanical Beauty Lighting designers at Nulty helped create a luxurious retail experience for L’Occitane at its new flagship Regent Street location, emphasising and enhancing the brand’s colour palette and natural aesthetic. Pics: Michael Franke


retail lighting


wenty years after opening its boutique

natural beauty products, all inspired by the south

French natural beauty, skincare and

Its vision for the space was an enchanting retail

shop on London’s Regent Street, fragrance brand L’Occitane en

Provence has moved to a new, 6,450sqft flagship store.

In creating this new store, also located on Regent Street, L’Occitane commissioned lighting

designers Nulty, alongside interior designers

FutureBrand Uxus, to create a retail experience in fitting with the brand’s luxury, natural aesthetic. Uxus was briefed to create a new, immersive

experience that offered customers a luxurious and sensorial exploration of L’Occitane’s full range of

of France art de vivre and Provençal beauty secrets. experience with education and trial at the core,

sharing L’Occitane’s ‘beauty of life’ philosophy.

“The region of Provence is at the soul of L’Occitane so we wanted to transport the customer there,” said Olivier Termijtelen, Senior Designer at FutureBrand Uxus.

“We incorporated real roses and showers of

lavender in the interiors, and used tiles in warm yellow hues reminiscent of sunnier climes.”

The decision to use real flowers for the stunning centrepiece caused Uxus some issues, as

Termijtelen explained: “The main challenge was to find fresh ingredients used in L’Occitane products that can also be used in a dry form to ensure

longevity of the display, but not compromise the look.

“Using fake ingredients was not an option, as it didn’t speak to the originality of the botanical

enrichment story we conveyed in the store, so we

worked with a drying process that didn’t discolour or damage the ingredients, and we were able to create a strong focal point.”

On entering the store, customers are taken on a journey from garden to table – the store is

intended to be “an enrichment for all the senses”, with sunshine yellows and rose gold accents flooding the space with a warm glow.


Previous Page FutureBrand Uxus created a special floral centrepiece featuring real roses and lavender, complementing the brand’s “botanical enrichment story” throughout the store. Above Light Flex tape from MJ Lighting gently illuminates the staircase to the first floor, gently pulling customers upstairs to continue their retail journey through the store. Below Alongside the standard retail offering, this new flagship location includes a Pierre Hermé Paris macaron bar, handcare station, an abundant harvest table, a living beauty bar a wild scented garden and a sunshine fountain, making it an enrichment for all the senses.

ILLUMINATING THE POSSIBILITIES Characterised by a slim profile and created to bespoke requirements, LED Light Sheet is a versatile backlighting unit suitable for architectural, leisure and commercial lighting applications.

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retail lighting

Top Left The store boasts a warm colour palette throughout, with the yellow hue of the tiles reminiscent of sunnier climes. Top Right Applelec LED Light Sheet adds a simple yet effective backlighting to signs throughout the store. Above Fixtures from Flos, supplied by Atrium, add a decorative element to the store, complementing the ambient lighting from the perimeter joinery displays, provided by MJ Lighting, and task lighting, courtesy of Lucent Lighting’s adjustable downlights.

According to Anna Sandgren, Associate Lighting

“We used high quality LEDs that pick up the true

throughout to “emulate the ‘golden hour’ that you

continued Sandgren. “The brand’s palette is

Designer at Nulty, L’Occitane wanted the colours get before and after sunset, emphasising the

warmth and natural ethos of the brand, and to

complement the materials used within the interior design”.

Nulty has a strong working relationship with Uxus, having worked with them on the lighting scheme for Bloomingdales Kuwait, and this relationship proved beneficial for L’Occitane. Sandgren

explained: “Having worked together previously

meant that the relationships had been nurtured and lots of trust and confidence in our working

relationship was apparent throughout the design process, and I think this translated into the scheme.”

The two companies ran design workshops in the

early stages of the project, enabling Nulty to create a lighting scheme that worked well with the

interiors, complementing the varied material

palette by using LED technology to bring out the

colours and textures within the interior, helping the products to stand out.


colours of all the materials used within the store,” naturally warm and the lighting chosen reinforces this, making the space feel sunny, warm and inviting to customers.”

Due to the nature of the brand’s warm colour

palette, there was no need for Sandgren to add any additional warmth in the way of colour

temperature. Instead she specified high CRI LEDs,

lit at 3000k. However, the store features a number of digital screens throughout, which could have had an impact on the lighting scheme.

“We had to control the amount of light emitted

from them and balance that with other elements to ensure that the retail space didn’t feel over

illuminated,” she explained. “The lighting scheme within the ceiling was clean and uncluttered, which meant careful consideration of the

placement of the downlights, keeping the quantity to a minimum whilst ensuring the correct amount of light coverage was achieved on all products below.”

Nulty has an extensive portfolio of retail projects


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from around the world, and as such has a sound

bar, an abundant harvest table and a living

lighting. With this in mind, Sandgren felt it was

upstairs, with refreshments and Pierre Hermé

knowledge of what constitutes successful retail important to incorporate layers of light

throughout the store. “Ambient lighting was

achieved from the perimeter joinery displays, whilst task lighting featured from the

adjustable downlights, illuminating the merchandise on sale,” she explained.

“The interior displays, such as the flower

installations, were lit as feature elements

together with the architectural coffers, adding additional visual interest within the store and

catching the attention of passing customers.” The shop floor is divided into beauty zones; a

sunshine fountain with an array of soaps, a wild scented garden allowing customers to explore

and find their fragrance, a pampering handcare


beauty bar. Holistic treatments are provided

Paris macarons served while customers relax. As such, Sandgren believes that it was an

“ambitious design with a limited timeframe” to achieve and coordinate all the different

elements, but she added that Nulty achieved

this by “working in close collaboration with the client, while our existing relationship with Uxus allowed us to work quickly and effectively”.

The new Regent Street store is unlike any other L’Occitane shop, from arrival to exit,

FutureBrand Uxus and Nulty have created a

restorative oasis of calm on the busy London shopping street, and Sandgren believes that L’Occitane’s firm idea of what they wanted

retail lighting

“The unique concept design creates a truly multi-sensorial experience.” Jamie Taylor, Retail, Wholesale and Property Director at L’Occitane UK

helped to make it such a success.

through inspirational storytelling was our

help a designer when creating a vision for a

providing an immersive exploration true to our

“The history and story behind a brand always store,” she said. “L’Occitane knew exactly what they wanted to achieve from the new flagship retail space while really understanding their well-established customer base. Altogether

this meant that the brief was steady – which isn’t always the case in retail.”

Jamie Taylor, Retail, Wholesale and Property

Director at L’Occitane UK, is delighted with the new location. “We are thrilled to secure our

first UK flagship store on Regent Street,” he

said. “This new store sets our customers at the

heart of an unforgettable retail experience, with personalisation and customisation at the core. “The unique concept design creates a truly

multi-sensorial experience. Memory creation

vision for this Flagship Experience Store, deep Provençal roots.”

Sandgren agrees with Taylor’s sentiment, and she feels that the lighting greatly adds to the

aesthetic that L’Occitane were trying to achieve in their new flagship location. “The lighting

doesn’t take over from either the brand or the

interior designer’s vision – it works with it and

reinforces it,” she said. “Although not warm in its nature, the lighting helps reinforce and celebrate the brand’s colour palette.

“It is all about understanding the brand and

what it wants to communicate, and using light as an emotional tool helps to connect the customer with this brand identity.”

lighting specified Applelec LED Light Sheet Flos IC Light S1 & S2 Flos IC F2 by Michael Anastassiades Lucent Lighting Accent trimless downlight Lucent Lighting Prospex Axis Midi trimless downlight Lucent Lighting Prospex 50 accent Lucent Lighting Prospex 90 fixed trimless downlight MJ Lighting Light Flex E Curve MJ Lighting Light Flex 120 MJ Lighting LightLine Grande MJ Lighting LightLine Mini Square






May 8 – 10, 2018



retail lighting

Light Wedding Lighting designers at ErosPhos have helped transform the former Holy Trinity Church at One Marylebone, London into a picture perfect wedding retailer and venue.


or betrothed couples looking

bands on a big screen to book musicians.

wedding planning needs,

wedding planners are on hand to provide

for a one-stop shop for their the Wedding Gallery at One

Marylebone is the perfect location.

Located in a repurposed Anglican cathedral –

formerly Holy Trinity Church – on Marylebone Road in central London, The Wedding Gallery

provides a wealth of luxury retail establishments and wedding planning services, alongside a 400-capacity venue, all under one roof.

PROJECT DETAILS The Wedding Gallery, London, UK Client: George Hammer Lighting Design: ErosPhos, UK Interior Design: Christian Lahoude Studio, USA Lighting Distributor: EPS Lighting, UK

The 20,000sqft Wedding Gallery covers

every detail needed for a wedding, from hair and make up, gowns, jewellery and suits to

photographers, flowers and wedding stationary. The store also offers cakes and catering, with an on-site kitchen for taste tests.

Couples can also hire DJs and speechwriters, or visit the ‘hub’, where they can put on

headphones and watch wedding singers and

To make sure that no details are missed,

advice, while insurance packages are also

offered for worst-case scenarios in case one partner has a last-minute change of heart.

Perhaps more impressive than what is inside

the Wedding Gallery is the building’s beautiful, neo-classical inspired architecture. Built in 1828 to the design of Sir John Soane to

celebrate the defeat of Napoleon, the building boasts a grand portico and belfry tower.

The Grade-I listed building could be seen

as being imposing, but the owners sought

to use the facility’s impressive architecture to create an inviting environment both inside and out, especially at night.

The Wedding Gallery wanted the building’s

architectural lighting to creatively provide upmost emphasis on the surroundings, with the ability to


retail lighting

Previous Page The former Holy Trinity Church on One Marylebone has been converted into a large wedding retail centre, providing engaged couples with a one-stop-shop for planning their dream wedding. Top Left ErosPhos used Acclaim’s Dyna fixtures to illuminate the exterior of the Grade I listed building in a multitude of colours. Top Right The old church features many retailers located throughout a maze of tunnels, corridors and archways. Left The Wedding Gallery covers every detail needed for planning a wedding, from dresses, suits and jewellery, to cakes, catering and flowers.

control the various areas using a touch-screen controller to maximise

dramatic effects. Designed for dynamic illumination of façades,

EPS Lighting to design and supply the lighting respectively.

Acclaim’s quad colour technology in either RGBA or RGBW.

ErosPhos also covers lighting control systems design and

demos and mock-ups we managed to show that colour was

solutions, while EPS specialises in determining and specifying

“We had to ensure that the building didn’t look like an animation

the usability. As such, they contacted Essex-based ErosPhos and A multidisciplinary architectural lighting design practice, engineering to provide clients with complete lighting

appropriate LED lights and lighting controls based on three main criteria: performance, usability and effectiveness.

structures, landscapes and monuments, the Dyna Flood utilises “The client initially wanted an ‘all white’ install, but through indeed the best way forward,” explained Vanstone.

from a cartoon, which unfortunately can happen when a building is lit in colour if the design isn’t done correctly, but the feedback

“Lighting had to be efficient, cost-effective and easy to install,”

from everyone is that the building has never looked better.”

used the light fixtures’ photometry to create a rendering based

front entrance and clock in light, while Dyna Flood fixtures

This allowed us to correctly specify and present the solution

designers also specified linear outdoor LED DynaGraze

said Russell Vanstone, Technical Director at ErosPhos. “EPS

on the product’s performance, not an artistic representation.

Elsewhere, Acclaim’s DynaDrum SO QW bathes the cathedral’s were also used to side wash the structure. The lighting

to the client, ensuring the end result is as expected.”

AC DMX fixtures, which enabled them to create multiple

illumination, but also as part of a rental package for events held

“The creativity of the design and the use of colours has satisfied

The exterior lighting was intended to serve two purposes; general on site. Because of this, EPS provided the ability to override the

automatic controls. It also included a DMX input for a theatrical

configurations, including RGB, RGBW and Dynamic White.

the client and the visitors of the event space,” Vanstone continued.

“The lighting versatility, the simplicity and the output of the system

lighting desk, allowing event users to control façade lighting for

greatly justifies the investment. Now, when visitors go to the old

high-output, exterior-rated LED fixtures from Acclaim Lighting.

through colour that hopefully continues throughout their lives.”

different kinds of events. Based on these criteria, ErosPhos specified ErosPhos’ lighting specifications consisted of forward and sidefacing flood fixtures, inclusive of lighting on the roof. Those lights include a combination of flood and linear grazing.

Acclaim’s Dyna Accent LED flood fixtures are used to uplight the building’s entrance doors and pillars, while DynaFlood XT QW highlighted the trees in the garden area to create


church, their wedding journey starts with a beautiful experience Initially just brought in to provide lighting for the building’s

exterior, ErosPhos were also asked to look at the interior of the building as well, and after putting together a design for this,

they consulted with the client’s in-house construction team. Inside the church, the many retailers are located throughout

weaving tunnels and catacombs, adding a sense of exploration

retail lighting

Left Because of the church’s Grade-I listed status, ErosPhos were unable to make any structural changes to the building, instead using cable trays and recessed ceilings throughout the interior. Bottom Left The exterior lighting, provided by Acclaim, allows the building’s owners to create multiple colour configurations on the façade, including RGB, RGBW and Dynamic White. Bottom Right Spot lighting provides focused beams of light on the various retail spaces throughout the facility.

and playful, maze-like quality for guests as

also deliver on the architectural aspect.”

However, such an unusual layout meant that

Acclaim Lighting, alongside Nobile Italia and

they navigate their way around the facility. there was a total lack of any natural light. As such, it was essential that the lighting

scheme developed by ErosPhos was fit for purpose. As with the exterior, Vanstone

and his team provided design renders and

mock-ups to make sure that what they were proposing would work, and also worked closely with interior designer Christian

Lahoude to ensure that the lighting designs really maximised the architectural designs. “We had to ensure that we specified the

correct function and emergency lighting,

which not only complied fully with the BSEN

standards for emergency lighting and general illumination levels, such as that on stairs, we

also met the design requirements and catered

for the fact that this is indeed a very high-end retail environment,” Vanstone continued. “We see way too often that effect comes

before the relevant standards for illumination, and stairs are in darkness, for example, but with the right optics and distribution it is

possible to meet the relevant standards, and


Lighting for the interior also came from

Hadler. Because of the building’s Grade-I

listed status, ErosPhos were not able to make any structural changes to the building, nor damage the exterior façade. As such, all

products were fitted using construction glues, and where actual fixings were required, these

were done so using fixings that won’t damage the fabric of the building. The same applied

for the building’s interior, where cable trays

and recessed ceilings were used throughout. Aimed at being a one-stop shop for couples

looking for a luxury wedding, it was important that the Wedding Gallery had a lighting

scheme to match the high-end luxury of its

retail establishments. The design provided by

ErosPhos complements not only the fine goods on display, but also the ornate architecture of this impressive building, adding to the already magical wedding experience and

aiding in creating those special memories.

lighting specified Acclaim Lighting AL Graze AC Acclaim Lighting DynaAccent Acclaim Lighting DynaDrum Acclaim Lighting DynaFlood Acclaim Lighting DynaGraze Acclaim FlexTube Dynamic White Eaton iLight Hadler LuxSystem Dynamic White Nobile Italia A19 Nobile Italia A2 Nobile Italia A3 Nobile Italia A31 Nobile Italia A32 Nobile Italia Modus Nobile Italia R22 Nobile Italia 31200 Nobile Italia 91090 Nobile Italia 93011 Pharos Controls EXT Pharos Controls TPC

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retail lighting

Because You’re Worth It Lighting designers at LITO Special Lighting Consultants called on Soraa to provide illumination for the L’Oréal Academy in Jakarta, thanks to the manufacturer’s excellent colour rendering.


he L’Oréal Academy in Jakarta, Indonesia

“The L’Oréal brand is known worldwide, and as such,

to be trendsetters in the industry, inspiring

training and experience in our classrooms and salons,”

was established to train beauty professionals hairdressers with innovation and an

understanding of local expectations and aspirations.

In illuminating this Academy, it was essential for the classrooms to have a colour quality that ensures the company’s professional hair colours are rendered accurately.

To help give the L’Oréal Academy the beauty makeover they were looking for, interior designer Jenny Kartika

Harto from Iconic Interior Design directed the Academy to lighting designer Lenny Pariyanto of LITO Special

Lighting Consultants. To light the classrooms, Pariyanto selected Soraa to illuminate the space.

“In an environment where lighting is critical, requiring high colour rendering, Soraa was the perfect fit,”

said Lenny Pariyanto. “Soraa lamps enable L’Oréal

hairdressers to confidently select the truest colour for their customers”.


academy students and customers expect world-leading added Queentia Tampubolon, Brand General Manager at L’Oréal Professionel Indonesia. “Soraa’s lighting

has helped us create an atmosphere that our students

have come to appreciate and rely on in our new modern facility.

“Not only does the lighting draw the customers and

students to L’Oréal’s vibrant products, it also creates the perfect atmosphere for students to be inspired.”

The stylists’ hair products and the customers’ hair, are

now beautifully and accurately rendered by Soraa VIVID

Color technology, which utilises all colours of the visible spectrum achieving a colour rendering index (CRI) of

95 and deep red (R9) rendering of 95. Soraa lamps also

feature Soraa Natural White technology, yielding infinite shades of white revealing warm rich tones and cool bright whites with accuracy.


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Arch.: SSH International, Architects

Arch.: Jean-François Brodbeck - AMRS Architectes

Arch.: HKS, Inc

Arch.: Parallel Architecture

Arch.: MIA Design Studio

Realization: Barberis Impianti

retail lighting

Pic: Frieder Blickle

Frische Produce The new market store of FrischeParadies in Stuttgart showcases the vast creative scope of ERCO LED spotlights and downlights.


s Germany’s largest speciality market and supplier of

and a calm ceiling appearance.

across the country, offering restaurateurs and private

background, directing the attention entirely onto the appealing

gourmet foods, FrischeParadies operates stores in cities customers a selection of more than 12,000 delicacies.

The differentiated lighting concept designed by Robertneun

Architekten for the stunning architecture and interior design of the recently opened Stuttgart store of FrischeParadies gives structure to the spacious interior, emphasising distinct zones and making it easier for customers to find their bearings in the store. Erco

LED lighting tools direct attention onto the appealing fine foods presented brilliantly in light designed to unlock the customers’ desire to buy.

Robertneun Architekten designed the new FrischeParadies store in

Stuttgart as a striking complex made up of four separate clear-span halls, including the actual store with some 1,000sqm of floor space and a ceiling rising up to ten metres under airy lantern roofs. Plenty of daylight, large glass sections on the front walls, an

impressive timber framed roof structure made of untreated wooden

trusses on exposed concrete walls as well as sealed concrete flooring lend the store’s interior a modern, industrial character. The black

track system with Erco Optec spotlights installed at a height of 3.5 metres blends beautifully with the overall aesthetics.

Using just one range of spotlights all throughout the new

FrischeParadies store, the designers created a perception-orientated lighting concept based on directed accents for appropriate contrast


The black track system with Optec spotlights blend into the

delicatessen and fine foods of FrischeParadies. Flexibly aligned

along the track, the Erco Optec spotlights effectively emphasise

individual spatial zones and product displays, using warm white

light (3000K) with narrow spot (6W), spot, flood or wide flood (19W) light distribution throughout the store, with the exception of the

fish counter. Optec spotlights with wide flood distribution illuminate the cashiers’ desk at 500lx, complying in every respect with the prevailing standards required for workplace lighting.

In versions with different light distributions, the versatile Erco LED spotlight meets all the requirements of lighting in high-end retail

shops and restaurants – high-contrast accent lighting, floodlighting of individual areas or sharp-edged beams for striking effects. With innovative photometrics, Optec combines efficiency with visual

comfort, attaining sufficient illuminances in the large store with only 19W per luminaire.

Optec spotlights in the FrischeParadies store are equipped with 3000K LEDs, as warm white light optimally displays the quality of food – excellent colour rendering is essential particularly for

fresh produce. The Erco LED lighting tools used in the store offer

superior colour rendering properties (Ra ≥ 90) as a unique feature, guaranteeing that the products are shown in their true colours.

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Pics: Sandra Kennel

A Lighting Spectacle Zumtobel has provided lighting for five flagship VIU eyewear stores across Europe.


wiss eyewear label VIU fuses high-

involves more than 80 manual steps.

production, and in its work has

a VIU store concept that reflects the clear lines

quality design with sustainable

consciously set out to avoid simply

imitating big brands or manufacturing mass-

produced goods, choosing instead to pursue the ultimate goal of crafting a truly unique product

offering. In line with this thinking, Zumtobel has developed an individual lighting solution for five

VIU flagship stores, creating light that specifically

highlights the clear lines and distinctive styling of the VIU range.

Designed in Switzerland by VIU’s creative director

Fabrice Aeberhard, each piece of eyewear from VIU is then handmade by a traditional Italian company in the Dolomites and on the Japanese island of Honshu, following an exhaustive process that


Aeberhard was also responsible for drawing up and original design language of the products on

show, as well as their fundamental simplicity. This approach has been supported by Zumtobel, who

was tasked with designing individual shop lighting for the flagship stores in Copenhagen, Vienna, Graz, Salzburg and Lausanne.

The Onico LED spotlight system has been used to illuminate the shelves. The classic lines of

this range enable the discreet integration of the

luminaires into the different sections of the VIU

stores, subtly illuminating the goods on display. The special reflector technology helps deliver a

wide light distribution across the shelves, which means that every pair of glasses is presented in

retail lighting

Salzburg, Austria

Lausanne, Switzerland

Copenhagen, Denmark

Lausanne, Switzerland

exactly the same lighting situation. Arrowflex

Group has been able to demonstrate that defined

shelves to make the stores seem brighter and more

to specific colour scenes, intensities and light

from Thorn provides cove illumination above the spacious.

