LIGHTING IN ARCHITECTURE
105 AUG/SEP 2018
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#105 AUG/SEP 2018
THE MATRIX OF MORPHEUS Isometrix lights Zaha Hadid Architects’ futuristic Macau hotel
DARC ROOM PREVIEW • DP ARCHITECTS • THE QUEEN’S DIAMOND JUBILEE GALLERIES RED DOT AWARDS • LIGHTLY TECH HIKARI SQ REVIEWED • MACALLAN DISTILLERY
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www.aal.net Copyright © 2018 Architectural Area Lighting, a division of Hubbell Lighting, Inc. All rights reserved.
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.
HQ & Factory: Anolis, Hážovice 2090, 756 61 Rožnov pod Radhoštem, Czech Republic, Tel.: +420 571 751 500, Fax: +420 571 626 337, Email: info@anolis.eu North America: Anolis Lighting, 12349 SW 53rd Street, Suite 202, Cooper City, Florida 33330, USA, Tel.: 1-844-426-6547, Email: info@anolislighting.com UK: Anolis UK, 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, NN3 8RF, Northampton, United Kingdom, Tel.: 01604 741000, Email: infouk@anolis.co.uk France: Anolis France, ZI Paris Nord 2, Bâtiment Euler, 33, rue des Vanesses, 93420 Villepinte, Tel.: +33 1 48 63 84 81, Fax: +33 1 48 63 84 87, E-mail: info@robelighting.fr Germany: Anolis Germany, Carl-Zeiss-Ring 2185737, Ismaning, Germany, Tel.: +49 89 9993 9090, Fax: +49 89 9993 9091, E-mail: info@robelighting.de Asia and Pacific: Anolis Asia Pacific, 12 New Industrial Road, #02-05 Morningstar Centre, S-536202, Singapore, Tel.: +65 6280 8558, Email: asiapacific@anolis.eu Middle East: Anolis Middle East, Al Asmawi Building DIP, Office Nbr 507 5th floor, Po Box: 391 898, Dubai, UAE, Tel.: +971 4 885 3223, Email: middleeast@anolis.eu
anolis.eu | anolislighting.com
Leading Lighting Solutions
• 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
featuring…
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In collaboration with
Supported by
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A CREATIVE LIGHTING SPECIFICATION EXHIBITION AT LONDON DESIGN FESTIVAL
Partners
Heart Beat, UK 2017 Winner of ART: Best Light Art Scheme Low Budget
Get creative… 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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048 DP Architects We talk to DP Architects to find out more about the firm’s remarkable rise to the top of the Southeast Asian market, and the recent formation of its own lighting design division: DP Lighting.
Contents
AUG/SEP 2018 022 024 026 028 034 044 046 118 140 144 160 168 170
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Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source Stories David Morgan Product Review Case Studies New Products Events Diary Bucket List
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116 Colour Transfer For her latest installation, light artist Liz West has transformed an ordinary London underpass into a vibrant display of colour.
121 Bridging The Gap In the second of a two-part article, Christopher “Kit” Cuttle explains how to implement the LDO-DFD procedure.
128 darc awards / architectural As entries for the 2018 darc awards / architectural continue to pour in, we take a look at some of the projects that have already been submitted.
130 darc room Preview With just weeks to go until darc room comes to Shoreditch, we fill you in on the show’s stacked line up of speakers, workshops and exhibitors.
142 Interlumi 2018 Hosted in Panama City, Interlumi 2018 brought the issues of efficient lighting and renewable energy to the Central American market.
162 Red Dot Awards Considered to be one of the leading awards in design innovation, we look at some of the winners from this year’s Red Dot Awards.
060 Morpheus Hotel, China The Zaha Hadid Architects-designed Morpheus Hotel, located in Macau, has quickly become the most eyecatching building on the City of Dream’s horizon.
Projects
AUG/SEP 2018
070 The Macallan Distillery, UK The Macallan Distillery, located in the picturesque Speyside countryside, is a testament to the beauty of the Scottish landscape. Thanks in part to a dynamic lighting scheme from Speirs + Major, the distillery now has a production facility and visitor experience to match.
082 The Museum of the Bible, USA Designers at SmithGroup have renovated an old 1920s era warehouse into the beautiful Museum of the Bible, taking visitors on an ethereal journey of discovery to parallel one’s journey with the Bible itself.
096 Queen’s Diamond Jubilee Galleries, UK DHA Designs has illuminated the Queen’s Diamond Jubilee Galleries, a new museum in Westminster Abbey located in the medival triforum, a space hidden to the public for more than 700 years.
106 Amstel Hotel, Netherlands The Amstel Hotel in Amsterdam is glowing with pride after its lighting renovation. Completed by Lichtconsult and Hans Wolff & Partners, the new lighting scheme brings the historic landmark back to life.
