arc June/July 2018 - Issue 104

104 JUN/JUL 2018

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SPYCATCHER Top secret design at Spyscape in New York by David Adjaye Associates and Lighting Workshop

MÔNICA LUZ LOBO • LIGHTFAIR INTERNATIONAL ROUND-UP • UNSTUDIO iF DESIGN AWARDS • EULUM ARCANE REVIEWED • IALD LIGHTING DESIGN AWARDS

FORMERLY

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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.

CLEVELAND HOUSE, BATH Powered and controlled remotely by the ArcPowerTM 384 Rackmount, and a single ArcPowerTM 36 allowed for easy installation of the low voltage cable infrastructure adhering to the strict restrictions of planning.

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• Two days (and nights) of lighting specification • Unique exhibiting concept in a unique venue • New location in Shoreditch, the heart of London’s design district • Part of London Design Festival • darc thoughts live stream lectures and workshops

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MC Motors, Dalston, London 06 December 2018 The only truly peer-to-peer architectural lighting design awards in the world is now open for entries.

Enter online at www.darcawards.com/architectural and get your project or product displayed on the website and shared across social media. Suppliers are not eligible to vote making darc awards / architectural the only independent peer-topeer design awards in the world.

And what’s more, independent lighting designers who vote are eligible for a free ticket to darc night, the spectacular and creative awards event at MC Motors in London on 6th December 2018. www.darcawards.com/architectural

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TAVA2018

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:

www.tartuvalgus.ee/en

114 Mônica Luz Lobo Founder of LD Studio Lighting Design, Mônica Luz Lobo is on a mission to change the approach to lighting design, improving the design process for both her team and clients.

Contents

JUN/JUL 2018 022 024 026 028 034 044 046 130 132 166 168 174 178

Editorial Content Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source Stories Case Studies David Morgan Product Review Lightfair International Review Event Diary Bucket List

048 UNStudio arc’s Matt Waring caught up with Ben van Berkel, Founder of UNStudio, to talk about the architectural firm’s approach to light.

102 Eurovision Song Contest Sarah Cullen reports back from another exciting installment of the world’s premier music contest.

124 Changing Light Visual artist Jessica Lloyd-Jones has created five new light art installations at Pontio Arts and Innovation Centre.

126 Milan Design Week A look back at some of the impressive installations and exhibitions from across the Italian city during Milan Design Week.

147 Bridging The Gap In the first of a two-part article, Christopher “Kit” Cuttle argues that the lighting profession is poorly served by current lighting technology.

154 iF Design Awards The iF Design Awards celebrates the latest in technological innovation and design. We look at some of the lighting products to pick up awards.

158 IALD Awards The lighting design community gathered in Chicago for the 35th annual IALD Awards.

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BATON Kronoplus - Nicosia, Cypro Linea Light Group Ph. Maria Efthymiou

linealight.com

068 The Paris Mint, France Architect Philippe Prost recruited Hi Lighting Design to help create a sensory experience in the new museum of the HĂ´tel des Monnaies as the Paris Mint celebrated its 250th anniversary.

Projects

JUN/JUL 2018

062 KL Sports City Phase 1, Malaysia Kuala Lumpur Sports City, the largest sports complex in Malaysia, features a remarkable colour changing façade, thanks to the design of Populous and Limelight atelier.

078 Bvlgari Hotel & Resort Dubai, UAE The Bvlgari Hotel & Resort Dubai is the latest jewel in the crown of the luxury designer brand, and features a beautiful, understated lighting design from Metis and Delta Lighting Solutions.

090 Spyscape Museum, USA With lighting design from Brooklyn-based Lighting Workshop, Spyscape Museum in New York, designed by Adjaye Architects, throws visitors into the world of espionage with a series of thrilling experiences.

104 Uber ATG Headquarters, USA On the banks of the Allegheny river in Pittsburgh, the Uber Advanced Technologies Group (ATG) headquarters features clean, crisp lighting designed by Assembley / CannonDesign and Studio i Lighting.

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Suspended.

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.

EDITORIAL

Front cover: Spyscape, New York Photography: Scott Frances

Editorial Publisher / Editor Paul James p.james@mondiale.co.uk Assistant Editor Matt Waring m.waring@mondiale.co.uk

And now for something completely different This year’s darc room and darc awards / architectural are ready to roll...

Editorial Assistant Sarah Cullen s.cullen@mondiale.co.uk

I am writing this (slightly fuzzy-headed) the day after an incredible

Advertising

/ decorative, organised by our sister magazine darc, came to its

International Advertising Manager Jason Pennington j.pennington@mondiale.co.uk International Advertising Sales Andy White andy.w@mondiale.co.uk Steven Willcox s.willcox@mondiale.co.uk

Subscriptions Moses Naeem m.naeem@mondiale.co.uk

Production David Bell d.bell@mondiale.co.uk Mel Robinson m.robinson@mondiale.co.uk

Chairman

night at the iconic Fabric nightclub in London where the darc awards triumphant conclusion. It was an unprecedented success and proof

that our unconventional approach to events is what you want to see.

With no time to rest on our laurels, this week saw the launch of darc awards / architectural, which this year will take place in December, and darc room, our two-day lighting exhibition in the heart of London’s Shoreditch design district, as part of London Design Festival in September.

The entry period for darc awards / architectural is now open and I hope that you will all participate. Our awards is the only industry

programme that involves peer-to-peer voting so it’s a great way to

get your projects and products the exposure that they deserve. This

year’s event will take place on 6th December at MC Motors, London.

We have all mourned the demise of the industry Christmas party so this year we decided to organise our own! As usual, all independent lighting designers who vote in the awards get a free ticket to come

Damian Walsh d.walsh@mondiale.co.uk

to the party. Suppliers have to pay a hefty fee so why not become a

Finance Director

your own installation with a top lighting design practice .

Amanda Giles a.giles@mondiale.co.uk

Credit Control Lynette Levi l.levi@mondiale.co.uk arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 www.arc-magazine.com arc@mondiale.co.uk Printed by Buxton Press Annual Subscription rates: United Kingdom £30.00 Europe £50.00 ROW £65.00 To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc, ISSN

17535875, is published bi-monthly by Mondiale Publishing, Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ.

sponsor to really benefit from the exposure you get from creating darc room was also launched this week with over 20 suppliers

already signed up as exhibitors (see www.darcroom.com for a list of participants so far) and a great educational workshop and seminar

programme being curated by our friends, Light Collective. This year we have moved the event to Shoreditch High Street in the heart of the Shoreditch Design Triangle and we continue to make lighting specification an integral part of London Design Festival.

It will be a two-day event on 19th and 20th September with social

activities on both evenings. As with last year, every exhibitor gets

the same ‘pod’ space so specifiers get to see products displayed in an accessible way.

Our events portfolio is proof that awards and exhibitions do not have to be dull affairs dominated by corporate suppliers. These events are for everyone and the invite is open for all of you to participate. Let’s have some fun!

Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.

Paul James Editor

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PROJECTS

NEWS

Headlines Smart lighting market value to hit $24bn by 2024 (USA) – New research from Global Market Insights predicts healthy growth in smart lighting technology.

IALD Nordic Chapter launched (Europe) – The formation of IALD Nordic follows the launch of IALD Netherlands and IALD Alpine in 2017.

New President calls on CIBSE to adapt to change (UK) – Incoming CIBSE President Stephen Lisk looks to increase rate of advancements in construction sector.

HLB Lighting Design acquires Illumination Arts

darc room 2018 launches with over 20 new exhibitors (UK) – darc room, London’s lighting specifier exhibition, has launched its 2018 event with news that more than 20 exhibitors are already confirmed to participate.

Read more on www.arc-magazine.com

(USA) – The acquisition by HLB Lighting Design allows both firms to expand their reach across the USA and worldwide.

Registration for TAVA2018 is now open (Estonia) – Registration to participate in TAVA2018’s programme of conferences and workshops is open.

Jonathan Spiers Scholarship Fund 2017/18 winners announced (UK) – Students from the University of Belfast and the University of Michigan have been awarded the 2017/18 Jonathan Speirs Scholarship Fund.

ILP issue response to London Plan (UK) – Following the release of the London Plan last December, the ILP has issued a response regarding its lack of lighting strategy.

Lutron Electronics acquires Ketra (USA) – The acquisition of Ketra by Lutron Electronics allows the firm to offer a more comprehensive lighting solution.

Luke Artingstall launches Artin Light

darc awards / architectural open for entries (UK) – Hot on the heels of the hugely successful darc awards / decorative, the entry period for the darc awards / architectural is now officially open.

Read more on www.darcawards.com/architectural

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(UK) – Artin Light is a new independent lighting design consultancy based in Manchester, UK.

Lightspace to launch book celebrating 20th anniversary (Netherlands) – The crowd-funded publication will celebrate the works of Tamar Frank over the past 20 years.

Pic: Ralph Larmann

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EYEOPENER

SKALAR Berlin, Germany SKALAR is a large-scale light art installation, produced by WHITEvoid, Kraftwerk Berlin, and CTM Festival and supported by Robe and Kinetic Lights, that explored the complex impact of light and sound on human perception. Light artist Christopher Bauder and musician Kangding Ray gave an audiovisual narration of radiant light vector drawings and multi-dimensional sound inside the pitch-dark industrial space of Kraftwerk Berlin. By combining a vast array of kinetic mirrors, perfectly synchronised moving lights and a sophisticated multi-channel sound system, SKALAR reflected on the fundamental nature and essence of basic human emotions.

The CTM Festival in Berlin was host to this year’s launch of the SKALAR performances, held in the Kraftwerk warehouse.

SKALAR is an intense journey through the cycle

of basic human emotions. The full spectrum of emotional experiences is triggered by everchanging tonalities in light, sound, and motion.

Feelings of awe, surprise, exhilaration, anticipation, and of having one’s senses overwhelmed were created, explored, and repeated in cycles throughout the piece, providing a collective and yet highly individual emotional experience.

The luminous structure measures 45 metres in length, 20 metres in width, and ten metres high, and holds 65 motorised mirrors, 90 lights and a multichannel sound system.

SKALAR is a central piece within light artist Christopher Bauder’s body of work, reflecting his deep fascination with light. www.whitevoid.com www.kinetic-lights.com

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DRAWING BOARD

Oxford Street Christmas Lights UK 3DReid’s vertical ribbon of lights has been selected as one of four designs shortlisted in the first ever competition for the redesign of the Christmas lights on London’s Oxford Street.

Based on the concept of the Aurora Borealis (Northern Lights), 3DReid’s design uses a continuous, linear, colour-shifting light field to create an artificial ‘aurora’ that cascades down the shopping street and brings a special feeling of ‘northern-ness’ to the heart of London at Christmas.

The design has two main elements, a ribbon and a star field. The ribbon uses 500,000 fully addressable, three colour LED luminaires to create a never-repeating continuous geometry that curves smoothly around street obstacles such as trees or lampposts. At each of five ‘gateways’, the ribbon takes a more flamboyant path and its programming changes, providing a strong sense of arrival for visitors.

Charlie Whitaker, Associate Director and Concept Coach at 3DReid, explained: “Where traditional Christmas light installations are horizontal, either spanning the street with intermittent banners or shapes, or putting a lid on the street like a ceiling, the main part of our design is a long, vertical ribbon.

Because of this geometry, the many rich façades and storefronts of Oxford Street – often themselves illuminated – remain unobstructed and are allowed to make their own contribution.

“The continuously curving path encourages visitors to

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enjoy the whole length of Oxford Street, to appreciate its scale and the variety in its unity.”

In addition to the main ribbon ‘aurora’, the installation has a background ‘star field’ of suspended lights.

Much less dense than the ribbon; the star field both contributes to the aurora effect and offers an opportunity to mix in some ‘Christmas eggs’. These consist of a variety of illuminated characters and shapes, some with a Christmas theme, some with a gift theme, and others that are less expected. Visitors can travel the length of Oxford Street to spot them, inviting exploration of the wider district.

With an installation lasting from October through to January, the Oxford Street lights unavoidably have a presence extending well beyond Christmas and can be subject to the traditionally reported ‘festive fatigue’.

3DReid’s design contains a planned and adaptable programme for the whole ‘winter lights season’, celebrating festivals such as Diwali and Hanukkah and national events such as Remembrance Sunday, whilst framing Christmas at its centre.

Launched by RIBA and Oxford Street and led by New West End Company, in conjunction with Transport for London (TfL) and Westminster City Council, the competition asked lighting designers and architects from the UK and beyond to design the most inspiring and innovative Christmas lights, with designs judged by an internationally esteemed panel. www.3dreid.com

DRAWING BOARD

Bollinger Canopy of Peace USA The National WWII Museum’s Bollinger Canopy of Peace will soon take its place as a new landmark on the New Orleans skyline.

The architectural structure, scheduled for completion later in 2018, will rise 148 feet above the centre of the institution’s campus.

The Canopy — a steel lattice framework supporting Teflon-coated fiberglass panels — will be 482 feet long and 134 feet wide, held aloft by four steel legs anchored in more than 3,700 cubic feet of concrete.

In the midday sun, the towering, bright-white Canopy, designed by Voorsanger Architects, will serve as a beacon to visitors and locals alike; after sundown, a state-of-the-art lighting system will transform the Canopy and its support legs into a stunning new nighttime landmark for the city. The Canopy will visually unify the Museum’s architecturally distinctive campus, bringing all of the buildings together in a way that embraces the stories told beneath it of the American experience in World War II. “I’ve been working on creating this Canopy

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since 2003, when we entered a competition to design the entire Museum campus,” said Bart Voorsanger, Principal of Voorsanger Architects. “We knew we wanted to tell an emotional story through the campus design, and we went through at least eight different iterations to bring that story to life. After much consideration, we decided to create a group of pavilions that would reflect the different landscapes and regions of World War II, and we needed something to pull it together in the end — a unifying element.”

The Canopy was envisioned as a crown jewel over the campus that would feel uplifting to visitors, while bringing all of the pavilions together.

“After 15 years of work, I’m thrilled to finally see this vision come to life,” Voorsanger added.

“This is a one-of-a-kind structure that I know will become emblematic, raising the Museum’s profile locally in New Orleans and on a national scale. Like the Museum as a whole, the Canopy will celebrate America’s strength when we all come together with hopes of securing peace

and liberation.”

The $14million edifice will be illuminated at night by a lighting system designed by New Orleans-based Solomon Group to rival the displays seen on the exterior of the nearby Mercedes-Benz Superdome. The exterior LED lighting system — similar to those used at sports stadiums around the country — will cast various colours up its steel support legs and through its fibreglass sails.

“A design project of this size and complexity will truly impact our visitors,” said Museum President & CEO Stephen J. Watson. “From the moment they arrive on campus, the Canopy will grab their attention and set the tone for the rest of their visit. For me, this structure will represent what we were fighting for, and ultimately the peace that was won. Soaring above the Col. Battle Barksdale Parade Ground, it’ll be an unbelievable sight, and it will have an unforgettable impact on every visitor experience.” www.solomongroup.com

©2018 Soraa, Inc.

www.soraa.com

DRAWING BOARD

Towers of Love Canada In his Towers of Love, Toronto-based architect Alva Roy takes the notion of love and shoots it from deep beneath the earth’s soil, towards the sky. The site, due to be completed in April 2022, features two towers that stand alone, yet together – a testament to the depths of romantic love and the union it bears.

Both towers carefully contoured to draw the naked eye and to defer to its loyal companion. “Love is when two entities join to become one,” said Roy. “So I went to meticulous care to make sure that this design would be emblematic of this inextricable bond that is the very essence of love.”

Roy’s design allows onlookers to pause to apprehend the mystery; allowing visitors to walk its hallways and through its corridors; and for those who live there, they will have the chance to be fully immersed in the recesses of its heart.

This multi-use facility contains hotel, residential and commercial spaces: a hotel, bar and restaurants and offices in the shorter building, and commercial space on the main floor, with residential space at the higher floors of the higher building. The shorter building stands at 22 stories high, while the taller building is 24 stories.

“Architecture is not just a wall, a floor and a ceiling to house ourselves,” continued Roy. “It is a place where we connect to the deepest emotions of the human heart. Where we invoke peace and calm, and where we summon the richest parts of our being and existence.” www.alvaroy.ca

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Pic: Ivan Brodey

Gardermoen Airport Norway

Pic: Keith Bradshaw

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Gardermoen Airport in Oslo has recently been extended by the Nordic Office of Architecture, with lighting design by Speirs + Major. The 140,000sqm update of the original 1960s terminal focuses on customer experience as the top priority, closely followed by sustainability. Spacious and airy, the resulting spaces are characterised by light and transparency, offering passengers a clear sense of orientation to relieve travel pressure and provide peace of mind. It is also the only airport design to have achieved a BREEAM excellent rating.

Norway is subject to frequently overcast skies and very short days during the cold winter months, and as such natural light is highly prized. The new North Pier, a 300-metre long structure set perpendicular to the existing terminal, features a curved glulam roof with full length skylights, long expanses of glazing and a large window at the northern end. It is designed specifically to capture as much natural light as possible while allowing views out. Where changes in the weather and natural seasonal transitions begin to reduce this, the

artificial lighting system has been designed to smoothly and imperceptibly step in.

The Zumtobel Group was the full service provider for the lighting solution, installing intelligent lighting controls in line with this natural daylight situation. A Skyscanner device mounted on the roof constantly checks the current lighting conditions and sends this information to the Litenet lighting management system. Litenet then enables the best combination of artificial light and daylight, not only in terms of intensity, but also when it comes to light colour – leading to energy savings of up to 82 percent.

Speirs + Major Principal Keith Bradshaw commented: “Our aim was to create a system that works holistically to deliver a sense of ‘good light’ – which is to say light that has no perceivable distinction between artificial and natural conditions.

“We designed an intelligent approach, where the artificial light adjusts itself in response to shifts in both level and colour temperature, ranging from 3000K to 6000K – over the course of the day and across the seasons.

SPOTLIGHT

This delivers a consistently pleasant and uplifting environment that is fully connected to the quality of light in the surrounding natural environment. It compensates for loss of daylight where needed, and dims down to save energy when possible.�

The artificial light sources are comprised of more than 20,000 tailor-made LED luminaires from Thorn and Zumtobel, designed specifically for the airport, with various components from Tridonic. These are integrated and concealed where possible, supporting the clean minimalist approach of the design. Light is provided to the concourses for ease of circulation, and there is gentle uplight to the ceilings to lift the appearance of the space. A series of technical shafts feature perforated metal cladding that has been backlit for graphic effect.

Colour is another important characteristic of the light conditions in Norway. The low angle of the sunlight through the atmosphere generates enormous variation in colour temperature, often producing the warmer colour temperatures of pink and red. This warm light is both familiar and welcoming.

The design makes use of the colour temperature of light as an intuitive language in the airport, aiding transition and wayfinding in the hours of darkness. Noticeably cooler and fresher colour temperatures on the bridges and exterior areas surrounding the new North Pier mark the transition to and from airside, leading to the warm welcome of the interior terminal spaces where downlighting and indirect lighting to the wooden ceiling is tuned to 3000K. This approach also creates a beautiful contrast within the lit image of the airport when viewed externally. The internal areas of the new pier appear cosy and inviting when compared to the sleek, taut image of the pier from airside. www.speirsandmajor.com

Pic: Ivan Brodey

Pic: Ivan Brodey

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SPOTLIGHT

Pic: Miroslav Zadravec

Pic: Damil Kalodjera

Hendrix Bridge Croatia Croatian lighting designer Dean Skira has created a remarkable lighting installation for Zagreb’s Zeleni Most (Green Bridge), better known as Hendrix Bridge.

The railway crossing is one of seven bridges in the Croatian capital, and the Mayor of Zagreb sought to pay special attention to their image when it came to lighting, creating a spectacle of these formerly utilitarian structures and in doing so aiding the redevelopment of this area of the city.

However, few of the bridges have the architectural or structural ingredients required to be able to use light as a medium to enhance the beauty of their engineering. This was not the case for the Hendrix Bridge though, so called ever since the surname of legendary rock star Jimi Hendrix was spray painted onto the centre of the 300-metre long supporting steel beam about 30-metres above the River Sava.

For the Hendrix Bridge, Skira wanted to enhance the steel structure using linear white light, following the form of the beams and columns and showing off its arch, spans and graceful design. He also added a playful, interactive element to the lighting design: as a train approaches the bridge, a sensor detects it, and the white light fades to black, causing the bridge to seemingly disappear. Then, as the first carriage crosses the bridge, the train becomes the protagonist. Coloured lights appear in sync with the

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speed of the train, bathing both the bridge and the train itself in a moving ribbon of colour. As the train disappears, the clean white light returns.

Skira worked with Philips Lighting on the installation, using more than 700 Philips Color Kinetics Vaya white linear luminaries, 56 Philips Color Kinetics eW Graze MX Powercore white fixtures and 26 colour Vaya Flood MP G2 RGB fixtures. The lighting is controlled by a Philips Color Kinetics iPlayer 3 controller and Philips Dynalite lighting control system, while a Geolux radar, used to detect approaching trains, is connected to the control system.

The revitalised railway bridge has helped in making the surrounding area more attractive to both locals and visitors. “The goal was to upgrade the visual identity of the City of Zagreb. It is part of our plan to enhance city life around the Sava River,” explained Ivan Babić, Head of the Infrastructural Services Department for the city. “The innovative LED lighting highlights the grandeur, colour and beauty of the bridge. It has become a tourist attraction with people often stopping to take pictures in front of it.”

Skira added: “This project is an example of true dynamics: lighting follows function in a true sense.

Light follows architecture and the object for which architecture is created.” www.skira.hr

SPOTLIGHT

Genoa Park Stairs USA Envisioned as a central nighttime element of this riverfront park, the Genoa Park Stairs turn an existing concrete amphitheatre into a dramatic nighttime lighting event, thanks to a new lighting installation created by Illumination Arts (now part of HLB Lighting Design).

Utilising highly controlled and customised wall grazer Lumenfacade luminaires, courtesy of Lumenpulse, the concrete risers are transformed into a dynamic display screen, while maintaining tight glare control for visitor comfort.

The installation performs an array of both static and kinetic scenes that celebrate the seasons, holidays and major community events. This dynamic nighttime landmark engages the public and provides a visual representation of the community’s pride in its city.

Illumination Arts were approached for the installation and hired by the Columbus Downtown Development Corporation, a business improvement organisation for the Columbus area.

“We were asked to review the site and propose lighting solutions that would activate the area at night as part of a redesign and expansion of the park,” said Ken Douglas, Principal at HLB Lighting Design.

“We developed several concepts ranging from illuminated and interactive objects and furniture, to the stairs that were ultimately selected.”

The stairs, that are part of an existing amphitheatre, are transformed into a projection screen, with everything reflected of their surface, and the Lumenfacade luminaires, with custom optics, can produce both still lighting patterns as well as low resolution video.

Douglas worked on the installation with Senior Associate Elizabeth Johnson. He continued: “Our goal was to create a dynamic lighting installation that activated the park for those walking through it and those viewing from across the river.

“The stairs give the residents of Columbus a dynamic landmark in the city centre that they can programme to reflect their community year round. www.hlblighting.com

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SPOTLIGHT

Drops Peru In December of last year, Claudia Paz Lighting Studio moved to the jungle city of Pucallpa in Peru. Following this move, the firm was commissioned to create a lighting installation that captures the spirit of the jungle and of Pucallpa’s residents.

Rather than creating a modern structure filled with technology, Paz and her team instead sought to create an installation “that will be able to transport people to their roots and make them realise how inspiring their culture and their territory is”.

The installation, entitled Drops, takes inspiration from the Shipibo people – one of the largest tribes in Peru’s Amazon, whose territory surrounds Pucallpa. A unique aspect of the Shipibo culture is their woven son tradition, in which the Shipibo record their ‘icaros’, or healing songs, in elaborate geometrical designs that function like a musical score and correlate and interact with the natural world. They then see these patterns in the natural world and are able to reproduce them for protection, healing, abundance, harmony and a variety of other purposes.

With Drops, Paz’s approach was to create different patterns with a simple light shape: a round drop.

The three dimensional layout of these ‘drops’ will at first look random, but they are placed strategically to create patterns designed to inspire people in different scenarios.

In total, Drops features 90 spheres, constructed out of old streetlights and illuminated with RGBW LED strips, filling each drop with light. Bringing a sense of interaction to the installation, Paz created a series of scenarios to evoke situations of the jungle: lights of yellow and green evoke fireflies, a spiral of light is inspired by the Shipibo healing ceremonies, multicolour drops are inspired by butterflies on a sunny day, and finally rain, so important for both the local culture and for the surrounding environment, is represented so that when viewers stand under the chandelier and close their eyes, they can feel the rain drops on their face.

Sound also plays a key role in the installation, adding an extra layer to each scenario, invoking a further emotional response from people viewing the installation.

Paz created three different layers of sound for Drops.

The first is the base sound, related to nature, and then two further interactive sounds, one to make viewers notice that they are triggering something, and the second, once the interaction is in process, to bring a smile to people’s faces. www.claudiapaz.com

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Full Spectrum LED

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SPOTLIGHT

Pic: Louise Strickland

Går du ofta hit, eller?

Sweden Niklas Pohlman is a freelance lighting designer based in Sweden’s two largest cities, Stockholm and Gothenburg – both buzzing commercial and cultural centres either side of the country – who focuses on lighting artworks and fine art installations.