Diffuse light was needed for the workshop areas

and the rooms where eye tests are carried out. The combination of the Perluce fitting from Zumtobel

with an application-specific light colour proved to

be just right for the job. The diffuse luminaire body distributes the warm light evenly throughout the space – without having to sacrifice gentle ceiling illumination. This generates a pleasant lighting atmosphere for the customers and helps the

opticians complete detailed visual tasks without inconvenience.

target groups display different sensory reactions distributions. The effectiveness of light is

therefore closely linked to the purchase motivation of these customer groups – especially in

presentation and retail applications. Intelligently planned light that adheres to the Limbic concept has the potential to create focus and positively

influence purchase behaviour. As a result, lighting scenarios geared specifically towards relevant

target groups are becoming increasingly important in shop and retail applications.

The Limbic Lighting study by Zumtobel and

neuromarketing experts from the Nymphenburg


retail lighting

Let’s Bake The newly opened BAKE in Ho Chi Minh City, Vietnam uses light and shade to create a unique atmosphere while highlighting the ornate cheese tarts on display.


apanese Cheese Tart shop BAKE

“I sometimes apply different lightness

for its first Vietnam location,

emphasise the shade of an object,” he said.

turned to architects 07BEACH

opened in Ho Chi Minh City in

November of last year.

For this new location, the Japanese designers wanted to create a shop that stood out from the crowd. Taking full advantage of the

property’s double height ceiling, the stairs

from the entrance to the cashier counter were designed to curve upwards, with large glass panels showcasing the products inside.

This design means that even when there are

large queues outside, the products can still be showcased to passersby. As such, the display

tables formed a stair-like structure, while the floor for staff was sloped.

Each display table was elevated by a single point-fixing bolt, attached to the large

glass windows, creating a lighter touch

and opening up the store to the queuing customers.

Elsewhere, Joe Chikamori, Principal of

07BEACH utilised shading in the mortar,

emphasising the powerful use of light while adding a new dimension to the retail space.


on each surface of the same material to

“I applied a lighter colour of mortar on the

horizontal surfaces of the stairs, and a darker tone on the vertical surfaces.”

This lighter mortar was also applied to the walls in the staff area, with a darker shade in the customer area, and accordingly, the lighting for the staff area, designed and

supplied by ModuleX, was intended to be

brighter, highlighting it as if it were a stage. It was also designed so that light from

the interior leaked out into the staircase,

highlighting the shading on the stairs and

leading customers further inside the building. Natsumi Fujii, Lighting Planner at ModuleX designed the lighting scheme, and she is

very happy with the end result: “The sense of floating created by the display table is

fantastic, and the strong lighting that we

designed adds to this. We are pleased with the way that the shadowing created by the light contributes to this feeling of floating.”

retail lighting

Cypriot Chic Lighting solutions from Linea Light Group were used to highlight the different areas of the new Timinis store in Limassol, Cyprus.


o emphasise the different areas

simple yet robust lines of the design convey a

Limassol, Cypriot retail chain

the lighting articulates the space and the

of its new store in the heart of Timinis, utilised Linea Light

Group’s lighting solutions.

The building is strongly characterised by

geometric architecture and a refined and minimal design, to create space for the

display of the latest collections by the most prestigious fashion brands in the world.

The design of the building aims to exploit the geometry of the structure to maximize the

impact of the large windows facing the street. The intention is to create an engaging shop window capable of communicating at first

glance the exclusivity of the products offered inside.

The sculptural form of the building follows

the idea of the transformation of a massive element into three smaller primary units,

with areas devoted to men, to women and,

finally, to offices and auxiliary spaces. The


modern and minimalist appearance in which

volumes, becoming an integral element in the aesthetics of the store.

The lighting solutions by Linea Light Group are essential, aimed at illuminating the

display areas of the store with diffused and indirect light.

The walls with minimal shelving and the

grooves on the ceilings are emphasised by

Ribbon RGB and white light, to create effects and soft atmospheres, while the Warp

downlights are introduced to illuminate the items on display through direct light.

Elsewhere, lighting effects and shapes are the

characteristics of the entrance, where the high ceiling is exploited to install Tu-O suspension lights to form geometric shapes and lines of light that decorate the large window, which can also be admired from outside the store.





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retail lighting

Astral Experience The redesigned Salon L’Occocó in Guadalajara brings a futuristic design to the brand’s new location, evoking a spaceship with its sharp white lines.


alon L’Occocó is one of the largest

straps in the longitudinal and transverse direction.

As part of a redesign of its Guadalajara

that form the panels and the walls, it created an

franchises of beauty salons in Mexico.

location, they wanted to reflect an image

the architecture of the space, as they dialogue with it

Architectural firm Cota Paredes Arquitectos were

The use of artificial lighting was essential, as one of

brought in for the redesign of the salon, covering both the architectural and lighting design. This exercise

and accentuate the interior design.

the first requirements for the salon was that it must

have enough lighting for all the details of the different

began by analysing the existing salons, understanding

tones of the colours applied to the clients’ hair to be

performance of salon activities, the flow of customers

The white envelope, in conjunction with the white

Once this was understood, the firm generated a

effect. The space gives the futuristic impression of

the dynamics of use, the furniture necessary for the and staff, and the optimal spaces to work freely.


light of the lamps, provokes an optical and sensorial

typology that could be replicated to comply with

a spaceship – a futuristic place that enriches the

achieving simplicity, freeing the space of obstructions

The cutting area and washing area were divided into

the characteristics of the franchise, with the aim of and simplifying the design of the furniture to help generate spatial continuity.

experience for customers.

two scenarios, through a screen with vertical panels that allow views and air circulation. This creates a

To bring the quality of character and elegance to

walkway from one stage to another, providing privacy

station, Cota Paredes decided to apply slender wooden

The use of mirrors, along with the practical aspects

the space, and as reminiscent of the Pamplona bus

slats in full and empty sequences along the ceiling and walls. This positioning of planes creates an envelope that produces an atmosphere that the user is able to feel on entering.

The salon is bathed in a bright white light, with

artificial lighting from Construlita integrated into

the envelope following the continuity pattern of the

atmosphere and perception that the lamps are part of

of elegance, with the necessary character associated with the brand.


By integrating the lighting into the wooden slats

to each space.

that one would expect in a salon, serves to create an infinite effect within the space while increasing the brightness in the room.

The end result for the salon is a unique environment that sticks in the memory, giving guests the

experience of having been to a place not seen before.

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Retail Lighting

Pics: Francis Dzikowski/OTTO

Mind, Body & Soul The Body Factory in New York City has had a make-over by BFDO Arcitects, creating a clean and modern atmosphere for spa treatments.


he Body Factory is a medical

a subtle shine cascading down the walls.”

by Nora Lighting. To disguise the air supply

York City. BFDO Architects were

“This is our second project with the Body

perimeter coves, which also adds to the

and tranquil environment for the spa clients

design moves they can repeat as a part

the spa treatments. Barker commented:

beautiful space.

more stores in Manhattan. In the beauty

- bright overhead light for the clinician,

spa situated in the heart of New brought in to create a serene

as well as design an aesthetically unique and A multidisciplinary architectural firm based in New York, BFDO focuses its attention on

Alexandra Barker, Principal at BFDO added: Factory, and the clients were looking for of their brand as they continue to open

and skincare industry lighting plays a very important role, so it was a major design

vents, indirect lighting emerges from the ambient atmosphere that compliments

“Treatment rooms need two types of lighting which we achieved by using oversized

3-foot diameter recessed LED fixtures, and

exploring spatial and material practices that

component from the beginning.”

an ambient perimeter light that is the LED

inhabitants and the built environment.

concrete floor are the perfect blank canvas

The washroom area towards the rear of

Evet Hafif from Supreme Lighting (now at

panelled walls are illuminated indirectly

penny tiles that provide a reflective surface

adapt to evolving relationships between

Working closely with lighting consultant

The concrete toned walls and polished

for these LED highlights. The triangular

tapelight in the coves.”

the office space is covered entirely in black

Light Lab Design), the team developed an

with Primaline LED tape lighting set into

for the stylish backlit rectangular mirror,

Dermatolgica skincare line.

Along the softly skimmed walls are floating

geometric light lines across the surfaces

eye-catching retail and spa space for the

Associate at BFDO Christina Ostermier said: “The inspiration behind the design came

slim gaps between each panel.

shelves displaying the spa products, which

are lit with recessed edge lighting by Coronet

creating a modern environment with

mimicking the architectural angular edges in the heart of the retail space.

from the idea of a spa inside a concrete cave.

RRD Series 3-foot diameter LED.

Completing the look and drawing together

the concrete faceted walls, and floating

project takes on a “mullet strategy, where

space, a custom made triangular light fixture

The reception and retail lighting highlight glowing shelves illuminate product placement in the retail section.

The treatment rooms need to feel clean

and serene, so we added a dimmable light

cove along the perimeter of the ceiling. The wallpaper in the treatment rooms has a

shimmer in it that catches the light and gives

As described by BFDO architects, the

a design conforms to normative forms and

proportions at its public face and reverts to a

more dynamic spatial logic on its private face and reverses it to draw in visitors”.

Behind the scenes, the treatment rooms

are lit with direct lighting from large round

the recurring geometric themes of the

frames the recessed edges of the ceiling

above the custom designed and fabricated

Caesarstone reception desk in the front foyer of the shop floor.

lenses set into the lowered ceiling provided


retail lighting

Pics: Doublespace Photography

Plugged In Headfoneshop, based in Toronto, Canada, displays audio accessories in a truly unique and striking fashion, using light, texture and geometric patterning.


eadfoneshop, located in a mixed-

and subtle addition to the architectural

Sheppard station, is a 300sqft

LED extrusions from Lumen Truss were used,

use tower by Toronto’s Yonge and retail space kitted out for high-

clips and opal diffusers. Using Anony custom-

The owner, a passionate audio expert,

greater lumen intensity alongside a lower

challenges the typical retail store experience

of focusing solely on the product and efficiency

made LED tape for the ceiling allows for lumen output tape for the walls.

David Ryan from Anony commented: “The

of the transaction for maximising turnover.

20X extrusions really light the entire space,

the ritual of listening to music and the process

lighting finishes everything off with a nice

The intimate, dark and tactile atmosphere and

While the design strives to affect how a

Instead, the design objective was to celebrate of testing.

then the varying length extrusions and cabinet ambient decorative glow.”

sense of domestic scale give customers a quiet

customer feels, it also rethinks how the

listening to music. Dark, smoked oak millwork

Instead of the product display system being

and lounge-like atmosphere to relax in while and herringbone flooring, velvet upholstery,

soft amber lighting and patinaed brass fittings

environment can optimise the product.

a separate element with the architecture, it dissolves the boundary between object and

create a dark and subdued palette that curate a


In contrast, 255 powder-coated folded metal

as a wall display that extended over the top

quiet and moody ambience.

panels, secured with 765 patinaed brass screws

wrap the ceiling and walls producing a spatially dynamic and immersive space that mimics the intense and enveloping audio experience.

Anony was brought in to complete the lighting design for the space, and created a seamless

utilising the standard flush mount mounting

end headphones, earphones, amps and audio accessories.



The typical headphone stand was reimagined of the visitor and down the opposite wall,

enveloping them in the display itself. The bent metal plate allows for display of headphones in multiple configurations, while hiding unsightly wires.


Pics: Luis Beltran

Doctor Feelgood The second Doctor Manzana store, located in Valencia, Spain, features a powerful clash of bold colours, clean edges and minimalist design, courtesy of creative consultancy Masquespacio.


reative consultancy Masquespacio

their first point of sale.

second Doctor Manzana store, a shop

something that would appeal to a broad spectrum

recently completed the design for the dedicated to smartphone repairs,

located in the University district of Valencia.

The store features a bold array of clashing pastel

colours, from green and blue to purple and a salmon pink that, alongside the use of metal, creates

an aesthetic that blurs the lines between Wes

Anderson and Ridley Scott, bringing to mind both the retro styling of the 80s, but also a dystopian future. The minimalist packaging of the Doctor Manzana products only heightens this further.

Such an aesthetic is complemented by the sparse use of lighting throughout the store. Designed

in house by Masquespacio, the LED lighting was

inspired by the technology concept of the brand, with its clean lines of faux-fluorescent light

complementing the angular look of the store.

Masquespacio began working with Doctor Manzana in the summer of 2013, when founders Fran

and Reyes commissioned the Spanish creative

consultancy to redesign their brand and create


For this redesign, Masquespacio aimed to create

of customers from “fashionistas to geeks”, which

led to the contrasting use of colour throughout the store. The introduction of metal, according to the designers, was to “add an industrial touch that reminds us of laboratories”.

At the second store, Masquespacio sought to

maintain the brand identity established at the first location, offering a new, custom-made design

that could be easily recognised by Doctor Manzana clients and customers, while at the same time

creating a completely different design for this new point of sale.

As such, the new store features a number of

elements that instantly identify it as a Doctor

Manzana location, from the use of sharp angles to the minimalist lighting scheme.

Alongside its primary function as a phone repair

shop, the store will also host workshops and talks in a separate meeting space.

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Retail Lighting

Pics: Patricia Parinejad

Miami Heat The In-Sight concept store has been brought to life in the Brickell City Centre shopping mall in Miami, through a lighting collaboration between OHLAB and Centro de Montajes.


he new concept store for In-Sight

to dismount and mount again, as all the panels

shopping mall, Brickell

shipped to Miami where the assembly time was

is placed in the recently opened

were produced in a warehouse in Spain, then

City Centre, which is located in

minimised to only a few weeks.

Downtown Miami.

The panels are built with a simple wooden

(self-designed and multi-brand), accessories and

edge of white Corian. Lighting was a key factor in

range of products selected by a careful curatorial

together in collaboration between OHLAB and

experience, an interior tour through the ideas and

custom-made fittings.

The binoculars (the logo of the brand, composed

advantages of the big white panels as well as

of the interior design. Through the extrusion,

spotlights that are directly supported on top of

volume was created. This volume perforates the

foundation for the lighting but are also very

generating a geometric, dynamic and changing

adapt to the changing exhibition of products in

At the end of the space, a graphic panel features a

are integrated into the shelves and hangers to

beyond the limits of the store. The gaps between

Paloma Hernaiz, Director at OHLAB / oliver

use, from product exhibition, storage or sitting,

luminaires used throughout the space: “There are

Throughout these strategies the visitor can live

products that are mounted on a moveable fixture;


and also LED strips for the shelves.�

construction system had to be simple and easy

In-Sight is a commercial space for clothing

structure finished with a very precise continuous

design objects for clients looking for an exclusive

designing this retail space, and was carefully put

direction. The proposed space is an immersive

Centro de Montajes, using their own internally

concepts of In-Sight.

The simple and basic lighting system takes

by two interlaced circles) were the starting point

a series of platforms with integrated swiveled

translation and rotation of the logo, an imaginary

the panels. This system provided a basic general

24 white panels placed in parallel along the store

easy to move, allowing the light to effortlessly

tunnel that fills the elongated store.

the centre of the store. In addition, LED strips

trompe d’oleil, creating an illusion of continuity

accentuate the display.

the panels offer a wide range of possibilities of

hernaiz architecture lab, commented on the

and are all neatly integrated into the design.

three types of lighting fixtures: LED spots for the

the experience of literally inhabiting the

LED strips as wall washers for the cutout panels

Despite the formal complexity of the space, the





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The Mexican Master of Light Editorial Assistant Sarah Cullen caught up with former IALD President Victor Palacio during Expo Lighting America in Mexico City.


irstly, a lighting designer and now former IALD

business in lighting. During expansion, his father decided to open a

childhood days working for his father, whilst

This led to bringing an architect on board who, in turn, suggested

the lighting industry and where it has carried

Immediately hooking Palacio’s interest in the lighting industry,

As with many career paths, Palacio did not

which would determine his passion for lighting design and historic

President, Victor Palacio reminisced on his

projects department, so the company wasn’t solely working in sales.

humbly looking back at his successful career in

Palacio was brought in to make up the electronics drawings.

him to today.

he was taken on board to work on a museum lighting project,

originally set out to be part of the lighting industry. Instead, when

preservation for years to come.

to head towards at aged ten, young Palacio dreamed of being an

in differing subject matters. During his time at University, gaining

a day since… Progressing on from those early aspirations, he

modules, such as Art History. This sparked his interests in the design

continuous interest in technology and attentiveness to the science of

After completing various technical courses throughout his early

A clear personality trait Palacio carries is that of a caring mentor.

attributes of a lighting engineer. Becoming, what he referred to, as

he began teaching computer technology classes to high school

whilst making calculations on computers before Windows was widely

boom in technology.

Once he commenced work inside some of Mexico’s most renowned

company as an electronics specialist before moving on to work with

lighting was having on the many historic artifacts, as well as the

Fuji Film was one of the official sponsors of the games and gave

sensitive buildings. This required particular attention to be paid

about photography and was involved in the installation of the mini

a result, Palacio undertook a brief course at the National School

related to photography and film printing and was lucky enough to be

History. This led to pairing another fellow teacher, who specialised

Shortly after, Palacio moved on due to a nationwide employment

a course in museum lighting. After taking full control of this course

moment when Victor’s father saw a gap in the market and decided,

Architectural Preservation – again, claiming himself to be the “geek

taking the typical school tests to determine which field of work

Just like other creative minds, Palacio has always had an interest

Olympian by the age of 20. Much to his dismay, he has not exercised

qualifications in electronics, he also opted into studying humanities

then determined he wanted to be a scientist, which explains his

world, which was evident in later jobs he picked post-graduation.


career, he began to delve into the study of light and the technical

This attribute came to the forefront during his time in college when

the ultimate “geek”, he heavily studied the IES Lighting handbook

students during the early 1980s, when computers were the latest


After leaving college, Palacio worked in a flux metre manufacturing

museums, Palacio began to pay close attention to the impact

Fuji Film, just at the beginning of the 1986 World Cup in Mexico.

buildings themselves, as many museums are situated in historically

Palacio an unforgettable experience: “It was amazing! I was learning

to the preservation properties and the artworks they housed. As

developing labs. I learnt a lot - even about the science of light -

of Preservation, at the National Institute of Anthropology and

part of the World Cup team.”

in preservation, with Palacio’s experience in exhibitions, to develop

collapse, which affected a lot of the Mexican population. This was the

after a time, Palacio decided to complete a postgraduate course in

along with his business partner, to establish his own commercial

in the corner of the room making lesson plans on architecture from



Top Left Cuauhtinchan XVI Century altar. Palacio is dedicated to the preservation of historical artifacts whilst maintaining a high quality lighting display. Top Right Concordia Square, in the city of Puebla in Mexico, was designed by TEN Architects and consists of a wooden deck that covers an open area inside the Fuertes Park. The deck creates some ripples that host other spaces, while also giving form to the benches, where lighting was located in a subtle way. Bottom Left Casa Mayor Polanco demonstrates how dramatic lighting can have a beautiful yet high impact result on this traditional residential building in the Polanco district of Mexico City. Pics: Victor Palacio

the fifteenth century!”.

lighting,” commented Palacio.

the care and preservation of the site of the museum project we were

spaces. When we talk about visual, we relate it to lighting, experience

“So for me, it was much better to learn about it all from the very

perform activities, whether they’re recreational or commercial,

important,” Palacio explained.

are defining what lighting will be in a place, we will contribute in an

nowadays, it is clear Palacio is very conscious about this idea of

When analysing the Mexican market and its general attitudes

technical hat on, he was more focused on the light levels and colour

some of the bigger competitors such as North America and Europe.

impact of lighting on the aesthetics and, I think, that’s something

has a very strong commercial component on the design side. That

“Highlighting architecture, façades and features were what we

which makes it more difficult for lighting designers to develop their

colleagues, that even though it’s an important factor to architectural

sound a little controversial saying this, but I guess lighting designers

began to consider other factors related to the functions of places,

As we have seen in recent topical discussions in the lighting

spaces, to relaxation and commercial places to experience shopping.

one. Palacio notes it is important we understand that the majority of

knowledgeable way; we started focusing on peoples’ experiences.”

the situation is very different. Not to be mistaken for complaining,

to notice, the non-visual impacts of lighting, the use of lighting

manufacturer for offering the same services as a lighting designer; “I

light pollution, are predominantly hot topics of consideration when

“If I started designing products and tried to manufacture them, I

discussion during world conferences. “I think that’s going to be

Palacio has observed that a lot of potential problems could be a result

become aware of. These are all side effects of lighting, which in the

order to be better as independent designers selling their skill set

“We were getting complaints from those in charge of looking after

“Our philosophy of working is to create the visual experience of

working on at the time, about both the artwork and the architecture.

is related to people, the spaces are related to the places where people

beginning, and develop a design that considered what they deemed

interiors and exteriors; we focus our design ideas on that. When we

When discussing his philosophy and approach to lighting design

important way to the experiences people will have in that space.”

preservation. At the beginning of his lighting career, with his

towards lighting design, some have regarded it as falling behind

renderings. But he now finds it far more compelling to “explore the

Palacio observed: “I think that unfortunately in Mexico the market

that happens to a lot of lighting designers,” he claimed.

means a lot of commercial firms are getting into the design area,

focused on originally as a firm. Then I began to think, as did my

work, because they have this strong competition. I’m aware I may

lighting, it’s not the main goal we are striving to achieve. We

in Mexico haven’t made a clear decision to devote to lighting design.”

for example the working place, to the productivity in residential

community, it is evident the role of the lighting designer is a blurred

All of which, to some of us, came intuitively and to others in a

us live in an upper market. For those that exist in a closed market,

As many lighting designers and professionals in the industry began

Palacio reinforces his point that he is not criticising the role of the

on energy supplies, impacts on the environment and concerns of

know I can provide better design services than they do!

working on new lighting projects, as well as being big matters of

know they would do a better job than I could,” he added.

relevant for the profession of lighting design and for practitioners to

of a lack of marketing from the lighting designers themselves. In

end sometimes don’t become the side effects but the main effects of

as their business, Palacio believes it is key to highlight the value of


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“Our philosophy of working is to create the visual experience of spaces.” - Victor Palacio

Pic: Sarah Cullen

marketing yourself as a lighting designer.

need. The main façade has throws of up to 70 metres high reaching

ourselves, have a louder voice and be better at convincing clients that

opportunity for designers and contractors to collaborate on the field

“I have heard some say manufacturers or commercial firms should

One of the first corporate projects Palacio’s team worked on was with


was made easier through the strong collaborative relationship with

he had more of a passion to work on the design side, but was

shape of the holds in order for the building to take advantage of the

to chase and there’s not a big enough market to be successful in it.