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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: Morpheus, Macau Photography: Virgile Simon Bertrand
Editorial Publisher / Editor Paul James p.james@mondiale.co.uk Assistant Editor Matt Waring m.waring@mondiale.co.uk Editorial Assistant Sarah Cullen s.cullen@mondiale.co.uk
Advertising International Advertising Manager Jason Pennington j.pennington@mondiale.co.uk International Advertising Sales Andy White andy.w@mondiale.co.uk Steven Willcox s.willcox@mondiale.co.uk
Subscriptions Moses Naeem m.naeem@mondiale.co.uk
Production David Bell d.bell@mondiale.co.uk Mel Robinson m.robinson@mondiale.co.uk
Chairman Damian Walsh d.walsh@mondiale.co.uk
Finance Director Amanda Giles a.giles@mondiale.co.uk
Credit Control Lynette Levi l.levi@mondiale.co.uk [d]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 No: 1753-5875; USPS No: 21580) is published bi-monthly by Mondiale Publishing, UK and is distributed in the USA by RRD/Spatial, 1250 Valley Brook Ave, Lyndhurst NJ 07071. Periodicals postage paid at So Hackensack NJ. POSTMASTER: send address changes to arc, c/o RRD, 1250 Valley Brook Ave, Lyndhurst NJ 07071. Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.
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Remember, remember the 19th and 20th of September. Making lighting specification an integral part of London Design Festival... The preparations for darc room, London Design Festival’s lighting destination, are now well under way and we’re very excited with
the event that we have put together. With 50 brands participating
(see www.darcroom.com for the list so far) and a great educational workshop (darc room : workshops) and live streamed seminar
programme (darc room : live) being curated by our friends, Light
Collective, this year’s event promises to be bigger and better than
the critically acclaimed inaugural launch. This year we have moved darc room to Shoreditch High Street in the heart of the Shoreditch Design Triangle as we continue to make lighting specification an
integral part of London Design Festival, something that has been
neglected for far too long, to promote cross-discipline discussion and knowledge-sharing.
It will be a two-day event on 19th and 20th September with social
activities on both evenings including the launch of our Inspirations book in collaboration with Light Collective and sponsored by Delta
Light. If you can’t get away during office hours then come along for a drink (exhibitors will also be hosting stand parties) and a chat from 6pm until the close at 10pm.
The entry period for darc awards / architectural closes on 28th
September, just after darc room ends 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 and light artists who vote in the awards get a free ticket to come to the
party. Suppliers have to pay a hefty fee so why not become a sponsor to really benefit from the exposure you get from creating your own
installation with a top lighting design practice? There’s just a couple of sponsorship slots remaining.
I hope that you will participate in both our events this year. They
promise to be two great (and fun!) dates in the lighting and design calendar.
Paul James Editor
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PROJECTS
NEWS
Headlines Chauvet appoints new European Marketing Manager (France) – Alain Minet, formerly of Serge Ferrari and Philips, joins the entertainment and architectural lighting manufacturer as European Marketing Manager.
Signify and BRAC distribute solar lanterns in Bangladesh (Netherlands) – Signify and BRAC supply families with solar lanterns in Bangladesh to improve safety for women and children at night.
Codega Award Committee announced (Italy) – The Codega Award, held in Venice on October 19, will feature a committee of qualified experts from across the lighting industry.
darc room : live stream programme revealed (UK) – darc room : live stream lecture programme to take place at the Nicholls & Clarke Building on 19th – 20th September as part of darc room, London Design Festival’s lighting destination. Read more on www.arc-magazine.com
Charity provides support for lighting industry (UK) – The Electrical Industries Charity provides help and support across the lighting, electrical, energy and facilities management industries.
Rosco Laboratories announces global gobo design contest (USA) – Rosco Laboratories has announced the opening of The Rosco Gobo Design Contest, giving designers the chance to win a place in one of the largest gobo template catalogues.
We-ef Lighting appoints new MD in the UK (UK) – David Woodcock joins We-ef as Managing Director, replacing the retiring Colin Barson.
Selux Group to undergo strategic restructuring in Europe (Europe) – Selux Group is looking to move into smart lighting in the European market, discontinuing its interior range and concentrating on its exterior lighting.
ISE to move to Barcelona in 2021
darc room : workshops programme revealed (UK) – darc room : workshops to take place at the Nicholls & Clarke Building on 19th – 20th September as part of darc room, London Design Festival’s lighting destination. Read more on www.arc-magazine.com
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(Netherlands) – Integrated Systems Events, the producers of the Integrated Systems Europe exhibition, has announced that its 2021 edition will be held at Gran Via, part of the Fira de Barcelona exhibition complex in Spain on 2-5 February.