Recently he specified Anolis ArcSource 4 MCs LED fixtures to illuminate Går du ofta hit, eller?

(Do You Go Here Often?) – three striking pillars ‘swooshed’ with a bronze fabric effect created by sculptor Yvonne Thornqvist outside the Göteborgs Stadsbibliotek (Gothenburg City Library).

The bronze treatment is actually a wrap of the pavement-to-first floor level sections of three concrete structural pillars running through the front of the building, which is one of the busiest public facilities in the city. Fulfilling many roles, the library is a hub for literary vibrancy and learning, a meeting place and a lively community and social space.

The work was commissioned by HIGAB, a community-based provider of public buildings like libraries and schools.

The columns have a paint finish, which is unusual for bronze, and because they are in the shadows of the first floor overhang above the entranceway, the artist was particularly

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keen that they were lit and therefore able to be enjoyed and appreciated after dark.

Each pillar is highlighted with five ArcSource 4MC units, which are concealed in the false roof void immediately above, which has been added to stop birds congregating.

Pohlman has worked with Thornqvist several times before, including lighting of her Out of the Wall public art installation at Axel Dahlströms Torg in Gothenburg, and he was delighted to be asked to make a creative contribution to this one.

“Lighting can add real character and depth to sculptural elements like this,” he commented, explaining that Yvonne’s brief was to make the texture of the fabric stand out “as well as to introduce a very slow and subtle – barely perceptible – movement” to the bronze ‘fabric’ which is suggested and accented by the Anolis products.

Originally, the installation didn’t involve lighting, but it was added when it became apparent that this would trigger a whole new dimension to the work. It was Pohlman’s idea to add the kinetic movement.

It was the first time that Pohlman had used Anolis fixtures in his work. They were specified after chatting to Fredrik Wideman from

Bellalite, Anolis’ Swedish distributor and also considering a number of options.

The units are RGBW, so the colours can be changed for events or special occasions. For the standard installation each pillar has its own bespoke signature hue, which slowly creeps around the surface of the column.

Bellalite’s Björn Arnason sees artistic lighting projects like these as interesting developments that are “completely off the scale” when it comes to lighting requirements. “Artists think totally differently about how to light an object or a space, bringing a refreshing and invigorating take on the process.”

Pohlman first became fascinated in lighting art and exhibition pieces early on in his career, when working as a museum lighting and AV technician, and also in the local theatre and conference centres. He later worked at the University of Performing Arts in Gothenburg as a lighting designer and sound engineer.

He is completely self-taught in the discipline of lighting design but has a talent for how to interpret and enhance different art forms and artefacts with light and flamboyance. www.anolis.eu

SKUNK CONTROL Australian firm Skunk Control use light, kinetic movement and ‘mechatronics’ to create immersive, exciting installations at light festivals and exhibitions across its native city of Melbourne, providing a sense of wonder and excitement to viewers both young and old.

Altar to the Future Melbourne, Australia Installed within St Paul’s Cathedral – Melbourne’s largest cathedral – as part of White Night Melbourne, this kinetic work considered a seemingly transparent, derelict landscape that had overgrown a series of gothic inspired windows. An inspection of the landscape through a large rotating portal conjured up a landscape bursting into a continuously altering spectrum of gloriously vivid and ever changing vibrant colours. Making use of polarising filters, LED based light boxes and birefringent materials, the installation provides a highly visceral vista to a world eager to be explored by those confronted by it.

Luminous Intervention Melbourne, Australia Commissioned by Federation Square Pty Ltd (Melbourne) as part of the Light in Winter Festival, animatronic and dichroic elements were used to explore flower-based disciples of light that confronted darkness when light was absent and far away. Based on native flora these stolid and intricately detailed disciples mechatronically opened and closed to reveal an internal dichroic optic system that rotated 360-degrees to cast atmospheric light in an effort to subdue unease whilst maintaining the appearance of dominating sentinel-like defenders.

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SNAPSHOT

Epiphany’s Genesis Melbourne, Australia

Pestilent Protrusions Melbourne, Australia

Commissioned by Museums Victoria (Australia) for their Light Time exhibition, this installation comprised of a floating landscape of flowers that mechatronically opened and closed their flower heads to reveal an internal ecosystem undergoing a constant colour-changing evolution. The kinetic movement of dichroic petals created stark coloured moving light shards, which were further accentuated via the use of wide-angle spotlights positioned above the kinetic system.

This ‘People’s Choice’ award-winning installation at the Gertrude Street Projection Festival in Melbourne made use of mechatronic and electronic elements in its manipulation of white light to flesh out themes of transience and change. The handcrafted landscape of alien vegetation central to the installation was flooded with polarised light. This interaction deviated light’s pathway in infinite ways resulting in a landscape undergoing a constant colour metamorphosis.

Secluded Evolution Melbourne, Australia This installation considered the evolution of a butterfly-like species trapped in a world where light finally made its way in. The kinetically moving wings (actuated via the use of muscle wire) were made of structural films that created colours not through pigmentation but rather via their diffraction of halogen white light. Light’s interaction with the film’s fine structure, and in conjunction with wing movements, provided for an infinite palette of striking colours. Altering ones vantage point of the installation further instigated colour changes.

Skunk Control

Skunk Control create engaging and immersive experiences and spaces that provide audiences with a sense of wonderment and opportunities to make discoveries. Drawing on technology, design and art, the team’s backgrounds in engineering, science and education and a fondness for all things left of field, its creations are interactive and impactful. The tangible and visceral excitement that comes from discovering something new and the joy associated with this process is something that Skunk Control insists that its work elicits and celebrates.

As well as creating public art installations and commissioned works (incorporating light, sound and kinetic movement); designing for exhibitions, shopfronts and for the stage, Skunk Control also develops and runs outreach programmes that focus on the art and science that underpins its creations. www.skunkcontrol.org

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BRIEFING

Ken Douglas Following the acquisition of Illumination Arts by HLB Lighting Design, arc sat down with Ken Douglas, Principal at HLB Lighting Design to discuss his lighting design journey, the decision to become part of HLB and the benefits that such a move will bring.

What made you decide to become a lighting designer?

I’m one of those people you occasionally hear about who had a teacher set the course of their life at an early age. In middle school, I had a teacher who involved me in the school’s theatre programme doing sets, lights and sound. Those early experiences led to community theatre and a single-minded goal of becoming a lighting designer.

I owe Mr. Genovese a lot.

Give an overview of your career to date.

In my early twenties I decided to move from pursuing theatre work to seeking a job at an architectural lighting design firm. (I found that I wanted to have more stability and security than I found on the theatre side.)

My first architecture job was working for a gentleman named Ed Feldman, who was an early practitioner, and at the time was designing lighting for retail stores. From there my next major job was with David Mintz, Inc., where I would work for the next fifteen years. There I became an Associate Principal, where along with Faith Baum, we managed most of the day-to-day activity of the firm.

In 2003/2004 Faith and I decided that our career path required a change, which led us to found Illumination Arts. We would grow IA for the next fourteen years. Over that time we developed several strong and unique market sectors, including infrastructure and signature bridge projects.

Over the course of this entire period, I have been very involved in the lighting community, particularly IALD, where I served for many years on the board of directors, and where I had the good fortune to make many friends throughout the worldwide industry. That time spent doing that volunteer work has been some of the most satisfying of my career.

You moved to Osram and then back to IA. Can you explain that decision?

This was in the midst of the recession, and we found that the firm was having difficulty supporting the staff and two principals. Not wanting to place myself in the position of competing with the firm I founded, I made inquiries on the manufacturing side of the market. After about fourteen months, the economy improved and we were able to reverse that decision and come back together again at Illumination Arts. It proved to be a good port in a storm.

How did the decision to become part of HLB come about?

This actually goes back to the relationships I’ve formed within IALD over the years. Barbara Horton and I became friends through our time on the IALD Board, and would occasionally meet for lunch to catch up with each other.

In August of 2017, during one of these lunches, we were discussing where our firms were going and what we thought each firm needed to

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continue to grow to the next level.

We realised that the needs we were describing were things that the two firms could solve for each other.

What are the advantages of becoming part of HLB? I think we all believe the advantages are manifold for all of us. For IA it provides a depth of resources and infrastructure from which to serve that client base and continue to grow and expand within the multi-office, national footprint that HLB already possess.

From the HLB side, it provides immediate additional growth with the addition of new staff (including two principals) in the New York and San Francisco offices, and access to new market sectors that IA is a strong player in, but that HLB did not have a presence in.

The team is already functioning as one strong unit, rather than two separate teams, and we can already see a synergy of ideas and experiences going back and forth to make the new team stronger and more creative.

Are you still in the IA studio or have you moved in with HLB? All of the IA staff have moved into existing HLB offices. Most in the New York office, and our one remote Senior Designer, Elizabeth Johnson has joined the team in the San Francisco office as a Senior Associate.

This has help speed along the blending of everyone into one strong, collaborative team.

How do you see the future of lighting design?

From where I sit, the pace of digitisation is continuing at an everincreasing pace.

The role of the lighting designer will continue to expand, as will the knowledge base required to be successful as a lighting designer.

As creative individuals practicing in this space, we not only need to be visualisers, and creative collaborators, we also need to have the technical skill set and understanding of both the digital and built environment to be able to execute the ever more complicated digital systems our designs require.

Our clients turn to us to produce beautiful and interesting luminous environments, but they also rely on us to have our finger on the pulse of technology, energy codes, LEED, Well Building, IoT, and all the other ever-expanding trends that impact lighting and the built environment.

This evolving marketplace demands that we stay ahead of these trends and be able to see the opportunities and the pain points they present us and our clients and be able to act quickly to take advantage of them in our designs. www.hlblighting.com

Ben van Berkel Pic: Inga Powilleit

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INTERVIEW

Sense and Sensibility As UNStudio celebrates its 30th anniversary, arc’s Matt Waring caught up with founder Ben van Berkel during Light+Building 2018, to chat about the architecture design network’s history, its future, and its approach to light.

F

ounded in 1988 by Ben van Berkel and Caroline Bos,

United Network Studio – better known as UNStudio – is an international architectural design network with offices in Amsterdam, Hong Kong and Shanghai.

Although mainly operating in architecture, interior design,

urban development and infrastructural projects, the firm has

also worked in product design, working with Zumtobel on the

Nightsight, alongside furniture pieces for Alessi and Walter Knoll, among others.

Since its inception, UNStudio has completed projects in countries around the world, working with a vision of ‘future-proofing the future’, in which it anticipates the future and any possible changes that it may bring.

These projects have always placed a large emphasis on collaboration, something that founder Ben van Berkel is particularly passionate about: “The ambition of

UNStudio, and why we are called United Network Studio, is because we believe in

collaborative models. We don’t believe in the concept of the architect at the front of the orchestra.

“We believe that, in the early stages of design, you need to consult with specialists

and look beyond your own profession in order to make something more fascinating than just design for design’s sake. It needs to be people-oriented, it needs to connect to themes of health, sustainability and so on.”

This people-oriented approach has seen the company work on a diverse array of projects, spanning a wide range of disciplines and areas, over the past 30 years, but is there a particular area of expertise that Van Berkel believes the company specialises in?

“It’s interesting, ten years ago I would have said no, because we were so diverse

and I always wanted to learn more about every other part of the profession, from

infrastructure to product design, urban design and so on,” he said. “But now I can see that there are trends and common themes that I work within.”

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Pic: Christian Richter

“You need to consult with specialists and look beyond your own profession in order to make something more fascinating than just design for design’s sake.”

Ben van Berkel, UNStudio

One such theme surrounds infrastructure, a fascination for Van Berkel that comes from his work designing bridges (UNStudio

created the Erasmus Bridge in Rotterdam, Netherlands, and has

just won a competition to design a new bridge in Budapest). This fascination has led Van Berkel and UNStudio to work on designs

for airports in Amsterdam, Brussels, Taiwan and Kutaisi, alongside long-term regeneration projects like the Arnhem Central Station

masterplan – a project that Van Berkel has been involved with since

1996. “If you think about infrastructure, you have to think about how

people move and who the user groups are that you design for, so it’s a very important topic to be found in our work,” Van Berkel explained.

It’s a topic that can even be found in projects unrelated to

infrastructure. “If you look at some of the buildings that we’ve

worked on, like the Mercedes-Benz Museum in Stuttgart [completed

by UNStudio in 2006], it’s based on infrastructure,” Van Berkel

continued. “The idea that you go up eight floors in an elevator, then at the top you have two spirals crossing each other as they go down, it’s quite a rich organisation. But this organisation comes out of a fascination for infrastructure.”

The newest infrastructural project for Van Berkel will see the

introduction of cable cars to the Swedish city of Gothenburg. Similar

to the Emirates Air Line in London, these cable cars will act as a form of public transport, rather than entertainment. “It’s something

that the people of Gothenburg really wanted to have in the city,”

explained Van Berkel. “People who live there work in the north of the city, at the Volvo factory and so on, so there’s always congestion.”

Alongside these large, infrastructure-led projects UNStudio’s

extensive portfolio includes work ranging from museums, offices and retail centres to hotels and residential properties, yet while

some architecture firms have a definite style or aesthetic that carries across their portfolio, Van Berkel instead prefers to mix it up with each new design.

Above The Erasmus Bridge in Rotterdam, Netherlands, completed in 1996, was designed

by Van Berkel to reflect the industrial character of the Dutch city. Its structural scale and design articulation has made it a distinctive landmark within the surrounding skyline.

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“I’m always careful with style,” he said. “I believe that one should

liberate style a bit more, to avoid a very mono-functional image that

you can’t sustain for every location. I’m very location-oriented; even when our work is sometimes a bit more simple, less articulated or

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Das gute Licht.

For a warmer welcome.

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Pic: Plompmozes

Pic: Christian Richter

less curvy, you can still recognise it as our work

a road tunnel, storage for bicycles and parking

maybe through the interior or another way.

and outside, the station helps to create a new

because I like to bring a surprise into the design, “Our work is very experience-oriented, so

although you can’t see it immediately, you can discover the recognisable links between the projects over time.”

The reason for Van Berkel’s visit to Frankfurt

for Light+Building, further to seeing the latest

advancements in the lighting and building services sectors, was to collect the Zumtobel Group Award for Urban Developments – an architectural award created by the Austrian lighting

manufacturer designed to “act as a stimulus

for new developments and concepts in the built environment that help meet current and future

demands for improved urban living conditions and energy needs”.

UNStudio won this award for the aforementioned Arnhem Central Station in the Netherlands – a

complex project that functions not only as a public transport hub, but also seamlessly incorporates office and retail spaces, a new station hall, a

platform roof structure, a railway underpass,

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space. Blurring the distinction between the inside identity for its region, while organising the main connections within the city.

Although the complex creates a more coherent,

organised hub for the city’s transport links, the main inspiration, Van Berkel explained, was to

rekindle the excitement of traveling. “There used to be a time when stations celebrated the idea of traveling, they would uplift you when you would

depart or that you would enjoy seeing family again in the arrival hall, where you could really feel the

enjoyment and uplifting qualities of traveling,” he said.

“Lately, stations have started to become negative areas or not so safe, so this station was designed to be more positive, a station where you feel

comfortable, where a lot of light is to be found,

where you almost feel like you’re in a communitylike space.”

The station features a long, sweeping walkway around a curved central column, that adds to

the more open, community-like aesthetic that

Top Left The Mercedes-Benz museum in Stuttgart, Germany, features a double helix structure, in which two chronological routes descend and intertwine along the gallery spaces, bringing a sense of infrastructure and order to the site.

Top Right A visualisation of the Gothenburg cable car project, which will provide an alternative form of public transport across the Swedish city’s ‘RiverCity’ urban development.

Bottom Left The Nightsight, designed

by Van Berkel for Zumtobel, is “primarily aimed at facilitating activity, enjoyment, engagement and social interaction in the public realm”.

Bottom Right Galleria Centercity in Cheonan, South Korea uses visual and spatial connections at the heart of its design, together generating a lively, stimulating environment. The exterior features a media façade articulated in a trompe l’oeuil pattern, creating a remarkable 3D impression.

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“Our work is very experienceoriented, so although you can’t see it immediately, you can discover the recognisable links between each project over time.”

Ben van Berkel, UNStudio

Pic: Pieter Kers

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INTERVIEW

Pic: Fedde de Weert

Pic: Inga Powilleit

Pic: Bryan Adams

Pic: VA-Render.com

Previous Page The Arnhem Central Station, for which UNStudio won the Zumtobel Group Award for Urban Developments, features a sweeping walkway around a large curved central column, helping to create a more “community-like” aesthetic in the station.

Left The atrium of the Galleria Centercity features clusterings of curved plateaus supported by long columns, while in the platform ceilings, coiled strip lighting accentuates the curved geometries and propels a fluent flow of people through the building, from the ground floor up to the roof terrace.

Top Left The W.I.N.D. House in the Netherlands incorporates sustainable solutions and home automation, while enabling a flexible use of space. The emphasis on sustainability and home automation exemplifies UNStudio’s focus on ‘future-proofing the future’.

Top Right Ben van Berkel, closely inspecting one of UNStudio’s designs.

Above Left A rendering of the New Budapest Bridge, designed by UNStudio alongside Buro Happold Engineering.

The bridge crosses the Danube in the post-industrial southern area of Budapest, Hungary, connecting Ujbuda and Csepel, and will act as a catalyst for the future development of this up and coming area.

Above Right UNStudio has designed several products and furniture pieces, including the MYchair, designed by Ben van Berkel for Walter Knoll.

Van Berkel was aiming for, while the use of large

“Amongst other things, lighting is a way of

complement the artificial lighting, designed by

light, but I think that in the future it will also

windows allows for plenty of natural light to Arup.

“The architecture does the wayfinding and that is, especially today in very busy areas, very necessary because if you have to look for signs, then you

don’t know where to find your train or bus. Here

there’s more theatre and more to enjoy, with the light coming into the station, that helps connect you to where you are going.”

The mention of the use of light in the Arnhem Central Station moves our conversation on to

lighting, and UNStudio’s relationship with light.

While light has always played a role in his work, Van Berkel passionately talked about the new

advancements in the lighting sphere, moving

beyond basic illumination. “I’m very fascinated

by light. I see light as data,” he enthused. “I think the lighting world has never been as exciting as it is today.

“I’ve done a lot of research with other parties

to find out how important light is for the work

environment, for instance, like how unhealthy

light can be or how much you can actually steer it towards wellbeing and health.

enriching space, as it is a product that is giving impact on other qualities in work and in the living environment.”

As such, Van Berkel believes that factors such as

lighting design are being brought to the table much earlier in the design process now, something that he certainly welcomes: “What used to be so bad

was how clients, developers and we as a profession, were maybe looking too much at making objectoriented architecture. But I think it’s important

that we know what kind of effect or impact light can generate.

“Similar to infrastructure, and the way one

walks through a building and how it defines the

organisation of the building, I think the same for

other elements of design, like lighting, ventilation, acoustics, these things can work together much more in the future.”

The quest for more research into the impact of lighting and air quality was one of the driving

factors for Van Berkel in the formation of a new

sister company of UNStudio – UNSense. UNSense is a self-proclaimed “arch tech” company that aims to “humanise architecture”, and explore

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Left Raffles City, in Hangzhou, China, is a sustainable urban hub for living, working and leisure, located in one of China’s most picturesque cities, covering almost 400,000sqm within two streamlined towers set atop a podium and landscaped plaza.

and develop new sensor-based technologies designed

specifically to positively impact people’s physical, mental and social health.

Set up because Van Berkel believes “that the future of

Pic: Jin Xing

design is going to be more tech-oriented”, he hopes that

UNSense can help, through the use of new technologies, to

make “a better human-centric environment for people who

“I think the lighting world has never been as exciting as it is today.”

Ben van Berkel, UNStudio

want to live and work in healthier ways in the future”.

“It’s going a bit beyond the smart city and smart home

concept, in that we don’t just want to make things more efficient. We want to give them more direction and meaning.”

Light will play a role in this new, sensor-based off-shoot

of UNStudio, but Van Berkel believes that it will “become part of a holistic system” surrounding the technological development of buildings.

“I’ll combine lighting design with acoustics and air quality, and maybe material research, and then put it into one

system to work on the software,” he continued. “That’s

why we set up UNSense – you have the hardware side of the building, and then the software side, and the latter needs a different kind of financial programming and expertise than an architectural office. You can do research in an

architectural office but not data-driven organisation and analysis. You need different specialists for that.”

In the meantime, Van Berkel continues to work with external lighting designers on his projects, having

completed several projects with Arup, including the

Arnhem Central Station, as well collaborating with the likes of German firm AG Licht, and Rogier van der Heide, whom he feels is having a “beautiful career”.

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interview

Pic: Jose Luis de Zubiria

Pic: Eva Bloem

His work with light has extended into the

On the infrastructural side of things, there are

likes of iGuzzini and Philips in the past, as well as

cars, and a brand new commission, only recently won

manufacturing sphere too, having worked with the teaming up with Zumtobel for the Nightsight: a

modular system designed to create environments

for social activity, mobility and walkability in a bid to “reclaim the night” within the public realm through variety in lighting scenarios and intensities.

“Nightsight is inspired by the many variations

possible in theatre lighting,” Van Berkel said during the launch of the Nightsight at Light+Building 2016.

“The system enables spatial choreography through light and is primarily aimed at facilitating activity,

enjoyment, engagement and social interaction in the public realm.”

And while Van Berkel is hopeful that lighting will continue to play more of a role in his work going

forward, particularly in the new UNSense venture,

there are still a whole host of projects in the pipeline for UNStudio to keep him busy.

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projects like the aforementioned Gothenburg cable

by UNStudio, which has seen the firm design a new road, tram, cycle and pedestrian bridge across the

Danube river in Budapest, Hungary – a competition

that saw Van Berkel and his team work alongside Buro Happold, to beat off competition from the likes of Zaha Hadid Architects and Wilkinson Eyre.

Elsewhere, the firm is working on the headquarters for Booking.com in Amsterdam and the EuropaCity Centre Culturel Dédié Au 7è Art – a cultural cinema complex on the outskirts of Paris, to projects as far and wide as Germany, Azerbaijan, UAE and South Korea. “It’s really great, there are so many nice

things. It’s the best time ever for us,” Van Berkel

enthused. Based on everything I heard in our short time together, it’s hard to disagree. www.unstudio.com

Top UNStudio is currently working on a project that will see four new 228-metre high towers change the Frankfurt skyline from the air, while cultivating its liveliness on the ground, establishing a vibrant new neighbourhood for Frankfurt, its visitors and its future residents.

Above Left The SILU chair and table, designed by Ben van Berkel in collaboration with Spanish designers Ondarreta.

Above Right The spiralled interior of the Mercedes-Benz Museum forms a striking, transformative element throughout the building.

A key load-bearing structure, the main twist supports exhibition levels spanning more than 100 feet without intermediate columns.

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PROJECT DETAILS KL Sports City Phase 1, Malaysia Owner: Ministry of Youth and Sports Client: Malaysian Resources Corporation Berhad (MRCB) Architect: Populous, Singapore Lighting Design: Limelight atelier, Singapore Photography: Aaron Pocock

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PROJECT

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PROJECT

T

he existing Bukit Jalil National

natural ventilation and transparency

1988 Commonwealth Games,

The lighting scheme consists of concealed

Sports Complex, used for the

has been transformed into the

to the existing iconic structures.

lines of lights, which are carefully

new Kuala Lumpur Sports City, the largest

integrated within the 678 parametric

includes high-performance sports training

lighting’s LED Flex tape RGBW, with 8-pixel

sports complex in Malaysia. The complex facilities, a sports rehabilitation science

centre, a youth park, a public sports facilities,

twisting blades; using Acclaim

control of the LED nodes at every metre that

allows for close and far away visuals of graphical

a sports museum, a youth hostel, a convention

displays and colours. This allow the operators to

Designed by Populous and developed by the

The second layer of the lighting design

(MRCB), Limelight atelier from Singapore

intention, by designing and implementing

centre and a sports-focused retail mall.

Malaysian Resources Corporation Berhad

display a fully bespoke visual for every event. was an introduction of a highly ecological

was appointed for the lighting design

a bespoke six-headed adjustable gimbal

Stadium, Axiata Arena, National Aquatic

reduced the amount of light fixtures needed

of the façades of the Bukit Jalil National Centre and the new covered link way.

Phase one of the monumental transformation

luminaire from Acclaim. The solution greatly to illuminate multiple aspects of the façade.

Each luminaire is carefully placed in between

of KL Sports City was completed from design

each blade, blending in as part of the

host the 2017 South East Asia (SEA) Games.

of two blade surfaces, illuminates the roof

phase in just eighteen months in order to

At the heart of rejuvenated KL Sports City, is the 87,000-seater Bukit Jalil National

Stadium. Its new striking façade is focused on creating a close relationship with the

locals and is reminiscent of the stripes of

the Malayan tiger. It allows for sun shading,

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architecture. It allows for the illumination ring structure and, at the twisting juncture of the blades, reflects some light inwards, adding visual depth to the architecture by

paying homage to the existing iconic skeleton structures. This adds not just aesthetics

but allows for the reduction of functional

Luminaires, primarily from Targetti, uniformly uplight the membrane canopy of the National Aquatic Centre to give a ‘glowing lantern from within’ feel. ELR Vasari 3 recessed narrow beam downlights with selected Rosco colour filters were used to graze the new fritted façade glazing to optimally portray a new colour identity for the centre.