After establishing himself as a talented and respected lighting

for lighting design and clients that appreciated him offering an

heights when he stepped up as the IALD President. “Jeff Miller, who


needed to highlight the ‘I’ of IALD [International], because as it stood

career in lighting and has validated his decisions to branch off and

of the US was Mexico. I was lucky enough that the board had got in

Looking back, one of Palacio’s first and most notable projects was

to volunteer with the IALD and witnessed the efforts made to make

Working with precise halogen lamps, the installations replaced the

Many in the industry will be familiar with Palacio’s metaphor for the

ancient artifacts, including pieces of the Aztec Calendar. Originally

chasing butterflies and catching them in a net, it’s better to build a

but were replaced with six fixtures using a combination of 35 and 70

carried this approach forward in order to engage and nurture these

“At the time, the best tools we had were these metal and ceramic

Originally, designers and practitioners were sceptical of the IALD,

renderings,” Palacio explained.

built, that some of the higher profile names in the industry became

Palacio and his team at Ideas en Luz, has worked on. This time,

Furthermore, during his time as president, Palacio was proud to

LED based scheme for their first exterior project. Completed only

of lighting designers, (CLD). Not wanting to enforce a lighting

manufacturers in order to find the perfect fit for each specific

formulate an internationally recognised certification through the

“It’s up to us, the lighting designer, to stand out and speak for

two metre high sculptures at the top. It also proved to be a great

they really need a lighting designer in their team,” he commented.

with the local firm Avantgarde Illuminacion.

stop offering design services, but I don’t agree! It is all healthy

the IBM headquarters in Mexico City. Wanting to use indirect lighting

During a time when Palacio was working with his father, he realised

the architect, who took that idea and designed the ceilings in the

constantly blocked by people telling him it was a difficult profession

indirect lighting.

But luckily he found the opposite to be true, and did find a market

designer in Mexico and internationally, Palacio moved on to new

independent service, which included specifications without being

is a past president of IALD, thought, along with the board, that they

It is evident across Palacio’s portfolio that he has had a successful

it was mainly a US centric membership. So one of the first steps out

work independently, away from his father’s packaged approach.

contact with many of my colleagues and myself at this time. I began

with the Mexican Museum of Anthropology between 1998-2001.

the IALD a global organisation from the very beginning,” he reflected.

old theatrical fittings from the 1960s that highlighted numerous

IALD’s globalisation and the fostering of memberships; instead of

the ten theatrical luminaires aimed up to 15,000 watts into one stone,

beautiful garden that will attract all the butterflies. The IALD have

watts aimed at the stone.

memberships instead of increasing numbers for the sake of it.

power lamps with very precise optics, low power and nice colour

especially in Europe, and it wasn’t until the attractive garden was

The Fine Arts Palace in Mexico City is another notable project

members, which in turn encouraged many more to follow.

focusing on the exterior of the building, they designed an entirely

witness the first steps on the field of the international certification

three years ago, the lighting design included fixtures from multiple

programme into universities, Palacio believed it was better to






Pic: Victor Palacio


Previous Page Gran Hotel Ciudad de Mexico is an example of beautiful modern lighting that fits in seamlessly with the historic enviornment of the space it is situated in. This Page Palacio developed the lighting concept and full design for the Palacio de Hierro department store in Mexico City. Working together with the display designers, Palacio created a compelling combination of light, warm tones and materials. Next Page Aztec Calendar at the National Museum of Anthropology. A project Palacio holds closely to his heart, it embodies his strong beliefs of preservation of art work and historic items. Pic: Victor Palacio

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Pic: Sarah Cullen

association instead.

of knowledge and experience from the industry and has earned the

started off testing the waters to see if it was feasible to develop the

two cents of advice would be when determining careers, to ensure

developed with specialists into a certification programme,” Palacio

graduate is going to land their dream role as principle designer for

Additionally, developing further on the globalisation, the IALD has

“I have seen it in Mexico, we have one special lighting course at the

in the United States, as well as focusing on building friendships

some students, they say they have been unsuccessful in becoming a

internationally. For example in Brazil (ASBAI), France (ACE), the

remarks with disappointment.

“We will be forming a new collaboration with the Italian lighting

Of course it’s not easy, as it is in any profession, but you need to work

When initially in the nomination stage of obtaining presidency,

lone riders, it’s for teams.”

the IALD would achieve after his three years in term (one year as

Palacio found it difficult to narrow down names, but did refer to

objectives were successfully achieved; building international bridges

Major and Jonathon Spiers for their portfolio of work that he used to

speak. He believes when you have more people interested in bringing

then students, and Barbara Horton, a fellow former IALD President

all the layers involved in every single action, strategy and with

South America; Monica Luz Lobo, Pascal Chautard, Douglas Leonard,

that needs to be kept flowing, but still have someone chairing with a

Rafael Gallego. Fianlly, not to leave out the leadership of Gustavo

and strong otherwise it will fall down sooner or later.”

Liliana, as a professional supporter.

confidence that he possesses the necessary characteristics needed

way and they have brought their talents into the industry, and there

be sensitive to what’s going on around him. He’s a very good listener

special contribution!”

has embraced the role, the family feeling and sense of community

feet up, Palacio and his lighting team are moving swiftly into the

strong contribution to the IALD…it takes up a lot of your time, mind

focusing on establishing international collaborations - not allowing

very happy to see him taking over and for me to take some rest!”

“I was lucky enough to be part of the task force group, which

respect of many. For future generations of lighting designers, his

certification, and then be there at the time when it was officially

you are moving in a clear direction and make definitive decisions. No


a firm such as Spiers + Major; it takes hard work and perseverance.

worked hard to establish relationships with the IES for decades

National Autonomous University of Mexico, but when I speak to

and collaborations with other lighting design associations

lighting designer so they now work somewhere different,” Palacio

Spanish Lighting association and most recently, Palacio announced:

“They have put a lot of passion into it, but there is a lack of courage.

design association”.

hard, learn and be part of the community. This is not a profession for

Palacio had to complete a questionnaire that asked what he expected

When asking who inspired and still inspires him in the industry,

president-elect and two for presidency), and it is clear his main

Kaoru Mende from Japan for the cultural influences in his work, Mark

and fostering consistency through maintaining a ‘steady ship,’ so to

cut out of magazines as a young designer himself to show off to his

their perspective, you need to be very careful to be consistent in

and influential female lighting designer and businesswoman. In

precision: “These are important because it’s a continuous effort

brand development by Fisher Marantz Stone, and Spanish designer

thoughtful mindset. You’re building something that needs to be bold

Aviles in Mexico and the personal inspiration brought by his wife

Passing on the baton to David Ghatan, Palacio is filled with

“All of them are people who have embraced the profession in a great

for the role; “I really admire him as a young professional; he is able to

are many more I have not mentioned still. Each professional has a

and is very good at synthesising peoples’ ideas. I have seen how he

So much for taking some time to gather his thoughts and put his

that comes with the lighting industry, and think he will make a very

New Year with more project proposal requests than ever before and

and emotional strength but I see he has all of that under control. I am

geographical locations to be limitations.

It is evident through Palacio’s nurturing nature; he has gained a lot


The Changing Project Delivery Process – How the contract affects our designs Denise Fong Bruya discusses some of the new project delivery methods lighting designers are faced with, and the differences between them.


s lighting designers, we are almost always subconsultants on a project – typically contracted to an architect. In this model, owners hold

separate contracts with the design and building teams, but over time, they have discovered this method has not worked to their advantage.

Since lighting design firms often don’t have

any input in the contract method used, this article will examine some of the new project delivery methods owners are trying and discuss the key differences between them. Design – Bid – Build

In this delivery method, the architect is the head of one team,

working separately from the construction team led by the General Contractor. The design team develops a set of construction

documents that consists of drawings and specifications to describe the scope of construction. Then the entire package is put out to bid and a contractor is chosen based on their qualifications and bid.

Generally, the lowest cost bidder is selected – often referred to as the one who made the biggest mistake. Contractors often try to make up for that mistake by finding anything unclear in the drawings

and requesting an additional service from the owner to complete

the work. This tactic, of course, sets up an adversarial relationship between the design team and the contracting team. In the end,

everyone is unhappy and there are often lawsuits for perceived or real errors and omissions. Traditional Design Build

In this scenario, the MEP designers are contracted to the mechanical and electrical sub-contractors. In some projects, MEP engineers set

the requirements for the project as part of the design team and write

a scope of work; or they may create bridging documents that are then provided to the engineers who work for the MEP sub-contractors. The narratives and bridging documents define the quality of work expected along with minimum project requirements for their

respective systems and what codes they are required to meet. In

this scenario the lighting designer remains a sub-consultant to the

architect, as their work is more closely tied to the architects and will leave less for the contractor to interpret. ‘New’ Design Build

The newer version of Design/Build looks not only to save money in

design fees but also to reduce add service requests from contractors or consultants during construction and control costs during design. Everyone, including the architect, works for the contractor. This

way, the owner only has one contract instead of two. This ‘one-stop

shopping’ scenario is very attractive to owners because they have one point of contact. The contractor negotiates a price with the owner

to deliver the project and this ‘all-in’ number includes the cost to

construct the project plus all design fees. Because the cost is decided Denise Fong Bruya, IALD, CLD; Principal, Design Lead, Lighting at Stantec


early on, this puts the incentive to control all the cost squarely with the contractor and they effectively determine what is in and out of


the project. The owner must make sure, going in, that they have a

well-defined project, or they could be disappointed in the quality of the end result.

Public Private Partnership Variation

A Public Private partnership is a specific kind of DB project used to

finance projects that might otherwise not be possible in the public realm. It can have many variations regarding shared risk and can also include long-term maintenance of the project. When long-

term maintenance is part of the contract, there is incentive on the

contractor’s part to create the most efficient building possible and

to minimise maintenance costs by using good quality equipment and materials.

Construction Manager at Risk

This model is similar to the traditional DB set up, but the contractor is hired early in the design process, so they can act as a consultant

on constructability issues and often to provide early pricing to track the project budget. Late in the process they will usually provide a

Guaranteed Maximum Price (GMP) and this puts the owner at risk of additional cost if it is done at a time when all the project parameters are not fully defined (i.e., before CDs are complete). This type of

contracting is often employed by an owner with ongoing projects who has an existing relationship with a contracting team. What does it all mean?

Lighting designers remain contracted to the architect in the first two

project delivery types and to the contractors in the other types. In the first two, we create drawings and specifications that the contractor

is obliged to supply as written. We can budget the project and defend

the design based on how the cost is related to the budget. In the other scenarios, the contractor holds all the cards. If they say anything costs too much, we have no leverage because we work for them.

But this process does not have to be adversarial. Where possible, line item pricing for lighting equipment and controls is critical. At the

beginning of a project, we like to identify the lighting costs broken down into at least three numbers (interior equipment, exterior

equipment, and controls). Then we have a process of working with lighting suppliers to create line item pricing for equipment. In a

scenario where that work is bid out, the line item work can go out

the window if the work is ‘packaged’. One way to overcome this is

for the contractor to engage a rep agency early in the process. This

allows them access to the design documents early enough to advise on cost savings with regard to how products are laid out, product

modifications, and finish options. Early access to the documents

allows them to build a price over time and eliminates mistakes from rushing to provide a price during a constricted bid phase. Working with a single agency also reduces design time because only one

manufacturer needs to be specified for each fixture type, reducing possible mistakes and allowing for more detailed CDs.

In a version of CM at Risk, where the same design team works

on multiple projects for the same owner, there is a building of

knowledge as projects progress. In this scenario, we’ve been asked to

be a subconsultant to the subcontractor to save design time. Knowing the client’s expectations from previous projects, much of the design can be streamlined into a documentation process and only the

elements that are unique to a project are required to go through the design process.

Variations to all of these models of course exist depending on the

part of the world you work in. For smaller subconsultants and those

working outside of their typical markets, it’s important to understand contracting models for each project. Ask questions and collect details, as these models determine expectations for performance, budget development, cost control options and schedule development.


Dancing Grass by Siyoung Kim and Yuree Hong All pics by Colossal, courtesy of Urban Redevelopment Authority

Festival iLights The sixth edition of Singapore’s sustainable light art festival, iLight Marina Bay, recently took place with the participation of artists from all over the world.


rganised by the Urban Redevelopment

which the public were able walk through during the

iLight Marina Bay, the sustainable light

The artists of two other installations also kicked off

Authority (URA), the sixth edition of

art festival, ran from 9 March to 1 April

2018, and featured installations created by artists

from Singapore and around the world. Designed with

energy-saving lighting, recycled or environmentally-

friendly materials, the light art installations reinforced Marina Bay’s position as a sustainable precinct and

their respective collection drives for used bottles from

local companies and cafes that were repurposed in their artworks. Milk Bottle Cows by Singapore-based artist

BP Loh encouraged recycling and upcycling through a

showcase of life-sized ‘cows’ created with some 2,000 plastic milk bottles; while Chandelier of Spirits by

served as reminders to encourage festival goers and

Living Spirits from Thailand was a display of suspended


beverage habits of office workers and symbolising a

the public to adopt sustainable habits in their everyday This year, the public enjoyed a showcase of 22 light

art installations from fourteen countries, including

Singapore. Three of these installations were created

using used bottles and containers contributed by the community and corporate partners.

One such artwork was Transistable Plastic by

Luzinterruptus from Spain – a large-scale installation created using multiple panels encased with plastic

waste to promote awareness of the amount of waste we generate in our daily lives. The artwork used

approximately 20,000 PET bottles contributed by the public and corporate organisations. The collected bottles were vacuum-packed and attached to the

installation to form rows of illuminated rotating panels



glass and plastic coffee bottles, inspired by the morning gathering of Singapore’s workforce.

The line-up of installations also included six artworks

by students from local institutions, including Nanyang

Polytechnic, Nanyang Technological University, Raffles College of Higher Education, School of the Arts and LASALLE College of the Arts.

The festival once again collaborated with overseas

light art festivals, further establishing iLight Marina

Bay as an international light art festival. As part of the

collaboration, selected local and international light art installations were cross-shared with Scottsdale Canal

Convergence in the United States, Bella Skyway Festival in Poland and LUX Light Festival in New Zealand.

Complementing the showcase of sustainable light art

Festival Flawless by Studio ALEX - Architectural Lighting Experience

Elements of Life by Flex Chew

Light Play by Nanyang Technological University

Dreamscape by Magdalena Radziszewska

With Love... by Franck Pelletier

Milk Bottle Cows by BP Loh

installations was iLight Sustainability, an umbrella of initiatives that encouraged festival goers to adopt sustainable habits in their daily lives.

Throughout the festival, the public were able to explore and

learn more about the topic of sustainability by participating

in a series of talks and workshops. The signature Switch Off,

Turn Up campaign, held in conjunction with the festival, will

continue to rally corporate organisations around Marina Bay and beyond to switch off non-essential lighting and turn up their air-conditioning temperatures to save energy. iLight Marina

Bay’s sustainability focus also dovetailed with the Earth Hour initiative on 24 March when the light art installations were

switched off for an hour during the annual island-wide lights out event.

Transistable Plastic by Luzinterruptus

For the first time, the showcase of light art installations was extended beyond Marina Bay to Esplanade Park, where six installations were on display.

The line-up of light art installations this year was curated by a

panel of professionals and practitioners from the fields of arts, architecture, urban planning and lighting.

In 2019, iLight Marina Bay will be rebranded as iLight Singapore to reflect geographical expansions into the Civic District and

Singapore River. At the same time, the festival will kick off on 28 January, in conjunction with the launch of the Singapore Bicentennial (SB) commemoration.


Cambridge hues The e-Luminate light festival transformed the historic streets of Cambridge city centre, lighting up some of the its most iconic buildings during the winter months of 2018.





olour is my daylong obsession, joy,

with Royston based Tryka L.E.D., Pharos lighting

Colour and light once more

A Tryka spokesperson said: “We were honoured

last February for the annual e-Luminate

Festival for the second year running. It is always

enchant, entrance, fascinate and inform.

industry events such as this. Working alongside

iconic buildings were drawn from the

close to our hearts, it was a privilege to showcase

breathtaking light art installations, created

poignant subject, ‘Women Writing History’.

Now regarded as one of the region’s most popular

turnkey LED lighting systems quickly, coupled

Alessandra Caggiano in 2012, attracts thousands

we were able to offer a custom project solution

installations over the course of six evenings

an interactive lighting piece inviting people to

offers the public a unique winter spectacle

very much look forward to next year’s event.”

richness and diversity of the urban landscape,

lights shone onto the river Cam from the college

into something magical for a few short hours.

in an imaginative exercise about the remembrance

Festival Director, Caggiano invited British art

marking the centenary of women’s suffrage.

James Fox to be 2018’s Guest Curator. A familiar

façade lit up with a choreographed series of

on BBC, CNN and Sky Arts, Dr Fox is a Fellow

LGBT rainbow pride flag in honour of the LGBT

where the late Professor Stephen Hawking held

designed by Lumineer Studio and delivered in

widely on many aspects of colour in modern art.

Nic Tolkien, Managing Director at Architainment

Studio, explained: “Colour illuminates our world.

the e-Luminate Cambridge Festival this year

our lives would not be the same without them.

Studio, to light the façade of the prestigious

communicate our emotions, and create meaning.

Reception on the opening evening of the festival.

But to see colour, there needs to be light.”

industry events, and by representing a number of

e-Luminate Cambridge since it started in 2013. It

a bespoke lighting solution each and every time

and torment,” quoted Monet.

control solutions and Design Intent International.

bathed Cambridge’s city centre

to continue our support of e-Luminate Cambridge

Cambridge Festival, which returned to

a pleasure to support and deliver prestigious

As day turned to night, Cambridge’s most

top lighting design professionals and in a city so

darkness and transformed by an array of

the infinite possibilities of light concerning a

by some of Europe’s leading artists.

Tryka’s ability to manufacture bespoke or

events, the Cambridge festival of light, founded by

with the controls support of Pharos, ensured

to the city each winter to see the dazzling light

to dramatically enhance the river Cam, with

and take part in a host of events. The festival

remember women’s role in writing history. We

as ephemeral light art designs play with the

Each evening, during the festival, a series of LED

transforming everyday buildings and spaces

terrace, using lighting as a tool to engage people

With ‘Colour’ as this year’s central theme,

of women’s role in writing history during the week

historian and BAFTA-nominated broadcaster Dr

Another highlight of the Festival was the Guildhall

and popular figure presenting arts programmes

sequential ‘light dances’, directly expressing the

of Gonville & Caius College, the same College

Month, in an artful, layered and colourful spectacle

a Professorial Fellowship, and has published

collaboration with Architainment Lighting.

As Caggiano, who is also director of e-Luminate

Lighting explained: “It was a privilege to sponsor

Humans can see millions of different hues, and

and work with Xavier Fulbright, Lumineer

Colour helps us understand our environment,

Cambridge Guildhall, which played host to the VIP

It’s a powerful tool for artists and designers.

Architainment Lighting is proud to support

Dr Fox said: “I’ve been dazzled and delighted by

top brands in the industry we are able to provide

floods Cambridge with light at a dark time of the

with the confidence of complete technical support

1. 5.

eyes. I am therefore delighted to have worked with

the festival’s theme of colour, with a colourful

we have explored a subject very close to my heart:

Other events that made this six-day event so

light and colour from various perspectives,

sessions under different lighting conditions

This year’s programme included an interactive

manufacturer, and the return of the popular Trail

anniversary since the admission of female students

Left Page Patrice Warrener at Gonville & Caius College, ‘The Colours of Caius College’ This Page 1. Oblique Arts, at Aromi, Cambridge 2. Lumineer Studio and Architainment, ‘The Colour of Science’ at Cambridge Guildhall 3. Ross Ashton at The Projection Studio, ‘I See’ at Senate House, Cambridge 4. BDP with Tryka et al, ‘Women Writing History’ at Trinity Hall College 5. Robert Montgomery at King’s College Cambridge, ‘The Hammersmith Poem’

year and makes us see this beautiful city with fresh



from our experienced team. We fully embraced

Alessandra in curating the 2018 Festival. Together

display on an architecturally stunning building.”

colour, and the complex relationship between

popular include the experimental Wine Tasting

combining art, science, and technology.”

sponsored by Pulsar, Cambridge based LED

installation created by BDP to mark the 40th

of Light walks through Cambridge Colleges.

and Fellows to Trinity Hall, and it is a collaboration


Pics: Sir Cam



Light+Building The arc team travelled to Frankfurt this March for the latest instalment of Light+Building - a week-long showcase of the latest and greatest innovations in the lighting world. Here, you’ll find an extensive review of the show, looking back on some of the many highlights from the show floor.