CityLink Sound Tube Melbourne, Australia The CityLink Sound Tube in Melbourne, Australia, has for two decades operated as a noise buffer, shielding surrounding housing from the constant buzz of traffic along the CityLink-Tullamarine corridor, one of Melbourne’s most heavily used roads. Designed 20 years ago by local architecture firm Denton Corker Marshall, the structure has recently undergone a makeover, with Electrolight commissioned to design a new lighting scheme to enhance its architectural structure. The result is a transitional portal that transports drivers through architecture and light. “We were engaged by Transurban as part of its community engagement activities to look at ways to enhance and compliment the architecture of the Sound Tube using light,” explained Electrolight’s Jess Perry. “Our design vision was for a lighting scheme that would transform the Sound Tube at night by highlighting its architectural features through the use of concealed light fittings that enhanced the repetitive structural language of the architecture.”
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One important criterion for the new lighting scheme was that the lighting needed to have the ability to be colour selectable to provide an element of dynamism, allowing it to create a connection with local and international events, while creating a welcome portal, building wonder and excitement for drivers as they pass through the tunnel and into the city beyond. With the introduction of highly controllable LED colourselectable units, these can be controlled to provide an infinite selection of colours and combinations, allowing for themed content throughout the year. While the Sound Tube has been a fixture of Melbourne’s motorway for two decades, the addition of Electrolight’s new lighting design has renewed its landmark status. Perry enthused: “I knew that the lighting proposal was well considered but it wasn’t until I experienced it out of a taxi window on my way to the airport that I realised just how immersive the experience was.” www.electrolight.com
EYEOPENER
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DRAWING BOARD
Olympic Park Gateway Pavilion UK The London Legacy Development Corporation Planning Decisions Committee has approved plans for a new 10,000sqft pavilion at International Quarter London (IQL). The multi-storey pavilion has been designed by ACME for Lendlease and LCR, while NDY Light was brought in as lighting design consultant. It is formed by a series of timber terraces and will create a new gateway to the Queen Elizabeth Olympic Park (QEOP) in Stratford, East London. The building will be an extension of the public realm, and its amphitheatre appearance will encourage visitors to pause and dwell in the area and watch the ongoing activities in Endeavour Square. The building will house the QEOP Visitor Centre, a café and two restaurants, complemented by outdoor space. There will also be a roof terrace, accessed by a central lift, with far reaching views across IQL, the QEOP
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and what will become East Bank, the future home of Sadler’s Wells, the V&A and UAL, among others. The building, constructed with cross-laminated timber (CLT) and glue-laminated timber (glulam), echoes the timber language evident in many of the QEOP landmark buildings such as the Aquatics Centre and the Velodrome, and provides a connector between these and the built environment of IQL. It will be built out of sustainable materials using modern methods of construction to reduce waste on site, targeting a BREEAM Excellent rating. Jonathan Emery, Managing Director, Property, Europe, Lendlease said: “IQL is a world class business destination, sitting in the heart of east London’s Queen Elizabeth Olympic Park and with great transport links. The pavilion represents a significant investment in placemaking and amenity, which underpins our
ambition to build a new neighbourhood here.” Friedrich Ludewig, Director at ACME, added: “We have been working with Lendlease for some time to develop innovative timber structures, and we’re delighted that this pavilion will now receive planning. Anchoring the public space of International Quarter London, the pavilion will provide a place for events, for celebrations and for people to pause and watch the world go by.” IQL will be home to around 6,300 workers by the end of 2018. Cancer Research UK and the British Council are due to swell the working population further when both move their headquarters to IQL in 2019 and early 2020 respectively. www.ndy.com www.acme.ac
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Light is the fourth dimension of architecture
180416_EN_Compar_Pendant_Mondoarc_236x333.indd 1
16.04.18 16:28
DRAWING BOARD
Sberbank Technopark Russia The latest project designed by Zaha Hadid Architects, Sberbank Technopark at the Skolkovo Innovation Centre in Moscow, has been awarded planning permission. The site received the ‘State Expertise’ certification from the city’s planning authority for a design that features large communal spaces, atria and cantilevered façades. The 262,000sqm Sberbank Technopark will become the bank’s cradle of IT innovations, accommodating 17,000 people working in Sberbank’s information technology and marketing departments. Home to the bank’s divisions that develop, implement and ensure the operation of process solutions and breakthrough technologies, Sberbank Technopark’s design evolved from detailed analysis of the varied work processes and arrangements within the bank’s technology and marketing departments. Christos Passas, Project Director at Zaha Hadid Architects, said: “The necessity to innovate and collaborate within the workplace environment is fundamental to Sberbank’s operations. Technopark’s design reconfigures working relationships by adopting a holistic approach to create an inter-connected, multi-functional workplace ecology driven by the bank’s requirements for enhanced communication, interaction and diversification that promotes