“The objective was to minimise the usage of light fixtures, and make use of the façade lights, to illuminate multiple elements whilst contributing to the functionality of the perimeter circulation space, greatly minimising energy consumption and cost.”

Melvyn Law, Director of Limelight atelier

PROJECT

lighting to the perimeter of the stadium.

and time limitations and site constraints.

aesthetics, an important design philosophy of

tray detail was designed to integrate in to the

“This is what we termed as functional

our studio... the objective was to minimise the usage of light fixtures, and to make use of the

façade lights, to illuminate multiple elements whilst contributing to the functionality of the

perimeter circulation space, greatly minimising energy consumption and cost,” explained

Melvyn Law, Director of Limelight atelier.

The building fabric of Axiata Arena, an indoor arena, formerly known as Putra Stadium, was to have illumination radiating through the

undulating perforated façade panels, revealing a tremendous visual interest of form, light and colour after dusk. The first challenge was to

correctly position the grazing luminaires for an

optimised display of the geometry of the façade, especially those at the entrance’s wavy roof. It

was resolved with multiple desktop simulations, small scale tests and full size mockups with the support of the contractors and manufacturer.

Another challenge faced by Law and his team

was to conceal the luminaires and its auxiliaries

to minimise electrical and control cables routing disruption to the existing building due to cost

Working closely with Populous, an architecture edifice, concealing fixtures, cables and drivers.

“The visual narrative was elevated with

many technical studies and tests, which

allows us to not just fulfil, but to amplify

the vision of Populous, with the integrated details and techniques,” added Law.

The main entrance to the arena was up-lighted with Meyer Epolux luminaires mounted on columns. Downlighting was designed as a

distinct visual marker with a warmer 3000K

colour temperature flanked by the cooler colour temperatures of 4000K. The combination of

the colour temperature was initially thought to be unusual. However the juxtaposition

grows on you and serves its purpose well.

Over at the boulevard, horizontal twisting blade roof elements formed the newly constructed

shaded canopies, linking the existing light rail

station and various sports venues. Apart from the luminaires that are surface mounted between the horizontal blades for safety and security, colour psychology was introduced in the circulation

space. Each structure column is up-lighted in hues

PROJECT

The Bukit Jalil National Stadium façade lighting scheme consists of concealed lines of lights, which are carefully integrated within the 678 parametric twisting blades; using Acclaim Lighting’s LED Flex tape RGBW, with an 8-pixel control of the LED nodes at every metre that allows for close and far away visuals of graphical displays and colours.

of blue by Acclaim’s HP-Midi-RIG thus serving as a guiding light and reflecting the users’ journey that inspires calm and authority, if ever the spectators or visitors are upset with the result of the games.

This leads to the last sporting arena: the National Aquatic Centre with its Olympic standard swimming pool. It was

brilliantly illuminated to the imagination of a “glowing lantern from within” expression, with luminaires primarily

from Targetti uniformly uplighting the membrane canopy as

well as having suspended pendant lights to serve its functional needs. ELR Vasari 3 recessed narrow beam downlights with selected Rosco colour filters were used to graze the new fritted façade glazing to optimally portray a new colour identity for the international graded swimming arena.

The overall results for phase one has already seen increased

usage and social growth to the surrounding precinct. KL Sports

City phase one has gathered many accolades internationally and regionally. Besides being a finalist of the World Architecture Festival in 2017, it is also a winner of the exterior lighting category of the Asia Pacific Property Awards 2018 and

attained the Singapore Good Design Mark (SG MARK). www.limelightatelier.com

lighting specified Acclaim Lighting Flex tape - RGBW- Pixel Acclaim Lighting HP- MIDI - RIG Blue Acclaim Lighting HP-Linear RGB Acclaim Lighting Dyna Wash (customised) ELR Vasari 3 with Rosco glass coloured filter Simes Loft Wall Square Targetti CCT LED Architectural Mini Targetti CCT Architectural Classic Adjustable HP Targetti Dart Medium Meyer Expolux

PROJECT DETAILS The Paris Mint, Paris, France Client: Monnaie de Paris Lighting Design: Hi Lighting Design, France Architect: AAPP Philippe Prost, France Exhibition Design: Yves Morel Workshop, France Photography: Aitor Ortiz

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Money Talks As the Hôtel des Monnaies, home of the Paris Mint, approached its 250th anniversary, architect Philippe Prost recruited Hi Lighting Design to help create a sensory experience throughout the site’s new museum.

T

he Paris Mint, located on the banks of the Seine, is one of the finest examples of neoclassical architecture in

the French capital. Built from 1767 to 1775 and designed

by Jacques-Denis Antoine, the Hôtel des Monnaies

remains one of the most vivid images of the Parisian landscape.

Dominated by a 117-metre façade, the site comprises of a palace, the 11 Conti museum and boutique exhibition areas, workshop space and a gastronomic restaurant presided over by Michelin-starred chef, Guy Savoy.

Since 1976, the activities of the Mint – the oldest French

institution, founded in the ninth century by Charles II – have

been split between two locations, the historic Hôtel des Monnaies which produces works of art, medals, decorations and coins made of precious metals, and Pessac in the Gironde, where current Euros are produced at a rate of nine million a day.

In 2009, the Hôtel des Monnaies site underwent a redesign, with architect Philippe Prost winning a competition launched by the

Paris Mint to find a project manager. The aim of this project was to remove the Paris Mint from its isolation within the Parisian

landscape, and to place it in the constantly moving narrative of

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PROJECT

the 21st Century. As such, the Mint became a

was to make it more of a cultural site, giving

of a historic landmark, and the restructuring

of the Mint itself, while lending an additional

hybrid project, halfway between the renovation of a block in a working-class district of Paris.

“This project of restoration and reorganisation

poses challenges at multiple levels,” said Prost.

“Not just the urban, architectural or landscape

level, but also industrial, economic and cultural, and beyond that at a symbolic level.”

Despite the many different aspects of the

restoration, it was important for Prost to see the site as a whole, rather than a myriad of parts, and to treat the location, steeped in history, with the respect that it deserved.

“Respect and determination is ultimately

how Philippe Prost has envisaged his work Top Left The exhibition spaces were designed and decorated as though they were art galleries, showcasing the productions of the Mint, which marry knowledge, creativity and excellence.

Bottom Left A walkway that bridges one façade to another allows visitors to see the workshops and discover the process of chasing and burnishing.

Above Right Designed to provide a sensory experience to visitors, the 11 Conti museum fuses historic and modern architecture as a means of placing the Paris Mint into the “constantly moving narrative of the 21st Century”.

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here,” said Aurélien Rousseau, President and General Director of the Paris Mint. “Respect

for the work of Jaques-Denis Antoine whom,

like us, he is keen to rediscover, respect for the

industrial processes present on the site, respect for the desire of the site’s owner to open up

this unique place without losing its essence.

In short, respect for the place’s memories.”

In opening up the Mint to the public, the intention

visitors the opportunity to rediscover the site legitimacy to the trades that have been practised there since its origin some 250 years ago.

The idea of making this historic monument more accessible is related to its remarkable architectural quality, to its history and to

its strategic location – 1.2 hectares within the heart of the sixth arrondissement.

For this grand ‘restoration and reorganisation’

project, in particular the development of the 11

Conti museum and exhibition areas, Prost selected Virgine Nicolas and Benoît Deseille of French

practice Hi Lighting Design, incorporating their lighting design skills into the design team.

This design team, Deseille explained, was

comprised of many different skillsets, from

multimedia and exhibition design, to graphic

and lighting design. “Led by the architects, the

design process and the synergy of the team has been very beneficial to the project,” he said.

In the 11 Conti museum, the brief was to provide a sensory experience to visitors, incorporating

an architectural exploration through the heart

“The initial idea of the project was to offer a sensory experience to visitors and the way the lighting participates to this ambition varies along the journey and in the different spaces.”

Benoît Deseilles, Hi Lighting Design

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Previous Page Hi Lighting Design aimed to replicate the glow of molten metals in this staircase by installing a long, custom-made luminaire from Lenoir Service.

Top Left The museum space takes advantage of the beautiful architecture of the building, Top Right Concord’s Beacon spotlights provide a focused illumination in the museum and exhibition spaces, highlighting the artefacts on display.

Bottom Left The boutique exhibition space takes advantage of natural light with a seventeen metre high skylight amplified by four white shutters, bathing the space in a soft light.

Bottom Right The darkness of the Materials Room serves to emphasise the minerals and metals on display.

Opposite Page This staircase, in the oval of an old cistern, winds around a barrel dressed in embossed and perforated boards, with subtle illumination coming from Atea LED strips.

of the Paris Mint. Moving from exhibition

offer a sensory experience to visitors and

centuries and continents”, visitors discover

ambition varies along the journey and in

spaces to workshops on a “voyage across

the museum’s collections and treasures, such as the technical know-how contained in the

workshops where each day artisans and labourers practise the craft of transforming metal.

This journey is punctuated by a succession of sensory experiences: the sight of minerals

glistening in the darkness, the sound of coins being struck, and the physical contact with machinery.

Starting from the Benjamin Franklin Court,

the visitors’ experience begins on the ground

floor of the foundry, where the glow of molten metals invite them up the stone staircase to

the second floor. Deseille and Nicolas installed a long custom-made pendant luminaire

from Lenoir Service to express this molten

glow, while the walls around were dressed in metal panels of steel, copper and brass.

“The initial idea of the project was to

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the way the lighting participates to this the different spaces,” Deseille said.

“To ensure the continuity of this experience, the transition spaces like stairs were an opportunity to create immersive moments with light.”

Once at the top of the staircase, visitors are

plunged into the darkness of the Materials Room where, as if in the gallery of a mine, all the

minerals and materials used in the manufacture

of coins and medals – gold, silver, bronze, copper, pewter, platinum, nickel and iron – are exposed.

Moving from darkness into light, the visitors’ next encounter with the various metals is in

the white room of the laboratory. A walkway that bridges one façade to the other allows visitors to see the workshops and discover

the process of chasing and burnishing, before

rejoining the manufactory – the walls of which are shaped like a great ship, intended to be

PROJECT

a “Noah’s ark of tools and knowledge”.

huge cones of burnished steel and brass

the museum, creating a blend of modern and

Finally, an open door invites guests into the

Old coin making materials feature throughout traditional textures and aesthetics. Another

staircase in the oval of an old cistern winds around a barrel dressed in embossed and perforated

boards while in the Functions and Uses room, two monumental right angled display cases

mirror the pattern of the ceiling mouldings.

Deseille believes the attention to detail

from the architect serves the combination of historic and modern architecture well.

“Heritage is one of the multiple domains of the architect Philippe Prost, and the

philosophy he developed offers a sort of

guideline on how the contemporary elements can complete the historical architecture.”

The journey through the museum culminates

in a room dedicated to the art of the collection, where medal cabinets, paintings and busts are displayed, all illuminated by three

alongside Concord’s Beacon fittings.

‘Strong Room’ – a square-shaped room clad in aluminium, where the finest treasures of the museum are displayed in open chests.

Following on from the museum, the new

Boutique of the Paris Mint is composed of a

suite of rooms all different from each other,

ceilinged or vaulted, vertical or horizontal, lit by natural or artificial light, all designed and

decorated as though it were an art gallery for

showcasing the productions of the Mint, which marry knowledge, creativity and excellence.

“The transformation of the site at 11 Conti has provided an exceptional space for the new boutique, and given these artistic

products the backdrop that they deserve,” said Claude Griffin, Director of Marketing and Development at the Paris Mint.

“The goal was to showcase the creativity of our

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PROJECT

master engravers and the excellence of their

Opened in September of 2017, coinciding

products in order to show the finesse of the

des Monnaies, the new 11 Conti museum

creations by literally shining a light on their engraving, the creativity of the design and the refinement of the materials used.”

The boutique takes advantage of the natural light on offer, with the first room featuring a seventeen metre high skylight amplified

by four white shutters, which form a hood,

bathing the room in a soft light. Elsewhere, the last space is illuminated by natural light from the court de la Méridienne,

lighting up the room of jewels and casts.

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with the 250th anniversary of the Hôtel

and exhibition space pays loving tribute to the history of the Paris Mint.

The lighting design from Deseille and Nicolas complements the building’s

beautiful architecture and the intricate

artefacts on display without overshadowing either. Instead it adds to the sensory

atmosphere that Prost sought to implement, creating a truly memorable experience. www.hilighting.com

lighting specified Atea LED Strip Concord Beacon Encapsulite AP T5 Erco Cylinder Erco recessed downlights Hoffmeister 100 227 Lenoir Service Lumisheet Wila LEDPUCK

Beacon Muse Tune

Warm white

Show it off, make it great

Neutral white

Concord architectural lighting by Sylvania

Cool white

Beacon Muse Tune is part of the award winning Beacon range which lights up some of the most prestigious museums across the world. Our innovative spotlights do it all because they are customisable and flexible to enhance and inspire. We understand the importance of colour temperature and beam control that your lighting needs to accentuate your display. Using the latest technology combined with SylSmart lighting controls the possibilities are endless. sylvania-lighting.co.uk Tel: +44 (0) 800 440 2478

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16/05/2018 10:25

Lighting a Jewel The new Bvlgari Hotel & Resort Dubai is the latest jewel in the crown of the luxury designer brand, with a beautiful, understated lighting design from Metis Lighting and Delta Lighting Solutions.

PROJECT DETAILS The Bvlgari Hotel & Resort Dubai, UAE Client: Meraas Architect/Interior Designer: Antonio Citterio Patricia Viel, Italy Lead Consultant: WSP, UAE Lighting Design Concept: Metis Lighting, Italy Lighting Design Development: Delta Lighting Solutions, UAE Photography: Catalin Marin

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PROJECT

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PROJECT

O

pened in December 2017, the Bvlgari

the Bvlgari Hotel Milan in 2002, and Marinella

jewel in the designer brand’s luxury

Claudio Valent, explained how collaborative their

Resort & Residences Dubai is the latest hospitality collection.

Patetta, co-founder of Metis Lighting alongside work with ACPV is. “The lighting project is

Situated on Jumeira Bay – a manmade island

launched together with the architectural and

158,000sqm resort was conceived as an ‘Urban

“The initial brainstorming involves a two-way

carved into the shape of a seahorse – the Oasis’ for visitors and residents alike.

Designed by Italian architectural firm Antonio

furniture design,” she said.

exchange of ideas. We often start from sharing

initial renderings, so a strong idea for the interior

Citterio Patricia Viel (ACPV), the resort is a

or architecture may guide the lighting proposal, or

in scale and magnitude. The complex features the

change details or materials in the project.”

with 173 sea facing apartments, fifteen private

that Bvlgari has certain design standards and

‘first-of-its-kind’ development for Bvlgari, both

hotel building and villas, six residential buildings

vice versa: an interesting lighting solution can

In creating the lighting design, Patetta explained

mansions and Bvlgari’s first Marina and Yacht

guidelines for the main lighting criteria, such as

seaside village in southern Italy.

these are not very restrictive and are “totally in

Club, and is intended to resemble a traditional

The architects worked alongside Italian lighting

design studio Metis Lighting, who have worked on

lighting levels and scenario control, but added that line” with ACPV design, meaning that they are fairly easy to adhere to.

several projects for the brand, to develop the

Once the lighting design concept was created,

resort, drawing inspiration from traditional design,

ensure that it was implemented effectively. Patetta

architectural and lighting design concept for the combined with Italian architecture and

accentuated by Middle Eastern touches. Local firm Delta Lighting Solutions carried out the lighting design development and execution, while Huda Lighting supplied the fixtures and luminaires.

Metis Lighting has been working with ACPV and

Bvlgari for more than fifteen years, dating back to

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Metis and Delta Lighting Solutions worked to

continued: “Most of our work after the concept is

focused on maintaining and developing the initial ideas without substantial variations.

“It may seem to be easy, and some clients believe that our work is finished once the concept is

completed. In reality, we are aware that the next

step is to manage and solve difficulties and clashes

Previous Page The Bvlgari Hotel’s stunning façade is illuminated with Traxon Lighting’s Nano Liner Allegro in the coral-esque brise soleil.

Above Recurring motifs, such as an eight-pointed star, were used throughout the hotel, as well as in the bespoke, custom-made decorative light fixtures from AggioLight, reinforcing the Bvlgari brand.

Bürgenstock Hotels, Obbürgen, Switzerland © Bürgenstock Hotels AG

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04.06.18 12:37

“When you walk into this hotel, you get the feeling of luxury and elegance, but it is done without being ostentatious�

Ziad Fattouh, Delta Lighting Solutions

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PROJECT

that will arise during the coordination

interior design was very inspiring for our

“Taking the ideas from the architect and

The lighting concept for the resort aimed to

Once the lighting design concept was in

empathy and dedication. A nice render that

charming Mediterranean village. The

in to handle its development and execution.

and sometimes can be very difficult to

with all architectural light fittings, provided

through its development, Ziad Fattouh,

The sheer scale and complexity of this

Lucent Lighting, LED Linear, KKDC, Erco,

Solutions, says that he enjoyed the process.

vision into a reality required a lot of

kept in warm colour temperatures.

concept was defined, and we feel we were

architects, engineers, lighting suppliers and

a blend of styles, fusing traditional design,

the subsequent stages,” he said. “The

Yanez and her team had a vital role to play.

Middle Eastern touches, and Patetta believes

getting the details right, which was achieved

in the design phase, but we got to experience

design.

years of post-contract work.”

phase, when the design had to be executed

Europe to the southern shores of the

Lighting Solutions, added: “Our aim was

“At one point we had daily meetings on site

melting pot, and many influences of Islamic

vision by providing our input and lighting

come up with solutions on the spot to solve

especially in southern Italy.”

Lopez-Yanez added that, despite coming in

An example of this came in lighting the

designers, we really appreciate some typical

been completed, there was still room for

glow of coral-like brise soleils or sunscreens

geometric decoration, the contrast of light

this project, we learned that creativity is not

to traditional shading techniques in the

reflections on water. The specific

phase, but that creativity is essential in

irregular geometry, this made it difficult to

interesting development provided by ACPV’s

reality.

As Lopez-Yanez explained: “With over 30

between all consultants and equipment.”

work.”

executing them takes a lot of imagination,

recreate the warmth and simplicity of a

place, Delta Lighting Solutions was brought

has been presented to a client is a dream,

approach was very minimalistic and subtle,

Although joining the project halfway

recreate.”

by the likes of Traxon, Flos, Light Contract,

Managing Principal of Delta Lighting

project meant that transforming the initial

acdc and Radiant Lighting, concealed and

“It was a fun project to do even though the

collaboration and coordination between the

The remarkable design for the resort features

able to continue to influence the outcome in

lighting designers. Because of this, Lopez-

contemporary Italian architecture and

project’s end result depended strongly on

“The complexity of this project was evident

that Italy’s mixed heritage led to the varied

through the detailed design stages and three

it even more during the site supervision

“Italy is a bridge that connects northern

Patricia Lopez-Yanez, Associate at Delta

by the contractor,” she explained.

Mediterranean,” she said. “We are a sort of

mainly to support in the realisation of the

to discuss different details, and if required,

architecture are present everywhere,

design expertise.”

problems, due to time pressure.”

“Furthermore, as architects and lighting

once the initial designs and concepts had

hotel’s façade. This is defined by a warm

elements of Islamic architecture, such as

creativity on her part. “While working on

made of matt white GRP, which is a reference

and shadow, lantern projections and light

only used in the initial conceptual, artistic

Middle East. As the brise soleils follow an

combination of those elements and their

developing ideas and turning them into a

integrate the Traxon linear light fittings.

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Haz Restaurant, London Lighting design by Nulty Tel 44 ( 0 ) 208 348 9003 Web www.radiantlights.co.uk Email david@radiantlights.co.uk

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01/06/2018 17:07:29

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PROJECT

different variations of the same typical detail, it was

believe that we were able to achieve that.”

coordination between the architect, engineers, the

Osram, acdc, LED Linear, Aldabra and Lini LED,

one of the most complex exercises, as it required

manufacturer of the brise soleil, and of course the lighting.

“We also faced different challenges in the interior areas where all the architectural fittings were

designed to be concealed, so a lot of coordination had to happen between the different contracting teams on site.”

The way in which all parties came together to

collaborate on this project is a testament to its

success, and Lopez-Yanez feels that this teamwork helped to make what could have been a difficult project a lot easier to complete.

“It was a daunting experience at first, knowing how big and complicated the scale of work was, but we worked with very proactive people who made the design coordination a lot easier,” she said.

“There was a lot of back and forth with the

discussions in terms of the design issues we

encountered on site and providing optimum

solutions for these issues. It was very important

though that we met the design expectations of the

client while still maintaining the design integrity of the building and its architecture. In this regard, I

Alongside the integrated architectural lighting from among others, the Bvlgari Hotel & Resort features a number of decorative and bespoke fixtures created

exclusively for this project, with custom downlights from Lucent in all guest rooms, custom linear cove lighting from Light Contract, and decorative suspended lights from AggioLight.

Metis Lighting and ACPV designed all the custom

elements with clear references to Bvlgari’s brand identity, using motifs such as the eight-pointed star, and the geometric sequence of circles and

squares. According to Patetta, these were “conceived almost as if they were ‘jewels’ to catch the eye and enrich the visual experience of the clients”.

Previous Page The architectural lighting throughout the hotel was hidden, recessed into the walls and ceiling, creating a subtle, minimal lighting scheme with a hidden warmth.

Far Left With more than 30 different variations of the same typical detail, illuminating the brise soleil was a complex exercise, requiring coordination between the architect, engineers, brise soleil manufacturers and the lighting.

Top Left Linear lighting provided a soft, subtle lighting for the Yacht Club staircases.

Top Right Spot lighting from Flos provided illumination in La Galleria.

Bottom Left Alongside the hotel, the resort also includes villas, six residential buildings with 173 sea facing apartments, fifteen mansions and a Marina Yacht Club.

Bottom Right Statement bespoke decorative pieces from AggioLight provide a focal point amid the hidden architectural fixtures.

“In complete harmony with the interior design, lighting is also used to recall the luxurious and

unique character of the Bvlgari brand and bring it to the new hotel’s building,” she added.

Although the resort does feature a number of

decorative fixtures and focal points, for the most

part the lighting remains minimalistic and subtle, with a hidden warmth. It is this concealed beauty

that Patetta feels makes the lighting scheme stand

out. “We believe that a lighting project is successful

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PROJECT

Top Linear lighting from Radiant and Aldabra provides a soft, gentle illumination to the hammam spa area, adding to its luxury feel.

Bottom All of the bespoke fittings were designed by Metis Lighting and ACPV with clear references to Bulgari’s brand identity, and were “conceived almost as if they were ‘jewels’ to catch the eye.”

lighting specified acdc Galaxy acdc Iglu AggioLight bespoke fixtures Aldabra VIX Arcluce Inground 110 Arcluce Ray 25 Arcluce Tantum Baulmann Leuchten BCM Creta BCM LED Tube BCM 2167/U1W-1/3 BCM 3339/TOP80 Flos Black Line Flos Mini Beam Flos Mini Glo-Ball Flos Running Magnet track with Spot Lights Flos Thin LED KKDC Lini Glow 007 L&L Luce & Light Line 1.0 L&L Luce & Light Updown LED Linear VarioLED Flex Hydra LED Linear VarioLED Flex SKYLLA LED Linear VarioLED Flex VENUS Light Contract Circle of Light Light Contract Sirio Magnets Light Contract S-LINE Light Contract S-LINE Asymmetric Light Contract S-Line Chain Light Contract Point of Light Luce5 Giant B14 perp Lucent Prospex Axis Mini Trimless Lucent Prospex Fixed Pinhole Edge Lucent Prospex Focus Lucent Prospex Gimbal Mini Trim Lucent Prospex Plus Lucent Prospex Soft 90 Trimless Lucent ProStrip Lucent Triple Maxi Trimless Modular Arena Plus Modular Focus 60 Fixed Osram Linear Light POWER Flex Philips Cove Light AC HO DW Graze Radiant 3D LED Flex 40 Reggiani Turis 7.0 Reiss RLS-L Simes Beam 1.0 Triolight LiniLED Side Power 11739 Triolight LiniLED short pitch 11735 Triolight LiniLED TOP short pitch We-ef DOC220LED We-ef ETC 140-GB LED Wever & Ducre Oris 2.0 Wibre 4.0093.10.12 XAL Minimal 60 XAL Meno Round

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when nobody perceives, at first contact with

“When entering the lobby and many other

she said. “If you first notice a technical

notice are any visible light sources, instead

something is not appropriate.

The Bvlgari Hotel & Resort Dubai is the latest

chandelier draws attention to itself and also

completed in the Middle East, and since its

sophisticated ambiance. In reality, that

best new luxury hotels in the world, and for

countless technical devices.”

in such a project, particularly in this

adds to the sense of luxury that Metis and

“The scale of projects in the Middle East

was meant to be as discrete as possible,

“Coming from South America, there were a

capture the mood of a space.

and airports that I worked on, but in the

richness of the finishes, and creates a sense

completely different.

sparingly and carefully, and only where we

UAE to build a new country. The cities are

effect of too much ambient light.

given to us to build the biggest and most

feeling of luxury and elegance, but it is done

With their range of hotels, Bulgari’s aim is to

high ceilings and large chandeliers in the

its own Roman jewellery, and thanks in part

notice the highest quality finishes and the

to shine for generations to come.

integrating things such as light fittings,

www.metislighting.it

the space, that functional lighting exists,”

public spaces, one thing that you will not

lighting fixture, then the general location,

you only see the light effects where needed.”