138 Stand and Deliver Stand-out stands and stand-up events at the Messe and beyond.

142 Frankfurt Finds Kevin Grant offers a personal perspective of the technology on show.

132 David Morgan’s Pick of the Pops Products that impressed our resident expert during the show.

147 Design+ Awards A selection of the winners of Light + Building’s awards event.

150 New Products Our round-up of the latest lighting innovations on show in Frankfurt.

154 Design Focus - 3F Filippi We caught up with the four designers behind the 3F Architectural range.

160 Design Focus - Flos Piero Lissoni discusses his new range of products, designed for Flos.

166 Design Focus - Performance in Lighting Walter de Silva unveils three new products designed for PiL.

174 Design Focus - Neri Neri worked with ÅF Lighting for the new Lang street lamp.

178 Design Focus - Motoko Ishii The Japanese designer returned to Frankfurt, designing stands for Sumitomo Chemical, Stanley Electric and Iwasaki Electric.

184 Luminale 2018


ight + Building once again confirmed its position as the leading tradeshow for

lighting technology, setting new records in the number of visitors, exhibitors and area occupied. 2,714 exhibitors from 55 countries launched new products, and

more than 220,000 trade visitors from

177 countries, attended the event. International presence

also rose in comparison with the previous event with 70% of

exhibitors and 52% of visitors coming from outside Germany. The best-represented visitor nations after Germany included China, Italy, the Netherlands, France, United Kingdom,

Switzerland and Belgium. Considerable growth was also noted in visitors from the likes of Russia, India, Finland, Korea and Ukraine.

Following the show, Wolfgang Marzin, President and CEO of Messe Frankfurt said: “Light+Building presented a plethora of innovations. Everyone involved – exhibitors, partners

and visitors – was delighted with the fair and this positive mood was prevalent in all halls. The upswing in the sector continues.”

Bluetooth mesh, miniaturisation, liquid crystal beams, nano

optics, laser light engines, ultra high CRI, real-time data, co-

creation, IoT ready, enhanced human centric lighting, LiFi... all the latest technology advancements were on display.

Read on for the low down on the most interesting and innovative products and technology at the show.

Light+Building will return to Frankfurt in 2020 from 8 - 13


A look back at the highlights from Frankfurt’s festival of light.



Stand and Deliver As we look back on another successful Light+Building, we take a look at some of the stands and events that caught our eye during our time in Frankfurt. iGuzzini Light Experience After the success of past editions, the Light Experience returned to Light+Building 2018 in a new, unique format. It saw thousands of visitors enjoy the immersive and emotional experience driven by light and shadow interwoven with sound and imagery. The Light Experience put on a great show this year through a startling flurry of lighting effects and scenes driven by iGuzzini’s most innovative products, through a mix of technology, design, miniaturisation, optics and visual comfort. Thousands of guests shared their positive feedback about the new format, acknowledging the extreme precision iGuzzini’s optics must have to achieve such effects and attain such fantastic balance between light and shadow, along with perfect integration. The 100sqm area, developed in collaboration with the lighting designer Maurici Gines, offered a high-tech experience enriched by an exciting multisensory show of vibrant lighting effects. Moreover, The Light Experience went digital at the fair. iGuzzini launched a completely new tool meant to inspire lighting designers at Light+Building and beyond: the Light Experience in 3D – a tool that allows users to interactively discover and experiment with luminaires and their lighting effects. Through an incredible Guided Experience and an Interactive 3D Experience, accessible via Virtual Reality, App and desktop, the VR Light Experience makes it possible to identify the best design solutions anywhere, anytime.

Lamp Lighting Lamp Lighting returned to the origins of light with their #TouchTheLight event where invited designers and visitors were able to make their own lanterns from basic materials including paper and adhesives. Inspired by the lanterns from the 1900s, La Invisible Lighting Design Studio led workshops every day that coincided with presentations of the upcoming judging panel of the Lamp Awards 2019 including Paul Nulty, Aleksandra Stratimirovic, Roger Narboni, Uno Lai and Pascal Chautard.

Targetti Targetti chose to use the evocative power of light in an elegant and creative way by clearly showing how it is possible to create even the most unusual scenes using fixtures and light effects to go beyond conventions. The 390sqm stand offered a renewed brand image thanks to the many new products and a set up that demonstrated a profound knowledge of the language of light. The company developed a route inside the exhibition space where the idea of a game becomes a means to describe the design and technical features of every fixture. This in turn created extremely interesting combinations between the features of the new Targetti products and some traditional games such as Tic-Tac-Toe to highlight the capabilities of their ThreeSixty and Logico fixtures; Hopscotch to emphasise the narrow spot optic of Zeno projectors; and Nine Men’s Morris to exalt the grazing effect light emission of Febo Evo.



Tridonic Escaping from the hustle and bustle of the exhibition floors at the Messe Frankfurt, Tridonic took their showroom presentation to the Palais Livingston. The Baroque palace, located in the heart of the city, which fell to destruction during the Second World War and was rebuilt based on the original model, provided a beautiful setting for Tridonic’s evening function and presentation of new technologies and lighting applications on the third evening of Light+Building. CEO Guido van Tartwijk and Tridonic experts for all product segments shared insights, trends and new products whilst hosting a tour around the venue. A particular focus was on the Internet of Light toolbox, net4more, which was live in the whole building. Showcasing an array of new products and applications, Tridonic covered new grounds in multiple application sectors including creating ‘a great experience with minimalistic design’ in Retail and Hospitality, ‘livable spaces with personalised solutions’ within Office and Education, ‘urban value with intelligent lighting’ for Outdoor and Industry and ‘intelligent buildings with integrated systems’ within Controls and Connectivity.

L&L Luce&Light L&L Luce&Light presented a wide range of new LED lighting fixtures in a science laboratory setting designed by the studio traverso-vighy architects. Characterised by ‘raw’ materials and texturised and perforated wings that create evocative light and shade shielding, the stand was a real piece of architecture that together enclosed yet revealed the world of L&L to the public, in which the quality of light, the care for the lighting project and for ‘Made in Italy’ are core values. Some areas were dedicated to interacting with the public; once passing the entrance, visitors came across the Interactive Light Experience, an emotional bench that brought the Moby dive collection on stage, while, on the first level, in a suspended cloud-like volume with access through an obscured path was the Palladio family. The other innovations on show included the Bitpop built-ins and Ciak collections, the Brenta range of linear profiles, the Ginko family of outdoor projectors and the Plin 4 and Plin 5 outdoor bollards.

Erco Visitors from all over the world experienced innovative product and lighting solutions in spatial contexts on the newly designed Erco Light+Building fair stand. Subdivided into the areas of Work, Community, Shop, Culture and Contemplation, the stand demonstrated lighting tools in their applications, thus underlining the relevance of perception-oriented lighting. The multitude of new technologies and the Erco individual services presented for the first time reflected the requirements of modern architectural lighting – individual lighting solutions for various lighting tasks. To support lighting designers in creating customer-individual lighting solutions, Erco also offers its ‘Erco individual’ service for project-specific product solutions that can adapt precisely to customer needs. All new products and lighting solutions could be viewed and experienced within a spacious presentation area. The stand was significantly enlarged and was not only completely redesigned but also in a modular way. This makes it a particularly sustainable system that can be flexibly reused in the future. The stand presented itself as a platform for the dialogue between lighting designers and manufacturers and as an innate example of contemporary trade fair architecture.

Pic: © ERCO GmbH, photography: Lukas Palik




Seoul Semiconductor SunLike Symposium

During Light+Building, Seoul Semiconductor held a special symposium, examining the impact of light on health, sleep and circadian rhythms. At Light+Building 2018, Seoul Semiconductor hosted a symposium featuring academics and industry insiders that focused on scientifically and objectively demonstrating the effects of light on health and circadian rhythm entitled ‘Human-Centric Lighting & Health’. The half-day symposium programme consisted of several invited experts, including Professor Russell Foster from the University of Oxford, widely regarded as an expert in light, sleep, and circadian rhythm research. He was joined by Dr. Manuel Spitschan, also from the University of Oxford, and Dr. Octavio L. Perez from Mount Sinai Hospital in New York. All three gave presentations on the effects of light on health, and discussed the future direction of lighting. According to Professor Foster, “Light not only allows us to perceive space, but also plays a critical role in enabling us to perceive time by controlling our circadian rhythm and sleep. To sustain a healthy and happy life, we must get the best sleep and keep our circadian rhythm at an optimum level. We also need to replace today’s artificial lighting systems that hinder our circadian rhythm with more human-centric lighting.” Addressing the importance of sunlight in next-generation architecture standards, Dr. Octavio Perez from Mount Sinai Hospital in New York explained: “Typically, people who live in buildings with great lighting – in other words, buildings that get a lot of sunlight – are healthier and happier, compared to people living in artificially-lit indoor spaces. This is because artificial light features a spectrum that vastly differs from natural sunlight. “Artificial light, such as fluorescent light and LEDs that emit a spectrum with irregular light waves, hinder the user’s circadian rhythm and


eyesight,” Dr. Perez continued. “In the long term, this exposure to artificial light is known to have a negative impact on the human body. However, the SunLike Series natural spectrum LEDs create light with a spectrum that is close to sunlight, offering significant benefits for eye protection and accurate colour reproduction, making it an ideal lighting source for architecture, thus we expect it to become more popular in the field moving forward.” Dr. Perez also stated: “Development in light fixtures which use natural light sources such as SunLike Series LEDs, will revolutionise future standards and design, as the construction industry applies even stricter standards to provide people with good quality light. As such, companies must focus on developing light fixtures that produce natural light.” Seoul Semiconductor Global Marketing Group Executive Vice President Caleb Won said: “The researchers who were awarded the Nobel Prize in Physiology in 2017 identified the genes that govern the circadian rhythm, which controls the main functions of human behaviour, including the level of hormones, sleeping, body temperature, and metabolism. Their research clearly shows the importance of maintaining the 24-hour cycle circadian rhythm formed by natural sunlight.” Won continued: “This Symposium presented scientific, objective evidence on the impact of light on our circadian rhythm, sleep, and health. It was a meaningful opportunity to increase attention and awareness on the need for light fixtures that offer natural light, and to contemplate future directions for lighting. The SunLike Series LEDs, which recreate light that closely matches the natural spectrum of sunlight, promises to be the next-generation light source to lead the era of human-centric lighting.”

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Frankfurt Finds Kevin Grant of lighting design practice LightAlliance talks us through some of his Light+Building highlights.


eavy snow in Frankfurt meant

fixing, ground spikes, diffusers, glare shields and

so we had one day less to

of mini-bollards, bollards, wall-lights and even

delayed and cancelled flights,

beam shapers). Their Belvedere and Bellhop family

cram it all in this time, but we

a 3-metre tall pedestrian scale column convey a

whole show…

iGuzzini provided another opportunity to see what

managed to get around the

simple design, but beautifully executed.

Aside from this year’s formal

their equipment can do in their Light Experience,

themes – ‘Connected – Secure – Convenient’ – there

and showcased CBD InOut HD60 – a customised

(between inside and out); ‘Control’ (not only digital,

RDM); Palco InOut extends their indoor collection

minimise physical size); and ‘Flexibility’ (in terms of

diameter up to 153mm and up to 8000 lumens), an

some of our highlights:

flood or profilers, and the ability to choose between

structure of light nodes, each containing three

Sometimes external gobo projectors can appear to be

control interface can be programmed in real-time

Gobo Spot by Selux, which follows the organic form

were other notable trends such as ‘Connection’

but advances with optics); ‘Compact’ (a real drive to

ability to select between spot, medium, flood, wide

Favo The Light Net by Sattler is a lightweight

two flux levels at different ambient temperatures.

individually controllable LED sources. Their intuitive

stuck on as an afterthought. Not so with the Olivio

or can react to dynamic triggers – creating a very

of their Olivio series luminaire family, with four

flexible and easily configurable system.

different lens options and active cooling onboard.

track that is only 15mm in height; and the Running

again this year, including the Unico modular

Magnet 2 system with SMART control app – allowing


for outdoor use – available in six sizes (from 30mm

features, controls and physical interaction). Here are

Flos presented Zero Track – a surface mounted

Kevin Grant, Design Principal, UK Studio, LightAlliance

linear solution with RGB pixel control (via DMX-

There was lots of innovation on display from XAL downlight system with up to nine individually

remote control of each luminaires orientation and

controllable 38mm x 38mm inserts and a recess

Some nice Flos outdoor products were also launched,

unique – allowing for a wide range of lighting

Projector (directional) each with adjustable and

for trimless installation in plasterboard ceilings,


depth of only 50mm. Each of the optics can be

such as Landlord Soft (slender diffuse disc) and

scenarios from a single luminaire; Cavo is a system

lockable heads, in various heights, and with a range of accessories (bollard, rubber belts for branch

with directional spotlights (using tool-free

magnetic fixings) and an option for indirect light

Previous Page Move It 25 by XAL This Page (Clockwise from Top Left) Favo The Light Net, by Sattler; Running Magnet 2 by Flos; Olivio Gobo Spot by Selux; Mito by Occhio; Ghost Linear by Simes; Focalspot Mini by Tokistar

within the profile (the round variant is only 110mm diameter and

Staying tiny, N-Line Full Spectrum LED by KKDC can be only 9.5mm

25 is an evolution of the flexible track-based system (for trim-less

(including indigo and violet) – allowing objects to appear as they

can accommodate up to three spotlights and indirect light). Move It

x 6.8mm in profile and emits light across the entire visible spectrum

installation in plasterboard, surface mounting or as a suspended

would naturally under daylight. They have carefully developed the

and configurations that can be installed and moved around without

so can even be considered for the illumination of organic pigments

the source or create dramatic effects). It can be provided with some

GVA are aiming for big things – Infinity permits up to 300m long

to six tracks. All sources are individually controllable and addressable

and provides opportunities for pixel control. Their STR9 IP68 IK10

Zeno by Targetti incorporates a slender bracket design and uses four

rotated when installed) and beam angles that can be as tight as

version – with optional indirect light). It has lots of different inserts

technology to ensure that it does not contain IR, UV, UVa or UVb –

tools and some neat attachments (which can minimise the view of

found in delicate artworks and sensitive materials prone to fading.

very funky adjustable connection joints, which can accommodate up

runs from a single power supply, it is compatible with solar power

via DALI or wirelessly via the app.

Frameless inground luminaire includes adjustable optics (can be

different optical systems to generate six photometric distributions –

a six-degrees (White, RGBW or RGBA source up to 4600 lm/m).

of light, to a much softer Very Wide Flood optic). Available as track

Amp technology, which allows up to three times higher lumen

Casambi, or with on-board dimming.

combination of channels is boosted to the full luminaire load output,

associated luminaires can now be even smaller – Nano by LED Linear

Continuing their trend for developing integrated multi-functional

(from a very crisp and defined Narrow Beam with a six-degree cone

The very cool thing is their RGBW-IM configuration, with Color-

or surface mounted option it can be controlled via DALI, wireless via

output from individual or combined colours (i.e. each channel or

A further reduction in the size of light sources means that optics and

to extract maximum light output).

provides a range of useful optics and is only 38.5mm wide and 12mm

systems – Mito by Occhio consists of elegant C-shaped luminaires

(with lumen packages >4000 lm/m). LED Linear also showcased an

chrome, matt chrome, glossy white, matt white, glossy black, matt

for bending and twisting in all directions, and with a guarantee of

light, colour temperature, or intensity and a really neat, super tactile,

luminaire to luminaire installation

Bluetooth using the Occhio Air app. It’s available in pendant, ceiling

Tokistar’s Focalspot Mini is tiny, as the name suggests and produces

quality is excellent – well done Occhio!

height. The beam angle can be tilted in five-degree increments

evolution of the 3D flexible LED products – Venus 3D Bendable allows

all beautifully finished (with options of matt gold, rose gold, bronze, black). These luminaires incorporate gesture control to vary the

dot-free illumination, homogeneous light emission and seamless

height adjustment mechanism. They can also be controlled via

Talking of things getting small, light beams are getting smaller too!

mounted and floor standing variants. The visual appearance and light

a very concentrated three-degree beam of LED light, complete with

glare-free reflector.



Pick of the Pops David Morgan picks some of his favourite products and innovations from the show.

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

Arcane Eulum

The 2018 Light+Building show was the largest so far in terms of visitor numbers and exhibitors. When I asked lighting designers who visited our stand for their thoughts on the most interesting products they had seen at the show, the general feeling was that the overwhelming quantity of information and products presented was too much to process until after the show was over. I was impressed that lighting technology and luminaire design is developing rapidly in some exciting directions. I came away from the show with a long list of devices and components that I am looking forward to working with over the next couple of years.

Eulum was showing its Arcane modules, which cleverly combine their own light engines, a good size heat sink, a 10-degree TIR optic, a Casambi wireless control and the LensVector liquid crystal beam controller. The LensVector liquid crystal technology allows the beam from the light engine to be adjusted from a narrow spot to a very wide flood. The Arcane light engines are available in a range of white fixed colour temperatures, dynamic white or RGBW colour changing.


LensVector Liquid Crystal Lens LensVector

Possibly the most innovative device at the show was the LensVector liquid crystal lens which produces a zoom lens without any moving parts. A number of luminaire companies including Eulum had incorporated the system into their projectors at the show. The technology, developed by Dr. Tigran Galstian and his research team at Laval University in Quebec City aligns liquid crystal molecules to a shaped electric field to establish a digital lens. By changing the electric field, the nature of the lens, and therefore the illumination effect, can be manipulated. This seems likely to changes the rules of spotlight luminaire design and this is definitely one of the technologies I will be investigating in more detail.

Calipso Artemide

According to the Artemide web site, the honeycomb pattern used for the new Calipso range, designed by Neil Poulton, is an abstraction of a photograph of the moon’s surface generated by an algorithm. This certainly seems to have been a very effective way to produce this particular pattern. Poulton has created an attractive and visually comfortable lit effect from this range of luminaires, which made it stand out from the generally bland level of luminaire design at the show. Apparently, the pattern of circular holes in the front cover helps the luminaires to achieve a UGI rating of 19, thus making the range suitable for office lighting. The range includes a circular wall light, circular pendant, a continuous linear system and an individual linear luminaire all using the same honeycomb pattern.

Acrich AC Micro Driver Seoul Semiconductor

Seoul Semiconductor seems to be an underrated LED company despite having produced a number of innovative LED sources. The company has pioneered AC and high voltage LEDs marked under the Acrich brand and showed their latest versions at the show. The Nano driver is an incredibly small solid-state driver developed to run two unequal length strings of high voltage AC LEDs direct from the mains. In the past this approach has only been suitable for exterior or utility home lighting, as the flicker was quite unpleasant. The Nano driver manages to reduce flicker to less than ten percent and easily meets the Title 24 flicker requirements in California. The driver can be dimmed via phase or analogue systems that are likely to be found in home lighting applications.


DALI Bridge Casambi

Ultra-High CRI White LED Optisolis Nichia

Flexible Film Carpetlight

Micro Spot SLD Laser

Unico XAL

Moon Coelux

Casambi showed a wide variety of third party LED drivers that incorporate their Bluetooth control technology. I spotted samples of Global Trac adapters on display, that incorporate TCI drivers and now also have Casambi on board, allowing individual control of track luminaires mounted onto existing non-DALI track. Casambi also showed its new CBU-DCS DALI module, allowing an interface between Casambi and standard DALI drivers. One of the clever features is that it does not need a separate power supply but takes the power directly from the DALI bus. The device only draws 6mA, equivalent to three DALI device loads, and a maximum power drain of less than 0.1W in standby mode. The module can also integrate with DALI drivers that incorporate their own power supply.

The Soraa Laser company (SLD Laser) has developed miniature laser light engines based on a blue InGaN laser diode that excites a microscopic phosphor to produce safe incoherent white light output. The micro spotlight incorporating this source was a winner in the Design Plus competition at Light+Building. The 35mm diameter light engine produces a 2-degree beam with an output of 400 lumens. Applications at the moment seem to be restricted to automotive and specialty luminaires but as the efficiency of laser diodes increases and the cost falls it seems likely that they will start to be used in general lighting where intense narrow beams of light are needed. This could be an emerging technology to rival traditional LEDs for very narrow high power distributions.

Nichia showed the Optisolis ultra high CRI medium power LEDs, which come closest to matching the standard 100 CRI illuminant. Apparently, the Optisolis LED arrays incorporate their 420nm blue source to excite five phosphor colours to produce the required spectrum. As these LED arrays emit almost no UV and have such a perfect CRI, the ideal applications include museums and galleries presenting artwork with sensitive materials and also for reference light sources. With the increasing interest in more comprehensive colour rendering quality systems such as TM 30 15, the focus on ever higher CRI values may be over but it is good to know that if we are asked for 100 CRI light sources we now know where to go.

XAL presented the Unico multiple downlight system, which offers designers the opportunity to create a variety of different lighting scenes from one luminaire. Up to nine 20mm x 20mm modules can be installed into housings of various shapes and sizes to create square or rectangular luminaires. Nine different lighting distributions are produced with very low glare micro prismatic reflector optics developed by Bartenbach. The modules can be inserted and removed without tools and the overall depth of the downlight is less than 50mm Each module can be controlled via ZigBee or the XAL control system and the dramatic effect of switching between distributions was very effectively presented at the show.

The German company Carpetlight, who has developed a range of flexible LED light panels for the film industry, caught my eye. The panels come in a variety of shapes and sizes and incorporate DMX controlled colour tuneable light engines. The colour temperature can be adjusted from 2,800K to 6,000K with a CRI of 95. The panels comprise a number of laminated textile layers including monofilament fibres to produce a low glare diffuse output from the LEDs. Heat dissipation is also achieved with a patented convection-cooled, multi-layered textile compound. The company is now promoting the panels for use in a wide variety of other applications including military, marine and exterior area lighting.