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creativity and engagement.” Office for Visual Interaction (OVI), is working on the architectural lighting design for the site, creating a dynamic scheme that will respond to weather, time and the needs of its occupants. The use of transparent and reflective materials and finishes strategically shapes the viewer’s perception of the building to create an iconic nighttime identity. Alongside this, miniature linear luminaires integrated into the façade structure, controlled via video processing, will be animated in a way that will emphasise the geometry of the internal canyon façades and is reminiscent of a circuit board, further underlying the technological nature of the project. The two entrance arches into the lobbies on either side of the canyon will be highlighted through the use of a combination of inground uplight luminaires, as well as a continuous band reveal detail directly integrated within the exterior arch geometry, creating a focal point and promoting wayfinding. Elsewhere, trees and greenery in the Winter Gardens will be illuminated from above and below, enhancing the garden appearance for interior and exterior views and creating focal points throughout the building. The focal point of the façade, the Winter Gardens are the brightest elements in the exterior nighttime
identity of the building, serving as important beacons for wayfinding throughout the space, while bands of ceiling recessed downlights on each floor provide a subtle illumination. The main atrium lobby and VIP lobby both feature unique tree columns that span the entire height of the lobbies. Emphasising the dramatic nature of the trees, uplights from the base of the column and uplights integrated into the branches shape the geometric forms with light and shadow. To achieve the proper light levels at the ground level, floodlights integrated at the top edge corners of the seventh floor ceiling provide general ambient illumination to both lobbies. All interior lighting on this project will follow a human-centric approach through the use of tunable white luminaires in relation to their effect on circadian rhythms. Lighting for general circulation helps to guide occupants through the space. Indirectly backlit, back-painted glass walls will generate glowing core volumes and support intuitive wayfinding. Within canyon bridges, discrete rails of concealed downlights focused on the walkway will provide the general illumination to maintain the perceived focal point on views to the exterior façades. www.oviinc.com www.zaha-hadid.com
DRAWING BOARD
2022 FIFA World Cup Stadium Qatar Lighting Design Collective’s (LDC) Madrid-based office has been confirmed as the lighting designer for two of the Qatar 2022 FIFA World Cup stadiums. Currently under construction, the Qatar Foundation Stadium and the Ras Abu Aboud Stadium are both located in the city of Doha. LDC is working closely with Madrid-based Fenwick Iribarren Architects to provide lighting design for all of the key areas for both stadiums. Nicknamed the ‘Diamond in the desert’, the Qatar Foundation Stadium is going to be a permanent fixture in the Education City within Doha. Along with LDC’s advanced lighting technology, this stadium is set to be a catalyst for social and human development within the Science and Community Development area in the city. Following the tournament, the stadium will donate 20,000 seats to stadiums being built in developing countries. This will reduce its own capacity by half, but will increase the intimacy for forthcoming games, which will be hosted by future permanent residents, the Qatar women’s national football team.
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“For the Qatar Foundation Stadium façade lighting, LDC has brought in artificial intelligence, haptic computing and interactive technologies harnessed to engage, communicate and to entertain. The building’s skin responds to the events inside in real-time, adding layers of excitement and wonder to the visitor experience,“ commented Mark Fenwick, partner at Fenwick Iribarren Architects. Located on the shores of the Gulf, the Ras Abu Aboud Stadium is constructed using shipping containers to allow for its temporary nature. With removable seats and other modular building blocks, this stadium is to be used for the quarterfinals of the future World Cup tournament. The 40,000 capacity venue will then be dismantled at the end of the competition and units will be repurposed for other sporting and non-sporting projects, introducing a new standard in sustainability in tournament planning. The modular design will require fewer building materials than a traditional stadium project, which ensures construction costs will be kept down. www.ldcol.com
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Pic: Johannes Roloff
Square Bike Parking Switzerland More and more people are switching from cars to bikes for their daily commute, and in the Swiss city of Basel, the pharmaceutical group Novartis has built an underground parking garage for its cycling staff members on the campus. Completed in the summer of 2017 by Swiss-Italian architect Marco Serra, the impressive subterranean space has room for more than 800 bicycles. Inspired by the famous architecture of Lina Bo Bardi in Brazil, the elongated underground space is enclosed by corrugated concrete walls, while the exposed concrete ceiling and the PU flooring display a deep blue hue. “Underground spaces rarely convey the feeling of wellbeing and good orientation. The lack of reference to the outside world is a major reason for this”, said Serra. “We have therefore designed the bicycle garage as a coherent hall with a clear perimeter wall. It was designed as a curtain wall made of corrugated concrete, which provides the user good orientation and pleasant appearance by their vibration and refraction. As in an above-ground building, a façade has been created that, despite the lack of a view, gives a connection to the outside world.” The organic design vocabulary of the ribbed wall is continued in sixteen large circular ceiling recesses, which tangibly enhance the relatively low ceiling height. These giant ‘wheels’ were central to the lighting concept, developed in collaboration with Licht Kunst Licht, providing the general lighting as an impressive graphic gesture, while immersing the exposed concrete walls in soft light. “With the large fields of light we wanted to create an association with skylights. The cassette-like recesses in the concrete made it possible to design oversized, round