“We consider it a success when a beautiful

in a string of impressive, grand projects

seems to light up the room, creating a

opening, it has been labelled as one of the

special atmosphere is due to the presence of

Lopez-Yanez, it was exciting to be involved

Fattouh agrees that the subtle use of light

emerging market.

ACPV worked to create, adding: “The light

never ceases to amaze me,” she enthused.

integrated and hidden, and used only to help

few ‘big’ projects like government buildings

“The lighting scheme helps accentuate the

Middle East the scale of the projects is

of drama and luxury. Light was used

“Architects and designers have come to the

needed it, while avoiding the flattening

like a blank canvas, where a lot of freedom is

“When you walk into this hotel, you get the

ambitious architectural pieces.”

without being ostentatious. Instead of using

convey the timeless glamour and heritage of

lobby to create a sense of luxury, you instead

to its beautiful design, this latest jewel is set

amount of thought put into detailing and

www.deltalightingdesign.com

furniture and so forth.

PROJECT DETAILS Spyscape, New York, USA Client: Spyscape Lighting Design: Lighting Workshop, USA Architect: Adjaye Associates, USA Photography: Scott Frances

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PROJECT

Spy Games The new Spyscape Museum in New York throws visitors into the tactical, secretive world of espionage with a series of thrilling experiences, with lighting from Brooklyn-based designers Lighting Workshop.

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PROJECT

Previous Page The 360-degree Surveillance Challenge features live and pre-recorded CCTV imagery, and visitors are guided through authentic surveillance missions to test their powers of observation.

Above Each of the rooms throughout the museum has its own personality, and with it, its own light quality.

T

he Spyscape museum in New York

panelling and black linoleum. “Many of the

global destination for espionage that

façade systems,” Adjaye continued. “It felt like an

City, opened in February 2018, is a new marries educational programming

building and city, and to create a counter narrative

Designed by Adjaye Associates, with lighting

transparency.

creating a unique experience for every user.

Workshop, Spyscape was developed in

to the existing glass building, which is all about “Because this is a museum about spying, I was

interested in obscuring that, and using design to

collaboration with expert advisors including

create a dynamic interplay between the obscured

The inspiration for the museum was to create a

Throughout, smoked glazed doors, varied lighting

deeply engage with the practice of espionage.

screens and perforations establish spaces that

hackers and former intelligence agency directors. ‘premiere spy headquarters’ that allows visitors to

and the revealed.”

strategies, transparencies between floors, and

Spread across three levels, the 60,000sqft museum

continually shift users’ vantage points, while

spaces, a black glass bar, flexible event spaces and

discovery.

includes permanent and temporary exhibition a rare book store.

The design from Adjaye Associates inverts the

prioritising the experience of encounter and

On entering the museum, visitors are guided into a 350sqft multimedia briefing elevator – one of the

traditional relationship between building and

largest elevators in the world – that orients them

a building, as David Adjaye explains: “The

building, introducing the world of secret

town, essentially establishing a small town within exhibition design is set up to be a miniature city in abstraction, with a set of conditions that mirrors

the urban experience of discovery, of moving from

to the Spyscape experience as it rises through the intelligence via an immersive film, developed with the studio that created VFX for films such as

Avengers, Blade Runner 2049 and Ex Machina.

interior to exterior.”

Visitors are also given a unique Identity Band,

most prestigious spy organisations, the material

experience.

Drawing from the architectural language of the

palette includes dark fibre cement, grey acoustic

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interesting way to flip the relationship of the

with state-of-the-art interactive technology,

design coming from Brooklyn-based Lighting

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materials we used are ones that we typically use for

which uses RFID technology to personalise their The elevator brings visitors up to the exhibition

Wall grazing finally made flexible.

“A first for flexible wall grazing“ IP67 A range of beam angles Stainless steel fixing clips From 2200K to 6000K CCT options 3 step SDCM CREE LEDs Bends on X & Y axis 150mm bend radius 15 watts per M 24V DC 210mm increments

MADE IN THE UK vexica.com

PROJECT

Left Recessed downlighting from Kreon, Edison Price and USAI, along with recessed floor lighting from Aldabra, creates a subtle lighting scheme that complements the architecture of the museum, and “amplifes the multitude of emotions that it evokes”.

Below Visitors can use ciphers to send and receive coded messages to and from agents behind enemy lines in the Encryption Challenge.

level, and opens onto a flexible retail and

The site also offers immersive experiences to

award-winning investigative journalists and

beneath a dramatic vaulted LED light canopy.

in which they can test their own spy skills.

intelligence agencies to ensure that the

feature a playful ‘urban camouflage’ graphic

challenges that allow visitors to test their

today,” Adjaye explained.

surrounding city, partially shrouding the

behind enemy lines” and learn the art and

of museum projects, including most recently

temporary exhibition space that unfolds

The perimeter curtain walls of the museum

dot and pixel vinyl that obscures views to the museum interior while also functioning as a solar screen.

visitors through a series of ‘Spy Challenges’, These range from encryption and deception ability to decode messages “from agents science of spotting lies, to surveillance

challenges and an exciting ‘Special Ops

former station chiefs and directors of

content captured the essence of spying

Adjaye Associates has an extensive portfolio

the stunning Smithsonian National Museum of African American History and Culture

Exhibitions throughout are housed in a

Challenge’, in which visitors have to

(NMAAHC) in Washington D.C. Yet while

each organised around a unique spy-related

– designed by Atlas AV – against the clock.

grandeur, it allowed Adjaye to explore

designed to play with perceptions, with

debriefing that analyses each visitor’s

“My firm has always been interested in

labyrinthian series of stacked box pavilions, theme. The spatial arrangement was

negotiate a path through a laser corridor

The experience concludes with a personal

Spyscape is smaller in terms of its size and different technological aspects.

partially concealed interstitial circulation

unique skill set, where they will learn which

exploring the evolution of the museum and

interactive multimedia environments.

suited to, including Hacker, Special Ops

how our relationships to these types of

spaces opening up into immersive, fully Each pavilion is distinctive, and crafted

around its unique content – one of which

of the ten archetypal spy roles they are best Officer, Cryptologist, Intelligence Analyst and Spymaster. This profiling system was

educational spaces, and in thinking through spaces are shifting in the 21st century,” Adjaye explained.

being a weathered steel drum detailed with

developed with the former Head of Training

“The NMAAHC thought through this shift

360 degrees of programmable content.

psychologists.

identity, but of course technology is now also

offset panelisation that envelops users in Throughout the contemporary museum,

Spyscape explores spy stories and characters, from code-breakers and spy pilots, to the

spycatcher who brought down the FBI’s most damaging traitor, and the teenager who

hacked the CIA’s website, with artefacts and multimedia storytelling.

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at British Intelligence and top industrial

The whole museum was brought to life by a diverse team of curators, designers,

educators, programmers and storytellers,

with a number of experts recruited to add to its authenticity. “The client brought in a

group of expert advisors, including former

members of renowned hacking collectives,

through the lens of narrative experience and integral to our approach to these typologies.

So, it was exciting to have this project

because it allowed us to engage deeply with the interactive technologies, and to think

through its relationship to architecture and more traditional modes of exhibition design.”

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B U I L D I N G A B R I G H T E R F U T U R E TO G E T H E R

“There are a variety of lighting experiences that range from jaw dropping to inspiring, to covert and confusing. We’re keeping you on your toes, that’s for sure.”

Steven Espinoza, Lighting Workshop

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PROJECT

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PROJECT

Previous Page Spyscape explores a number of spy stories and characters, from the spycatcher who brought down the FBI’s most damaging traitor, to the teenager who hacked the CIA website, brought to life with artifacts and multimedia storytelling.

Far Left The thrilling Special Ops Challenge, in which visitors have to negotiate a path through a laser corridor, designed by Atlas AV, against the clock.

Left Track lighting throughout the museum was provided by iGuzzini, providing a soft spotlight on the artifacts on display.

“Spying is a dark topic... our private lives and data are under constant attack, and Spyscape doesn’t hold any punches when delivering these messages.”

Steven Espinoza, Lighting Workshop

Lighting designers Lighting Workshop were brought in to work on the

project through their connection with construction consultancy Gardiner & Theobald, and Steven Espinoza of Lighting Workshop was very keen to get involved. “We’ve collaborated on quite a few projects with G&T, so when the RFP landed on our desks, my eyes lit up,” he said. “I dove at the opportunity, and we were thankfully awarded the project.”

Adjaye Associates had already been working on their design for a while by

the time that Lighting Workshop came on board, but Espinoza was able to find areas in which he could emphasise or amplify the architect’s vision.

But while the opportunity to work on a museum dedicated to the top secret

world of espionage might bring to mind the likes of James Bond or Mission:

Impossible, Espinoza instead believes that a more serious tone needed to

be taken in Spyscape.

“It’s an interesting time that we’re living in,” he said. “The levity that I

used to associate with spying during my youth (James Bond, etc) has faded.

Spying is a dark topic, and it’s become woven into the 24-hour news cycle.

The public are no longer bystanders. Our private lives and data are under

constant attack, and Spyscape doesn’t hold any punches when delivering these messages.

“At the same time, David [Adjaye] was able to create moments of intrigue,

and has struck a careful balance where, as a visitor you’re never consumed by anxiety, but it’s always present.

“As a lighting designer, my goal is to help support the vision that David

created, and I believe we’ve succeeded. Consequently, there are a variety of lighting experiences that range from jaw dropping to inspiring, to covert and confusing. We’re keeping you on your toes, that’s for sure.”

As with any museum, the lighting design had to be flexible throughout, and Espinoza and his team worked to make it so. “Any museum is a living and

breathing experience, so we designed the lighting to be incredibly flexible,” he said.

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PROJECT

“There are so many rooms and spaces to get lost

lighting came from Aldabra’s GX2. Throughout,

therefore, lighting quality. Should an exhibition

overshadowing the museum’s design – instead

want to be able to address that without tearing

create.

provide a lighting system that is highly flexible in

amplify the multitude of emotions that it

was provided to maximise adaptability, and to

is unsettling, and I believe the architecture and

space feels on a granular level.”

“The variety of architectural volumes, how they

what Espinoza refers to as “the vault”: a series of

carefully planned. Some spaces create intimacy

in, and each has its own personality and

the lighting complements the architecture, never

change or become modified in the future, we

adding to the atmosphere that Adjaye sought to

the whole thing down. It was important to

“We looked to support the architecture, and to

this regard. A highly sophisticated control system

evokes,” Espinoza said. “The subject matter here

give us the ability to acutely define how each

lighting addresses this profoundly.

One of the most impressive lighting features is

are organised, and how they are illuminated, was

nearly four thousand suspended tubes created by

with artefacts, while others can become almost

iColor Flex LED nodes and arranged to create a

technology, including large scale animated

100 feet long and 20 feet wide, and each tube is an

that give meaningful waypoints and bring

explained. “The result is an installation that can

orchestrated. That took a lot of time, patience

resolution video screen to a uniformly

Such time, patience and coordination has led to

However, elsewhere in the museum the lighting

experience. Where some would associate the

the architecture”, as Espinoza puts it. “The

life of 007, Spyscape adds a thrilling sense of

narrative and the content. In most cases we chose

of spying. The design from Adjaye Associates and

shielded.”

helping to ensure that Spyscape will no doubt

provided by iGuzzini, while Kreon, USAI and

tourist destinations in New York.

Elsewhere, Nanometer’s T24 provided the RGBW

www.adjaye.com

Arktura, illuminated with Philips Color Kinetics

overwhelming in scale. In many instances,

domical vault. “The entire installation is about

lighting gestures, introduces moments of awe

addressable, colour changing light source,” he

balance to the experience. It’s all very carefully

become anything between an enormous low-

and coordination.”

illuminated cloud.”

the creation of a truly unique, exciting visitor

remains more discreet, instead “dissolving into

world of espionage with the decadent, glamorous

experience in Spyscape should be about the

realism, throwing visitors into the real life world

fixtures that would be discreet and well

Lighting Workshop complements this expertly,

Track lighting throughout the museum was

make it onto the already extensive list of ‘to-do’

Edison Price provided recessed downlighters.

www.ltgworkshop.com

cove lighting, while the RGBW recessed floor

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Above ‘The Vault’, as Espinoza refers to it, features a 100 by 20 foot installation, created by Arktura comprised of a series of nearly 4,000 suspended tubes illuminated with Philips Color Kinetics iColor Flex LED nodes, arranged to create a domical vault.

lighting specified Aldabra GX2 RGB Dado Lighting HardLineLED Edison Price Three XTM DL Edison Price Three XTM AA Edison Price Four XTM DL Edison Price Four XTM AA iGuzzini MJ82 Palco iGuzzini MK22 Palco iGuzzini MR62 Palco iGuzzini MR68 Palco iGuzzini MWY8 Louvre iGuzzini MXD9 Soft Lens Filter iGuzzini MXE0 Soft Lens Filter iGuzzini MXF4 Antiglare screen iGuzzini MXF5 Antiglare screen iGuzzini N281 Front Light Kreon prologe 145 in-line/indolma double directional Nanometer Lighting T24 Philips Color Kinetics iColor Flex LMX gen2 Sistemalux Studio Large USAI BeveLED 2.1 Classic USAI Infinite Color+ Round

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31/05/18 15:48

All Aboard!

The Eurovision Song Contest was another show stopper this year, hosted in the beautiful city of Lisbon, Portugal.

A

side from perhaps the Super

two semi-finals and the grand final live shows.

Olympics, Eurovision has to

Song Contest slogan and referenced the leading

Bowl, the World Cup and the be one of the most televised

entertainment events in the world.

With more than 200 million viewers each year,

Lisbon was put under the spotlight, taking centre stage as the host for this year’s song contest.

43 countries came together to celebrate music from the 8-12 May 2018 in the Altice Arena in

the Portuguese capital. The theme for this year’s event was All Aboard! which took reference

from Portugal’s history as a sea faring nation.

As the official lighting partner, Osram was

responsible for providing the light displays for the

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#LEADINGLIGHTS was the official Eurovision

spotlight that follows the acts on stage, as well as being a nod towards Osram as one of the

leaders in the entertainment lighting industry.

The crew put together a line up of award-winning products from the Osram group, including 750

moving lights from Claypaky and 50 static lights

from ADB, finishing up with 800 fixtures in total.

During the live broadcasts of the semi final and the grand final, audiences were encouraged to

take an interactive role in the voting process for their favourite or less favourite acts during the

show. After the great success from the previous

EVENT

Left The Eurovison stage fully illuminated during a live performance of the international song contest. Osram has worked closely with Claypaky and ADB Lighting to create a spectacular show for both the live and television audience.

Above The Praça do Comercio illuminated in a soft red indicates the live performance was teetering on the edge of being red hot and popular.

Middle The Cristo Rei statue can be seen highlighted in a rich red tone, again indicating a popular choice for the voters participating in the Osram interactive voting app.

Bottom The Castelo de Sao Jorge is illuminated in a hot red, highlighting the performance at the time was very popular and voters were hitting the top of the colour chart on the voting app.

Pics: Osram

Pic: Ralph Larmann

two years, Osram worked in partnership with

do Comercio, the City Hall, the Castelo de Sao

iconic landmarks using its specially deigned

and co-ordination of the site specific lighting

the host city to illuminate some of its most

interactive light voting smartphone app. During the live performances, audience members that had downloaded the official Eurovision app

had access to the Osram lights voting section.

Then, depending on their personal verdict of

the performance, they were able to choose the corresponding colour for their emotions – red tones for a hot performance and cooler blue

tones for a performance that left them cold.

Jorge and the Cristo Rei statue. The planning

design was completed by Pixellight, and each of the sites were illuminated using Claypaky fixtures; specifically the K20 Wash, Sharpy

Profile and the Alpha Beam 700. The results were immediately visible throughout the

city, as well as broadcast via live webcams. www.osram-group.com www.claypaky.it

Representatives from both the city of Lisbon and from Osram chose the site locations selected to be illuminated. These sites were the Praça

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Autopilot, Engaged Uber Advanced Technologies Group (ATG) have set up their Pittsburgh based headquarters on the banks of the Allegheny River in the heart of the city.

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projects

PROJECT DETAILS The Uber Advanced Technologies Group Headquarters, Pittsburgh, USA Client: Uber Lighting Design: Assembly / CannonDesign, USA; Studio i Lighting, USA Architect: Assembly / CannonDesign, USA; Strada Architecture, USA Interior Design: Assembly / CannonDesign, USA Photography: Jasper Sanidad/544 Media

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projects

Assembly / CannonDesign teamed up with local firm Strada

“We wanted to use light in many different ways in hopes of creating a rich and varied environment.”

and Maltbie, (an exhibit and experience designer) to bring

Liz Guerrero, Principal of Assembly / CannonDesign

D

ubbed the ‘City of Steel’, Pittsburgh has become the new home of the research and development

hub for the world-dominating taxi service, Uber.

Not only has Uber become a common name in our

day-to-day vocabulary but is also now at the forefront of technological developments in self-driving vehicles.

The 80,000sqft warehouse space was renovated to match Uber’s design and engineering vision, with the help of

Assembly / CannonDesign, an international architectural firm.

Working in collaboration with a creative and inspiring team,

Architecture, Studio i lighting consultants, Continental Office together the warehouse space.

Unlike other technology office spaces, the Uber ATG area was specifically designed for builders and engineers as a

functioning working environment with a variety of workshop areas and studios. Located amongst the workstations and

studios is a fully functional machine shop, where autonomous

cars are engineered, built and tested. Liz Guerrero, Principal of Assembly / CannonDesign who led the lighting design,

reflected: “At the time of this project, we had completed a

handful of projects with Uber, starting with their San Francisco Headquarters in 2014. We worked closely with Travis Kalanick

on the design of those projects, so when ATG found the site of

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Previous Page A walking platform crossing over the automated car showroom mimics the traditional steel bridges that are part of the Pittsburgh landscape.

This Page Left The Uber reception desk that welcomes visitors and staff alike presents a clean and crisp entrance that is reflected throughout the whole building. The brushed steel surfaces and warm rust toned light illuminating the name plaque tie together the running theme of inspiration from the ‘City of Steel’.

Above Right A Roll & Hill decorative pendant hangs low above a meeting table, creating a focal point against the plain surfaces surrounding it.

Below Right This communal seating area continues the warm colour palette and metal textures, which work beautifully with the neutral furniture and fabric textures.

projects

Above Natural daylight plays a big part in the design of this project. This walk through space spreads sunlight through to meeting rooms, the showroom corridor and seating area.

their new home, he introduced us to Eric Meyhofer,

are always constraints and it feels like you could

goal was to create a space that focuses on their

what push you to be better, more creative and more

who leads Uber’s ATG division in Pittsburgh. Our

work first. Uber is building the City of the Future in the City of Steel, which, to us, meant celebrating the past and where Pittsburgh has been, but also celebrating where it’s going. When we design a space for any client, it’s important that every decision ladders up to the big idea – from the

initial planning to the materials, furniture, as well as the lighting.”

The project took just over a year from beginning to completion in the former Sam’s Club building,

with very little changes in the design concept and the vision remaining consistent throughout. As

Guerrero explained: “Budget and design schedule

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always use more of both, but those constraints are

nimble. For us, we never settle, so it’s always about figuring out how to bring the big idea to life within the projects means.”

Functioning as a workshop space as well as an

office and showroom, it is important the lighting is tailored accordingly to its prescribed environment.

As Guerrero described, there were key areas of

lighting and control systems put in place for the individual needs: “In the studio spaces or open

office, the lighting needed to be more controlled,

more level with plenty of dimming capabilities for the individuals. When you’re tinkering at your

desk and working on hardware components, the

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projects

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projects

Previous Page The central recreational atrium space for meeting and socialising. A bright space that is illuminated with lots of natural daylights as well as a series of fixed decorative and architectural fittings that bring together the modern and clean white design.

Above An exterior shot of the warehouse building highlights the amount of natural daylight that floods into the large open plan spaces inside. Large glass windows allow daylight to wash through the building.

Left The technical working space for car engineers. The white reflective surfaces ensures an even distribution of bright light throughout.

lighting specified ALW Lightplane 2 Allied Maker ARC30 Amerlux Hornet Downlight Apparatus Cylinder Swing Arm Sconce Apparatus Vanity Sconce Bec Brittain Echo 2 Bec Brittain Shy Sconce 2 Beta-Calco Belaro Refractor Davey Lighting Design Within Reach Well Pendant Eureka Pixel Finelite High Performance 4” Aperture Finelite High Performance Recessed Gotham Evo Square Downlight Gubi Collar Pendant by Sebastian Herkner KLUS HR-Line Lithonia Lighting Z Series LED Striplights Luminii Powerline w/Frosted Lens Luminis Prisma PR1650 Matter Made Pyramid Michael Anastassiades Tube Chandelier Michael Anastassiades Tube Wall Light Roll and Hill Modo Pendant Rich Brilliant Willing Ledge Round Rich Brilliant Willing Ledge Square USAI LNRP3 Pendant WAC Paloma 22W 3G Recessed Madison Trim 3 Light 3G Recessed Madison Trim 4 Light 3G Recessed Madison Continuous Slots

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lighting needs to be brighter, but the software teams typically like it darker. Building in range provided the right balance and flexibility.”

Assembly / CannonDesign attributes the rust toned colour

palettes of the project to the industrial nature of the city and the business. The inspiration for the scheme echoed the city’s

heritage, from worn Cor-ten steel frames and glass walkways to the natural grain of local hardwoods - providing the perfect contrast to the stark, machine-like white showrooms.

Using a combination of architectural and decorative fixtures, the

design firm primarily used fittings from 3G Lighting, Architectural Lighting Works, USAI, Gotham, Luminii, Finelite and Klus to

provide the functional yet elegant fixtures that blend seamlessly into the architectural design.

“The design continued to evolve through the construction of the

project, but the vision remained consistent. We love that lighting can bring another layer and depth of the design of the space. We

wanted to use light in many different ways in hopes of creating a rich and varied environment,” reflected Guerrero. “We love that

every client and project are different and they have their own set of objectives and challenges; a different puzzle to solve. What

stands out is that we really enjoyed the collaboration with ATG and getting to learn about and experience another part of the

country. We fell in love with the city of Pittsburgh on this project, and I think that shows in the end result.” www.assembly-design.com

Recolight_2018.pdf

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13/02/2018

15:37

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INTERVIEW

The Light Awareness Activist.

On a journey to change the approach to lighting design, Mônica Luz Lobo, founder of LD Studio Lighting Design is on a mission to improve the design process for both her team and clients.

T

he first certified lighting designer in South

her to experience a “true revolution and a new way of seeing and

(Associação Brasileira de Arquitetos de

“Discovering lighting and its intangible quality full of meaning was a

America, founding member of AsBAI

Illuminação), a professional member of the IALD and board member of the IALD from 2017-18, Mônica Luz Lobo is a pioneering

female lighting designer and businesswoman

in the industry that continues to shake things up for the better in the lighting world.

Setting out to follow a career that would allow her to work with space, people and its interaction, Lobo graduated as an architect in 1987

from Sta. Ursula University, Rio de Janeiro. Lobo then moved to São

Paulo to follow her husband as a leap of faith; moving with no friends or professional contacts. This daunting change ended up being one of Lobo’s best career moves. By chance, she found an advert in the

local newspaper for a position at one of the most prestigious lighting consultant firms of the time - Esther Stiller & Gilberto Franco

Lighting Consultants. Pursuing the start of her career here enabled

understanding architecture”. step forward,” she added.

After working in São Paulo for five years, she made the decision to move back to Rio de Janeiro, where the opportunity to achieve her goal of being associated to a lighting manufacturer, working as a

lighting designer and developing lighting schemes was ever more attainable. Lobo became a member of the IES, the Illuminating

Engineering Society, in 1996, as one of the first steps of moving in the right direction.

Lobo reflected: “I learned a lot, but what has always moved me was the design process. In 1997, I founded LD Studio Lighting Design together with a partner at that time, Ines Benevolo. In our own

independent lighting design practice, we were working on a diverse universe of commercial, institutional, educational and residential projects.”

LD Studio Lighting Design has grown into one of the largest and most

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Interview

“In some ways, this has become a kind of signature of LD Studio’s works, where we focus on merging light within the surfaces, producing a lighting skin.”

Mônica Luz Lobo, Founder of LD Studio Lighting Design

to work with light in a transcendent manner are fundamental values for us.

“The constant and continuous search for

understanding and learning has put us where we

are today, with the capacity to handle very complex projects and – at the same time – to treat small

and delicate projects in all their importance and potential.”

Three years after the firm was established, Lobo and Benevolo’s team scooped up their first

international award, the Edwin Guth Award of

Excellence on Interior Lighting by IES for Igreja

da Lapa dos Mercadores, a small church in Rio de

Janeiro. An exact example of a smaller project that took just as much time, care and attention as the

well-respected design firms today, and continues to maintain a strong work ethic within its tightknit team, which reinforces its success in the industry. The firm describes its guiding line

approach as architectural lighting, but is always

seeking to provide “something else that awakens a non-static way of looking and perceiving the architectural space”.

The design firm attributed its company values

to: “Dedicating ourselves to building a working environment in which pleasure is part of all

processes. Our strong team spirit and the desire

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larger scale installations.