The Coelux stand was very impressive this year, with a remarkable presentation of their skylights with simulated sunlight and blue-sky effects. The effects presented included hyper realistic light cloud and hazy sunlight. A moonlight effect was also presented for the first time at the show. The “Switch to Moon� mode is available in the biggest Coelux systems - Coelux 45HC and Coelux 60HC, transforming a day scenario to a night one, with a soft light that originates from dramatic blue shadows. Installed on a ceiling, it becomes a spectacular window, facing a full moon in an endless space.


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Design+ Awards A jury of experts selected the products that impressed them the most at Light+Building 2018. Here we take a look at some of the winners.

Alphabet of Light circular Artemide Alphabet of Light is not only the design of an object but also the development of a concept using light to communicate. BIG’s inspiration derived from an abacus of geometric elements which can be connected together in order to design a new font that translates into light. The round elements, available in two diameters, can be separated into modules to join the linear elements together according to different angles to create countless basic or more complex, linear or curved structures of light, thus designing everchanging geometries.

Minus Two apure The Minus is a breakthrough in conception, technology and design. An architectural lighting solution that requires less than one inch (25mm) of ceiling recess without sacrificing performance and design. With its smallest aperture of just 10mm, Minus produces a discrete lighting effect, virtually glare free and capable of producing an output of over 1000 lumens from source. But it is the daring innovation – the desire to save overhead space – that is the genius of Minus. Designed by Porsche Design Studio, Minus Two features apure’s signature magnetic louver reduced to a 25mm square.

Bicult LED Trilux Trilux revolutionises office lighting with the new Bicult LED. While glare-free light directed upwards provides general lighting of the workplace, the direct component creates perfect light on the desk to achieve optimum work conditions that comply with relevant standards, without the need for complex lighting design. The Smart Connect version enables several Bicult LEDs to be networked together and grouped, creating a uniform ceiling appearance thanks to simultaneous switching of the indirect light components along with individual control of the direct components.

VarioLED 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 three dimensions (3D) in order to follow any curves present in modern architectural concepts.




Trigga Molto Luce The range of high-quality and varied members of the Trigga product family, brings light into a room in a very particular way. With the help of Bartenbach LFO lens technology, the protruding light is reduced to an absolute minimum of 10mm. This prevents glare and significantly improves visual comfort. Thanks to a specially developed hinge, the light can also be perfectly positioned. Two available beam angles - either 30 or 55-degrees - enables the luminaire to accurately direct the light at the required object.

instalight MonoRail 4021 Insta The new instalight MonoRail 4021 handrail was developed in close dialogue with key architects. The aim was to create a pioneering lighting concept that guarantees perfect illumination of the floorspace and maximum glare suppression of the wall surface. Easily wall mounted, the Monorail 4021 gives focused, asymmetric light distribution onto the working plane, with even light distribution of up to 1.6-metres for a one-sided handrail or 3.2-metres for dual handrails. With illuminance selectable from 150 to 250 lux, it is available in various light colours, and is tunable white selectable.

ZFY200 We-ef The ZFY200 bollards fit harmoniously into a wide variety of architectural and urban contexts – providing illumination that is free of glare and scattered light. The CAD-optimised, indirect optic developed by We-ef generates a symmetric light distribution [C60] and ensures excellent glare control with maximum efficiency. The bollards are available in two sizes: 600mm and 1,000mm in height. The ZFY200 has integral 10/10 kV surge protection and is fully prewired with an integrated terminal box and fuse. We-ef’s 5CE anti-corrosion technology guarantees lasting and reliable corrosion protection for the IP66 luminaires.

Ripls Louis Poulsen Designed by Jakob Wagner, the wall-mounted Ripls emits a diffused light. The front consists of a concave clear front, with ripples like rings in water. These ripples refract light, creating a subtle change of appearance depending on the viewing angle. The concave form outlines the refraction, creating a higher intensity of light towards the centre, fading off towards the edges. A diffuser offset sits deep in the fixture, creating a sense of depth, while its slim housing creates the appearance of a floating disk. Perforations in the opaque housing allow indirect light to create a soft halo of light around the fixture.


Volatiles Volatiles Volatiles are ultra-thin LED modules that, when placed behind a sophisticated glass mosaic, create a tantalising light scene. With the ability to display a myriad of colours, endless variations of compositions are possible. Every tile is sensitive to touch, so you can modify the colour with your fingertips or use your hands to draw patterns on this illuminated wall. Simple to operate and install, Volatiles can be controlled via your smartphone. Thanks to the latest LED technology, Volatiles are highly energy efficient and long lasting, while intelligent software considerably lowers energy consumption in stand-by mode.

Stream Regent With Stream, architecture, space and light become one. The uplighter illuminates the ceiling without a ceiling-mounted luminaire, making the ceiling the reflective surface on which the spread of diffuse light unfolds. Given its unique reflector technology and its narrow-beam light distribution, Stream creates a sufficient level of brightness in the space through purely indirect lighting, meeting the most stringent glare control requirements specified for office lighting. Available in different versions, for standing on a table, or equipped with a stand, Stream makes for an extremely flexible lighting solution.

Wittenberg 4.0 Series Mawa Design The Wittenberg 4.0 series from mawa design features a wide range of spotlights, including recessed, surface-mounted, free-standing, track and recessed concrete luminaires. The spotlights are designed with no visible screws or cables, and offer excellent light output and improved colour rendition. Their large light emission also boasts excellent glare control.

Walky iGuzzini Walky is a collection of miniaturised luminaires, with a round, square and rectangular shape, featuring highly innovative technology and a refined design. Designed for outdoor spaces, Walky is suitable for recessed or surface installations, with sizes available from 45mm and luminous flux levels from 270 to 1800 lumens. The miniaturisation applies to both the luminaire and its components. The very latest generation LED technology, together with materials, optics and application development, have allowed iGuzzini to use every single millimetre, eliminating superfluous space.



Show Stoppers

Moon Nexia “We conceive light as an emotion”. Nexia has launched a totally unique range of spotlights. Moon, with its exclusive and architectural design, features the latest lighting technology. Nexia offers complete and upscale lighting solutions, taking care of light control with a new range of technical accessories, the use of Bluetooth, VCL technology, dim to warm and tunable white dimming controls.

Dunbar 160 Astro Lighting Inspired by the flowing lines of a Mobius strip, Astro’s concrete Dunbar 160 combines a soft curve structure with the crisp linear edge of its light output, where deeply recessed LEDs provide powerful yet glare-free illumination. Celebrating the character and charm of raw material aesthetics, the Dunbar 160 is individually cast by reinforcing raw concrete with weatherproofing additives. The result is an authentic luminaire with natural imperfections and a unique finish.

Protozoa Mike Stoane Lighting Protozoa, like the 16mm Surf Type S when that launched in 2009, is the smallest technical luminaire in its class. Merely 9mm and 37.5mm tall at maximum extension, it has full 360-degree pan and 180-degree tilt adjustment. A very low glare, high-grade optic delivers a generous 13 to 60-degree zoomable clean beam. Launched with 3000K and 90+ CRI initially, it is available in surface mount and soon also semi-recessed, stick mount and repositionable track mount.

Six Arkoslight Six, designed by Arkoslight’s head of design, Rubén Saldaña, is a spotlight for either track or single recessed installation, standing out by its optical lightness and elegance. Its disc-shaped body with slightly convex rim encloses an innovative combination of reflector and lens, and the joint action of both directs the light beam with maximum uniformity and minimum distance. Moreover, Six connects directly to the track adapter through an articulated arm, allowing orientation of the fitting in any direction.

Moto-Zero Compasso 40 Track Formalighting The smallest motorised track spotlight on the market, mounted vertically or horizontally, with a light head measuring only 40mm in diameter and 74mm in length. Available with a beam angle as narrow as 4-degrees, the Moto-Zero Compasso 40 is ideal for applications where size really does matter, and smaller is better. The movement of the light head and the light intensity are controlled at the tap and slide of a finger with the formalighting wireless app.

Gabio Megaman Megaman has introduced a range of aluminium linear LED pendants, Gabio. The patented louvre is available in 20W and 30W versions, producing up to 117 lumens per watt. Able to be configured with direct as well as direct-indirect lighting the louvre suits a variety of design requirements. Furthermore, Gabio features a unique design, incorporating light cells within its junctions, which conceals the joins completely to create unbroken lines of light, which delivers excellent design consistency.



Once again, Light+Building was bigger and busier than ever, with countless new product launches across the many different halls. With so much to see and such little time, we’ve provided a round-up of just some of the highlights.

KOH 40 KKDC KOH 40 is the new linear general/office lighting solution from KKDC which uses high output interchangeable LED modules (Switched/1-10V/DALI) configurable in short lengths or continuous linear systems. KOH 40 is available in Recessed, Surface mounted or Suspended options for direct/indirect lighting in a range of premium paint colour finishes. A choice of LED and cover options in Prismatic/Diffused or Black Louvres for optimum performance.

Vancouver Ligman Ligman’s Vancouver range encompasses numerous standard column and bollard options. Ligman showcased a special Vancouver design with the unique corporate mashrabiya pattern of Abu Dhabi City Municipality. Column versions of this bespoke design are now installed around the grounds of the main Municipality HQ in Abu Dhabi in a matching RAL finish to the historic building cladding and more already underway for other Municipality sites.

DRX Zoom RCL Coming soon, Remote Controlled Lighting will launch the DRX Zoom range; a variable beam option that will be available for DRX1 and DRX5 luminaires. Users will have the ability to vary from accentuating a small object, or pin spotting a table, to lighting a wider space at the touch of a button. More information about DRX Zoom will be available shortly, but you can find details on the current DRX range online.

Periskop Linea Light Group An outdoor projector perfect for accent lighting, the Periskop is equipped with an aluminium bracket that allows tilting of up to 180-degrees. The Periskop family extends its range with two larger models and an RGB version newly equipped with a series of accessories that allow light emission control. Available in Spot, Flood and Medium Flood optics, they can be integrated with accessories such as the honeycomb filter for reducing glare and changing the light beam of the secondary optic; or the Blade elliptical filter, designed to produce an oval beam.

2LOOK4 Prolicht 2LOOK4 stands for minimalistic elegance, sophisticated technology and above all for maximum flexibility. The 2LOOK4 profiles can run across walls and ceilings, creating three-dimensional continuous lines of light emphasising the geometry of a room. The range includes visible slots from 20 to 160mm using visible or hidden track spots that can be easily adapted to the respective interior. It can be used for both general lighting and illumination with spots or wallwashers and offers an amazing freedom for various lighting concepts.

SmaCT range Sagitario The SmaCT range is a set of multi-functional digital controllers 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.


XOOLUX Nano LED Linear Equipped with revolutionary Nano Optics, XOOLUX Nano offers a unique combination of a miniaturised form factor and an accurate light beam shaping. Arrays of Nano lenses enable for completely novel luminaire designs, opening a completely new world of applications. Four symmetric light distributions with angles from 15 to 65-degrees and an oval light distribution providing 15x50-degrees serve both wall washing and grazing applications thanks to the adjustable tilt of the XOOLUX Nano from 0 to 45-degrees. The tilt can easily be adjusted in 5-degree increments.

Tetriss Series Meteor Lighting Tetriss Series serves as a flexible lighting solution for a wide range of indoor and outdoor applications. It implements the latest cold-forging technology with high heat dissipation material (30% increase in conductivity compared with die-cast material) and improved convection design, enabling each Tetriss module to deliver 7,200 lumen output in each compact 5-inch light engine. With Wet Location listing and IP65 rating, it is suited for a variety of applications ranging from sports arenas, convention centres, airports, gymnasiums, and swimming pools.

Smart[PRO] 2.0 Gewiss Smart[PRO]2.0 offers visual comfort, safety and exceptional lighting quality, assuring safe, efficient and comfortable public areas and facilities. This range of highpower LED floodlights combines the most advanced technology on the market with simple installation, offering better lighting performance, thanks to its eight different optical options, and enabling great energy savings in both simple and complex systems. Smart[PRO]2.0 floodlights guarantee effective thermal dissipation and extremely low maintenance costs, whilst providing the right, required light output.

Micro Spotlights Tokistar The quality of light and superior craftsmanship of Tokistar Micro Spotlights make them ideal for illuminating fine jewelry and valuable artifacts in showcases. These slender fixtures discreetly blend into any setting focusing light precisely with an optics selection of 16, 24 and 30-degree interchangeable lenses. Standard finishes are silver or black and standard stem heights include 30mm, 150mm, 250mm and 350mm. Custom finishes and stem heights are available upon request.

CFS540 We-ef Ready for public lighting without the usual in-line arrangement of poles? WE-EF’s catenary-mounted luminaires are designed to be mounted on stainless steel stays that typically expand between buildings, structures or columns that may, for aesthetic reasons, be positioned ‘out of sight’. The choice of two distinct light distributions allows for design flexibility and targeted area coverage. Tight control of high-angle output, combined with zero light emission above the horizontal, ensures high visual comfort while simultaneously addressing dark skies concerns.

Vesta Series Bridgelux Bridgelux’s Vesta Series is a line of tunable white and dim-to-warm products that enable fixture manufacturers to build adaptable lighting solutions into their installations. Vesta Series products tap into the powerful mediums of light and colour to influence experience, wellbeing, and human emotion. They allow designers to mimic daylight to increase productivity and wellbeing tand fixture manufactures to simulate the familiar glow and dimming of incandescent lamps. Vesta Series is comprised of CSP-based tunable white arrays, SMD-based linear boards, and dim-to-warm arrays.



UDM-W Acclaim Lighting Acclaim Lighting introduced its new wireless Universal Dimming Module (UDM-W), a multi-protocol driver designed to allow conversions between popular control systems, and allow for maximum control flexibility and integration with fixtures. UDM-W gives users a choice between a wireless and wired DMX input, by natively adding Acclaim’s Aria Wireless DMX technology. Both the wireless and wired UDM units support DMX / RDM and 0-10V inputs, while its outputs are DMX / RDM, 0-10V and IGBT digital line voltage dimming.

Smart Dot Grupo MCI Smart Dot, designed by Lighting Design Collective (LDC), is a versatile outdoor and indoor LED pixel. The multiple light effects, finishes and mounting options make this creative and modern fixture a must for lighting designers and architects. This Plug&Play masterpiece allows an easy and quick interexchange and replacement of the Dots. For multiple day and night scenarios, several types of diffusers are available: tall, flat, clear, opal, frosted, opal-black and clearfrosted. Four anodized finishes available: silver, gold, black and bronze.

CITILED Dim-To-Warm COB Citizen CITILED Dim-To-Warm COB is suitable for various applications such as residential lighting, where CITILED Tunable White is suitable for commercial lighting. Dim-toWarm shows the halogen effect shifting from 3100K to 1850K by dimming down the LED. The product could be driven by using two terminals, which makes easier set up by using a standard dimming driver.

Ark S/XS Lamp83 The ARK family evolved according to the developing technology and needs arising in offices. The new members of family, the 40x47mm size ARK-XS series and the 40x78mm ARK-S, alongside the regular 68x90mm ARK body. Profiles with these three sections can be produced in eight different sizes between 60 and 322cm, as pendant, recessed body or surface type.

Noah Roxo Lighting NOAH was inspired by the famous biblical character that received orders from God to build an ark. According to the Genesis flood narrative, Noah gathered all his family and all the animal species in one ark to escape from the evil of mankind and consequently God’s wrath that destroyed the world through an immense deluge. Just like this ark, Noah suggests a handmade floating object, with a natural wood colour finish and indirect light, which creates a calm and warm environment.

Clarios Flex Beam Dot Spot The Clarios Flex Beam is an off-the-shelf LED surface mounted spotlight for the outdoor area in which the beam angle can be flexibly adjusted from ten to 45-degrees. The Clarios Flex Beam 24 V “grows along with the plants” or illuminates architecture elements with its variable beam. Its refined design in a durable V4A stainless steel housing that is resistant to seawater captivates both visually and haptically; its brilliant light is an experience for the senses.



3F Architectural 3F Filippi

3F Filippi has partnered with four Italian architectural firms to produce a new range of lighting fixtures under the name 3F Architectural. At Light+Building 2018, 3F Filippi unveiled a new range of lighting fixtures designed to improve comfort and efficiency at work, especially in the office: 3F Architectural. 100% manufactured at the company’s plant in Bologna, 3F collaborated with four Italian architects to produce the new range: Atelier(s) Alfonso Femia, Park Associati, GEZA, and Andrea Ciotti. “Over the years, office design has evolved considerably to meet

new requirements, especially the increasing versatility required in environments of this type,” explained Giovanni Bonazzi, Managing Director of 3F Filippi. “With the 3F Architectural range, our company wants to propose a new lighting approach, essentially dedicated to these kinds of spaces to assist professionals in their design activities that often require greater flexibility than in the past.”

3F Filoluce Gri e Zucchi Architetti Associati (GEZA) is an architectural and design firm that focuses on improving the quality of life the workplace. Designers at GEZA worked with 3F Filippi to produce the 3F Filoluce, a steel floor lamp with a purely industrial design. Its cylindrical shape rises from the floor, evolving into a series of bluntly rigid bends to spread light on work surfaces that, through the use of a highperformance methacrylate screen, is both effective and comfortable at the same time. “Architecture and workplaces, these are the environments where 3F Filoluce is right at home,” said Studio Geza. “Design and light quality merge in an element of industrial chic: the lightweight shape, impressive height and slenderness inhabit the architectural space, as well as lighting a table. Just as street lamps hung from building façades establish a relationship with the urban space and nor just with the road they have to light.”

3F HD Available for recessed, ceiling or suspension installation, the 3F HD light fixture, designed by Park Associati is an extremely versatile, technically efficient system of extruded modules with a balanced, linear design. The H-shaped profile allows for direct or indirect emission, while the lighting head allows for a 360-degree perception of the fixture. Various types of light emission are available using seamless PMMA screens: controlled low luminance for workplaces, opal for places where diffused light is required, and wall washer for uniform lighting of vertical surfaces. The system also has blind modules to house electrical components to service projects, such as emergency lights, integrated signage and sensors. “The meeting between us and 3F Filippi has been a wonderful experience from the beginning,” said Park Associati. “We believe that the result could be seen in Frankfurt: a collection that approaches the world of office spaces with a fresh, original vision and a very high technological content. A new possibility for technological experimentation and exploration of new fields of knowledge has opened up for us.”



3F Trittico Designed by architectural firm Atelier(s) Alfonso Femia, 3F Trittico is a ceiling light fixture composed of three or four arms linked together to provide direct and indirect light and “create autonomous affinity in space”. The light modules can be modified, giving the designer the possibility to adapt the lighting to layout changes in the workplace. “Light must be part of space,” said Femia of the 3F Trittico. “It must design and emphasise shapes, minimise landscapes in keeping with the nature of the space and the emotions of those that use that space for different purposes – at times operational, ephemeral, collective or personal. “Light can only refer to its presence ratio, which can be discrete or pronounced at times. When everything produces a variable rhythm, a series of possible sequences, it is interacting with us and our needs until it is able to fulfil our desires. “3F Trittico is a light fixture with a variable shape, rhythm and sequences. It is based on the simple element of a line that becomes complex with its layering of soul, light and body of light.” Although designed for the operational sphere of the office, the 3F Trittico can also have applications in restaurants or the domestic market. Speaking of the product launch at Frankfurt, Femia added: “In Frankfurt, there was an Atelier-like atmosphere – a place where meeting, dialogue, research, exchange of views and ideas for the future coexist. “The new concept of 3F Trittico has contributed to explain a new notion of light requested by 3F Filippi, and realised through the different approaches of various architects. 3F Trittico is taking part of a new idea of light, our idea of light as matter that interacts with people and space within a chronotopic system.”

3F Mirella Light+Building also saw the launch of new versions of the 3F Mirella, designed by Andrea Ciotti. Alongside the original suspension version, the aluminium and shaped methacrylate fixture is now also available in a Floor version, along with the XS and XS Wall that can be installed on the ceiling using special rods or wall mounted respectively. “Flexible lighting is increasingly in demand in architectural environments where light must take centre stage,” said Ciotti. “3F Mirella was designed specifically to meet this need. “Integrating the aluminium luminaire that houses the LED technology with a shaped methacrylate diffuser allows the fixture to fit ‘discretely’ into the environment, masking its visual impact on the eye during the daytime. “The range of diffusers of various types and colours to choose from makes it possible to select the most suitable light for the environment depending on the desired atmosphere and visual comfort. “Elaborate and essential at the same time, 3F Mirella can be used in multiple applications in modern architectural spaces.” Having already developed the original suspended version of the 3F Mirella, Ciotti has a history of working with 3F Filippi. Speaking of this experience he said: “Designing for 3F Filippi means first of all having great respect for the company’s history and reinterpreting it in a contemporary way without destroying the know-how that has characterised it for more than sixty years. “Nowadays, the challenge is to transfer the valuable business know-how within the architectural world through the design and manufacturing of products in line with contemporary lifestyles.”



Vertebra Aldabra Vertebra is a flexible lighting fixture with power LEDs and lenses that allows you to embrace and light up curved surfaces and perimeters. Its articulated resin joints allows an elastic management of the lighting of curved or rounded structures such as poles, trees, perimeter areas of residences and façades of buildings. With integrated optics that focus the flow emitted by power LEDs, available in three colour temperatures (2700K – 3000K – 4000K), and the polymerised resin structure, Vertebra is IP67 rated.

Edge IntiLED An elegant luminaire intended for creating an even, O-shaped lighting effect. Narrow bin and perfect LED colour mixing ensure the greatest possibilities for lighting design. Its concealed adjustment mechanism «on site» (±3°) provides ease of installation, while its metal body and IP65 protection make it ideal for exterior use.