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luminous volumes,” explained Serra. “The idea of using the cylindrical ceiling recesses as a place for the light and filling them with oversized light wheels has been realised in close cooperation with the architect,” added Licht Kunst Licht project and team leader Martina Weiss. “At first we had the idea to make the profile of the ring light itself an organic form. However, due to the complexity and the unreasonably high costs, this idea was rejected.” Instead of the organic, wavy form, the luminaire was realised in the shape of a cone. In each ceiling recess, the lighting concept allocates oversized diffuse ring luminaires with a stately exterior diameter of seven metres. The sixteen luminous ‘wheels’ are the result of a complex custom luminaire development, and were designed and constructed by Licht Kunst Licht and produced by Trilux. Based on material and luminaire mockups, the lighting effect was first tested in the office of Licht Kunst Licht, followed by a 1:1 mockup, which was initially set up in a Trilux production hall. Here, connection joints, the position of the LEDs, light colour selection, etc. were repeatedly finetuned. The mockup was then installed in the underground car park in Basel and evaluated by the entire design team. “The effect, in combination with the designed provisional floor and ceiling colours, was very convincing,” continued Weiss. “Only a few joints and seals had to be adjusted, otherwise this mockup could already be used as one of the sixteen luminous wheels for the final installation.” Each bespoke luminaire consists of an annular slanting shell of white translucent PMMA, which has been divided into twelve individual segments. In addition to insect
SPOTLIGHT
proofing requirements, the concrete’s construction tolerance of ± 2cm represented an enormous challenge. The light source consists of an LED ribbon with a 120-degree light distribution, installed on a mounting plate carrying the drivers on the rear side. They continuously and homogenously backlight the PMMA surface with neutral white light. A daylight and presence detecting control system guarantees an energy efficient lighting solution that ensures a general illumination of at least 150lx in the garage, thus providing orientation and a sense of safety. The staff members reach the parking area comfortably via a ramp, or two generous staircases that connect the space with the newly created park above. The illumination of the vertical access is provided by low-level wall recessed luminaires that have been integrated into the ribbed concrete wall with a sophisticated detail. By virtue of their asymmetrical light distribution, the steps and the ramps are uniformly illuminated without any spill light onto the walls. The lighting solution for the access routes was preceded by several discussions and various options. “Ultimately, we opted for this variant together with the architect, because only the recessed wall luminaires make it possible to direct the light so precisely onto the steps,” explained Weiss. “It was important to us that the rhythm and continuity of the concrete walls were not disturbed by stray light, e.g. via downlights.” The details of the recessed wall luminaire experienced an intensive coordination process, as the wall connection had to be flush with the wave crests. The park located above the bicycle garage was designed by the American landscape design practice Good Form Studio from Columbus, Ohio. Its goal was to create quality of stay in the outdoor environment and to attract employees to the park. A glazed pavilion extends an invitation to spend one’s lunch break outdoors while sheltered from wind and rain and offers a generous space for company events and exhibitions. Over the years, the pavilion’s glazed roof will be overtaken by natural vegetation and shading through grapevines. Underneath, a playful installation of unshielded LED filament lamps on catenary cables has been implemented. The boardwalk crossing the park is illuminated by light bollards, which have been designed specifically for this project. They gently enhance the wooden deck and guide the evening visitor in a glare-free manner. www.lichtkunstlicht.com
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SPOTLIGHT
The Constellation UAE dpa lighting consultants illuminated The Constellation, a monumental public artwork that forms the centrepiece of The Founder’s Memorial in Abu Dhabi, a permanent national tribute to the UAE’s founding father, the late Sheikh Zayed bin Sultan Al Nahyan. The artwork was conceptualised and designed by artist Ralph Helmick, whose practice explores human perception through large-scale public sculptures and installations that invite optical discovery. dpa collaborated closely with the artist at both his studio in Boston and during the extensive lighting trials that were conducted in Abu Dhabi to achieve the optical visual performance of the lighting scheme that enhances this world-class artwork. Particularly challenging was the task of conceptualising and developing a lighting scheme that would highlight the unique artwork from multiple viewing angles, whilst retaining the subtle complexity and depth of the sculpture. The Constellation consists of over 1,300 geometric shapes suspended from more than 1,000 tensioned cables. These elements constitute varying sizes of the five different types of
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regular, convex polyhedrons known as ‘platonic solids’, which are renowned for their mathematical beauty and symmetry. In order to achieve a three-dimensional rendition of the sculpture at night, 753 downlights and 1,203 uplights were custom made to illuminate the sculpture from above and below. Each fixture, provided by Lumascape, is fitted with a 3.5W warm white LED and integral DMX control, courtesy of Eaton, which enables the exact tailoring of the lighting scheme to respond to the differing textures and forms of the individual and collective solids that make up the artwork. The Constellation is situated within the landscape of The Founder’s Memorial, which features plants indigenous to the Arabian Peninsula, an elevated walkway offering breathtaking views of the city, and a Welcome Centre with a state-of-the-art multimedia experience. Housed within a pristine, prismatic Pavilion at the heart of the space, the suspended solids of The Constellation shine like stars within the night sky. This celestial display evokes the timelessness of Sheikh Zayed’s vision, which continues to offer the UAE people guidance along a path of progress and prosperity. www.dpalighting.com