Following on in a similar fashion over the

proceeding years, LD Studio has accumulated a number of awards, including the Igreja da

Pampulha (the Pampulha Church), the Museu

do Amanhã (the Museum of Tomorrow) and the

Guindastes do Pier Mauá (the Pier Mauá Cranes),

which was the overall winner of the darc awards /

architectural 2017 and appeared as the cover story in arc 100.

Changes happened within the studio when Ines

Benevolo left the team in 2006, and Daniele Valle

was promoted to Associate in 2011, after starting in

interview

the firm as an intern in 2000.

led Lobo to adopt a new ethos for the firm,

architectural lighting design association

“I have realised that what I really want

and the group of fifteen organisers work

bring pleasure to my team as part of this

community and encourage new members.

driven product to our clients. In a way, this

Lobo became a founding member of Brazil’s AsBAI in 2000. Acting as a volunteer, Lobo to support the Brazilian lighting design

In 2016, Lobo decided to take a step back and re-evaluate her settings and role within the

which she continues to pursue to this day. is to have pleasure in my design process, process, all while delivering a purpose-

is what I consider to be my mission in life to perform,” claims Lobo.

firm. During this time, she felt an urge to

One of the studio’s most notable projects,

approaches they took when undertaking new

terms of success in the lighting industry,

“During the latter half of 2016, an urge to

Mercadores in the heart of Rio de Janeiro,

change the way the firm did things and the projects.

that Lobo believes put them on the map in was the Igreja Nossa Senhora da Lapa dos

rethink and review the way of doing things

completed in 1999.

that enriched us during all of 2017, and

in the eighteenth century, Lobo and her team

sparked a process of planning and movement led to a whole year of workshops, internal exchanges and external collaborations.

Built in honour of the Madonna of Merchants brought the intricate and breath-taking

ancient architecture to life and into the 20th

This movement became such an important

century. Reflecting on the project, Lobo

Pulo’ [The Jump],” described Lobo. In 2017,

as we achieved a result that revealed the

internal project that we refer to it as the ‘O

the team celebrated their 20th anniversary as a lighting design practice and Lobo

reflected: “20 years of practice makes you

think back to understand and analyse what

you have done and what should you do next.”

A bi-product of this period of reflection

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commented: “This project was so successful space of the church, as well as highlighted a comprehensive sense of hierarchy in the architectural elements. A subtle

interpretation of the Baroque architecture made a great focal point.”

During her time of reflection, Lobo looked

Previous Page The Igreja Nossa Senhora da Lapa dos Mercadores. The intricate Baroque style architectural elements are beautifully illuminated, despite the older lighting technology. A project that won international recognition for LD Studio.

This Page Top Left The Igreja de São Francisco da Pampulha, completed in 2005. The team completed both the interior and exterior lighting schemes for this modern, striking religious building.

Top Right The Leblon Offices, completed in 2014 with Richard Meier & Partners Architects. This project provided an alternative environment to the team’s early historic projects. The clean and modern office block incorporates a stark contrast between the modern building materials and textures and the organic, natural foliage elements integrated throughout. The lighting design complements the modern design, and remains in-keeping with the subtle linear theme.

Above Left The Museu do Amanhã, completed in 2016, received both interior and exterior lighting designs from the LD Studio. The clean white surfaces work as an ideal reflective background for the spacious environment. The clean light lines follow the movement of the staircase subtly under the handrails creating a modern look.

Above Right The Pier Maua Cranes illuminated in warming yellow, orange and red tones. This project featured on the front cover of arc 100 and won at darc awards /architectural 2017.

“Our strong team spirit and the desire to work with light in a transcendant manner are fundamental values for us.”

Mônica Luz Lobo, Founder of LD Studio Lighting Design

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INTERVIEW

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121

interview

Previous Page An external view of the Igreja de São Francisco da Pampulha. The blue and white tiles blend the cool colour palette in the cloud-like sculpted building together, which is illuminated in an even wash that allows it to stand out boldly against its background.

Left An exterior view of the Museu do Amanhã. This building is an extraordinary example of architecture on the waterfront. LD Studio’s exterior lighting brings a three-dimensional feel to the building when the sun goes down, bringing it to life on the water’s reflections.

Bottom Left The Portal Aqwa, completed in 2017, presents a temporary lighting installation. In the urban environment setting, the building stands out along its skyline with vibrant blue and purple tones.

Bottom Right LD Studio Lighting Design. Back Row From Left - Camila Taboa, Thiago Lima, Caio Cesar Firmino, Gabriel Aracri, Mônica Luz Lobo, Flavio Berman, Juliana Valente, Vera Lucia Pereira, Clarissa Bonotto.

Front Row From left - Lara Nascimento, Ana Paula Laronga, Iara Cirilo and Daniele Valle (seated).

back at this project and defined her thoughts

were a revolution at the time! Speaking on

process is needed to develop a strong

industry, and has now dubbed herself as

that all these new tools lead to limitless

lighting composition.”

of change and the shift in her role in the

the ‘Light Awareness Activist’. “The light has blended on the surfaces and I became

invisible. This was a revelation to me, as an

architect. Sometimes you need to disappear in order to do things better. In some ways, this has become a kind of signature of LD

Studio’s works, where we focus on merging light within the surfaces, producing a lighting skin,” said Lobo.

“This project [The Igreja da Lapa dos

Mercadores] worked as a learning experience and recognition through winning an

international award, which taught me I was heading in the right direction.”

The technology for fixtures and light sources has developed dramatically over the last 20

years, as Lobo observed: “A lot has changed for technology! The church was lit with

fluorescent tubes (T8) and halogen lamps.

One specific light, ‘The Fathers’ Light,’ was

done with metal halide. It was the launching of ceramic metal halide PAR lamps, which

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the design/creative design side, it seems

possibilities, but what I really believe boosts creativity is collaborative work.”

Lobo further added her sentiments towards lighting designers and the role they play

in the industry. It is a notion that is shared by many designers in today’s industry and Lobo reiterated: “As lighting designers, we need to raise the awareness that our work is essential, and of course, deliver

it. There is an increased awareness of the

necessity of lighting designers, but still as a complementary element to a project.”

“Lighting can add meaning to a space. It can

materialise an immaterial thinking, a strong

concept. I am still in the process of reviewing these considerations. In this re-thinking

process, with the help of the whole team at

LD Studio, and in particular a great external

collaborator in Diana Joels, we are searching to re-define our own methodology. We

have an understanding that deep analysis,

followed by an immersive idea-generating

concept, which is crucial to develop a rich A source of long-term personal inspiration for Lobo comes from lighting designer

Richard Kelly, who is well known for his

work at the General Motors Design Dome

in 1956, which was featured on the cover of arc 98. “He was my first lighting hero, so

inspirationally precise and continues to be a source of reference today,” she explained.

Looking ahead, LD Studio has a clear

outlook into its future in lighting design.

Lobo explained: “I see the future of our

internal rethinking movement, O Pulo, and

a beautiful future related to our goal, to add

pleasure to the design process and everyone involved, deliver a purpose-rich product to

our clients and make them happy as well, all while consequently raising the awareness of the importance of lighting design. The

growth will come as a natural result of this.” www.ldstudio.com.br

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Changing Light Visual Artist Jessica Lloyd-Jones has created five new light art installations at Pontio Arts and Innovation Centre.

F

or her latest public art commission, titled Changing

Light, Welsh visual artist Jessica Lloyd Jones, has created

a series of five stunning light artworks across the

architectural spaces of Pontio, Bangor University’s

newly-opened Arts and Innovation Centre.

Lloyd-Jones’ work often merges art, science and technology as she investigates the interaction of materials and processes with light,

creating artworks and installations that encourage us to experience the world in a different way. Her latest project tests new ideas for

artistic interventions involving the creative use of light to transform Pontio’s interior public spaces.

“I’m interested in light as a natural phenomenon and how its

intangible energy can be captured and transformed,” said Lloyd-

Jones. “I decided to call the project Changing Light in reference to

the flood of natural light that passes through the large glass façades of the building, changing throughout the day into evening as artificial lighting takes over.

“The newly opened building was a blank canvas, and a large one at

that – a challenge that provided the opportunity to experiment on a large scale with high visual impact. I was keen to experiment with

innovative materials and techniques and collaborate with the local community of scientists and technologists.”

The first installation, Light Wheel is a mechanical light artwork inspired by a visit to the Photonics Academy of Wales at Bangor University (PAWB). An everyday material – sellotape, produces

changing colours and patterns when viewed through a specialised filter, revealing an otherwise invisible phenomenon. The work

changes throughout the day, becoming more vivid as evening draws

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art

in. Lloyd-Jones worked with local engineers to

responding to weather, time of day and position

metres across.

cloudy day, the suspended colour-changing

realise this wall-based piece measuring two

Spanning fifteen metres, Arc is a dynamic LED

light installation suspended in the main atrium.

Pulses of red, green and blue light intersect the

space in an arc formation, referencing the motion of a swinging pendulum. Lloyd-Jones worked with lighting specialists and programmers to

carefully design and choreograph the dynamic display of movement. The resulting artwork animates the space using RGB colours to

reference the language of digital colour mixing.

The work is best viewed during the evening after dusk when the arc glows with illumination.

Spectral Sensing is another artwork in which the

artist has been inspired by photonics. This

wall-based, interactive artwork employs the use of optical materials to produce spectral colours and patterns. Visitors walk near the artwork to ‘activate’ spectacular visual effects whereby

white light can be seen splitting into different wavelengths of colour. The piece works by

sensing light and shadow to trigger a sequence of animated lights concealed behind and array of lenses.

Employing a similar effect, Spectral Shift is a

of the sun at different times of the year. On a panels display an array of transparent and

reflective hues, while in moments of sunlight, the appearance of colourful projected shapes

onto the surrounding walls and floor transform

the space into a sensory walkway. During intense sunshine, miniature solar-powered mechanisms become activated – rotating the panels to create dynamic projections and reflections of light, colour and movement across the space.

Lloyd-Jones continued: “The public art

commission has been a unique opportunity to

respond to the architecture of the new building, through creative interventions exploring the

interaction of materials and light to transform interior spaces into sensory environments.

“The visual impact of each work is only realised

once in situ – when its physical presence within the space responds to changes in natural and

artificial light. Many of the pieces created have a kind of transience about them – changing

throughout the day in different ambient lighting

conditions. They are in a continuous state of flux.

Some artworks increase in intensity from day to

night, some are enhanced by sunlight and others

suspended installation of prismatic light tubes

are interactive. It is these inherent qualities in

tubes appear almost transparent in the day, but

always changing and never look the same.

ghostly spectral colours, heightened by their

challenging, giving me creative freedom to

Finally, Solar Chroma is the largest installation,

with.”

within the windows of Gorad restaurant. The

the works that excite me; the fact that they are

as evening closes in, they reveal an array of

“The project has been both liberating and

mirror image reflections on the windows.

realise whatever my imagination could come up

spanning approximately 40-metres across the

The public art element of Pontio’s capital build is

powered light installation immerses visitors in

University.

south facing window façade. This kinetic solar-

funded by the Arts Council of Wales and Bangor

moving projections of colour and light. The work

www.jessicalloyd-jones.com

is in a constant state of change, continually

Previous page Arc Clockwise from top left Solar Chroma, Light Wheel, Spectral Sensing, Spectral Shift

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Magnifico Milano Milan Design Week offered a wide range of fascinating installations and exhibitions across the Italian city. Here are some of the highlights from a glorious week in Milan.

Future Space Zumtobel Group Services & acdc Milan-based architect Peter Pichler presented his installation Future Space at Milan Design Week. A stunning wood construction that, due to its organic form, bears the resemblance of a nest, the installation was located in the middle of the university yard, and captured the attention of observers due to its shape and form.

Zumtobel Group Services (ZGS) and acdc equipped the installation with in-ground LED product Q and Plaza floodlights, combined with the Litecom lighting control system, which brought the installation to life after dark.

The walkway for visitors was created with recessed acdc spotlights that guide people into the structure. The spotlights are lit progressively one after another, bringing a vivid, dynamic element into the space. Meanwhile, the Plaza floodlights mounted outside the installation created a vivid shadow play through the wooden structure, all managed

by Litecom, to imitate the rhythms of human breathing.

Pichler’s installation was intended to represent the symbolic dimension of a primordial refuge – the forest as a place to live. Nature itself embodies the place that has always been inhabited by man and transformed by architecture over time. Wood and natural elements make the image of this structure real – a structure that recalls the sense of inhabiting nature with its atmosphere of protection and its play of light and shadow. www.ZGServices.com www.acdclighting.co.uk

‘Pingtan’ Lamp MAD Architects & Artemide Light, both in nature and in architecture, is a sign of life.

Originally conceived as a museum, MAD Architects, led by Ma Yansong, has re-interpreted the vision of the largescale Pingtan Art Museum into a dynamic small-scale lighting object for Italian lighting company Artemide.

The Pingtan Art Museum, one of MAD’s most iconic museum designs, represents a long-lasting earthscape in water: the sea, the beach, the oasis and the slope all interconnect with each other, forming a harmonious, capacious space with the mountains in the distance.

Recalling the experience of natural elements that blend together, the abstract, organic design of the lamp has been rescaled down to a transparent shell whose curves have been modelled to create an illuminated landscape.

‘Pingtan’ has been imagined to bring that same emotion and energy found in nature into the interior space.

Coming alive with a slight and gradual glow, it creates a poetic ambiance within the indoor environment. www.i-mad.com www.artemide.com

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Milan design week

The Light Gate iGuzzini During Milan Design Week, a preview of a new iGuzzini space came to light at 5 Via Brera. Led by Alfonso Femia Atelier(s), The Light Gate is a new hub that reinforces the historic bond linking iGuzzini with Milan.

A space dedicated to the culture of light, The Light Gate allowed visitors to explore iGuzzini’s solutions, and discover new inspirations.

“Deciding to go beyond designing a simple showroom or subsidiary, by creating a place – was a bold idea put forward by iGuzzini,” said architect Alfonso Femia. “The challenge was to create a destination whose limits are blurred in the sense that the space welcomes hybridisation, contamination and sharing. Light becomes the opportunity and the tool, drawing people towards a collective space where they feel they belong.”

The 970sqm space, spread over two floors, comprised offices, meeting rooms, workshops, communal areas, and a lounge area designed for lighting professionals and complementary disciplines alike.

The Light Gate also hosted the Light Experience, where viewers could touch the light and experience various lighting effects in a multisensory show of sound, light and shadow. Alongside the physical experience, iGuzzini presented a VR Light Experience, allowing visitors to embark on a journey through the Light Experience in 3D. www.iguzzini.com

Smart Square Progetto CMR & Linea Light Group Linea Light Group worked with Italian architects Progetto CMR to create a beautiful light art installation for Milan Design Week. The Smart Square installation was set up in Piazza Castello within Inhabits, the DDN village set up during Milan Design Week for events on the premises surrounding the city’s Sforza Castle.

A mixture of technology, engineering and architecture restyled the piazza, which has always been the heart and symbol of Italian cities, turning it into a new Agora – an entirely open and permeable place, where the need for sociability and sharing coexists alongside innovative technology.

The hinge pin of the space is the light sculpture, consisting of stylised elements that recall the image of man, and the Duomo cathedral – the symbol of Milan.

The light sculpture, as with the entire piazza, is brought to life as visitors pass by, turning them from mere spectators into stars of the setting.

Linea Light’s Rubber was selected to illuminate these sculptures – an SMD LED strip entirely covered in UV stabilised PVC, Rubber ensured durability and superior protection from the weather, while its flexible body with silicone resin diffuser makes it possible to create artful lines of light with perfectly uniform light emission.

Linea Light Group also worked with Gruppi C14 on the Frame Emotions installation, while its Periskop luminaire provided accent lighting on the Castello Dorato (Golden Castle) installation, created by Francesco Lucchese for LB Arte Italiana. www.linealight.com

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milan design week

agrAir Piuarch & Platek Drawing on the past to set the lifestyles of the future: that was the mission of agrAir, the installation designed by Piuarch for Inhabits at Milan Design Week 2018. Located in the middle of piazza Castello, the project aimed to re-think about the traditional setting of the urban fabric and to recover its values in the city of tomorrow. The key features of the projects – lightness, brightness, careful use of resources, eliminating the boundaries between interior and exterior, between natural and artificial spaces – were outlined in a balanced relationship between the elements of earth and air. This relationship was figured out by two horizontal layers, parallel to each other.

The lower section, at ground level, consisted of a rust coloured expanded clay platform, made by Laterlite, which set a dialogue with the brick walls of the Sforza Castle. It included two pedestrian crossings and was almost entirely covered by herbs: a sort of botanical garden, designed by the landscape designer Cornelius Gavril and enriched by colourful flowers and perfumes, that acted as a symbol of agriculture’s recovery in the city centre.

Parallel to the green basement, a multitude of transparent balloons danced gently, following the movement of the air. It was a cloud, a metaphor of a forest but also of the city itself, whose reflections changed colour in daytime; at night, it was turned into a fluctuating lantern by the artificial lighting designed

by Rossi Bianchi Lighting Design and made by Platek.

Between the two horizontal layers, some connections were drawn: acrylic glass rods were used as support for creepers reaching to the balloons, forging a link between natural and artificial.

The quality for living in the future outlined by agrAir is like a field of connections with impalpable contours, a space where links between the past, the present and the future are generated and where everything could flow without any interruption, in a set of gentle movements, lights, shadows, fragrances and colours. www.piuarch.it www.platek.eu

Outdoor Living John Cullen Lighting John Cullen Lighting, Coco Wolf and Marine Leather came together to create a stunning Outdoor Living garden at the Baglioni Hotel Carlton in Milan. The collaboration between the three brands launched during the Salone del Mobile show and is open until September.

The luxurious setting includes a selection of mood lighting from John Cullen Lighting, outdoor furniture from Coco Wolf and creative leather installations and upholstery from Marine Leather. The strong synergy between the brands brings a unique level of luxury to showcase outdoor products by creating an inspiring space at this prestigious hotel in Milan. www.johncullenlighting.com

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Vector

Pierpaolo Ferrari, 2018

Carlotta de Bevilacqua

106 Great Russell Street, London WC1B 3NB Tel. 020 7631 5200 info@artemide.co.uk

ADV2018 UK.indd 5

26/04/18 12:16

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DARK SOURCE

Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced

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Night At The Museum Art has been brought to life with light thanks to Erco at the historic Museum of the Cathedral in Florence.

T

he Museum of the Cathedral in

giving as much attention to the many sculptures

reopened after a huge expansion

After two years of intense restoration and

Florence, Italy, which recently

project that doubled its dimensions,

hosts the world’s greatest collection of sculptures of Florentine Middle Ages and Renaissance. Its architecture and artworks are perfectly staged

thanks in no small part to Erco light enhancing their artistic quality.

Officially known as ‘Cattedrale di Santa Maria del

Fiore’, Florence Cathedral is one of the most iconic and popular tourist attractions in Italy. Every year,

around 1.4 million people visit the ‘Duomo’, which was built between 1296 and 1436 and includes the adjoining Baptistry. As well as these two

monuments, the cathedral complex today includes

the Museum of the Cathedral, or ‘Museo dell’Opera di Santa Maria del Fiore’, founded in 1891. Devoted to the history of the Florentine landmark, its

design and interior bear the signatures of great Italian artists such as Giotto, Brunelleschi,

Ghiberti, Donatello and Michelangelo, whilst

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made specifically for the cathedral.

enlargement, managed by Florentine architects Guicciardini & Magni Architetti, the beautifully refurbished museum is today a major tourist

attraction and another feather in the cap of the

Tuscan art metropolis. This is thanks in no small

part to another artist, Massimo Iarussi, who left his mark with a skilfully executed lighting design that

does justice in every respect to the world’s greatest collection of sculptures of Florentine Middle Ages

and Renaissance on display here. His sophisticated lighting concept is based on ERCO lighting tools

that once more demonstrate brilliance, precision and efficiency.

To present close to 750 works covering nearly

6,000sqm of exhibition space in just the right

light, the museum’s 25 halls were equipped with a total of 1,500 Erco lighting tools in 50 different configurations. The main protagonists are

spotlights from the Parscan and Pollux ranges,

CASE STUDY

used with different wattages and a variety of light

across three floors and is illuminated with light

Quintessence and Skim downlights, Optec and

dimensions of this light-infused interior evoke

distributions. In some places, Iarussi deployed

Pantrac spotlights as well as Lightscan outdoor projectors.

Director Monsignor Timothy Verdon explained

the significance of light in his museum this way: “Lighting is a major component to the overall experience of artwork in any museum. But

when your collection consists almost entirely

of sculptures, light management is absolutely critical to the presentation. Because whilst

paintings invariably require uniform, glare-free illumination, the three dimensions and shadow

zones of statues and reliefs call for differentiated lighting influenced by the periods in which they

were created, their artistic style and their original context.”

The wisdom of his point is brought home

particularly well by the centrepiece of the

coming from the skylights. The spectacular

an outdoor environment that makes it ideal for

the presentation of artwork originally created for the exterior, such as the celebrated bronze doors of the Baptistry, designed by Lorenzo Ghiberti in the first half of the 15th century. However,

the hall is dominated by a spectacular, full-scale

model of the Cathedral’s medieval façade, which

was never completed and ultimately dismantled.

Faithfully reconstructed, many of the preserved statues and reliefs were integrated into the

model and returned, as it were, to their original

location. The diffused natural light in this space is complemented by accent light from powerful

Parscan projectors focused, from different angles, onto the object and the individual sculptures. www.erco.com

presentation, the breath-taking ‘Salone del Paradiso’ (Hall of Paradise), which extends

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CASE STUDY

Distinguished Design Linea Light Group’s lighting solutions for Kronoplus’ new headquarters in Nicosia, Cyprus, are designed to enhance the peculiarities of each room.

K

ronoplus Ltd. is part of Kronospan,

floor are lit mainly with Quantum downlights,

distributed wood panels since its

emphasise the materiality of the side walls in the

a company that has produced and

inception in 1897. Based in Nicosia,

Cyprus, Kronoplus specialises in the development of new designs and surface decorations with a

dedicated management team and a talented group of graphic designers.

In its new Grayoak House offices, the company

has found a large space devoted to the display of

finishes and materials, along with meeting rooms, offices and training areas.

Linea Light Group was tasked with developing a lighting design project able to enhance the distinguishing features of the showroom for

product displays, and of the parts dedicated to offices and meeting rooms.

Grayoak House is a building boasting a modern

style and a contemporary design, which already

captivates visitors with the geometric shapes and clean lines of its exteriors. An impression created also by the two solutions chosen by Linea Light

Group, the Kyklos suspension on the one hand,

and the walk over Paseo profiles on the other, to illuminate the display in the showcase.

Used for the showroom, the spaces on the ground

while rows of small and precise COB44 fittings

corridors, as well as welcoming both customers and staff at the entrance.

Baton suspensions in a black finish with gold leaf inner casings were selected for the lighting of

the elaborate counter, which acts as a partition element.

Further on, the exhibition hall expands upwards:

here the particular geometric patterns of the walls are emphasised thanks to the Shore modules and the many Galaktika fittings arranged in a series

and protruding from the side slits of the large and rectangular ceiling panels.

In the beautiful room dedicated to training, three

rows of semi-recessed Epitax luminaires highlight the elaborate panels of the tables below.

A staircase lined by colourful geometric shapes

on the wall and small Quara path lights leads to

the upper floor and to an elegant meeting room

in minimalist style, with Woofer downlights that ensure glare-free lighting, and a corridor leading

to modern offices illuminated by compositions of Tour suspensions with direct emission. www.linealight.com

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CASE STUDY

Farm Follows Function Organic farm Corte Bertesina has been the subject of a recent redevelopment project

by Traverso-Vighy Architetti, which has, alongside L&L Luce&Light, transformed the original structure of the nineteenth-century Venetian farm courtyard.

I

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CASE STUDY

Pics: Zumtobel, Photographer: Kirsten Bucher

Optimal Learning The new study and conference centre at the Mannheim Business School in Germany has been given an individualised lighting solution from Zumtobel, helping to optimise the learning experience.

I

nternational students, inspiring lecturers and

to precisely calculate the reflections of the vaulted ceiling. The

all helped establish the Mannheim Business School

proved to be the ideal solution, incorporating an oval-outline

intensive cooperation with global companies have

(MBS) as the best business school in Germany. Now

multifunctional Supersystem II lighting tool from Zumtobel film with a very narrow distribution to gently illuminate

an individualised lighting solution from Zumtobel is helping to

the concave-shaped ceiling. Each LED spotlight from the

and conference centre, featuring concentration-enhancing

directed in line with a detailed set of calculations.

create an optimum learning environment in the new MBS study light that relieves the eyes during long periods of work. As part of the University of Mannheim, the new building was planned

Supersystem II maxi range was then carefully positioned and Zumtobel chose a solution for the foyer that simultaneously

reflects the historical background of the building and creates a

by the renowned Frankfurt architects schneider+schumacher.

transition into the old palace. The vaults in the former kitchen

in the western courtyard of the Mannheim Palace has quickly

high-bay LED luminaire. This small industrial fitting with

Business School. A disused boiler room and the adjoining coal

operation and low energy requirements over a long service

Opened in October last year, the study and conference centre become the new architectural centrepiece of the Mannheim

now benefit from the soft and uniform light of the Craft S

big performance blends high resistance, maintenance-free

cellar have been completely rebuilt to create the new lecture

life. The compact high-bays are installed as direct uplights to

that looks out onto the gardens behind the west wing of the

shadowing, generating a brilliant lighting atmosphere in the

theatre complex. Arranged behind an expansive glass façade palace, the study and conference centre incorporates two semi-

circular lecture theatres, a flexible conference area, ten seminar

illuminate the vaulted ceiling in a balanced way with minimal entrance area.