Ringo Star Cluster Lightnet Ringo Star Cluster is a modular lighting system consisting of seven light elements: 1/6th, 2/6th, 3/6th, and 5/6th circle, including X and Y modules. These can be combined with each other by special connectors, allowing for unending combinations, each with a diameter of one metre. Ringo Star Cluster is compatible with all Liquid Line modules, so that the arranged ring structures can also be linked with lines, arcs and waves. The hollow bodies enclosed by the rings can be filled with acoustic elements of green forest moss or graphite-coloured, velvet acoustic fleece.

IN Lighting System EWO The IN lighting system can be built in flush and without visible screws or fasteners. Thanks to the modular system, different emission characteristics are possible. The IN system, with its flat surface, comes in five models with three mounting variants. The precise, flush integration into the housing allows architects and lighting designers complete freedom with the design of the exterior space without pushing it into the foreground as the object of attention.

Dynamic COBs Luminus Luminus Dynamic COBs are ideal for human centric lighting applications where warmdimming 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°C) and uniquely offers either a linear dimming curve from 3000K to 1800K or a ‘halogen-like’ dimming curve.

Atto Jack Precision Lighting Atto Jack is soon to be the latest addition to the award winning Atto Range from Precision Lighting, which will use the brand new Minipoint system for quickly and simply plugging and unplugging spotlights. More information about Atto Jack will be available shortly, but you can find details on the current range of recessed, surface mounted and adjustable height Atto spotlights online.


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5:05 pm


Integrated LED Trackight










37W 52W

12W 13W







High CRI up to 97

High CRI up to 97

3000K 4000K

2800K 4000K

2400 to 5000 lm

720 to 1000 lm

Compatible with INGENIUM® ZB smart control system

Compatible with INGENIUM® ZB smart control system

Accessories: Colour Filter (Red, Blue, Green Yellow) Rectangular / Spread Lens Honeycomb Louvre Barn Doors


Architectural LED Direct Linear Ledia The Ledia Architectural LED Direct Linear is a sleek, stylish fixture designed for individual units or continuous runs in commercial and architectural interiors. It brings soft illumination, delivering over 150 lumens per watt; the fixture gives more light with less energy and a full range of dimming of 0-10v. Available in standards lengths of 0.6, 0.9, 1.2 and 1.5 metres, the Ledia Linear light can be joined together in seamless runs in 0.3-metre increments. With plug and play wiring, it can easily daisy chain up to 1000W per power drop.

Belfast Norka The new Belfast luminaire is perfectly protected against vandalism thanks to its extreme impact resistance. The luminaire can be integrated into a vandalism-proof trunking system that practically eliminates the risk of being torn off or removed thanks to its special cross-section. Belfast can resist up to 150 Joule of impact energy, thanks to the 4mm thick polycarbonate in opal white, clear or clear-textured used for the diffuser. The Belfast can be mounted as a single luminaire on the ceiling or wall, or as a continuous row system.

Fastline Ansorg Available as a compact strip light and spot, this combination brings general lighting and sales accent lighting to retail outlets in a single system. The flexible LED strip, with built-in drivers, comes in a variety of lengths up to four metres and is available in a recessed version. With a click-fast system, the spot elements can be integrated as separate modules. Two suspension points make it fast and simple to install, and its wide range of lens optics suit any concept without compromising on glare elimination.

Mini Cyclops Unilamp An innovative walkway lighting solution with shielded light sources delivering light without disruptive glare, operated with built-in heat sink multiple LED. The light is precisely controlled by clear asymmetric lenses and directed onto the illuminated surface. The vandal resistant clear polycarbonate cover protects the bollard from harmful dust and water. An eye-catching object, Mini Cyclops, suits for residential areas, walkways, parks, commercial areas and open spaces providing illumination for any architectural environment.

Twinline Multiline With the Twinline, Multiline raises the bar for the development of fully customisable linear lighting. The architectural luminaire offers many options for both functional and accent lighting: side profiles with VDT louvre or satin LED diffuser, downlights and adjustable spot lights. The product is suited for both surfacemounted and pendant installation and is a perfect match for office environments as well as other public and private areas. With more than 200 RAL colours to choose from, the Twinline offers customers maximum flexibility.

GA-016 Standard Lival This Lival and Nordic Aluminium innovation represents low energy consumption and ripple free light with long lifetime L90 – B10 at 50,000 hours. Its lightweight adapter driver, developed from the GA-69, together with a small form head, is ready to set the new standards for lighting industry, and it can be applied to all considerable lighting track brands in the market. High quality is guaranteed by a nearly 100-percent automated manufacturing process. Materials are RoHS, REACH and CMRT compatible.















Piero Lissoni

Diversion, Zero Track, Atom, Landlord - Flos Italian architect Piero Lissoni joined Flos at Light+Building to unveil his new range of products for the manufacturer’s Architectural and Outdoor lines.

Lissoni has worked with Flos for more than 20 years, having started to design pieces for CEO Piero Gandini in 1996, and has produced a number of beautiful fixtures in that time, spanning across Flos’ decorative, architectural and outdoor range – launched last year. At Light+Building, Flos launched four new products designed by Lissoni; the Diversion linear light module, Zero Track, and Atom spotlight, along with the Landlord, part of Flos’ Outdoor collection. The Landlord, available in a Projector spotlight and Soft diffuse light, combines a gentle design with a versatile outdoor light, with various possible configurations, thanks to the several accessories available. Diversion is a suspended and articulated structure consisting of linear light modules for a diffuse and uninterrupted lighting effect. The elements are available in three dimensions (50, 100, or 150cm), and fasten together thanks to 360-degree hinged double or triple junctions. The strip LED elements can be reduced in size, allowing for the installation of single spotlights for an accent lighting effect. The track and lighting accessories are available suspended or recessed, depending on the architectural space and lighting need. The Zero Track is a super-thin, surface-mounted track, just 15mm in width, that allows for the insertion of a variety of dimmable lighting fixtures. For a diffuse light, Lissoni designed Atom, a luminaire available in either a round or rectangular shape in three different sizes. The reduction in size – something apparent throughout Light+Building – is something that Lissoni was keen to explore with these new designs. “The change in technology has helped us to reduce dimensions and do something that would have been impossible even six months ago,” he said. “Everything changes very quickly. I remember when we discovered LEDs, they were these huge, ugly lights with a strange bulb inside and a huge transformer on top. “They had this electronic ‘cockpit’ full of stuff only to control one lamp. Now, everything is inside one square centimetre.” The new, ultra-thin track lighting was borne out of this new technology, and Lissoni’s ambition to see how far he could take it. “We tried to find the limits of the technology within certain dimensions, and sometimes reducing some details,” he explained. “That means you have to know what is possible to control and to drive, to direct this technology and to use it from another point of view. We created a simple frame and put a lot of functions together inside it. The


first time he saw it, our engineer asked ‘are you sure?’, and I said ‘of course I’m sure’. “The first answer was that it was impossible, that it couldn’t be done, but I like to use the old Latin phrase ‘Gutta Cavat Lapidem’, which means a water drop hollows a stone – meaning I only need time.” However, while the technology allowed Lissoni to create such a small fixture, it wasn’t the sole driver behind its creation, as he feels that you still need to have the right balance of technology and aesthetics. “I never believe in form and function,” he explained. “Of course, the function invites the form and vice versa, but at the same time I need to work with intelligent aesthetics. “I never believe that technology means something is intelligent, because that’s not true. If you use technology in the wrong way, everything becomes so stupid, and sometimes the opposite way around too, but if you put inside a bit of beauty, that’ll help too.”


Belo_GI Archilight Archilight’s Belo_GI, from the range of circles, belongs to the soft design lights, which highlights almost any interior. The Belo_GI is available in a range of diameters, including 1200, 950, 665 and 455mm, in pendant or ceiling version. Its bended aluminium profile, is powder coated, and features Tridonic LEDs in 3000K or 4000K, ON-OFF or dimmable solution.

Stella Erco The Stella range of spotlights, floodlights and wallwashers provides efficient replacements for existing applications using 150W metal halide lamps. The Stella family consists of two construction sizes and all light distributions within the Erco system of luminaires generated by reliable and highly efficient Spherolit lens optics. As a result, complex lighting tasks can be flexibly and consistently resolved. The purist, technical design of the cast aluminium housing achieves ideal thermal conditions and therefore reliability and a long service life.

C95-P Glamox The pendent version of the Glamox C95-P luminaire was showcased in an impressing chandelier-like installation. It was almost dancing due to the automatic light control settings, which gave the chandelier an aesthetic effect. Glamox C95 has quickly become one of the most popular product families from Glamox. Glamox also launched a new member of the C95 family, C95 Circle. 95 Circle is a decorative, circular available in four different sizes and with different mounting options.

Ginko L&L Luce&Light The Ginko family of outdoor projectors is available in three sizes, each with two wattages, covering a range from 2.5W to 16W, 24Vdc. A wide range of fixed optics, up to eleven optics per model, including 8-degree, elliptical and sharp, or a manual zoom lens, it is also equipped with shadow-effect filter to bring to mind natural scenery settings. The projectors use high intensity LEDs or COB LEDs, in the colour temperatures 2700K, 3000K and 4000K, and a choice between CRI 80 and 90.

ExO I & II Nordic Light A powerful one-directional or bi-directional wall washer, ideally suited for even and smooth wall washing or shelf aisles in any retail environment. The ExO can be spaced far apart while still providing effective lighting. This results in lower initial, installation and running costs. Indirect lighting minimises glare, resulting in a calm yet bright retail environment where light, and the customer’s attention, is focused fully on the goods on display.

ILO Modular LED Luks With the new optic system, ILO Modular is the new extension to the ILO profile family. The new optic system is built on modules of small symmetrical reflectors that are placed in the linear housing. Thanks to a hidden light source, it provides low glare downlight distribution and high visual comfort. ILO profile system now offers the possibility to combine different optics within one luminaire combining together modules with reflectors, OPAL or micro-prism optics. Available as recessed, ceiling and pendant version.



Luflex LG Display LG Display’s Luflex OLED light panels, while enabling slim and unique designs with a thin and flexible form factor, provide soft and natural light with less blue light, thus reducing eye fatigue. Luflex panels can be twisted and rolled up to a 30mm radius of curvature without compromising any functionality. The panels’ thickness of 0.41mm puts them in a league of their own when compared with traditional light sources, and they also offer design potential that is sure to set fire to creative imaginations.

Fino Spot Sattler A new pure, cylindrical LED ceiling spot from Sattler, Fino Spot’s elegant appearance is created by the exquisite light body. The fine aluminium tube, just 22mm in diameter, features a brushed surface finish, anodised in bronze, black or champagne gold, just finely polished also in discreet white. The Fino Spot can be integrated into the interior architecture as individual ceiling spot or several can be arranged in a row. Specific light accents are created by adjusting the luminaire via its magnetic ball joint.

Sito Occhio From summer 2018, Occhio’s characteristic design and light quality will also be available for outdoor lighting. Sito is no ordinary outdoor luminaire either, but rather a complete system, consistent in design and light quality, that can be individually adjusted to suit the customer’s wishes and all architectural and garden requirements. It thus provides the perfect entrance right outside the front door. Ideal for people who want to express their commitment to quality and individuality.

Why System ES-System The Why system is an indoor pendant luminaire that creates endless arrangement possibilities in office spaces. The luminaire can shine in four directions – downwards, upwards and sideways. An efficient light source with dynamically changing light colors is installed in its side walls, which makes it possible to illuminate particular space segments of floors with different colors. The luminaire can be equipped with an opal diffuser or a louvre. This ensures a very low glare coefficient, which significantly increases working comfort.

Unit Reggiani Minimal design schemes need minimal lighting without compromising on performance. Unit is Reggiani’s cutting-edge solution, designed to be flexible, powerful and invisible. Unit has a wide range of accessories designed so it can be adapted to meet any number of lighting design needs. The mechanical adjustment system allows maximum tilt (35-degrees) of the spot in recessed, flush and drop position for versatile and discreet use, and excellent performances.

Aeris range liniLED The liniLED Aeris range is known for its European quality, design and versatile mounting options. All durable, aluminium profiles and accessories are designed for quick and easy installation and can be composed to your liking. Whether you are looking for an illuminated profile with a stunning diffuse light effect in the shape of a tree (as shown at Light+Building 2018), a striking chandelier or a self composed liniLED IP40/IP67 luminaire: the sky is the limit.


Multiple Mesmerising Effects See FLO360 @ Fabric Nightclub - London 77A Charterhouse Street, EC1M 6HJ 10:00-21:00 during CDW



NIO Small Exenia NIO is a range of highly versatile LED spotlights, fitted with a rotating extension arm that allows the light to be guided freely in any direction. The NIO range includes a larger, high power fitting as well as a miniaturised version, which makes this range an ideal tool for both large and smallscale architectures. The coloured ring is an aesthetic detail that can make the luminaire ‘pop’ or blend into the design around it.

Reno Elements Hess Hess has launched with Reno Elements an innovative new multifunctional and smart lighting system. Reno Elements makes an impression with the best light and real added value through multifunctionality in a completely new expression of design. Equipped with the latest LED technology and useful options such as loudspeakers, cameras, info displays, Wi-Fi, e-mobility, and external power supply, it creates communicative and networked living environments – in the spirit of a ‘Smart City’.

Bellex Luxintec The best essences in small size: discover optimal light control in a very compact and efficient LED spotlight with low glare with the Bellex. Choose Diamond reflectors or Xquare Optics, with up to nine different light patterns. With the interchangeable optics you can shape, change and adapt the light beam to your space. With a lifetime up to 95,000 hours, Bellex is available in a wide range of light colours.

Intara CX Bäro The Intara CX series of directional spots, downlights and wallwashers combines innovative LED technology with a simple, timeless luminaire design. Thanks to their clear design language and high technical versatility, the luminaires are suitable for fitting in almost all locations. Optimal thermal management ensures ideal operating conditions, while state-of-the-art LED arrays and modern driver technology guarantee excellent light quality and very high system efficiency.

Cube Saliot The integration of pre-eminent optical technology and circuit, motor, and wireless communication technologies in the Saliot Cube captures a new world of smart lighting. The light distribution angle can be adjusted from narrow to wide in the Saliot, thereby optimising lighting options for any application. Simplicity and safety along with reduced cost, labour and time are assured by Saliot through the elimination of the high cost and long hours of work on high ceilings.

Leia LEDiL Leia is a precision performer, casting its beam exactly where it’s wanted, with minimum spill light and better efficacy compared to traditional blade type lighting. Add the optional sublens for the wow factor – an ultra-narrow beam of light – a feature allowing for a completely new type of decorative illumination and offering architects and designers the opportunity to let their creativity fly.


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













D R. U W E


4.0052 4.0102 4.0292






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Made in Germany. Since 1919. WIBRE Elektrogeräte GmbH & Co. KG · Leingarten/Germany +49(0)7131 9053-0 ·

16.04.18 14:17


Walter de Silva

Liquid, In-Tense, Mercury - Performance in Lighting Italian designer Walter de Silva brought his experience from the automotive industry to create three stunning new luminaires for Performance in Lighting: Liquid, In-Tense, Mercury. Performance in Lighting has teamed up with Italian designer Walter de Silva for the design of three new luminaires – Liquid, In-Tense and Mercury – creating a perfect harmony between substance and meaning. Known for his work in the automotive sector, de Silva began his career in 1972 at Fiat Turin as a junior stylist, before moving on to Rodolfo Bonetto of Milan in 1975, where he continued to work on car interiors. Throughout his career, he worked for the likes of Alfa Romeo and Seat, before attaining the design management of the Volkswagen Group in January 2007, which is comprised of 12 brands, including Audi, Volkswagen, Porsche, Lamborghini, Bugatti and Ducati. Over the years, de Silva has developed a unique and emotional design with a distinctive style that can be transferred within the different groups he collaborates within. Liquid, In-Tense and Mercury are lighting fixtures that express a harmony between a futuristic dynamic and intangible aspects of their solidity. The recurring wave motif represents a metaphor between energy and matter, a seductive interpretation of the aspect of light as a physical reality, living and undulating. “With Performance in Lighting, there was an instant rapport,” said de Silva. “This gave me the opportunity to apply my research on design and creativity in a new field.


“I drew up a concept which would take into account the evolution of the Group, of its deepest vocation for technological innovation and solidity, expressing at the same time the spirit of the digital age, its acceleration, its fluid dynamism.” Of Liquid, de Silva said it is “a distillation of pure technological essence which explores reflections on the nature of light with aesthetic values of the highest quality. Light is energy, wave, evanescence. Metal is static and durable over time. The waves of a drip crystallise into a lightweight, solid volume that expresses fluidity and dynamism at the same time.” In-Tense embodies a combination of dynamism and fluidity. The almost skin-like tension of the material explodes in a three dimensional creation, whose sophisticated line evolves and composes volumes in motion, while a meditated asymmetry regains the uniqueness of the essential natural element we know as light. Mercury wraps light with its enveloping volumes, and is “a technical revolution about the hot side of light”. “A strong metal soul emphasises a futuristic taste that interprets the needs of the digital age,” de Silva explained. A thin outer shell, slender and seemingly delicate, hides within it the richest reflections of light.


Punk Delta Light Punk, an iconic subculture that emerged in the mid 70’s, is an artistic style and is usually associated with music and fashion. But it still inspires. Punk details infiltrate perfectly in the world of modern architecture to express individualism and urban attitudes. Steel pins might look intimidating, but when combined with light, they become so much more refined. The punk finishing adds a new dimension to the spy family and will be available on new pendant luminaires in black, Gold Champagne and Black Punk with an aluminium look.

Arc Soraa Soraa Arc is a combination of perfect light and modern form. Designed around the slimmest profile die-cast heat sink in the industry, Arc is optimised for superior thermal management and features a high quality of light – an unmatched balance of full spectrum colour and white rendering; superior light distribution; and clean beams delivering beautiful light across a multitude of applications. Arc is available in track, pendant, downlight, and surface mounted designs as well as with fixture SNAP accessories in a variety of colours.

Ettlin Lux Ettlin The 3D effects, which are generated by the special textile Ettlin Lux are globally unique and can be designed to have various characteristics of shape and colour. Examples such as the square ceiling lamps from Barrisol, room-high lighting-frames from Octanorm and Flowbox, and the award-winning dynamic display from the Spanish supplier Kendu, who creates motion effects and lighting scenes from the 3D lines of Ettlin Lux textiles, and all were illuminated by thousands of LEDs from Häfele.

Triangle Rovasi Triangle is a new solution for general lighting in the Rovasi collection of recessed downlights. Discover how amazing it can be to combine the triangles in different positions to create your own design. The composition gives a nice touch to any ceiling. Available in a range of RAL colours, custom RAL colours can also be ordered upon request. Made in Barcelona, the luminaire is equipped with Tridonic LED module and driver up to 3850lm. The length of the sides is 216mm.

LLM0545A series Stanley Electric High-power LED devices and an advanced optical design are incorporated into this ultra narrow light distribution angle floodlight. The use of an ultra-narrow angle optical lens enables a simple structure, ensuring efficient refraction of light. Consequently, this floodlight is low-energy, low-profile and lightweight. Offering colour temperatures 5,000K, 4,000K, 3,000K and 2,200K, the luminaire is 47mm thick, weighs just 4.3kg and has a 25W power consumption. With a 40,000hr and an IP65 rating, it is ideal for landscape and stage lighting.

Shiraz K Technilum Shiraz K’s contemporary silhouette has made the success of this model. Shiraz K exists in different height and tilt, and is also available as a bollard or wall-mounted fixture. The specificity of this model is its external technical groove, which greatly facilitates accessorisation. The model was showcased during Light+Building 2018 with new ‘smart’ features: Shiraz K can integrate Technilum’s Smart-In-Site range – a large set of connected services such as lighting management, Li-Fi, video-camera, speakers, USB outlet, etc, providing an infinite array of the solutions for smart cities.



Makrolon DX Sky Covestro The diffusing sheet, the Makrolon DX Sky, has wide light scattering, which is generated by the special arrangement of the lenses on the surface and is ideal for industrial lighting applications. Makrolon SX Sharp solid sheets are also made without scattering additives. With the specially developed micro-optical surface structure, it ‘shapes’ the light for specific illumination. Lighting designers and architects can easily achieve a UGR (Unified Glare Rating) of 19 and meet the requirements of the DIN EN 12464-1 standard.

Drop Fluvia Drop is a configurable system, which combines spotlights and structural elements to create luminaires that make it possible to bring accent lighting so that it becomes a constructive item that shares the architectural design concept. Drop can be applied to walls, ceilings or a rail. The spotlight, with no screws and with integrated hinges, is easy to install. Its small 57mm diameter allows is available in various colour temperatures and has a range of optics and anti-glare accessories, for a high quality of light and maximum visual comfort.

TubeLED Micro Lucent Lighting The TubeLED Micro is a spotlight that can be recessed or surface mounted. Available in three beam angles from 15, 24 to 36-degrees, it is operated by 24V power supply with a ≥ 90CRI. This is a discreet lighting solution that produces a strong spotlight output. The TubeLED Micro is one of a number of new products from Lucent that focuses on miniaturisation. Achieved thanks to Lucent’s adoption of smaller, more powerful LED technology; it comes after identifying a need for more discreet fixtures.