2017 Innovation Award
ARCHITECTURE + PRESENTATION
WINNER
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CMY
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MOTOLUX, a revolutionary lighting concept using patented technology developed by formalighting to easily and fully control light orientation, intensity and tune the white colour temperature by a hand held transmitter or CASAMBI app. formalighting is proud to present the evolution of its award-winning Moto-Zero. The innovative Moto-Zero Compasso, equipped with Lumenetix Araya5 RGBW modules, offers a vast range of options to create special lighting effects and tune the colour
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SPOTLIGHT
Danube Arena Hungary The Danube Arena is a defining element of the cityscape of Budapest. Such a task always places great responsibility on the creators. Thanks to the dedication of the parties involved in the project to quality, the compound and the lighting system that were created present a vision for the future. The Arena was given an undulating metal façade cladding, designed to imitate the flow of the Danube. Be Light, lighting designers for the project, had to emphasise the wave structure and, in a wider context, give movement to the building using transitions and drifts, recalling the flow of water with its blue-azure green and akin colours. As for specifics, using fixtures from SGM Light and Simes, the façade of the building was given a two-tier lighting: luminaires mounted on lamp posts provide fill light for the façade from afar, while the luminaires installed inside the wave structure of the façade cast their light downwards from the inside. The units used for the fill lighting of the façade of Danube Arena are RGBW luminaires with DMX control, of which three types were installed, with typical power consumption of 140W, 420W and 450W. Due to the low lighting level of its environment, a high level of illumination was not required on the façade. In order to avoid light pollution, the system illuminates the surfaces themselves.
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In the case of the Danube Arena not only the façade, but also the entire building and all elements of the lighting system, including the LED sports lighting, can be controlled and regulated. This means that the Be Light team handled the control of 15,000 digital addresses. Through a sensitive network, designers wrote algorithms, which operate the lighting images of the building. This project posed a major challenge for the company, as its task was not simply to deliver luminaires to the site, then commission them; instead, it had to harmonise and program various types of control systems. The façade system is operated using DMX control and a timer program, essentially through manually launched sequences. The lighting of the façade can be split into several parts and can be controlled and switched both together and separately, by individual luminaires. Timer programs and intensity controls enable optimal operation, which reduces operating costs and the chance of human error. The constructed control system continuously monitors all of the luminaires, thus, should any problem arise, Be Light can immediately identify and correct it, and can also check switching processes, tracking the exact location and time of switching operations. www.belight.hu
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SPOTLIGHT
Pics: Redshift
Manchester Royal Exchange UK The Grade II Listed Royal Exchange, located on St Ann’s Square, Manchester, houses the Royal Exchange Theatre, high-end retailers and office spaces, including Hoare Lea’s Manchester office. The lighting design team at Hoare Lea has worked with architect Corstorphine + Wright to design new façade lighting and interior lighting for the 19,000sqft retail arcade that runs through the building, linking St Ann’s Square to Cross Street. The desire was to design façade lighting for all four elevations, to bring the Royal Exchange into the night time scene and allow it to be appreciated in the evening, creating an easily identifiable retail and leisure destination. Careful consideration was given to the building’s fabric and daytime appearance, while lighting products were coordinated with the architecture and finishes and positioned as unobtrusively as possible. The façade lighting gives a coherent appearance to the exterior, with warm white light from Meyer Ecoline and Superlight Nano floodlights working to enhance the Portland stone at night. On the three main elevations, the columns are side lit with elliptical beams that enhance the architecture, without losing the detail. The beams allow the lighting to be projected vertically up the columns, washing the façade and highlighting the string course. The corners of the building required areas to be infilled to ensure shadows were not created by the variations of architectural detail on the main façades. At Old Bank Street, the architecture takes a different form and the views are oblique. Here, the scheme focuses on the fronts of the square columns; this gives definition to the façade, while maintaining the lighting of the string course. The recesses of the imposing clock tower are lit with different optical solutions. This ensures the light pattern matches the dimensions of the