A special version of the frameless Zumtobel Panos evolution

rooms and a spacious barrier-free foyer.

LED recessed downlight with a concrete inlay has been

requirements. The new installation needed to provide uniform

taken to achieve a clean transition between the luminaire and

The lighting solution had to satisfy a series of special

illumination of the arched and shell-shaped ceiling in the

lecture theatres, while also meeting all the relevant standards and delivering glare-free light throughout the centre –

ready for a future in which paper is completely replaced by

touchscreens. Zumtobel solved these varied challenges with the help of a new calculation method, using the HiLite programme

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developed for the ceilings in the corridors. Great care was

the acoustically effective ceiling by integrating the plaster

ring into the concrete housing. The Panos downlight series is

characterised by high luminaire efficiency and powerful lumen packages – for the very best lighting quality. www.zumtobel.com

A PALETTE OF LIGHT. With rich violets, deep blues and fierce reds the Celeste can transform a space from ordinary to ethereal. The Celeste offers a universe of possibilities to lighting specifiers. It features a highCRI variable white output along with color mixing technology.

Available in a variety of custom finishes, beam angles, mounting options and control methods and it’s designed, manufactured and assembled with pride in our New York factory.

www.tslight.com

CASE STUDY

Podium Worthy Argentina’s biggest sporting retailer, Dexter, receives a lighting make-over in the heart of it’s Buenos Aires store.

W

hen Dexter, Argentina’s largest sport

the PAR30s is able to deliver even light distribution

solution for its Buenos Aires store, it

products and displays to life. With a 35-degree beam

retailer, required a complete lighting

was imperative that the chosen lighting

would illuminate merchandise and create a welcoming experience for customers. Working with distributor Artelum, Megaman’s high quality and energy-

efficient LEDs were specified to fulfil the performance and aesthetic requirements. Based on the success of

the project, Megaman’s lighting solutions will now be rolled out across all branches of Dexter in Argentina.

Established in 1988, Dexter is the leading multi-brand chain of sports clothing and footwear in Argentina,

with more than 80 branches throughout the country and employing over 1,600 people.

To maximise the general aesthetics of the store,

Artelum, supplier of the light fittings, specified the Megaman LED Tube. The LED tube is compatible

with traditional magnetic ballasts, making it an ideal alternative to T8 fluorescent tubes and suitable for retrofitting. The 18W LEDs also helped to provide

the requisite ambience due to the cool white colour

temperature of 4000k and an impressive 1750 lumens.

To enhance the merchandise on display, Megaman’s 10.5W PAR30s LEDs were installed in the track

fixtures. Due to its innovative diffuser glass design,

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at a luminous intensity of 850cd, helping to bring the and an Energy Class rating of A+, the PAR30s was the optimal choice to emphasise the true colours of the hues, and achieve high energy efficiency.

As part of the retrofit, the team at Dexter also

required a custom-built lighting fixture developed.

Created by Artelum, the fixture comprises nine

dimmable 15W GU10 AR111 LEDs, which were selected for their 24-degree beam angle and low energy

consumption. Due to Megaman’s patented Thermal

Conductive Highway, the AR111 LEDs allow less heat to be emitted whilst still holding its colour temperature.

As such, GU10 LEDs last over twelve times longer than the halogen equivalent, providing an annual saving of up to 80 percent.

Fred Bass, Director at Megaman commented: “We are really pleased that our LED lighting solutions have been successfully installed at the flagship Dexter

store in Buenos Aires. With 5000 more units ordered to equip all 80 branches in Argentina with Megaman

LEDs - it allows our technology to be put centre stage, contributing to a high-quality shopping experience for the customer.”

www.megamanuk.com

CASE STUDY

Lines of Light ADO Lights has created a sharp, angular customised lighting solution for the exterior plaza above the Museu da Moeda in Luanda, Angola, creating a dynamic new look for the public square.

T

he Museu da Moeda in the Angolan capital of

night, three LED light lines embedded in the ground guide the

installation, designed by local architectural firm

The three lines measure at 45.8, 55.4 and 60.8 metres

Luanda has been enhanced by a sharp, crisp

Costalopes Architects and made possible with

customised lighting solutions from ADO Lights.

Located on prime real estate, the Museu da Moeda is situated right next to a lavishly designed seaside promenade, and

Costalopes made sure to include the topology of this location when designing the site: viewed from the sea there is direct

access to the square, while on the opposite side, you can reach the sloping terrain via steps.

The site is also in close proximity to the National Bank – a

location with symbolic significance, as the museum exhibits different currencies and means of payment used in Angola

through the centuries, from salt, ivory and shells to gold and also historical coins and banknotes.

The installation appears on top of the subterranean building, as part of a newly created public square, and features four

asymmetric sun sails, each resting on a singular column. These striking elements, as well as the underside of the shade-giving structure, are covered in metal. In the evening and during the

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observer’s eye.

respectively, and the point where they cross each other marks

the entrance to the museum below. When they are illuminated, their light reflects in the metallic sails above.

Due to the high humidity – exceeding 80 percent almost all year round – and the proximity to the sea, a V4A stainless

steel profile measuring 20x20mm was chosen for the light

line holder. The 120mm high mounting profile with integrated cable duct is made of the same material, allowing for a flush finish with the paving.

The designer chose a light temperature of 4100k, creating an

expressive and bright light, while nine trees are illuminated in a slightly softer, but equally atmospheric light.

In creating this public square on top of the museum space, the Costalopes team of architects have scored a double success – in a town that has a lively creative scene, but not enough

exhibition space, they have created both: a cultural centre, as well as a new venue for people to interact. www.ado-lights.com

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CASE STUDY

Pic: Fabio Baraldi

Arc de Triomphe LED floodlights from Thorn Lighting have helped to highlight the architectural features of the Arco della Pace in Milan, with their clean, precise illumination enhancing one of the Italian city’s most famous historic sites.

L

ED luminaires from Thorn are now

compact Contrast 2 fittings from Thorn have been

of the most important neoclassical

Pace. This fully adjustable LED floodlight is mounted

illuminating the Arco della Pace, one monuments in Milan. A series of high-

performance Contrast 2 LED floodlights has been installed around the imposing ‘Arch of Peace’ to

pick out the intricate details and fine workmanship, improving the overall visitor experience and

simultaneously saving resources by boosting efficiency.

The Arco della Pace brings together the past and

the present in Milan. The granite construction with a marble finish symbolises the rich history and

architectural heritage of the Lombardy regional capital, while at the same time representing an

important focal point and meeting place for both residents and tourists. The Milanese authorities

therefore wanted a new lighting solution that could deliver clean, precise and efficient illumination for

both the monument and the surrounding area. The new installation needed to tastefully highlight the

various architectural shapes and decorative elements, enhance the perception of the urban space and increase the feeling of safety for the public.

To ensure the best possible light orientation, 20

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installed on existing posts surrounding the Arco della on a bracket with a handy scale, which enables easy alignment and commissioning of the luminaires. A

holographic optical filter creates a modified light beam that can be rotated on its axis and aligned parallel to the structure, helping to avoid parallax errors. The

colour temperature of 3000K, which really accentuates the warm pink tones of the marble, differs noticeably

from the cooler colour temperatures normally used for public lighting. As a result, visitors can experience a

monument that appears to be visually detached from its urban surroundings.

Work on the Arco della Pace, designed by Luigi Cagnola in honour of Napoleon Bonaparte, was first started in 1807 and then promptly put on hold after the defeat

of the French leader at Waterloo. The arch was finally finished in 1838 on the orders of Emperor Francis I of

Austria and dedicated to the peace established between the European nations that attended the Congress of

Vienna in 1815. A bronze statue of the goddess of peace tops the monument, alongside a six-horsed chariot

(Sestiga della Pace) sculpted by Abbondio Sangiorgio. www.thornlighting.com

Smokestack Tower, Spartanburg SC, USA

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

ART MEETS ARCHI WHERE

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

TECTURE www.griven.com

GRIVEN S.r.l. I Castel Goffredo (MN) Italy I Tel. +39.0376.779483 I Fax +39.0376.779682 I sales@griven.com GRIVEN USA I P.O. Box 28, Gaffney, SC 29342, USA I Tel. +1 864-487-3535 I www.griven-usa.com I info@griven-usa.com

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

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essay

Bridging the Gap Part 1 Christopher “Kit” Cuttle argues that the lighting profession is poorly served by current lighting technology. In the first of a two-part article, he proposes that new metrics are made to specify, measure and predict lighting that are more closely related to peoples’ responses to lighting, and to the design process.

OranjeNassaumijnen by Unknown - Foto afkomstig uit het archief van de Tentoonstellingsraad, in beheer bij het Nederlands Architectuurinstituut in Rotterdam, Public Domain, https://commons.wikimedia.org/w/index. php?curid=12696503

Figure 1 Office lighting always has been a benchmark for setting indoor lighting standards. When the technology for lighting applications was being developed in the first half of the 20th century, the ability to perform reading tasks on desktops was generally accepted as indication of illumination sufficiency, not just for offices, but for a broad range of indoor activities. Illuminance on the horizontal working plane became the specifying metric for indoor lighting, and a uniform grid of downlighting luminaires parallel to the working plane became the standard lighting solution.

Deficiencies of Current Lighting Technology Almost a century has passed since Ward Harrison and Earle

Harrison and Anderson defined their coefficient (which is

the 1920 annual conference of the Illuminating Engineering

lumens”, indicating that any luminous flux emitted by the

Anderson presented their paper, Coefficients of Utilization, at

Society of North America, giving us the technical tool that

we now call The Lumen Method. It addressed what was seen to be the critical issue of indoor lighting: enabling people

to perform reading and other work-related tasks located on

desks or workbenches, as illustrated in Figure 1. What is truly remarkable is that, to this day, illuminance on the horizontal

working plane (HWP) continues to be recognised as the universal metric for specifying illumination levels. As an example of the fundamental role of this metric among lighting practitioners, “a 400-lux lighting installation” is one that provides that

illuminance uniformly over the HWP, irrespective of whether

the human activity associated with the space has anything to do with work-related activities.

now termed the utilization factor) as “the proportion of useful light sources that fails to achieve incidence on the HWP, either directly or by reflection, is useless and wasted. The inevitable way to achieve efficient lighting is to install a uniform grid of downlighting luminaires in a plane parallel to the HWP,

as Figure 1 illustrates. The lumen method presumes that the

only purpose that indoor lighting serves is to enable people to perform work activities involving visual tasks located on the

HWP, so that for the many indoor locations that are not work

related, as well as for those that are but for which the things that need to be seen are not located on desk-tops or work benches,

the universally specified illumination metric is unrelated to the things that people need to see, let alone whatever they might choose to see.

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essay

Figure 2 In the second half of the 20th century, office visual tasks switched from the horizontal plane to being near-vertical and more randomly distributed. However, they were now self-luminous, so it did not matter that they were no longer the dominantly-lit surfaces. Lighting regulators seemed not to notice the change and continued to specify lighting requirements in terms of horizontal working plane illuminance, so that while the lamps and luminaires changed, their layout did not.

Office in London

By Phil Whitehouse. Flickr: New Office https://commons.wikimedia.org/w/index.php?curid=32474066

This situation is defended on the claim that it ensures efficient

applications of lighting. Consider for a conventionally-decorated

room where the ceiling/wall/floor reflectances are 70/50/20 percent.

While a downlighting installation is undeniably an efficient way of lighting the HWP, after the flux has passed through that plane, 80

percent of it will be absorbed without having provided for any visible effect. Conversely, light directed onto the ceiling would be reflected

back into the space with only 30 percent absorption loss, but despite this difference, downlighting continues to be the preferred lighting distribution wherever efficiency is given priority. This continues

even though everyone in lighting knows that while techniques such

as uplighting and wallwashing may provide attractive visual effects, they are rated as ‘inefficient’ and ineligible for consideration unless compliance with lighting standards is waived.

The notion that task-based lighting metrics may be applied universally for specifying indoor lighting requirements never has been a sensible policy.

This situation defines the gap that divides the lighting profession.

For the bulk of lighting practice, standard luminaire layouts are

employed to provide ‘efficient’ and economical means of compliance

with the lighting standards (these are taken to include lighting codes, recommended practice documents, or other forms of constraints that regulators may choose to apply), while for the minority of

lighting installations that are planned to satisfy lighting design

lighting metrics may be applied universally for specifying indoor

for compliance with standards to be waived, and this is becoming

Peoples’ first expectation for indoor lighting is that the space does

objectives related to the specifics of each location, it is necessary increasingly difficult to achieve.

The Purpose of Lighting Practice We operate in a world where if something needs to be seen, it is either designed to be seen (as with self-luminous visual tasks,

see Figure 2) or the need to see it is eliminated (as with bar-code

readers). Without moderately difficult visual tasks, human needs for

lighting may be satisfied with very low illumination levels, such as is

provided for indoor car parking. Furthermore, for those relatively few situations where visual tasks cannot be modified for ease of seeing (such as surgery, or quality-control inspection), specialised local

lighting solutions invariably provide better solutions than high levels of general lighting. More fundamentally, the notion that task-based

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lighting requirements never has been a sensible policy.

not appear dull, gloomy, or lit inadequately for the activity that

occurs there. Beyond that, expectations for an environment that

arouses interest and stimulates (Figure 3), or for one that signals

relaxation or a slowing of pace, may be strongly influenced by the

level of ambient illumination. Where there may be expectation that

some objects or surfaces should receive selective illumination, then this is at least as likely to be based on a perceived need for visual

emphasis as upon a need for visual performance. Current lighting

standards and general lighting practice do not address these issues.

As a basis for indoor lighting practice, it is proposed that the prime

requirement is to satisfy (or to exceed) people’s expectations for how lighting may influence the appearance of their surroundings, where

‘surroundings’ is taken to include room surfaces and furnishings, as well as objects of interest or items for which visibility of detail may be important.

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essay

Figure 3 In this 21st century office, the concept of visual tasks, as well as the notion that their illumination needs should determine the lighting, becomes untenable. We should ask ourselves, what is the role of lighting in this situation? The daylighting appears to be providing well for everything that is going on in the office, but that would seem likely to change when the electric lighting takes over. While the human activities are distinctly different from the previous examples, the layout of the luminaires continues to be based on the notion that their purpose has not changed from the era of paper-based reading material on desktops.

The LDO – DFD Procedure The lighting design process typically comprises two phases. The

its contents, exitance being the measure of the density of lumens

in terms of lighting design objectives (LDOs). These may range from

for MRSE have been successfully demonstrated, suitable instruments

lit space at minimum installation cost”, to elaborate listings of

be specified in lumens per square metre or lux, but the lm/m2 unit is

phase involves preparation of a specification document (the ‘Specs’),

specified in lux and refers to incident flux, rather than reflected flux.

angles and all the instructions needed to ensure that the lighting

MRSE, it should be recognised that the flux emitted by luminaires

The Lighting design objectives – Direct flux distribution (LDO-DFD)

intercepted by a room surface and undergoes reflection. The reflected

procedure is to establish a bridge between a statement of design

receiving surface, but it also undergoes multiple reflections, with

achieve the envisioned balance of those objectives. This procedure

illumination, until it is totally absorbed. The balance of the first and

sufficient to ensure that the room surfaces and the objects contained

appearance of a space and objects selected to receive direct light.

to draw up a listing of lighting design objectives (LDOs) specifying

overall visible effects of ambient illumination on the appearance of

of the space and its contents. This listing comprises the essence

likely assessments of surrounding brightness (SB) to be specified in

tool that facilitates achievement of those LDOs that relate to how

relationship. At first sight, the MRSE values might seem surprisingly

distribution of illumination.

reflected flux only and exclude direct flux.

within the volume of a space, and it is assumed to be uniformly

engineers or lighting designers) have a choice of two ways for

assumption might not apply it will be necessary to consider separate

Figure 4) may be applied wherever there is an absence of objects

room surface exitance (MRSE), being the measure of luminous flux

involves devising distributions of direct flux that will be maximally

luminaires or other self-luminous objects. MRSE is defined by the

leading to genuinely efficient lighting solutions that achieve

first consists of devising the design concept, which may be defined

exiting, or emerging from, a surface. While measurement procedures

simple statements, such as “To provide the appearance of a brightly-

have yet to become commercially available. The value of MRSE may

detailed requirements for an envisaged visual experience. The second

preferred to reduce confusion with illuminance, which is universally

which lists the lighting hardware along with locations, aiming

To understand the relationship between ambient illumination and

installation will achieve the specified LDOs.

travels through the enclosing space without visible effect until it is

Procedure is depicted in outline in Figure 4, and the role of this

portion of the incident flux not only affects the appearance of the

objectives and a specified distribution of direct flux that would

each diminishing reflected portion contributing to the ambient

assumes an enclosed indoor space lit by luminaires to a level

the subsequently reflected portions strongly influences both the

within it are readily visible. The process requires the practitioner

Research into the relationship between peoples’ assessments of the

how he or she envisages that lighting will affect the appearance

their surroundings is continuing with the aim of enabling peoples’

of the lighting design concept. The LDO-DFD procedure is the

terms of MRSE. Table 1 offers a tentative proposal for the SB/MRSE

the appearance of the space is affected by the quantity and/or the

low, but it needs to be remembered that these values relate to inter-

Ambient illumination is the diffusely inter-reflected light field

Practitioners (whether they think of themselves as illumination

distributed throughout the space. For locations where this

prioritising their decisions. The illumination efficiency track (see

zones within the space. The metric for ambient illumination is mean

or surfaces that would benefit from selective lighting. This track

density within the volume of a space, excluding direct flux from

effective in providing prescribed levels of ambient illumination,

average exitance of all the surfaces that comprise the space and

surrounding brightness with minimal lighting power density.

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kreon

purity in light

kreon.com

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essay

SURROUNDING BRIGHTNESS (SB)

MRSE (im/m2)

LIGHTING DESIGN OBJECTIVES Illumination Efficiency

Ambient Illumination

Target Illumination

Illumination Hierarchy

PERCEIVED ADEQUACY OF ILLUMINATION

SURROUNDING BRIGHTNESS

MRSE

FLUX UTILIZATION

VISUAL EMPHASIS

TAIR

Bright

150

Slightly Bright

120

Neither dim nor bright

90

Slightly dim

60

Dim

30

Table 1. A tentative proposal for the surrounding brightness/ mean room surface exitance relationship.

VISUAL EMPHASIS

TAIR

Emphatic

40

Strong

10

DIRECT FLUX DISTRIBTION

Figure 4. The Lighting design objectives – Direct flux distribution (LDO-DFD) Procedure provides a bridge between lighting design objectives and the distribution of direct flux that would achieve them. The procedure comprises two stages dealing with ambient and target illumination, in which the practitioner chooses how to balance priority between providing for illumination efficiency and illumination hierarchy.

Christopher “Kit” Cuttle Christopher “Kit” Cuttle, MA, PhD, FCIBSE, FIESANZ, FIESNA, FSLL, is a lighting educator, designer and author. During a long career, he has held the positions of Head of Graduate Education in Lighting at the Lighting Research Center, Rensselaer Polytechnic Institute, Troy, New York; Senior Lecturer at the Schools of Architecture at the University of Auckland, and the Victoria University of Wellington, both in New Zealand; Section Leader in the Daylight Advisory Service, Pilkington Glass; and Lighting Designer with Derek Phillips Associates (now DPA Lighting Consultants), both in the UK. In addition to more than 140 published papers and articles, he is author of three books: Lighting by Design, Architectural Press, 2008 (2nd edition); Light for Art’s Sake, Butterworth Heinemann, 2007, and Lighting Design: A perception-based approach, Routledge, 2015.

His recent awards include the Society of Light and Lighting 2017 Lighting Award; the Professional Lighting Design 2013 Lifetime Achievement Award, and the SLL 2013 Leon Gaster Award for his Lighting Research & Technology paper, A New Direction for General Lighting Practice.

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Distinct

3

Noticeable

1.5

Table 2. Tentatively proposed visual emphasis/target-ambient illuminance ratio relationship for the dentist’s reception example.

Research is continuing to establish MRSE

been formally confirmed by research, the

of perceived adequacy of illumination (PAI),

creating an ordered distribution of visual

minimum MRSE vales for various categories

The outcome of the procedure is a direct flux

illumination hierarchy track differs in that

of the direct flux from the luminaires to be

of surrounding brightness or dimness for

provide for both the ambient illumination

direct lighting to achieve both the ambient

design objectives. The DFD is achieved by

emphasis for selected objects or surfaces.

engineering procedures.

ambient illumination, and the illumination

the practitioner from lighting design

flux utilisation by directing flux from the

ambient illumination and the distribution

room surfaces, thereby minimising loss

distribution (DFD) that specifies how

alternative illumination hierarchy track

a space for a balanced achievement of the

levels that relate to peoples’ assessments

author tentatively proposes it as a guide for

which would enable regulators to specify

emphasis.

of indoor activities. The alternative

distribution (DFD), being a specification

it involves practitioners selecting levels

directed onto each target surface that will

visual effect, and devising distributions of

and the target illumination lighting

illumination and chosen levels of visual

application of conventional illumination

Target illumination is the sum of direct and

In this way, the LDO-DFD Procedure guides

efficiency track involves maximising

objectives (LDOs) related to the level of

luminaires onto the higher reflectance

of target illumination, to a direct flux

of flux before it has had visible effect. The

luminaire flux is to be distributed within

involves creating an ordered distribution

LDOs.

practitioners achieve their chosen lighting

Part 2 of this article will appear in the Jun/

of target/ambient illuminance ratio (TAIR)

for application of these metrics, ranging

of visual emphasis, and for either track,

design objectives by specifying distributions values, where TAIR is the ratio of target

illumination to MRSE. It may be noted that

while there have been no reported studies of

Jul issue and will demonstrate a procedure from general lighting practice to advanced lighting design.

visual emphasis, the author has conducted

For more information on the LDO-DFD

exercises with students. Although the

com/s/vixlhidbpxybv80/More%20about%20

numerous assessment and measurement relationship proposed in Table 2 has not

Procedure go to: https://www.dropbox.

the%20LDO-DFD%20Procedure.docx?dl=0

OLEDWorks.com

The Winners Circle

old iF G rd a Aw 8 201 Loop Fluvia Loop is an elegant and minimalist design

by Antoni Arola for Fluvia that applies OLED technology to truly functional lighting. A wall lamp produces a fine sheet of light rotatable through 360-degrees to create an original loop effect. Loop can be installed individually as a reading or support light, or in groups, allowing multiple wall combinations. Its customisable primer finish means it can be integrated into any space. www.fluvia.com

Reflexio Linea Light Group Reflexio ensures a total absence of direct glare. The light emitted by the special LED round board is reflected by a domed diffuser, defining the fixture and spreading around the space. Looking up isn’t a problem with this technology; the indirect lighting principle guarantees perfect shadow control. Multiple and clear projections vanish, replaced by smooth and diffusive shadows. www.linealight.com

Vaero Zumtobel The design of the Vaero lamp is streamlined and clear in the true sense of the word.

Discreetly fitting into any room architecture, when switched off, the transparent lighting wings are hardly detectable. What remains is a narrow middle bar that conceals the flat converter box. When switched on, the lamp transforms into a magical light object.

Frameless and transparent, the super-thin light-emitting surface perfects the puristic design. www.zumtobel.com

Trim Simes Combining aluminum and glass in squared and essential lines, Trim is a structured lighting piece that is suitable for any type of context, whether classic or modern. An excellent example of design-no-design, Trim is an extremely versatile solution and can be mounted on a wall or pole. www.simes.it

LuxSpace Gen5 Philips Lighting LuxSpace Gen5 is the new LED downlight with extremely high efficacy, delivering substantial energy saving. It adopts a brandnew LED platform and optical technology for visual comfort. It has a wide portfolio with multiple lumen and dimension options.

Compared to the previous generation, the overall design has been simplified and lightened up. www.lighting.philips.com

Tracron M3 Akzu Lighting The Tracron M3 tracklight was specially designed for museum cabinets and exhibition spaces less than three metres in height. It can be mounted just 7.8cm below the ceiling or mounting surface. Despite its compact size, Tracron M3 produces eight types of light distribution thanks to interchangeable lens of 6, 10, 16, 29, and 47-degree, 55x19-degree, 19x55-degree, and wallwash. It is compatible with DALI and features dimmer, free adjustment of 360-degrees horizontally and 270-degrees vertically, and custom-made colours. www.akzu.com

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iF design awards

The 65th annual iF Design Awards celebrated the latest in technological innovation and design, with more than 50 lighting products honoured at the special awards ceremony, held at BMW Welt in Munich, Germany in March.

Here we take a look at some of the lighting products to pick up awards.