Cosmo Lenses Khatod Low profile lenses, TIR-Fresnel compact design, 50-70-90mm, made of optical grade PMMA, with very thin lateral profile, for COB LEDs with LES 6 to 22mm. Each size provides for three beam angles. Available with the holder in PC, clear transparent and black, on request. Standalone mounting is possible by using the mechanical parts of the lighting fixture. Uniform luminous flux and great glare reduction. Ideal in recessed, retrofit and spot lighting and in ceiling mounted luminaires. Designed to meet MR16, PAR30, AR111 requirements.

basicDIM Tridonic The compact basicDIM wireless control module can be integrated into existing luminaires easily and establishes a mesh communication network automatically. Communication is wireless via Bluetooth 4.0, and therefore requires no DALI wiring. The module is fitted with a configurable 1-10-V and DALI interface along with a switched relay contact, and allows dimming functions and even colour temperature controls to be implemented with ease. Groups can also be set up and scenes can be created.

Zeno Small Targetti Zeno Small is the latest addition to Targetti’s LED projector range for professional lighting. The new addition provides pleasant formal simplicity with the same design as the rest of the Zeno range. Like the larger versions Zeno Small was designed around the LED source to optimise its performance, making the projector particularly suitable for museum lighting. The new format allows for installation even in confined spaces where precision, colour rendering and conservation of works on display are essential requirements for lighting projects.


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Co-Creative Content As part of the Light+Building programme, arc editor-in-chief Paul James chaired a Pioneers of Light specifier debate hosted by Philips Lighting entitled ‘The shape of lighting to come: IoT real-time data for co-creation’.


Left to right Paul James, Editor-in-Chief, arc magazine; Pierre-Yves Panis, Head of Global Design, Philips Lighting; Simona Maschi, director and cofounder, Copenhagen Institute of Interaction Design; David Ghatan, President, IALD and CM Kling & Associates; Francesco Anselmo, Associate Director, Arup.


ith the news still reverberating

development and the debate began by James asking

that Philips Lighting had

“Philips believes in co-creation. We are moving

change its name to Signify,

light on people is at the core of what we deliver as

lighting was at the fore

whenever we use data, it should be done with the

throughout Frankfurt

Panis to define Philips’ approach to IoT co-creation.

announced its intention to

into a more connected world and the effect of

the business of connected

a company. As designers, we need to ensure that

during Light+Building. To this end, the Lighting

user in mind - whether that be for sustainability or

Luminous magazine to organise a debate to discuss


co-creation with visionary architects and lighting

Ghatan believes that lighting designers always strive

Introduced by Harsh Chitale, Business Leader

don’t always have access to the person interacting

consisted of (chair) Paul James, Editor-in-Chief of

that dialogue to happen to improve the design and

Design at Philips Lighting; Francesco Anselmo,

However, he is concerned is that quality lighting

designer); David Ghatan, President of the IALD

technology. “You have to find the balance between a

Simona Maschi, director and co-founder of the

that is being educated in that process to understand

Co-creation involves teaming up with all relevant

So does this mean that IoT will change the way that

knowledge and experience. The core principal is

we’ve gone through a big change already. “The

other stakeholders throughout the development

design lighting. This has meant that integration into

this process for IoT is crucial in Philips Lighting’s

However, he thinks that the integration of control

University partnered with Philips Lighting’s

efficiency. It should never be just for connectivity’s

the Internet of Things (IoT) real-time data for

So what does this all mean for lighting design?


to deliver the best solution for the end user but they

Professional at Philips Lighting, the panelists

with the lighting systems. “Co-creation allows

arc magazine; Pierre-Yves Panis, Head of Global

therefore the end result.”

Associate Director at Arup (lighting/integration

may be overlooked as we get caught up in the

and CM Kling & Associates (lighting designer); and

designer telling someone what they need, and a user

Copenhagen Institute of Interaction Design.

better what it is that they want.”

parties, making the most of combined perspectives

lighting design is practiced? Anselmo believes that

all about giving a clear voice to end-users and

introduction of LEDs has revolutionised the way we

process to create truly successful schemes. Using

architecture can happen easier.”


has not been so successful so “the opportunity with IoT means we

in our own bubble so when we relinquish some ownership of the

way lighting interacts with people. Light is emotion but it’s also

very scary proposition because you’re putting your own neck on the

Maschi is optimistic that there are great opportunities that will

James asks about the recent trend of human centric lighting and

opportunity because it gives real-time information about what

Ghatan states that all electrified lighting for the past 150 years

when we go to market.

dig deeper into the reasoning behind it and find applications. It

opportunities for society. The interaction of different stakeholders

for. It’s everything we’ve already been doing. It’s how you bring

for society’s issues - whether it relates to cities, hospitals, schools


From optimism to cynicism. James states that he has had a number

Industrial Revolution changed this because machines took over

sceptical about IoT when it comes to lighting design.

in a framework that is closer to pre-industrialisation in terms of

will lose control of their schemes but “when LED technology first

connected to everyone and getting data to find out exactly what the

now it is widely accepted and widely used by lighting designers”.

Panis ends the debate on a very positive note by saying that Philips

challenged. “It’s now more about cross-disciplinary teams that

life. “We have the ability to tailor the experience, even in public

a data scientist is equally as important as a traditional lighting

exchange of information and having the correct tools.”

can write the code to create modular systems that can improve the

design process and broaden it to a more collaborative group, it’s a


line regarding your part of the design”.

stem from IoT co-creation. “For a start there is a great commercial

whether co-creation makes this more achievable.

people like and how they behave. This reduces the chance of failure

has been human centric! “As the technology has evolved we can

“Looking at the bigger picture, IoT and co-creation offers great

has now become a buzz word that nobody has a clear definition

with a diverse range of skills will inevitably mean better solutions

proper design and good ethics and R&D together to create a quality

or workspaces.”

Maschi adds that we have always had human centric design but the

of conversations with lighting designers who are somewhat

the production process. “Digitalisation has, paradoxically, put us

Panis admits that there is a fear of change and a fear that designers

having a dialogue with customers. Imagine the potential of being

became available for lighting there was a lot of cynicism about it but

user wants.”

Maschi believes that the role of the lighting designer needs to be

are doing a lot of research on how light can improve human

work together to deliver a lighting solution. I would argue that

spaces where people will have different needs. It’s all through the

designer in creating a beautiful light experience.”

Over to you, lighting designers!

design, like anything else, evolves and lighting designers need to

To watch the whole debate go to

Ghatan comments that “very often we, as lighting designers, live

Anselmo adds that being against change is wrong. “Buildings and embrace that.”



Bela Molto Luce The Bela product family is designed as a modular system so that the luminaires can be perfectly tailored to the demands of a particular project. The ceiling, recessed and pendant luminaires of the Bela range are available in different diameters from 400mm up to 1000mm as well as in direct or direct/ indirect beam versions. In combination the perfect homogeneity due the recessed opal or microprismatic diffusers and the obliquely inward decorative ring complete the particularly appealing design.

FLO 360 Vexica FLO 360 by Vexica is a luxury LED pendant luminaire with iOS app pixel-control. This unique proprietary technology creates a multitude of dynamic effects. Using an integral beam shaping fabric, the LEDs morph into multiple mesmerising displays that move via preset programmes triggered via WiFi. Packaged in a unique semitransparent mirror finish glass tube with chromed accents. This unique product comes to life only when in use, otherwise resembling a mirrored piece of architecture.

Fluid Selux When it comes to the quest to fuse lighting and interior design, the Fluid light profile is breaking new ground. This elegant, asymmetrical aluminium profile with integrated reflector technology, developed by Selux with Berlin design bureau e27, offers a wide range of options for the emphasis of specific locations, objects or areas within buildings. Fluid’s profile elements and variable connectors enable objects to be configured that are reduced in shape or with highly complex geometries and whose light effect creates unique impressions inside rooms.

Divine 72 Anolis Powerful and compact, the Divine 72 cuts through the night sky with precision and clarity. New architectural compositions can be achieved by layering façade details and highlighting other landscape features with the luminaire’s narrow 6-degree beam. It has the power to paint any structure with light, either in stark distinction, or with subtle separation hues, as very fine degrees of colour variation are possible. Robust and made to withstand exacting and harsh exterior environments, the Divine 72 is rated IK10 in addition to being ‘Suitable for Wet Locations’ with an IP67 rating.

Linearlight Flex Tunable White Osram Linearlight Flex Tunable White is designed with professional lighting needs in mind — you can make any space remarkable with this flexible, cuttable strip of LEDs, tunable between 2,700K and 6,500K white, and dimmable with PWM technology. Ideal for architectural lighting, object integration and signage, Linearlight Flex Tunable White is supplied with a self-adhesive strip on the reverse for very straightforward mounting. Each metre contains 160 LED modules and uses 24V technology for easy dimensioning.

Flow Thorn Lighting As people flow through the city, Flow creates light that flows with them, providing safety and high visual performance for all kinds of urban activities. The luminaire features six different mounting variants, thirteen optical possibilities for street lighting and area lighting, a choice of tilting options (negative and positive) and dimming options to contribute to comfort and wellbeing in a wide variety of urban areas. Its efficacy reaches 139lm/W, enabling it to save significant energy compared to conventional solutions. Lumen packages ranging from 1700lm to 13600lm are available.




Highly expressive structures and attractive light




ÅF Lighting Lang - Neri

Christian Klinge, Head of Innovations at ÅF Lighting, talks us through Lang, a new post top luminaire designed by the Scandinavian firm for Neri. Developing a new luminaire is a complex and demanding task that involves a multitude of aspects, ranging from practical and economic constraints to considerations regarding aesthetics and design. In the case of the Lang luminaire the complexity is amplified by the fact that developing a new post top luminaire means challenging a very long history, with very strong conventions. Post top luminaires have been with us for more than 200 years, and trying to come up with something new is very challenging. Nevertheless we were thrilled when Neri entrusted us to design the new member of their post top family. We started out by trying to identify the DNA of a post top luminaire and found that the essence could be identified as a sphere of light embraced by a body, a hat and a bottom piece. With this basic definition in place we started experimenting with various ways of expressing these characteristics in a way that both respected the heritage of post top luminaires, yet had a modern expression. The design task was further challenged by the fact that we had to fulfill rather tough demands for light distribution and lumen packages, which led to the conclusion that the luminaire could only have two arms defining the Body. Furthermore the ‘light engine’ was divided in two separate PCB’s, which meant that we had find place for a double configuration in the luminaire top. After struggling quite a lot with these difficult constraints we came to the conclusion that we had to turn the constraints into a feature for the luminaire and decided to investigate the possibility to ‘cut’ the sphere of light in two and introduce a visible divider between the two. That turned out to be fruitful and meant that we suddenly had a unique design feature for luminaire in the form of a ‘blade’ which could catch the light from the two light engines and help define the spatial dimension of the luminaire body.


Regarding the aesthetic expression of the luminaire, we wanted it to be immediately recognisable as a post top luminaire with the associated characteristics, yet having a distinct modern design. Especially the two-arm configuration constituted a challenge in this regard. But in the end we managed to create a design that worked well, both seen from the side as well as frontal. In the front view the luminaire is distinctly simplistic and reflects some of the qualities found in the Scandinavian design tradition. Seen from the side it has an archetypical lamp type expression, yet a very modern, sleek design. We are very glad that we managed to create a shape which works both with and without the blade, further increasing the feasibility and multifunctionality of the luminaire. We hope that Neri will have success with the new post top luminaire Lang, which we believe has some unique design qualities and features not found elsewhere on the market today. The hallmark of ÅF Lighting’s luminaire design has always been to create luminaires with distinct and unique design qualities combined with multifunctionality and feasibility. This is how we create value for our clients.


Ada Optoga Ada is a specialised spotlight module for applications within retail and tasklight. It has a flexible lens system and works with reflectors as well. The ability to connect the LED module directly to 230VAC mains means that it doesn’t need an additional driver, allowing freedom to design slim fixtures without making space for extra cables. With an optical holder, Ada offers a flexible system with a variation of low-build hybrid lenses, from a very narrow 11-degree spotlight beam to a wide 62-degree downlight beam.

Helmut Pin-Spot Spotlight Sycra Helmut PS is a compact, exterior rated 12/25 watts solid state spotlight that offers unique ultra-narrow, RGBW, outstanding lumen, colour and optical performance. It offers unmatched colour mixing, unique lumen package, and ultra-precise light distribution, ranging from a 5-degree ultra-narrow beam angle to up to 40 degrees.

Click System Onok Lighting Unlike other systems based on electrified tracks and magnetised modules, the Click System has an exclusive way to connect luminaires to a profile, which provides a better aesthetic solution, with invisible unions. It is easy to install: with two clicks to connect and anchor each module. The aluminium extrusion produces less waste than electrified tracks because high temperatures are not needed, while the amount of copper needed is also reduced. Because of this, the Click System is a more sustainable product than other market alternatives.

Luxeon CZ Lumileds To meet the recent market trend of colour tuning fixtures with narrow beam angles and maximum punch, Lumileds has developed the Luxeon CZ Colour Line, which consists of 21 LED colour options including thirteen colour and eight white LEDs. In a narrow beam system, the intensity of the light from Luxeon CZ is nearly 30-50-percent higher compared to other undomed LEDs. The intensity of each colour is similar, ensuring a consistent beam width and minimising halos when colour mixing.

LED LightLine ADO Lights The LED LightLine provides luminous lines when darkness falls. Sometimes an eyecatcher, at other times showing the way, it accentuates entrance areas or emphasises architectural contours. LightLines can be integrated in façades and floor spaces. The profile made of stainless steel is ideal for salty areas and in water, public spaces, façades and entrance areas. It is available in straight or curved versions, is safe to walk or drive on, and can be implemented in variable applications from user-friendly small applications to building automatism systems.

Okalite Grado Twin Trilux With the Okalite Grado Twin spotlight with two lamp units, retailers can optimally illuminate their aisles with a unique and attractive twin spotlight. With a swivel radius of 110-degrees, the luminaire provides complete flexibility so that even shelving to heights of 2.20-metres is attractively displayed. The specially developed diffuser reflector achieves accented distribution of light onto the shelving merchandise, along with optimum glare reduction. The luminaire is available with diverse lumen levels and in all white light colours, and also scores with high energy efficiency.



Brick Light Simes The Brick Light originates from the material of glass and the shape of the brick, transforming light into a structural element. Brick Light camouflages itself within the brick texture, not only by taking on the form and dimensions of a brick, but by adopting the same modes of handling, assembly and installation, thanks to its characteristics of resistance and manageability. Its form allows perfect integration in walls, as its compact geometry and adaptability allows it to identify with the masonry itself.

Claris Zumtobel The third generation of the Claris range has been reduced to the essentials. While the original proportions were retained, the dimensions have been trimmed down for a more modern and minimalist design. The combination of LED technology and MPO+ microprismatic structure ensures high levels of visual comfort. The ratio between direct and indirect output is optimised to simultaneously generate a pleasant spatial atmosphere and deliver ergonomic working light with a significant increase in efficiency of 151 lumens per watt.

LDG Module Parhelion Laser-enabled lighting for general use: Parhelion’s Laser Diffraction Grating (or LDG) is a new technology with very specific benefits compared to existing lighting technologies. It is more energy efficient, with polarised light, lack of UV and very crisp shadows. Possible applications for this technology are in general lighting and emergency lighting, but Parhelion is also active in agricultural lighting. Parhelion is currently finalising prototypes and getting ready for rollout later this year.

Beacon Muse Tune Concord Museums are constantly looking for innovations in illumination, particularly because their needs are so varied – from illuminating large, striking statues, to highlighting detailed artefacts and historical curiosities. To answer their requirements, Concord, by Sylvania, has launched its latest innovation, the new hybrid Beacon Muse Tune. This adjustable, customisable and flexible luminaire is a combination of the Beacon Muse and Beacon Tune spotlights. It brings together the best features of both whilst also incorporating innovative SylSmart lighting control technology.

Lighting System upgrades Cooledge Cooledge is bringing upgrades to its product portfolio, delivering greater design flexibility while making installation simpler and more cost effective. By implementing a new platform design, these systems make luminous surfaces more attractive across a larger number of applications. For the TILE Tunable White product, this next-gen platform incorporates multiple control inputs into a single channel. The end-toend upgrades and progress from basic to intelligent control protocols cover all the elements required for high-performance, customisable luminous surfaces.

Cometa Q4 DGA Everything disappears with Cometa Q4 except for the light, the only visible element. The extreme thinness of the profile, 4.5mm x 4.5mm only, is unique in the market. The connection in parallel of several bars together creates a very slight line of light, infinite, powerful and homogenous. This product, extremely miniaturised, retains all the lighting and technical qualities that DGA Armonia and Cometa Q8 are supplied with.



Motoko Ishii

Sumitomo Chemical, Stanley Electric, Iwasaki Electric Lighting designer Motoko Ishii returned to Light+Building this year to design three stands for Japanese manufacturers Sumitomo Chemical, Stanley Electric and Iwasaki Electric. Japanese lighting designer Motoko Ishii once again returned to Light+Building, working with her daughter Lisa to design the stands for Japanese companies Sumitomo Chemical, Stanley Electric and Iwasaki Electric. Ishii works with a wide range of light, from urban illumination to architectural lighting, and since founding Motoko Ishii Lighting Design in Tokyo in 1968, has completed projects not only in Japan but also all over the world. For this year’s stand design, Ishii sought to create three separate stand designs, each with a pure and simple display, with a welcoming ambiance to welcome visitors. Taking a minimalist approach, designing each stand as a ‘pure white box’, Ishii aimed to emphasise the lighting products and their effects on a neutral background, while representing a Japanese culture known for its purity and clearness. Special attention was paid to expressing the brand image and technical quality through the stand design. “To select and introduce excellent Japanese manufacturers is a very important task for us. I brought special care to some products, to create a kind of surprising effect in the presentation,” Ishii said. Lisa Ishii added: “We focused on a special feature, and used them to catch the eye in the middle or at the entrance of each stand. Audiovisual effects and graphic presentations are also important in the stand design. Original soundtracks were added in some zones. “We often work in collaboration with music to create light and sound shows and enjoy it very much. The audio effect could sometimes emphasise the lighting. I think this was also the case for the stand design.” The Sumitomo Chemical stand featured a series of artistic lighting pieces, created using the manufacturer’s polymer OLEDs. The chandeliers Minori and Cosmos were specially designed to conjure up images of harvested ears of rice. Using this OLED technology, it lent the space a fantastical atmosphere. Stanley Electric showcased the LLM0545A floodlight projector on its stand. Used at the Niagara Falls and Mitsushima in Toba, Japan, the projector uses Stanley’s automotive headlamp technology to produce a narrow light distribution. Through the use of narrow angle light distribution lenses raising efficiency, the projector has achieved the world’s narrowest light distribution for floodlight projector products. Iwasaki Electric, based in Tokyo, has been manufacturing indoor and outdoor lighting products, as well as industrial systems, for more than 70 years worldwide. Iwasaki exhibited Hotaru, from its LED series LEDioc, which covers outdoor lighting.


Pics: Motoko Ishii Lighting Design


GalaXi Xicato At L+B Xicato showed a working display of over 130 Bluetooth mesh nodes, including XIM LED modules, drivers, sensors and luminaires from sixteen vendors, various of which were controlled through the Xicato Intelligent Gateway open API. Also on display was the Xicato Xtouch software, “Powered by Xicato GalaXi” hardware incorporating the new Xicato GalaXi Card (XGC), and new Xswitch adapters that convert standard 0-10V dimmers and low voltage contact switches into Bluetooth controllers. Tying it together was an app that used Bluetooth beacons to provide location and information displays.

Spot Multi LEDVANCE The new Spot Multi, a versatile cassette spotlight, has cardan joints for the luminaire heads so they can be adjusted in any direction to provide a high degree of flexibility in illuminating a room whenever the layouts are changed. This is a particularly important consideration for fashion boutiques, for example, where a single luminaire has to provide both background illumination and flexible accent lighting. The driver is easily replaced for even greater ease of use.

LiFi Philips Lighting Philips Lighting is the first major global lighting company to LiFi-enable luminaires from its existing office lighting portfolio. LiFi is a two-way, high-speed wireless technology similar to WiFi but uses light waves instead of radio waves to transmit data in a highly secure way. Philips Lighting’s office luminaires enabled with LiFi technology provide a broadband connection with a speed of 30Mb per second (Mb/s), without compromising lighting quality.

Luxon Switch App Nedap The Luxon Switch App enables users to adjust lighting to their needs quickly and easily. It provides maximum flexibility with user-friendly interfaces that are intuitive and effective to work with. There’s no clutter, which allows you to make better decisions and optimise your operations and assets. Every luminaire or sensor is a source that delivers lighting system status info, such as energy usage and motion sensor information. All this data is securely stored in the Cloud. Nedap Luxon translates this richness of data into actionable information.

Pescara Mondolux The Pescara spotlight design allows flexibility via full rotation and tilt. With multiple beam angles, dimming to zero and subtle glare control, the warm light can be put exactly where you want it. Great angle control rotation 0° - 350°and tilt 0°- 60°Anti-glare honeycomb louvre accessory available 3-circuit track mount and surface mount installation options.

Slimflux 60X60 Q4 Dura Lamp The Slimflux is called Q4 due to the four squared clusters of LED sources. The special single LED lens allows this panel to reach UGR<13, making it the ideal fitting for offices and any situation with video terminals. The Slimflux range provides very high colour rendering, good control of colour within three steps of MacAdam. It is thin and light weight with Ra>90 also available and has up and down emission.



Kore Cariboni Kore is an optical system consists of a lens and a ‘black pupil’. The PMMA catadioptric lens with double internal reflection allows for precise control of the light beam and a slim design. Its shape allows for complete internal reflection without the need for metallisation treatments. The pupil hides the light surface from the observer’s sight. During the night, when the light is on, the pupil avoids dazzling; during the day, when the light is off, the pupil screens the COB’s LES.

Ocult Lamp Lighting Ocult is a new range from Lamp Lighting that consists of a linear system and a downlight. The modular structure can be suspended, mounted on a surface or recessed, while downlights, pendulum luminaires and projectors can be integrated into it. Suitable for the hospitality sector, alongside Lamp’s Mun, Moody and Trace ranges, the Ocult range can be seamlessly integrated into interior design.