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tower’s details, such as the width and height of its arches, and that the tower takes its place as a significant feature in the visual scene. The historic main entrance, now the entrance to the theatre, is in the centre of the two long façades. Additional lighting enhances the arches above, providing focal points. Inside, the challenge was to enhance the arcade’s appearance and raise the illuminance level to create a welcoming space. Delta Light’s Supernova pendant luminaires, with upward and downward lighting elements, increase luminance on both floors and ceilings, giving a uniform lighting pattern to the floors, which raises the perception of brightness within the arcade. Each bay features coves, created during the refurbishment, with lighting incorporated to further increase the illuminance on the ceiling. Programmable colour-changing LEDs allow different shades of white light or colour to be projected. As each bay is separately controlled, different colours can create a dramatic variation, which breaks up the length of the arcade and attracts passers-by. Lumenpulse AlphaLED downlights further raise the light level. These are positioned in the ceiling and on the columns to give vertical illuminance. To balance the contrast between the daylight outside and the artificially lit arcade, thresholds have a higher light level. At night the illuminance can be reduced, so that the brighter interior is in turn balanced with the darker exterior, thereby increasing visual comfort for visitors. David Linville-Boud, Associate at Hoare Lea said of the project: “It’s been a privilege to design the lighting for such a historic landmark, particularly because Hoare Lea’s Manchester office is based within the Royal Exchange, and I know first-hand what a great building it is to work in – now it has the lighting scheme it deserves.” www.hoarelea.com
Spheres Project, Riyadh (Saudi Arabia) Architectural and Lighting Design: ALS
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SPOTLIGHT
Haz Restaurant UK Located in London, Haz Restaurant provides a fresh approach to modern Mediterranean cuisine. Lighting design consultancy Nulty worked alongside architects Mailen Design and branding agency I-AM to complete the lighting scheme for the modern and quirky refurbishment of this much-loved Turkish establishment. Spanning the ground floor of an office building, a large glass façade surrounds the building’s entrance, giving passers-by a floor-to-ceiling view into the restaurant. An intimate dining and bar area to the front features a dropped ceiling made from dark wooden slats. Nestled between are cleverly hidden bespoke can downlights from Orluna, positioned to form pools of warm light above the tables and bar, picking up the sparkle in the glass and silverware below. An integrated linear line of light under the bar counter, provided by Osram, washes light down the copper finish to highlight the warmth and opulence in the material palette. The all-LED lighting scheme, primarily achieved with a technical fitting from Radiant, supports the interior design concept, which is based on the art of Turkish coffee, and the balance between the bitter and sweet or light and dark. Two undulating ceiling features create a strong design statement and look like luminaires in their own right. Discreetly positioned LEDs around the edge of the features’ white moulded surfaces create a wash of illumination reminiscent of rippled coffee and a strong contrast against the rich timber slats framing them. Large mirrors mount the burnt cocoa textured walls surrounding the dining area and have been backlit to create a warm halo that illuminates the vertical surfaces and entices people into the space from the street
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outside. A soft perimeter glow that frames the dining area is achieved by uplights positioned behind the seating, creating an additional layer of light and highlighting the interior’s different textures. Two timber walls that frame either end of the venue have copper bespoke circular disk wall lights mounted to them, created by Nulty Bespoke. These create a reflective surface that radiates a diffused light around the edges and draws customers’ eyes down the full length of the restaurant. Sparkling neon signage punctuates the walls and highlights the brand’s bold spirit. The lighting scheme continues into the washrooms, where mirrors have been backlit to create focal points and contrast against the dark interior palette. Within the cubicles light levels have been kept low with cove lighting washing the back walls, adding to the sense of drama. The main circulation area has carefully positioned downlights to help with wayfinding. Haz is a dining experience that evolves so a lighting control system was installed to enable the client to select the right scene for the right time of day, making light a central component of the space. Energy-efficient lighting was also key to the brief and Nulty achieved this through approximately 19 watts per square metre. Anna Sandgren, Associate at Nulty, said: “The lighting was carefully considered to complement the architectural design of the restaurant. The dark interior palette and lighting design details create a huge dose of contrast for a dramatic, yet chic feel that celebrates the brand’s bold spirit and Mediterranean elegance.” www.nultylighting.co.uk
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GRAVITY DESIGN ASSOCIATES London-based Gravity Design Associates provide lighting design, architecture and interior design over a broad scope of projects. Across its portfolio, the firm strives to create projects that complement their surroundings, providing spaces for people to interact, navigate and enjoy. 7-8 Philpot Lane London, UK Following the successful internal and external refurbishment of the main, five-storey Grade II listed building, which is now the new London HQ of the PFA, Gravity was appointed to take on the restoration of the Grade I basement areas. The existing fourteenth century, pre-Fire of London vaults were uncovered in 1980 and were underpinned with the brickwork, cleaned and structural support added. The concept was to sensitively refurbish the existing space with the main principle being to clearly differentiate between the historic fabric and the new interventions. Surface mounted copper conduit was fixed to the mortar to allow pendants to be introduced into the space, while lighting included within the joinery and bases of the recesses added depth. Perimeter LED was recessed behind the joinery to up-light the arched medieval brickwork and stone and elevate the space sensitively.