Eclipse LED Linear An eclipse is an astronomical event in which light and darkness meet poetically to form a ring of light. The intent of this design is to capture and transcribe the beauty of this magnificent physical phenomenon in a luminaire. It is a graceful round luminaire with small profile cross-section available in two different diameters and two profile colours. The homogeneous light emission surface provides a pleasant light, and in combination with the form an interesting interplay of light and shadows is created. www.led-linear.com

Traccia Performance in Lighting Traccia is an in-ground recessed light fixture, featuring a unique beam orientation mechanism for perfect grazing and wall washing illumination of small, large, or very large surfaces. It offers a wide range of optics with anti-glare louvers and four light temperatures as well as two levels of light output. Its Power Supply Unit on board (PSU - IP67) can be easily inspected and removed for replacement. The through-wiring and waterproof plug-in connectors enable extremely cost-efficient installation. www.performanceinlighting.com

Hans Romney Using the chain as inspiration, the Hans family offers unlimited modular design solutions utilising linked chain and easy extensions. Thanks to its flexibility it is ideal for providing perfect lighting solutions for cylindrical, square column, right-angled wall, waved design and other diverse structures.

The separate removal makes it easy for installation and maintenance. Professional optic design gives 15, 25, 40 and 60-degree beam angle for options. www.romney-lighting.com

FLC200 Projector Series We-ef The FLC200 projector series allows for selecting between three different diameters, five symmetric light distributions, wattage of up to 155W and lumen outputs up to 20,720lm. The desired lighting effect can be precisely adjusted with internal optical accessories such as linear, flood lenses or honeycomb louvres. With balanced proportions, precise lines, and high-quality materials, the FLC200 series enables planners to meet the demands of all kinds of different lighting tasks with lights that have a distinctive and consistent design. www.weef.de

Aroa Ribag Aroa is the immaculate culmination of light and form, with an optimum ratio of lighting aesthetics and luminous efficiency.

Streamlined, adorned with elegant details and fitted with the latest LED technology, when it comes to energy efficiency and service life it far surpasses the benchmarks set by its predecessor Spina. Aroa astonishes with its innovative technology, unique design, and perfect light homogeneity. Thanks to its sleek silhouette, Aroa masters a wide variety of lighting tasks in a particularly elegant fashion, either as a pendant or mounted lamp. www.ribag.ch

Superloop Delta Light The Superloop circular suspended lighting fixture has the ability to diffuse light all around. It is available in a round or square shape with a custom-engineered 48V lowvoltage track on the inside. This allows you to position and move light modules all around, tool-free, offering maximum flexibility and allowing you to meet any need of the project. www.deltalight.com

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LP Slim Round Louis Poulsen Louis Poulsen is aware of the challenge that lies in maintaining the same visual identity in a building with many different rooms and functions. Therefore it created LP Slim Round. LP Slim Round is a new family of fixtures that have been designed and developed by Louis Poulsen. With a broad palette of product variants, it offers the opportunity to work with one aesthetic look, across different functional needs. www.louispoulsen.com

Cameo Zenit W600 Adam Hall With massive 21,000lm output, the Cameo Zenit W600 is a powerful washlight for outdoor applications. Equipped with automated programs, built-in 2.4 GHz W-DMX(TM) transceiver for wireless control and advanced 16-bit technology, it is the perfect tool for professional lighting. The die-cast aluminum housing integrates temperature-controlled fans that ensure low noise operation, while a bright OLED display with four touch buttons permits easy, intuitive configuration. www.adamhall.com

Tile Joy Lighting The Tile series is designed to provide directed lighting. Like a tile, this acrylic and aluminum wall lamp can be mounted in four different positions, including on the ground. Multiple ‘Tiles’ can be arranged in a sequence to create larger installations.

The lamp’s shape, in combination with its directed beam, creates a beautiful play of light and shadow. www.joylighting.com

Dome Ridi Created in association with Blocher partners Stuttgart, Dome is a symbiosis of functional styling, flowing transitions and clear edge contours. The soft shape of the mattfinished luminaire head in die cast aluminum contrasts effectively with the clarity of the specular light outlet surface. The LED modules are covered by a transparent panel, whose hard outer edge is visible. The imprinted black frame supports the clarity of the linear styling. The internal micro−prism panel ensures a dazzle-free effect. A matt finish panel protects the LED modules at the back of the luminaire head and scatters the indirect lighting. www.ridi.de

U3 Etap U3 links a pure and simple design with high performance and comfort. This series of recessed luminaires uses Shielded Lens technology, which screens off the LED light and prevents glare. U3 is therefore suitable for diverse applications such as in offices, classrooms, public spaces, etc. The lenses are countersunk and screened off by the shielding units so that the light source is barely visible at eye level, resulting in a highly uniform, quiet image. U3 is available with different light distributions and several luminous fluxes. www.etap.com

SiCompact Floodlight Siteco Working together with Siteco’s SiCompact brand, Salzburg-based design company Kiska has succeeded in designing a technical product to clearly reflect the message of floodlighting. Kiska attaches particular importance to the design of the bracket.

Normally, brackets are used for purely functional purposes to mount the light.

In the case of the SiCompact, the bracket was seen as an extension of the floodlight housing. The energy efficient and resource saving concept, with a system lifetime of more than 60,000 hours, has a very strong focus on sustainability. www.siteco.com

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A brand of Simon Group

Loop Antoni Arola design for Fluvia

World Domination Luminaries of the lighting profession gathered at Chicago’s trendy Revel Fulton Market on 9th May to honour the winners of the 35th Annual IALD International Lighting Design Awards.

Seventeen projects from eleven countries were on display – including interiors, workspaces, museums, hospitality sites, and a place of worship. Licht Kunst Licht, this year’s Radiance Award winners, continued an impressive run of awards recognition that started with our own darc awards / architectural.

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T

he highest point score winner across all categories, in addition to receiving an Award of Excellence for

their project, receives the IALD Radiance Award for

Excellence in Lighting Design. Licht Kunst Licht received

this honour for the first time since 2011; the award was accepted in

person by Stephanie Grosse-Brockhoff and Andreas Schulz, IALD, for the German Ivory Museum in Erbach, Germany.

This sleek exhibit space in Erbach, Germany (which also won the

PLACES / low budget category at darc awards / architectural last year) houses a small but exquisite collection of ivory objects. With light

designed by Licht Kunst Licht and architecture by Sichau & Walter,

the design of the Germany Ivory Museum space creates a memorable contrast between exhibits and their surroundings, without distracting from the form of each piece on display.

Designers and architects learned early that no funds would be made available to refurbish the old palace where the ivory is exhibited. So

they conceived of an exhibition detached from the building envelope that would “visually dissolve the space”. A pier, clad in red leather,

interconnects the glass cases and provides a striking colour contrast to the monochromatic objects on display.

Each display showcase is a luminous cube; the partially frosted glazing and inauspicious accentuating illumination make the

figurines magically emerge from a sort of fog. Designers wanted to avoid any reflections in the glass, whether from sources inside or

outside of the case. All light sources outside the showcase remain

fully concealed by virtue of clever positioning or careful accessories, and all luminaires inside the display cases have a focused light distribution and a snoot.

The cabinets consist of fully glazed hoods without any corner profiles where lighting devices and wiring might be hidden. To maintain the

effect demanded by the design concept, designers introduced a small profile tracing in the interior upper cabinet corner to accommodate all lighting elements, concealing cables and splices behind a blind

cover. On-site testing revealed that silver anodized elements were less visible than black, so fittings and cables were adjusted and invisibly embedded into the glass mitre joints.

Judges were impressed with this careful attention to detail, and

one judge commented that this approach was ultimately in service of the user experience: “Controlling light spill and reflection

unquestionably captures the focus of the visitor with the exhibit, rendering the envelope invisible.”

radiance award German Ivory Museum, Erbach, Germany Lighting Design: Licht Kunst Licht, Germany Architect: Sichau & Walter Architekten, Germany Pics: © Sichau & Walter Architekten BDA

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Clockwise from top left Award of Excellence winners: HSBC Cafeteria in Dusseldorf, Germany, with lighting design by Licht Kunst Licht / pic © Johannes Roloff (Licht Kunst Licht AG); Lakeview Pantry in Chicago, IL USA, with lighting design

by Lux Populi / pic © Tom Harris Architectural Photography; Ota Civic Hall in Ota, Japan, with lighting design by Lighting M Inc / pic © Shigeo Ogawa; New Shanghai Theatre in Shanghai, China, with lighting design by Unolai Lighting Design / pic © Pedro Pegenaute; United States Courthouse in Los Angeles, CA USA, with lighting design by HLB Lighting / pic © Bruce Damonte; Bahá’í Temple for South America in Santiago, Chile, with lighting design by Limari Lighting Design / pic © Justin Ford.

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The design of the Bahá’í Temple for

and ultimately delivered at $1.75/square

facility consisting of a hall, a studio, and

lighting design by Limari Lighting Design,

feel of a typical branded retail environment,

as a place for cultural exchange among

In development for more than eight years,

the space by happy, cared-for volunteers,

imagined a light people would want to

is composed of nine translucent petals made

the physical and social environment.

artificial and daylight design, they have

lighting concept shows the transparency

graphic designers, and contractors, the

creating new discoveries on every visit.

a light-emitting element; inside, schemes

of branded retail to give clients pride:

through all of the civic hall’s spaces. The

ambiance favorable to meditation and prayer.

concealed coves were some of the chief

gives a sharp impression in daylight, but

collaborated closely with architects at HPA

was critical; only six formal luminaires were

sloping eave creates a soft and beautiful

light fittings into the build as invisibly as

team evaluated costs using two metrics (cost/

the architecture using LEDs. Especially at

materials – a steel structure, an exterior

and photocell controls were utilised.

and the oblique wall in the foyer, lighting

skin – made this an ongoing challenge.

the lowest cost,” commented one judge.

possible to respect the architectural design.

integrated solution focused on the

New Shanghai Theatre in Shanghai, China,

complimented by architectural lighting

“painting light only where it is needed.

Lighting Design. The romance between light

foot), lighting designers sought to create the

several multi-purpose rooms, imagined

took home an Award of Excellence.

café, or restaurant. Clients feel welcomed in

citizens. The lighting design team

this stunning “flower of light” by the water

and donors see the mission embodied in

return to again and again. By blending

of marble, glass, and steel. The exterior

Collaborating with the trust, architects,

created a space that changes with time,

of the materials and reveals the temple as

lighting design team created signifiers

This theme of changing design carries

create a warm, monastic and intimate

accenting, uplighting, clean ceilings, and

façade covered with aluminium cast panels

The team from Limari Lighting Design

strategies employed. Efficiency of operation

after dark, a gradation of warm light on the

from the project start, working to integrate

used besides strips and bare LED lamps. The

face. All lighting fixtures were integrated in

possible. The temple’s complex form and

lumen and lumens/watt), and occupancy

the focal points of the eave in the entrance

custom glass cladding, and interior marble

“It has the greatest effect for visitors at

fittings are concealed in the smallest spaces

“The understated elegance of this

“This is the mainstay of lighting design.”

“Daylight sculpting is exquisitely

architectural forms,” one judge wrote,

won an Award of Excellence for Unolai

in this project,” wrote one judge. “One

South America in Santiago, Chile, with

does not simply mimic the other – but

and darkness, choreographed by architecture

each has a role to play in revealing

into the New Shanghai Theatre. Embedded

the user experience from day to night.”

Dusseldorf, Germany. As part of a

stone façade tucks inward to invite passage

Excellence for the United States

and associated kitchen from the 1970s

walls, accentuated by custom sconces,

essential part of the design task was to

coves allow these walls to “float,” evoking

often closed off and segregated from the

light well, creating a welcoming, light-

inward, visitors’ eyes immediately lift to a

convention by harnessing, controlling and

company employees and kitchen staff.

throughout: luminous voids counterbalance

courtrooms. Whether traversing through

reasons, only a confined shaft geometry

skylights deepen the dramatic dialogue

a courtroom able to look out to the daytime

Comprehensive studies demonstrated

Throughout the New Shanghai Theatre,

in influencing a positive human experience.

well would be minimal, with few positive

a supporting role within the skylights,

light shelves on both sides of clerestories,

views to the exterior. This approach was

interaction of daylight on architecture.

motorised shades balance daylight, glare,

on an electric lighting-based, human-

by vaulting, luminescent voids revealing

vertical LED front lighting is provided to

the occupants’ circadian rhythms.

building’s envelope. To achieve this effect,

luminance ratios remained comfortable.

many have tried,” said one judge, “bringing

was required from concept to execution.

between adjacent glazing and people’s faces,

exterior where neither is available.”

perceived as cool natural light, augmented

more comfortable atmosphere for occupants.

Chicago, IL USA, with lighting design by Lux

angled to follow the sun’s movement

said of the project. “It’s rare for occupants

The Lakeview Pantry is one of the longest

language of focal glow is warm, understood

connection to the sun in a public space.”

low income people in need of nutrition. The

theatrical sparkle dances along walls and

services with the added mission of lending

in the building’s tectonic presence.

community it serves. On extremely limited

for the design of the Ota Civic Hall in Ota,

This meditative built environment breathes life into its materials and form.”

and intensified by illumination, breathes life

texture, sculpting space and enriching

Award with the HSBC Cafeteria in

within the Shanghai streetscape, a heavy

HLB Lighting took home an Award of

modernisation project, a staff restaurant

at the human scale. Warm fluted bronze

Courthouse in Los Angeles, CA USA.

were to be architecturally renovated. An

draw visitors across the threshold. Subtle

of court proceedings, courtrooms are

introduce daylight by constructing a new

the rich folds of theatre curtains. Stepping

outdoors. This courthouse challenges

flooded, communicative environment for

vaulting skylight. Light plays a starring role

delivering natural light to public spaces and

The team quickly learned that for structural

heavy mass, and strategically augmented

the atrium bathed in sunlight or seated in

with small windows could be realized.

between illumination and shadow.

sky, the connection to outdoors was critical

that the daylight intake from such a light

strategically calculated electric light plays

Optimising visual comfort in the courtroom,

effects of natural light and unnoticeable

drawing out the melody of the ever-changing

integrated electric uplights and two sets of

rejected; instead, designers began work

Heavy stone masses are counterbalanced

and transition to the interiors. Adjustable,

centric illumination that would support

movement in the sky and within the

the judge and witness area to ensure that

“This project succeeds resoundingly where

close collaboration with the architect

Delivering a luminance ratio of 30:1 or lower

a connection to sunlight and view to the

Ambient luminescence is overwhelmingly

long hours within the courtroom result in a

The design of the Lakeview Pantry in

by LED fixtures strategically selected and

“This is masterful daylighting,” one judge

over the architecture. In contrast, the

and visitors to experience such a dynamic

Licht Kunst Licht also won an Excellence

Populi, took home an Award of Excellence.

operating food pantries in Chicago, serving

as daylight’s electric counterpart, and

facility provides groceries and basic social

hovers weightlessly in sudden openings

dignity and a quality environment to the

Lighting M Inc won an Award of Excellence

means (a budget of $4 USD per square foot

Japan. Ota Civic Hall is a public theatre

Looking to control the environment

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iald awards

Foster + Partners won an Award of Merit for the

$300,000 USD installation budget in 90 days.

USA. The design process for this project delved

Award of Merit for the Hyundai Capital

Apple Store on Michigan Avenue in Chicago, IL

deeply into the physics of lighting. The lighting team analysed the relative success of various

KGM Architectural Lighting took home an

Convention Hall in Seoul, South Korea. Located

in Hyundai’s home city of Seoul, this Convention

design options across numerous performance

Hall is designed to reflect the company’s

of the human perceptual experience.

lighting design reinforces the architectural

daylight would mix with interior artificial light

walls denote the strength and reach of the

using a physically-based rendering engine

elements infer the speed and sex appeal of its cars.

the team was able to accurately judge the

in London, with lighting design by Arup, took

parameters, including hyper-realistic simulations

sophisticated, forward-thinking essence. The

One technical challenge explored how incoming

dichotomy; the dark floor and concrete lower

at different locations within the project. By

corporation, while the white curved ceiling

and viewing the results on an HDR monitor,

The Mathematics exhibit at the Winton Gallery

atmosphere being created, ensuring a like-for-

home an Award of Merit. The lighting design for

like representation of the developing design.

the London Science Museum’s Winton Gallery

Shorewood, WI USA, by Creative Lighting

vision, bringing advanced mathematical concepts

Another winner was The Ghost Train in

Design & Engineering. The designers at Creative

captures and enhances Zaha Hadid’s architectural to the everyday visitor experience. The team

were asked to illuminate a 200-foot pedestrian

at Arup achieved this through the integration,

Without any funds, the designers recognised

lighting typologies within the visual metaphor of

inspire fundraising. Research discovered that

of a plane are translated into luminous surfaces,

speed train that travelled the tracks from 1930

propeller, while brushes of light on the floor

history and technology and create the illusion,

cases along streamlines, and two sculptural

bridge; gateway to a small suburban community.

exploration, and unexpected use of colors and

that an extraordinary concept was needed to

an airplane’s turbulent flow. The aerodynamics

the original bridge once carried an historic high-

streamlines and points. Focus is on the plane

through 1963. They formed an idea to combine art,

guide visitors, turbulence scatters display

or ghost, of this passing train. The design team’s

coves allude to the boundary condition.

pitch and concept video helped to raise the

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Clockwise from top left Award of Merit winners: Apple Store on Michigan Avenue in Chicago, IL USA, with lighting design

by Foster + Partners / pic © Nigel Young / Foster + Partners; The Ghost Train in Shorewood, WI USA, with lighting design

by Creative Lighting Design & Engineering / pic © Martin Peck; Mathematics exhibit at the Winton Gallery in London, UK, with lighting design by Arup / pic © Giulio Antonutto-Foi; Hyundai Capital Convention Hall in Seoul, Korea, with lighting design by KGM Architectural Lighting / pic © Nacása & Partners.

The Middle East’s premier Exhibition, Conference & Awards for Lighting Design and Technology

23 – 25 September, 2018 Dubai, United Arab Emirates

Discover brilliant lighting solutions from around the world as you network with leading brands and learn trends that benefit your business at the region’s premier trade platform for the lighting industry.

Register now! www.lightME.net/Register4

iald awards

Lighting Design International, won an Award of

Svindersvik Bridge just south of Stockholm,

London. Occupying 86 metres of Oxford Street

the union between communities, formed the

block of buildings, attracting higher end retailers

two cities just south of Stockholm. With its

on one of the busiest shopping streets in London.

landmark, visible from land and water. The new

full set of details explained the exact mounting

to be functional and visually appealing, and

reviews allowed cable routes, driver locations,

The design of The Urchin in Brisbane,

from street view, and minimal in quantity. The

Electrolight, took home an Award of Merit.

achieved without detracting from the building’s

vast shopping centre is the aptly named ‘Urchin’

ÅF Lighting won a Merit Award for Story Wall in

Town Square and the two primary malls, forming

Merit for the design of the Oxford Street Estate in

Sweden. Two luminous wedding rings, symbolizing

façade, this project’s lighting design unifies the

lighting concept for the brand new bridge linking

and giving the development presence and charisma

sweeping curves, the bridge has become a new

Through close interaction with the architect, a

bridge linking the central parts of Nacka had

location, offset from the façade. Regular site

blend well with the natural surroundings.

and junction boxes to be kept discreet, concealed

QLD Australia, with lighting design by

impressive nighttime image of the façade is

At the heart of the recent refurbishment of this

charm and architectural beauty during the day.

shade structure, bridging the junction between

Eskilstuna, Sweden. The municipality of Eskilstuna

a place for events or meeting friends. Inspired

dark pedestrian tunnel into a more inviting place,

design concept was to create a heart of the

a carefully chosen lighting design that succeeds

themselves in an interpretive and ethereal show

fun for people passing through. Approaching

treats the faceted panels as digital pixels, crafting

the well-lit walls along the pedestrian path. It

an expansive illuminated 3d canvas. In close

how the lighting creates a unique and colourful

team concealed graphical node lighting within

as you walk, run, bike or dance through.

for a seamless and integrated result.

requested a lighting solution that would turn a

by the Urchin’s organic form, the lighting

while keeping costs to a minimum. The result is

centre, encouraging guests to stop and immerse

in making the tunnel brighter, safer and more

of light, colour and movement. The final design

the tunnel, you might notice nothing more than

low-resolution abstract imagery and generating

isn’t until you step inside the tunnel that you see

collaboration with engineers, the Electrolight

shadow show that mimics your movements

the structure using a custom channel system

ÅF Lighting also won an Award of Merit for the

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Top (clockwide from top left) Award of Merit winners: Oxford Street Estate in London, with lighting design by Lighting Design International / pic © Andrew Beasley; Story Wall in Eskilstuna, Sweden, with lighting design by ÅF Lighting / pic © Tobias Olsson / ÅF Lighting; The Urchin in Brisbane, QLD Australia, with lighting design by Electrolight / pic © Rohan Venn; The Svindersvik Bridge south of Stockholm, Sweden, with lighting design by ÅF Lighting / pic © Olof Thiel.

Above Special Citation winners: Roundabout in Pula, Croatia, with lighting design by Skira / pic © Danijel Bartolic; Sir Joan boutique hotel in Ibiza, Spain, with lighting design by RTLD Lighting Design / pic © Amit Geron.

ANOTHER PERSON’S DARK SPACE IS OUR BLANK CANVAS. AN IALD PROFESSIONAL LIGHTING DESIGNER SEES THE POSSIBILITIES IN EVERY ENVIRONMENT. LEARN HOW AN IALD LIGHTING DESIGNER CAN TURN YOUR VISION INTO REALITY. VISIT IALD.ORG AND CLICK ON "FIND A LIGHTING DESIGNER" TO REFINE YOUR SEARCH.

PUBLIC PASSAGE | MUNICH, GERMANY | LIGHTING DESIGN, PFARRÉ LIGHTING DESIGN | © ANDREAS J. FOCKE

Through the Lens As the buzz around LensVector continues to grow, David Morgan takes a closer look at Eulum’s Arcane LED module, one of the first luminaires to incorporate LensVector technology.

O

ne of the most intriguing technologies to

hit the lighting industry recently has been the LensVector liquid crystal lens system, which produces a zoom lens without any

mechanical moving parts. This technology is likely to radically affect both the form factor

of spotlights and projectors while also giving

lighting designers the chance to add more dynamic lighting effects into their projects.

The LensVector dynamic liquid crystal lens technology was originally developed by Dr Tigran Galstian and his research team at Laval

University in Quebec City, Canada. The system works by aligning 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.

LensVector was started in 2006 to commercialise the technology and initial applications that were for use in non-lighting applications.

After a decade of development the significant potential in the

lighting market has become apparent. Lighting designers are excited by the added level of control provided, and a variety of lighting

manufacturers have already shown products incorporating the LensVector modules.

Eulum was one of the first companies to start working with

LensVector technology and integrated it into their Arcane LED module, complete with LED light engine, heat sink, driver and

Casambi Bluetooth control that was introduced at Light+Building this year.

Eulum was founded in the UK in 2005 by Marcus Worthington, a

lighting industry veteran with previous experience at Marlin, Trilux and Zumtobel.

The company started as a lighting design consultancy but then

moved into luminaire design, development and production. The US

company was formed a few years later in 2008 as a partnership with Brian Gery, an experienced electronics designer who Worthington had met while looking for help developing LED drivers.

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

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

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The company has grown rapidly by developing innovative technical

lighting products for lighting manufacturers and end users, including a wide variety of technically challenging exterior amenity and

architectural luminaires, AC driven LED downlights and even a solarpowered, wireless-controlled helicopter landing lighting system for

DAVID MORGAN

use on oil rigs. In recent years, Eulum has partnered with Xicato and

lumens with all four LEDs on full power reflecting the much lower

The involvement with LensVector started in 2016 when Eulum was

Control of the LensVector focus and LED dimming/colour

controls for downlights and spotlights incorporating Casambi

Casambi App. It seems likely at this stage that individual focus

successfully launched, Eulum was free to develop its own products

with LensVector is an excellent one.

Casambi to develop Bluetooth wireless-controlled LED drivers.

contracted on an exclusive basis by a US lighting company to develop and LensVector technology. After that project was completed and incorporating these technologies, which resulted in the Arcane modules.

efficiency of the RGB LEDs.

temperature adjustment or colour changing is all achieved via the control of each luminaire will be required so the marriage of Casambi The lit effect from the module is attractive with a smooth distribution at all beam angles.

The initial release of Arcane modules includes three versions: white,

It is understood that the range of Arcane modules will be expanded

with the driver and Casambi module, which is mounted onto an

light output. Since Eulum is also a partner with Xicato there may

The light output from the light engine is collimated by a Gaggione

control and LensVector focusing.

tuneable white and RGBW. The four LED light engine is integrated industry standard extruded heat sink.

in the future to meet customer requirements for higher power and be versions incorporating a Xicato light engine, Casambi wireless

ten-degree narrow beam colour-mixing lens. The resulting beam

The primary reason for luminaire manufacturers to incorporate

This combination allows the beam to be adjusted from a ten-degree

them to rapidly test the market for LensVector-based products

is then controlled by the LensVector liquid crystal beam controller. spotlight distribution up to 50-degree flood.

Eulum had an on-going relationship with Casambi so working with

the Eulum Arcane modules in their products is that it allows

without needing to invest in the required electronics design and development. The speed at which the market for LensVector

them to add a fifth channel to the existing four channel RGBW

develops will to some extent be dependent on the added cost of the

The module runs from a remote 48-volt DC power supply and draws

generation luminaires is likely to be an attractive option. For lighting

module to control the LensVector focusing was not a major problem. around fifteen watts when on full power. The light output of up to 1,500 lumens for the white and tuneable white versions, when on

full power, will be sufficient for smaller retail and museum spaces.