STR9 IG GVA STR9 IG is the first frameless inground fixture that uses Unibody technology, the most reliable wet location luminaire design in the world. Highly precise machined enclosure made from a solid aluminum extrusion, Unibody luminaires have no assembled parts, no end-caps, no seams, gaskets or seals and therefore no weak points to fail. The STR9 IG delivers up to 4,600lm/m or 90,000 peak candelas in a supper spot 6-degree configuration with an outstanding glare control system, using high efficiency honeycomb louvers.

Panos Infinity Cree Cree has worked with Zumtobel to produce an integrated LED board solution optimised for use in Zumtobel’s Panos infinity LED product family. Based on the Cree TrueWhite technology, a patented spectral engineeringbased system for producing white light with LEDs, the customised Panos infinity blends light from red and unsaturated yellow XLamp XP-G3 LEDs to create warm white light. Compared to traditional chip-on-board solutions, this red and white multichannel technology delivers superior results in terms of efficiency and light quality.

Ultra Slim Emergency Luxbox Lighting Technology As LED drivers slim down to fit the new generation of lean LED luminaires, so do Luxbox emergency lighting modules. The first ranges of ‘ultra-flat’ LED drivers are already making their way to market, designed with very small cross-sections to fit into the latest fittings. With a depth of only 11mm, the new UltraSlim range of emergency lighting modules from Luxbox sits comfortably with the new ultra-flat mains drivers.

Frog Platek This extremely flexible family originated from the idea of a round spot using a very elegant joint, connecting to the vertical unit. The pole gives infinite adjustments on all axes. Frog is extremely detailed and thorough in elegance with a spiral design on the back of the spot that in addition to giving shape, maximises heat dissipation.


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Silvair Platform Silvair Silvair offers a full-stack lighting control platform designed to support commercial installations based on Bluetooth mesh technology. It features advanced management and commissioning tools, while also laying the infrastructure for value-added IoT services. The platform enables seamless implementation of simple to complex lighting control scenarios without specialised training or engineering expertise. From switch-based operation to advanced lighting control strategies, Silvair’s commissioning tools enable you to build control systems tailored to your lighting needs.

teno Regiolux The new teno LED from Regiolux produces a soft, diffuse light with a high level of visual comfort and luminous intensities. The luminaire has anti-glare properties for monitor-based workplaces, ideal for offices and reception areas. It offers a wide spectrum of light outputs and satisfies various requirements with options for sensor systems and emergency lighting. Lumen packages up to 7,300lm are possible, so that fewer luminaires are needed, even if high luminous intensities are required.

321 Multisensor Helvar The 321 Multisensor is a device that sets a new standard for reach and reliable motion sensitivity in Passive Infrared (PIR) technology. Easy to specify and install, the 321 Multisensor maximises personal comfort and productivity in lighting applications where where daylight harvesting, energy saving and automated lighting control are priorities. The 321 Multisensor’s fully automated operation is achieved by a photocell measuring the reflected light from the surfaces below it, and adjusting the luminaire light output in line with the available daylight.

#gofilter Invisua Invisua’s new #gofilter app can be used to enhance window displays using tunable spectrum lighting. Simply browse through an extensive list of themes, while getting an instant preview of the impact of each theme. Add colours, tune whites and create dynamic effects. Once a proper theme has been selected, change the atmosphere of your window display with a single click. Easily match your window display to seasons, optimise it for brand campaigns or festivities. Using tunable spectrum lighting has never been easier.

FLXible Neon Feelux FLXible Neon is mainly featured in the flexibility of LED lights with spot free illumination. Its flexibility permits a horizontal or vertical direction bending depending on product type. Convenient cutting line offers special customisation, providing maximum possibilities to fit for the requirements of its specific length and height. Application range available in both indoor and outdoor with IP rating 67 gives various installation options. With 2,700/3,000/3,500/4,000K efficient LED lights including dimming function, it can be applied in many areas such as hotel, mall, building’s exterior, etc.

Stick-CW4 Nicolaudie The Stick-CW4 programmable lighting controller, for RGB and RGBW lighting, has been designed
around a touch sensitive colour wheel. The controller is USB programmable from a PC or Mac
using the ESA2 and ESA Pro 2 software. Up to 36 scenes can be stored within the controller and directly recalled via six touch sensitive
 scene buttons. The STICK-CW4 features two DMX out universes, a built-in clock for time triggers and a Wifi connection for mobile remote control.


Frankfurt Fades by Philipp Geist

Pics: Oliver Blum

Lichterfest The ninth Luminale festival once again transformed Frankfurt into an openair gallery of light art, and inspired its participants with debates about the future.


uminale, the biennial light art festival launched to

accompany Light+Building, returned to Frankfurt for its ninth installment, attracting around 240,000 visitors over the course of the week, despite icy


Comprised of 149 projects, light installations, performances and discussion panels, the festival proved very popular not just to those in town for the landmark trade fair, but residents of Frankfurt also.

The Light Walk in Frankfurt city centre in particular enjoyed great

popularity. On this circular inner-city route, organisers presented 35 artistic works, transforming the city into a large, open-air

gallery of light art, from the large-scale installations at the Alte

Oper, the Römer, the European Central Bank, the Eisener Steg and St. Catherine’s Church, to smaller works along the way.

Philipp Geist staged the Römer as a light installation to walk around, and in a video-mapping show the Italian artists’

collective Karmachina illuminated the history of the Alte Oper, which was a venue at Luminale for the first time. The artists’

collective from Bremen, Urbanscreen, with its illustrator Andreas Preis, transformed the façade of the European Central Bank into an animated street gallery.

New to this year’s event, organisers added a debate on the

challenges faced by the city in the 21st century. In parallel with Light+Building, lighting experts and artists discussed social,

ecological, technological and artistic aspects of modern urban developments throughout a comprehensive programme.

“We intend Luminale to set long-term incentives for sustainable

urban design,” said festival director Isa Rekkab. “We are glad that our new concept has been so popular and has already manifested

itself in some projects. In all, the topics were very well received.” Peter Feldmann, Mayor or the City of Frankfurt and sponsor of

Luminale, expressed his great satisfaction at this year’s event:



Lightscrew by Gunther Hecker

Changing Times by Karmachina

Flexipolis by Tobias Zaft

Denkstätte by Hannah Dewor and Wiebke

“This year, Luminale was transformed into a

from 18 to 23 March 2018, in five festival

“For six days it brought light to our streets,

and Better City. The neighbouring town of

evening walks, despite the cold weather. It

Luminale, took part this year with 26 lighting

Römer, the European Central Bank and the Alte


locations such as the Ben Gurion Ring in a new

projects that will remain permanently in the

“The focus was not solely on art; Luminale

sustainability of the whole festival. The

development in the truest sense of the word.

developed by interior designer and light planner

will leave a lasting impression among the

present permanently in the city even after the

looking forward already to Luminale 2020.”

square, the Friedberger Warte itself has now

Messe Frankfurt, the new concept of Luminale

In the project Lights On, Jens Schader

urban design, the support from Mayor

seen as unsafe places, in the high-rise

biennale for lighting art and urban design.

categories: Art, Community, Study, Solutions

squares and houses and enticed people to take

Offenbach, since 2008 a regular location of

transformed Frankfurt landmarks such as the

artworks, exhibitions readings and film

Oper into light artworks, but also bathed

The Better City section was devoted to those


city and make a contribution to the

illuminated contemporary questions of urban

illumination of the Friedberger Warte,

We can look back on a splendid event, which

Christian Uitz, means that Luminale will be

citizens of Frankfurt and the city’s guests. I am

festival is over. Following the redesign of the

For Wolfgang Marzin, President and CEO of

been given a new illumination.

was fully realised. “The opening to questions of

illuminated nine so-called “dark locations”,

Feldmann as sponsor, the newly founded

Luminale Association, and the new Project Office has given the festival fresh input.

“The overlap of topics with Light + Building is

close – digitalisation, networking, security and energy efficiency in the urban environment formed the focus of both artists and of

exhibitors and experts from the whole world. As the founder of Luminale we are of course closely linked to the festival and will continue to play

our part in developing it successfully further.” A total of 149 projects were on the programme

Cross Hatch by Urbanscreen

development on the Ben Gurion Ring, through a wide range of lighting elements. The design

around the church of St. Lioba is the result of

the different viewpoints and creative processes of people of all ages living in the “Bügel.” It

illustrates the pending changes in the renewal process of this housing development – which, with support from the Social City federal and state programme among other agencies,

includes the permanent improvement of lighting in the district.

Snow White by m box studios berlin


Light Design Comfort ELA Expo Lighting America 2018 completed its eighth lighting show in Mexico City this February with another successful turn out. International visitors were welcomed to the Latin American sector through a variety of workshops, lectures and networking opportunities.


LA Expo Lighting America is a hub for lighting design,

Partner at Luz en Arquitectura, Guillermo Redrado, Chief Operating

the heart of Mexico City to discover new technologies

Architect at Materia, Photographer Jaime Navarro Soto, Lucas Salas,

practitioners and manufacturers to come together in and designs for the future of the lighting industry.

This year saw the show host its eighth edition at the Centro

Citibanamex; a beautiful site that overlooks the Hipódromo de las Américas. An entrance created by Traxon and Osram technology

and designed by Lightroom, guided more than 11,000 visitors into the exhibition hall through a circadian light experience tunnel. Held between the 27th February and 1st March, the show

provided exhibition space for some of the world’s leading

lighting manufacturers who stood simultaneously next to

some of the leading representatives of the Latin American industry, of which over a third exhibited for the first time.

Over the three days at the show, the programme was packed

out with conference talks from some of the industry’s leading

specialists and designers, including Tupac Martir, Creative Director at Satore Studio, Gabriele Schiavon, Co-Founder and Creative Director of Lagranja, Paul Nulty and Anna Sandgren of Nulty,

Ron Schimmelpfenning, Vice President of Custom Architectural

Lighting Solutions at Acuity Brands Lighting, Giuseppe Mestrangelo of LightStudio, Kai Diederichsen, Design Director and Founding


Officer at ATP Lighting, Gustavo Carmona, Design Principal and Consultant Interior Architect and Lighting Designer and David

Pompa, Founder of Studio davidpompa. Each delivered an immersive and interesting discussion and exploration into different aspects of lighting design and how the industry is developing in certain ways that will influence the design process in years to come. Alongside the full line up of conferences, the show

was also host to a number of workshops, as part of the

education programme, from Lightroom Lab, Ledlux LED Lighting, Lamp Lighting, Luceco, Lutron and Plusrite.

Much like in other international shows, topics of discussion and

investigation covered the likes of IoT in lighting control and energy saving, the Smart City concept and the development of LED.

The exhibition floor also featured collaborative spaces developed for

visitors to utilise, gather and network in. The ELA Connect space was designed in collaboration with Studio davidpompa, featuring some

of the most iconic decorative lighting designs to come out of Mexico. It provided a stylish and chic area for attendees to congregate and

exchange experiences, network and for panel experts from Insights & Inspiration, and lighting designers as Elías Cisneros to hold


Previous Page Top The ELA Connect space is beautifully designed with decorative lighting by Studio davidpompa. The pastel palette creates a calm and modern environment for attendees to gather, relax or network in the centre of the exhibition hall. Middle Tupac Martir and Gabriele Schiavon explore the RedSocial sensorial installation in one of the DarkRoom spaces. Bottom The exhibition floor at ELA Expo Lighting America, which saw more than 11,000 visitors pass through. This Page The exhibition was officially opened on the first day, with leading professionals in the industry cutting the ribbon, including the former IALD President Victor Palacio (middle).

Pics: ELA Expo Lighting America / Casa 432

their meet and greet sessions, giving audiences a more intimate

urban platform, it sought to generate awareness of the food

DarkRoom presented three exhibition spaces that were designed

our own food by creating a Network of Seed Guardians. The

experience to gather knowledgeable tips and tricks of the trade. and created by LTD, Limbo and for the second consecutive year, the students of the speciality of Centro. Silhouettes by LTD in

collaboration with Anniluce, DGA, Barthelme & Mae was an

installation that focused on light control and became a tribute to the development and the collaboration of what the designer wants to

express and how they get from those who are behind a final result. The installation referred to cinematographic symbolism,

representative elements of pop culture, where the spectator is

provoked and forced to interact through memories and silhouettes.

RedSocial by Centro, in collaboration with Selca, demonstrated

a mass of interconnections vibrating, imitating the complex communication in our days. RedSocial was a sensorial

experience that consisted of a central volume whose faces reflected the continents intertwined through a large-

scale phosphorescent thread installation. The designers

crisis that we live and reconnect with the idea of protecting route of this installation invited the attendees to immerse

themselves in a sensation of darkness. The darkness reflected the absence, forgetting the connection of the urban system with the field. Point light accentuated, as inputs of natural light that filtered between an imaginary subsoil.

ELA organisers reflected on this year’s success of their aims and

achievements at the show: “In 2018, our concept was ‘Light, Design and Comfort’; with this, we aimed to respond to a Latin American market that is more involved in collaborating with specialised

designers, not only in the sale of the product, but also in the creation of experiences that satisfy day-to-day quality of life. To converge

on this spot between comfort and aesthetic is the main purpose of design.”

explained: “We have started from the vertiginous evolution of social networks and digital media as an intrusive social

phenomenon that has marked communication in our era.”

LIMBOsemillas by Limbo was an urban seed bank. Through an



The Perfect Light Citizen has launched a competition to win a trip to Japan, which includes a stay in James Turrell’s House of Light! Light Collective, the instigators of the Perfect Light research, explains more...


n 2017, Light Collective set off on a

something to offer the discussion?

on the way to capture the thoughts and

light and to offer them a chance to experience, share

mission to find the Perfect Light and

characters of leading lighting designers

around the globe.

The end product was a 35 minute film that voiced

the thoughts of 22 of the world’s leading lighting

designers at this unique time in the development of light and lighting:

The film was first shown in London, Paris, Berlin,

Milan and New York. There was a surprise showing

at PLDC 2017 and then Reykjavik and Wintertur were added to the tour.

There are also further planned showings in

Stockholm, Beirut and Dubai this year. The project was a huge success and everyone that has viewed

the film has commented on the timely nature of it in questioning our ubiquitous use of LEDS.

The Perfect Light Project is continuing into 2018 and we are looking for people to help contribute to our ongoing research into what exactly is the Perfect

Light. We have space for three or four guests to join us on a Perfect Light Experience. This consists of a

four night trip to Japan between the 4th to 8th June. Have we got your attention? Do you think you have


We want to select people that are passionate about and discuss light with us as part of our journey to

find the Perfect Light. If you think you have what it takes, upload a video describing a Perfect Light

Experience you have had or would like to have for a chance to be be part of the experience.

Our selection committee consists of Florence Lam from Arup, Nayan Kulkarni from NK Projects and Tapio Rosenius from Lighting Design Collective.

The Perfect Light Project in 2017 led us to conclude that we do not have a perfect light source yet but

there are properties of light that people generally

respond to and love that could help create a Perfect Light. We have created a trip that includes a stay

in James Turrell’s House of Light (a master in the

control of both natural and artificial light) and an opportunity to see one of natures most efficient

light sources – the firefly – up close. It also includes a trip to Citizen HQ at Mount Fuji who will host a

future tech forum and share the experience of the sunset (weather depending!).

The Experience will be captured in a short film.

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











Event Diary Industry events where you’ll find arc in the months ahead 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


LIGHT MIDDLE EAST 23-25 September Dubai, UAE

INTERLIGHT MOSCOW 6-9 November Moscow, Russia

GILE 9-12 June Guangzhou, China

TRENDS IN LIGHTING 25-27 September Bregenz, Austria

IALD ENLIGHTEN EUROPE 7-9 November Barcelona, Spain


INTERLUMI 11-13 July Panama City, Panama


ILLUMINOTRONICA 29 November - 1 December Bologna, Italy

LEDFORUM 23-24 August São Paulo, Brazil

PLDC 25-27 October Singapore




Designers wanted... Speirs + Major are independent award-winning international designers who work with light. We have positions available in our London studio for Lighting Designers with excellent design and visual communication skills and who have a passion for light.

All applications must be made in writing and include samples of work that demonstrate your thinking, your visual communication skills and your interest in light. Please refer to our website for full details of portfolio requirements.

Applicants must be able to hand sketch and should ideally be experienced users of Photoshop, AutoCAD, Revit and a 3D software package.

If you are interested in being considered, please contact:

Previous experience of lighting design is preferred but is not essential.

UK work permit essential.

Salary and benefits will be commensurate with ability and experience.

is looking for a product developer ceiling solutions at our headquarters in Belgium.

Karina Armburg Jennings

Strictly no agencies. Speirs + Major are an equal opportunities employer.


recruitment ad mondo.indd 1

19/04/18 14:45

Acclaim.............................................................. 99

Glamox............................................................ 117

Neonlite........................................................... 157

Aion LED............................................................ 57

Griven................................................................ 19

Nexia.................................................................. 21

Alto..................................................................... 73

Grupo MCI....................................................... 141

Nicolaudie......................................................... 11

Anolis................................................................ 4-5

Grupo Prilux................................................... 159

Nordic Light.................................................... 195

Applelec............................................................. 89

Guangzhou International Lighting Exhibition....191

Recolight......................................................... 109

Artemide........................................................... 59

GVA.................................................................... 61

Reggiani............................................................. 69

Astro.................................................................. 85

Hacel................................................................ 111

Rise.................................................................. 183

Barrisol............................................................ 101

IALD................................................................. 125

Rising Dragon Technology.............................. 16

Bridgelux......................................................... 103

InterLumi........................................................ 189

ROXO................................................................. 23

Cariboni............................................................. 91

Kim Lighting.........................................................3

Selux................................................................ 173

Climar................................................................ 97

KKDC.................................................................. 75

Soraa................................................................. 39

CLS..................................................................... 12

Koizumi........................................................... 107

Speirs + Major................................................ 192

darc awards..................................................... 6-7

Kreon......................................................... 17, 192

StrongLED......................................................... 15

darc room........................................................ 8-9

L&L Luce&Light................................................ 10

Studio Due...................................................... 173 Technilum......................................................... 63

David Morgan Associates.............................. 146

LED Linear....................................................... 196

Design LED...................................................... 146

Led Luks............................................................ 79


Dial................................................................... 141

Ledia................................................................ 115

Tokistar........................................................... 169

Erco.................................................................... 25

Lightfair international...................................... 94

Unilamp............................................................. 13

ES-Systems........................................................ 81

Ligman............................................................... 45

Vexica.............................................................. 163

Feelux................................................................ 41

Linea Light Group............................................ 31

Vode................................................................... 33

Forge Europa.................................................. 181

Lival.................................................................. 119

Wibre............................................................... 165

Forma................................................................ 37

Luminus.......................................................... 123

Xicato................................................................. 29

Fuhua Electronic ........................................... 177

Madrix............................................................. 183

Furukawa........................................................ 181

MBN................................................................... 14

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


Architectural Lighting and Light Art Festival in Tartu/Estonia

25.-28.10. 2018 Side program: 20 October 2018 – 20 November

City light installations "Radical Light", curated by Varvara & Mar 25-28 October Artists: Immanuel Pax, Taavi Suisalu, Mónica Ruiz Loyola, Timo Toots, Mischa Kuball, Jackob Tækker. Lighting design conference, curated by Johan Moritz & Tina Wikström 25 October “Resilient design in a changing world” Speakers: Dr. Amardeep M. Dugar, Claire Tomara, Emre Güneş, Johan Röklander, Lina Färje and Darío Nuñez Salazar.

Light Art conference and Artist TALK 26 October Speakers: Immanuel Pax, Mónica Ruiz Loyola, Mischa Kuball, Jackob Tækker, Carl Michael von Hausswolff, Taavi Suisalu, Timo Toots, Liisa Hirsch, Tammo Sumer, Kristel Saan, Johannes Luik and Aivar Tõnso. IALD Architectural Lighting Design Workshop, curated by Sabine De Schutter 20-24 October Workshop heads: Dr. Amardeep M. Dugar, Johan Röklander and Simas Rinkevicus & Ruta Palionyte.

Open call for workshop participants! Register for the Architectural Lighting Design Workshop and Conference now as early bird prices until 30 May 2018.

For the full program and registration visit:


#03 Laura Bayliss: Light Artist

Curated by

“Those who bring sunshine to the lives of others cannot keep it from themselves.” JM Barrie What: To experience the formidable Roden Crater. Where: The Painted Desert, Arizona. How: Purchased by the artist James Turrell in 1979, multiple underground interconnecting observatories have been excavated within the extinct volcano, each meticulously planned to receive light (and sounds) via the uninterrupted skyline of the desert from the sun, moon or stars. When: A select few have visited to help raise funds to finish the project but the rest of us will have to wait a little longer. “I always said I was gonna be done by 2000 and I’m sticking to it”, Turrell said in jest in 2013. “It’s a bit like not wanting to show this painting that you haven’t quite finished” but “it’s coming”, he added. Why: It’s been on my bucket list since 1999, when I first discovered Turrell’s work. I felt an affinity with it, as at that time I was making site-specific light art installations that also explored the process of the viewer’s perception of perceiving light as much as the light itself. Turrell says, “I want you to sense yourself sensing to see yourself seeing.” It seems unjust if we only ever get to see Roden Crater in photographs and miss out on ‘the joy of sensing’. It must be experienced, so experience it I shall…..if I live long enough!

Image courtesy of Brad Goldberg


arc April/May 2018 - Issue 103  

arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market, arc...

arc April/May 2018 - Issue 103  

arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market, arc...