It is understood that later versions of the modules will run at higher power with the driver components separated from the LED light engine to allow for improved thermal management.

The RGBW version produces a lower light output of around 600

technology, so being able to use an off the shelf module for first

schemes where fixed focus downlights and projectors will do the job it may be hard to justify the cost.

However the initial enthusiasm shown by lighting designers for this technology indicates that they would like to introduce the kind of

dynamic effects generally associated with event lighting luminaires into smaller scale retail and museum applications. www.eulum.com

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All Things Go! Taking place in Chicago for the first time, this year’s LFI quickly followed in the footsteps of Light+Building.

Lightfair International (LFI) opened at McCormick Place in Chicago 6th May with the 29th edition of the US architectural and commercial lighting trade show and conference. Thousands of attendees from around the world streamed into the LFI exhibit halls to experience the products and knowledge transforming the future of light and technology.

Preceding and setting the stage for the trade show opening, the prestigious LFI Innovation Awards highlighted the industry’s most innovative products and designs introduced during the last twelve months.

The 2018 LFI Innovation Awards saw 238 entries spanning fourteen categories, with each submission judged by an independent panel of lighting professionals.

Winning entries exemplified the best in innovative design and thinking with Alphabet Lighting, part of Ledra Brands, winning the Most Innovative Product of the Year with its NU Vector luminaire using LensVector technology. www.lightfair.com

Liquid Crystal Lens LensVector LensVector’s product utilises an electrical field to align liquid crystal molecules to create a series of ‘micro-lenses’. By changing the electric field, the ‘micro-lenses’ are manipulated to create desired illumination effects. The lens allows infinite beam adjustment along a continuum from a lessthan-ten-degree narrow spot to a very wide flood and eliminates the need for dedicated spot or flood lamps in many applications.

Retail and hospitality lighting in particular will benefit from the precision beams and dynamic dramatic effects. www.lensvector.com

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Gino Ligman The new Ligman Gino range now comes with streetlighting-derived T1, T2, T3 or T4 distribution optics. This unique capability provides even light distribution achieved at the same time as wider spacings. The Gino 2 for example with only 11W and a T2 optic can be mounted at seven feet above ground-level and 25 feet apart, producing a uniform average of 3fc, meeting US path of egress requirements. www.ligman.com

NU Vector Alphabet Lighting NU Series is constructed of an advanced, UL fire rated, organic polymer material to efficiently broadcast wireless signals through the trim and housing. This allows the IoT initiative to move forward, integrating and enabling the top Bluetooth and proprietary MESH controls protocols on the market. The NU Vector Series has Xicato’s Intelligent XIM with an SDCM of 1x2, iBeacon, data logging with GalaXi enabled and LensVector LCD optics, wireless controlled beam shaping technology. www.ledrabrands.com

CBU-DCS module Casambi Casambi has introduced a module that enables the use of DALI sensors for presence detection or daylight harvesting as well as the control of DALI drivers that have an integrated DALI bus power supply.

The new CBU-DCS module, which draws its operating power directly from the DALI bus – typically running at 16V – can also be used directly with a DALI-controlled LED driver that integrates a DALI-based power supply.

Example driver devices include the Philips SR or the OSRAM DEXAL (Data Exchange for Advanced Lighting) range of LED drivers. www.casambi.com

lightfair international

Easy Stand Alone Pro 2 Nicolaudie Now compatible with the entire STICK range, the new ESA Pro 2 software from Nicolaudie Architectural combines many innovations along with an ergonomic design. Entirely designed from scratch, ESA Pro 2 is Mac and PC compatible and offers amazing new features like timeline automation, pixel mapping, multi-zone programming and more. www.nicolaudie.com

Dynamic Tuner Module & iOS App Aion LED Dynamic Tuner takes the pressure off technicians to research and recreate complex multi-channel dim curves proprietary to a specific dynamic lighting fixture. Designed to be triggered by popular third party controls, DTM commands occur directly on the network, so no DMX interface is required, it just works. Dynamic Tuner features Aion LED’s patented technologies including: RGBW+ (full spectrum colour tuning), Dim to Glow (warm-dim) and Sundial (automated circadian rhythm). The intuitive iOS interface enables programming and even integrating with automation systems. www.aionled.com

Arc Soraa Stunning form follows remarkable function in fixtures engineered around an ultrathin profile die-cast heat sink. Optimised for superior thermal management and endowed with Soraa’s signature quality of light, Soraa Arc fixtures feature rich colors, perfect whites, clean crisp beams, and shadows. Soraa fixtures are available in multiple mounting styles and finishes, and work with the Soraa Snap System for total control and flexibility. Soraa fixtures support a wide range of projects from museums and hospitality to retail and residential. www.soraa.com

Linear One Acclaim Lighting Available in one and four-foot sections, Acclaim Lighting meticulously crafted Linear One fixtures to install with no visible cables.

Linear One provides end-to-end modular functionality that adapts to the design criteria. Linear One is available in 2700K, 3000K, 3500K and 4000K at 80 and 90 CRI. Its wide range of beam angles include 10x10, 30x30, 60x60, 100x100, 10x25, 10x40, 10x70, and 40x70-degrees. Linear One even offers 1-100 percent dimming through its internal 0-10-volt driver or DMX dimming through an optional UDM (universal dimming module). www.acclaimlighting.com

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. www.feelux.com

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 six-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. www.anolis.eu

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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. www.lightnet.de

Pill Joy Lighting Pill features a minimalist and timeless form language. Through its reduced geometric lines, this wall-mounted light fixture blends into its surroundings without imposing itself. The aluminium and acrylic lamp can be installed horizontally as well as vertically, and used either in outdoor or indoor areas.

It was designed as part of a series, which also includes a wall-mounted luminaire. www.joylighting.com

Tile Gen 2 Cooledge Cooledge Tile Gen 2 lighting systems, now shipping, create immersive illumination within all forms and scale of the built environment. They are faster to install, flexible and cuttable, adaptable to luminous surface projects of any size or shape. Tunable White, now even more affordable, emulates natural light through dynamic changes in CCT. All feature industry-standard analogue and digital controls. These improvements, as shown in their VIP room at LFI, will make luminous surfaces more widespread in retail, hospitality, office, and other environments. www.cooledgelighting.com

Lumawise Drive LED Holder Type Z50 TE Connectivity The development kit for its new Lumawise Drive LED Holder Type Z50 enables luminaire designers to purchase a single unit for desktop testing, product evaluation and luminaire prototyping. Each kit contains an LED holder, a cable assembly and a thermal interface material. The Type Z50 has a built-in low-profile DC/DC driver that brings integrated functionality and flicker-free illumination to the company’s successful range of Zhaga-inspired Z50 LED holders for chip-on-board (COB) LED for spot and track lighting, without any change to outside dimensions. www.te.com

Opti-Sculpt Rosco Designed for use on LED fixtures, OptiSculpt filters are heat resistant, making them suitable for use on traditional tungsten instruments as well. The filters come in 20x24-inch and 40x24-inch (50cm x 60cm and 100cm x 60cm) seamless sheets that can be cut to any size and shape - offering lighting designers an abundance of flexibility and versatility to use these filters on virtually any fixture at an affordable price. There are six different symmetrical and asymmetrical patterns currently available: 10-degree, 10x20, 10x30, 10x60, 15x35-degree and the unique 40/60-degree Reversible. www.rosco.com

Ruby MC Griven Ruby MC satisfies a wide variety of architectural illumination needs with a selection of optics ranging from spot to wide beam distributions. The luminaire features six high power quad chip LEDs for optimal colour mixing of RGBW or dynamic white light. Precisions lenses transform the blended light to produce symmetric spot, narrow, medium, or wide beam patterns.

Warm or cool white LEDs are also available to satisfy varying lighting design requirements.

Ruby MC R in-ground luminaire with optional anti-slip lens is available on request. www.griven.com

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Brenta Neri Designed by EMO design, Brenta brings sophisticated indoor shapes to the world of outdoor lighting, complementing it with powerful optics and smart devices: Wi-Fi antennas and wireless charger. Brenta, made of very smooth and resistent High Performance Concrete, includes: illuminating bollards, wall mounted luminaires, illuminated benches and planters. The powerful LED optic of XL and L illuminating bollards and wall mounted luminaire allows spacing eight to ten times the height, with a forward throw three to four times the height. www.neri.biz

Atria 10 Meteor Atria 10 is a powerful 10-inch cylinder downlight built for high performance, capable of delivering a lumen output range of up to 25,000lm for six-metre to 25-metre mounting heights. With minimalist aesthetics, this luminaire will effortlessly be applied to new and retrofit projects such as commercial spaces and auditoriums whilst offering flexibility and control with DMX, DALI and other dimming compatibilities. The ideal choice to replace 400-500W Metal Halides, Atria 10 is set to reshape advanced high ceiling design. www.meteor-lighting.com

Intervals Sonneman Intervals is a rhythmically aligned and expansive system of bidirectional illumination. Evenly spaced integrated downlight lenses and upward illuminated decorative glass diffusers form a dramatically powerful lighting approach to expansive architectural locations. An Intervals system is composed of Beams and Connectors. Each Beam must be supported by a Connector at each end, using either an End Hanger to close the end of the Beam, or a Linear or Corner Hanger to connect to another Beam. www.sonnemanawayoflight.com

Pursuit Architectural Area Lighting The Pursuit wall/surface mount luminaire from Architectural Area Lighting is an IP65 rated exterior linear series available in three housings, multiple mounting options, three distributions (symmetric, asymmetric and wall graze) and five section lengths that can be connected to form a seamless custom designed row. ‘T’, ‘X’, and ‘L’ illuminated modules available to form custom shapes. www.hubbell.com

Interact Landmark Scene Signify With a simple tap or swipe, the Interact Landmark Scene management app enables lighting managers to manage, control and change the lighting on bridges, buildings and monuments on the fly. Spectacular light shows can be remotely programmed to commemorate special events, holidays and important civic causes. For example, managers can now respond quickly to a request from the mayor’s office to paint a bridge in pink light to support World Breast Cancer Awareness. www.interact-lighting.com

Squilinder Lucifer Lighting The Squilinder is an innovative new fitting that combines striking geometric lines with sophisticated optical technology. This precision engineered, aluminum body seamlessly adapts to any lighting application with adjustability up to 90-degree tilt and 357-degree rotation. Recognised with the ICONIC Product Award, Product Innovation Award and Architectural Records Editor’s Choice Award, the Squilinder is offered in a variety of mounting options with fieldchangeable optics ranging from fifteen to 60-degree beam spreads. www.luciferlighting.com

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Wash Light Zoom ETC Similar to the other fixtures in the Irideon family, the Wash Light Zoom (WLZ) is available in a wide variety of colour temperatures ranging from 3000K to 5000K, and three mounting variations - Track mount, portable and canopy. The most innovative feature of the WLZ is the built-in rotating zoom adjustment at the rear of the fixture housing.

This enables beam angle adjustment within an impressive range of nine to 78 degrees.

The zoom position markers on the fixture make fixture-to-fixture referencing quick and easy. www.etcconnect.com

Horizon Keypad Crestron Available in highly configurable singleUS-gang models that combine up to four across, the Crestron Horizon Keypad offers designer aesthetics, superior button feel, four different button styles, programmable multi-colour backlighting, interchangeable custom top and bottom trim pieces, and Cresnet wired communications. Crestron keypads deliver an advanced custom control solution as part of a complete Crestron smart home www.crestron.eu

Bridge 3 Moda Moda Bridge 3 is a new control component from Moda. Accepts a DMX 512 signal and internally converts this signal into an Electronic Low Voltage (ELV) signal utilising Moda Cue Technology, an Advanced Firmware created by MODA Software Division. Thus enabling DMX control of an ELV fixture. Built upon the award-winning Bridge series, this device can be individually addressed allowing control of a complex project. Optimised to perform precise smooth flicker-free dimming down to zero percent. Rugged Stainless Steel construction. www.modalight.com

Gantom 7 Gantom The Gantom 7 packs seven-colour output into a tiny package. The fixture has a punchy yet soft beam with homogeneous colour mixing even at a close distance using a native fifteendegree beam angle. Diffusing the spotlight to a floodlight is a snap with included microlens diffusers and the magnetic accessory holder. Native DMX control and a balanced, non-linear dimming curve satisfy the most demanding theming tasks. Lime, amber, and ultraviolet go beyond the common RGBW to achieve colours unavailable in standard LED fixtures. www.gantom.com

Easyfit EnOcean EnOcean presented its wireless and selfpowered LED controls for various open standards under the brand Easyfit. The lighting systems use the EnOcean radio standard, including DLC-qualified selfpowered sensors and switches, relays, LED fixture controllers as well as a commissioning tool. Additionally, the company presented wireless and self-powered solutions for Bluetooth and Zigbee lighting systems. www.enocean.com

Zoya Arcluce A brand new addition to Arcluce’s outdoor range, Zoya combines unique design and advanced technical solutions. It is available in two versions, one with double screen (opal inside and transparent outside) and one with full opal screen, both providing optimum light distribution to prevent direct glare and ensure high visual comfort. Its die-cast aluminium body, enclosing stateof-the-art LED technology, the sleek lines and refined finishing make Zoya the ideal lighting solution for boulevards, squares, parks and urban spaces. www.arcluce.it

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PROJECTS

EXPO DIARY

Event Diary Industry events where you’ll find arc in the months ahead GILE 9-12 June Guangzhou, China

LIGHT MIDDLE EAST 23-25 September Dubai, UAE

INTERLIGHT MOSCOW 6-9 November Moscow, Russia

www.guangzhou-international-lighting-

www.lightme.net

www.interlight-moscow.ru.messefrankfurt.com

INTERLUMI 11-13 July Panama City, Panama

TRENDS IN LIGHTING 25-27 September Bregenz, Austria

IALD ENLIGHTEN EUROPE 7-9 November Barcelona, Spain

www.inter-lumi.com

www.trends.lighting

www.iald.org

LEDFORUM 23-24 August São Paulo, Brazil

IALD ENLIGHTEN AMERICAS 11-13 October Seattle, USA

MATELEC 13-16 November Madrid, Spain

www.ledforum.com.br

www.iald.org

www.matelec.ifema.es

DARC ROOM 19-20 September London, UK

PLDC 25-27 October Singapore

ILLUMINOTRONICA 29 November - 1 December Bologna, Italy

www.darcroom.com

www.pld-c.com

www.illuminotronica.it

ISTANBULLIGHT 19-22 September Istanbul, Turkey

HONG KONG INTL LIGHTING FAIR 27-30 October Hong Kong, China

DARC AWARDS / ARCHITECTURAL 6 December London, UK

www.istanbullight.com

www.hktdc.com/fair/hklightingfairae-en

www.darcawards.com/architectural

exhibition.hk.messefrankfurt.com

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SENIOR LIGHTING DESIGNER NDYLIGHT are seeking a full time Senior Lighting Designer for our London Office, reporting to the UK Head of Creative Lighting Design.

As the Senior Lighting Designer in the London office you will be responsible for: ·

Establishing lighting concepts and preparing design documentation for creative lighting solutions on NDYLIGHT Projects, within a variety of sectors including retail, exhibition, commercial, hotels, leisure, sports, health, education facilities, residential, arts, public realm and master plan landscape developments.

· Participating in client facing activities such as design workshops, design team meetings etc in the presence of the UK Head of Creative Light Design. · Collaborating with other NDYLIGHT studios in NDY’s global offices working on international projects ·

Reviewing drawings and technical submissions by contractors and sub-contractors against the specified requirements as well as attending site meetings and reviewing quality of construction against the specified requirements, and participating in final commissioning of lighting systems and controls.

• Ensuring project deliverables meet local standards and guidelines (U.K. or overseas), as well as relevant local certification.

To be considered for this role, you will have at least 5 years experience in architectural lighting design with a degree in lighting design, interior, product or architecture design. You will have fantastic organisational skills with a disciplined work ethic to enable the most productive working environment and be motivated by the prospect of design excellence with a practical and commercial awareness.

IT skills must include Microsoft Office, AutoCAD, Revit, Photoshop, InDesign and Agi32/DiaLux. Ideally you will have knowledge and experience of sustainability, health and wellbeing in the built environment.

You will be an excellent communicator with strong project management skills. NDYLIGHT promotes a positive and sociable working environment.

If this position is of interest please apply by submitting your CV with work examples and a covering letter to e.radoni@ndy.com by 4th July 2018.

RECRUITING

SENIOR LIGHTING DESIGNER (MATERNITY) Cinimod Studio is an innovative experiential agency, a boundary-pushing lighting consultancy and is the production studio of Dominic Harris’ interactive artworks.

Cinimod Studio is currently seeking maternity cover for the position of senior lighting designer, ideally starting from the 1st of August.

This position is best suited to an individual with at least 5 years lighting experience in independent lighting consultancies, a proven track record of working on high-quality projects and experience with all stages; from concept, specification, detailing, loading and control schedules, and commissioning. You will also be involved in a variety of multi-disciplinary lighting projects in which general lighting design and bespoke feature lighting integrate seamlessly.

Main duties and responsibilities of the job • Lead projects from concept to completion in all aspects of lighting design • Support colleagues on all projects • Management of project client and design team meetings • Develop fee proposals • Site attendance, commissioning and focus Candidate requirements • Minimum 5 years experience in architectural lighting design • A strong lighting design portfolio, with evidence of leading complex lighting projects • Ability to run projects from concept to completion • Effective communication skills and ability to lead a team to support projects • Be confident in presenting work on behalf of a team to clients at external meetings and internally.

• Passion for lighting design • Commitment to the team and projects • A valid passport - the role will require travel internationally, as well as regular visits to meetings and project sites.

Application Process • To apply please email a CV and portfolio to: growing@cinimodstudio.com with ‘Senior Lighting Designer Maternity Cover’ and your name in the subject line.

• We will arrange interviews with a number of applicants at our London studio.

• If you have not had a reply within 4 weeks of submitting your application, please assume you have been unsuccessful on this occasion.

• Please visit our website for information on Cinimod Studio: www.cinimodstudio.com

Job Terms • Salary to be determined based on experience • We expect this contract to be 7 months • Standard job benefits/terms will apply

ADVERTISERS INDEX 3F-filippi...........................................................2

Fuhua Electronic ........................................ 16

Madrix........................................................ 137

Acclaim......................................................... 65

Furukawa..................................................... 85

MBN.............................................................. 12

Acolyte.......................................................... 95

Glamox......................................................... 59

NDYLIGHT.................................................. 176

Alto................................................................ 37

Griven......................................................... 145

Nicolaudie.................................................... 13

Anolis........................................................... 4-5

Guangzhou International Lighting Exhibition.....175

Nordic Light............................................... 179

Applelec...................................................... 107

GVA............................................................. 109

OLEDWorks................................................ 153

Artemide.................................................... 129

Hacel............................................................ 6-7

P.U.K........................................................... 149 PLDC........................................................... 143

Astro............................................................. 53

Huda............................................................. 89

Bega.............................................................. 51

IALD............................................................ 165

Pritchard Themis....................................... 177

Cinimod...................................................... 176

Illumination Physics.................................... 47

Recolight.................................................... 113

Clay Paky.................................................... 101

InterLumi................................................... 146

Rethink the Night...................................... 141

Climar........................................................... 43

Into.............................................................. 177

Rise............................................................. 139

CLS................................................................ 14

John Cullen Lighting.................................... 61

ROXO............................................................ 29

Concord........................................................ 77

Joy Lighting................................................ 171

Soraa............................................................ 31

darc Night...............................................10-11

Kim Lighting....................................................3

StrongLED.................................................... 67

darc Room.................................................. 8-9

KKDC............................................................. 41

Studio Due................................................. 137 TAVA............................................................. 17

David Morgan Associates........................... 85

Koizumi...................................................... 119

Delta Lighting Solutions........................... 177

Kreon.......................................................... 151

Times Square Lighting.............................. 139

Dial.............................................................. 153

LED Linear.................................................. 180

Unilamp........................................................ 15

Erco............................................................... 71

Light Middle East....................................... 163

Vexica........................................................... 93

ES-SYSTEM................................................... 23

Ligman.......................................................... 39

Vode.............................................................. 21

Feelux........................................................... 25

Linea Light Group....................................... 19

Wibre............................................................ 81

Fluvia.......................................................... 157

Lival............................................................. 123

Forma........................................................... 33

Luminus..................................................... 117

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK arc (ISSN No: 1753-5876, USPS No: TBC) is published bi-monthly by Mondiale Publishing Ltd, and distributed in the USA by Asendia USA Inc., 701 Ashland Ave, Folcroft PA. 19032. Periodicals postage paid at Philedelphia, PA and additional mailing offices. POSTMASTER: send address charges to arc, 701 Ashland Ave, Folcroft PA 19032

www.into.co.uk

Senior Designers Wanted We are a lighting design consultancy, based in London Fields, East London. Our projects are wide ranging in type and size but rarely run-of-the-mill. We work with great clients and exciting architectural practices in the UK and worldwide and we seem to have a good time doing it.

You are a Senior Designer with at least five years’ experience across a broad range of project types; able to manage and inspire others and show a willingness to collaborate with fellow workers to create great lighting schemes.

2 x Junior Lighting Designers required. Southwark, London UK As we continue to promote from within we now have upcoming vacancies for 2 x Junior Lighting Designers in our London design office. You will be a design graduate who can illustrate a keen interest in lighting. At least 1 year of experience in a lighting design consultancy or in the schematic lighting design department of a lighting manufacturer is preferred but not essential. Applicants must have a good working knowledge of AutoCAD. Photoshop and Dialux/ Relux experience useful. into will provide full training on all aspects of lighting design and lighting technology.

We are offering a highly competitive remuneration, commensurate with experience.

Package includes profit share, company pension scheme and private healthcare.

All applications will be treated with the utmost confidence. Please apply in writing to hr@into.co.uk stating in the subject title ‘Application for Junior Lighting Designer role’.

You should include a CV detailing your educational history, employment history and any examples of your work. Excellent written and spoken English is also essential.

A fluency in use of AutoCAD, Word, Excel, Photoshop, Indesign and Dialux will be required of all candidates as well as a passing knowledge of REVIT. Applicants must be eligible to work in the U.K. and have a strong command of both written and spoken English.

Candidates should send a covering email, a copy of their C.V. and any portfolio work they think relevant to support their application.

It should be addressed to: Peter Pritchard at info@pritchardthemis.com Also.... all the biscuits you can eat. www.pritchardthemis.com

Award winning lighting design firm Delta Lighting Design is seeking the following positions for our studios in London and Dubai.

Job Title: Associate Director of Design Location: Dubai and London.

Main duties and responsibilities of the job • Manage all stages of the design process.

• Organize and plan project resources to meet milestones • Management of project teams on various projects • Marketing to potential clients and prepare fee proposals.

• Management of team for completion of post contract services.

• Develop and maintain strong relationships with clients and our partners.

Job Title: Business Development Manager Location: London Main duties and responsibilities of the job • Determine potential project and client leads.

• Preparation of any needed marketing material • Marketing to potential clients and conducting presentations • Prepare fee proposals.

• Achieve agreed goals and budgets.

• Prepare and circulate necessary monthly / weekly reports.

• Develop and maintain strong relationships with clients.

Necessary skills, qualifications and experience • A minimum of 10-15 years experience in architectural lighting design • Experience as lead designer in large complex projects, including managing teams of lighting designers, dealing with clients and other design team members.

• Excellent networking skills • Excellent organization and project planning skills.

• Experience in designing retail, luxury hospitality, public realm and master-planning projects.

• Effective communication skills • Demonstrates a strong passion for design and creativity.

• Degree in lighting design and / or architecture.

Necessary skills, qualifications and experience • A minimum of 5-10 years experience in sales within a relevant industry.

• Experience marketing and selling to architects and project developers within the UK • Excellent networking skills • Excellent organization and planning skills.

Reporting Line: • Reports directly to the Director of Design and Principal

Reporting Line: • Reports to the Business development director and Principal Send your resumes and portfolio to ziad@deltalightingdesign.com

THE BACK PAGE BUCKET LIST

#04 Focus Lighting / Paul Gregory

Curated by

“Never fear heroic failure.”

Abe Feder What: To experience Walter De Maria’s The Lightning Field installation.

Where: In a remote area of the high desert of Quemado, New Mexico.

The site’s exact location is a well kept secret, but appears to be in the middle of nowhere.

How: On a flat plane, 400 stainless steel posts with pointed tips are installed in a grid array measuring one mile by one kilometre. The poles range in height from fifteen to 26 feet tall and are spaced about 220 feet apart. Each pole is expertly machined and planted so that the tips create a perfect horizontal plane, despite the gently uneven terrain.

When: The likelihood of witnessing a lightning strike at the installation site increases in the summer, especially during the rainy months of August and September. However, despite the installation’s name, and that its location in New Mexico has a relatively high frequency of electrical storms, the sculpture isn’t only about seeing lightning. In fact, a strike on one of the poles only occurs around 60 times per year.

Why: To see the incredible beauty and energy found in nature, culminated in a lightning strike. Each day hues of red and blue sweep across the rods as the sun moves across the sky. At sunrise and sunset, brilliant golden light reflects from the poles, then disappears at the blink of an eye. To stand in the middle of the field and look out into the distance is a one of a kind, truly sublime experience.

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