Ian Stuart Blewcoat Boutique London, UK Gravity took on the specialist lighting design of this Grade I listed former school house, converted into the flagship bridal wear boutique for awardwinning designer, Ian Stuart, which is currently featured on Channel 4’s ‘The Posh Frock Shop’. The brief was to create a dramatic yet comfortably lit environment with adjustable retail levels of light whilst preserving the fabric of the Grade I listed building. Gravity had to consider several lighting requirements through from concept to finish with the existing central chandelier the only light fixture to remain within the new scheme, which was cleaned and re-lamped using a more energy efficient halogen lamp. By using a combination of high and low level lighting housed in the garment display units, Gravity reduced the quantity of fixed lighting that was actually required. Designers also had to create a lighting scheme that minimised degradation of the building itself as well as the garments within, so the solution is one using high efficiency and low heat/UV fittings.
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SNAPSHOT Pic: Tim Soar, courtesy of Coffey Architects
Pic: Tim Soar, courtesy of Coffey Architects
Howick Place London, UK With its high ceilings, hard surfaces and large volume, the refurbishment of this Victorian industrial space was ill suited to a typical office conversion and presented considerable lighting challenges. The idea was to utilise the existing fabric and exaggerate the building’s original Victorian features to create a flexible, contemporary workspace. Lighting within an office environment needs to be designed with many aspects in mind and Gravity incorporated several well-being factors within its design. All the linear and circular suspended fittings have an opal diffuser to provide a glare-free light control system that is deemed best for visual comfort. The new architectural layer and use of reflective materials maximises natural daylight. Integrated daylight sensors and presence detectors means that the building is both daylight and human responsive, with artificial light levels regularly adjusting to suit the natural light contribution within the space and areas only being lit when in use. In line with the original feel of the building, the design exploits the long industrial spans with vertical surfaces also being illuminated to prevent repetitive eye correction and reduce eyestrain.
SONOS London, UK Collaborating with the interior designers, Gravity designed the lighting for SONOS’s second permanent Studio Base on London’s Club Row, following on from the success of its existing hub in L.A. The space comprises of performance and social spaces, a workshop and listening room that were designed to create a contemporary, social and collaborative feel that provided the optimal acoustics to appreciate music. The design concept was to illuminate the studio through an architectural system of lighting whereby levels of brightness can also be controlled by individuals within the space to create the desired atmosphere and mood.
Gravity Design Associates Gravity Design Associates are an independent Architectural Design Consultancy, offering professional and specialist advice to a wide range of clients. Established in 2001, it recently celebrated its fifteenth anniversary as a limited practice. Its design team has backgrounds in theatre design, interior design and architecture. The company has gained experience working on high-end residential and commercial projects, retail rollout schemes, hospitality, heritage and conservation projects within the UK, across Europe and Worldwide. This varied background and experience provides Gravity with the expertise to produce design schemes that compliment and are sympathetic to existing architecture or surroundings, as well as the practical knowledge of dealing with a scheme from concept through to completion. www.gravitydesign.uk.com
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BRIEFING
Stephen Lisk
Following the election of the ‘Lighter’ Stephen Lisk as CIBSE (Chartered Institution of Building Service Engineers) President, arc talks to him about his career, his love of lighting and the major theme for Lisk’s year in office - the importance of collaboration between all the professionals whose experience should influence the design of buildings.
How did you get into lighting? I have always had a passion for design and technology, but like a lot of young people never really knew a career in lighting existed. I joined a lighting company in Auckland called Fisher Vogue Lighting, who were the local distributors for Staff Lighting, later to become Zumtobel. I was hooked from day one. Describe your lighting career so far? I have been incredibly fortunate to have worked for some of the world’s leading lighting manufacturers, and with some of the most talented, creative people I could ever have imagined. Starting my career in New Zealand, and studying illumination engineering almost 30 years ago, lighting design was very much in its infancy. I knew pretty quickly that I was a ‘Lighter’ and I joined the Illumination Engineering Society of Australia and New Zealand (IESANZ) and became Chair of the Auckland Chapter. I was amazed at how generous people were to give of their time and share their experience. When I emigrated to the UK in the late nineties, I knew I wanted to get involved in the Society of Light and Lighting, I found that the same generosity around knowledge sharing and an amazing spirit of friendship existed in the UK too - lighting was truly a global passport, and what’s more we spoke the same language. How and why did you establish One Eighty Light? Working with some of the most iconic brands in the European lighting market, I was and am, extremely grateful for the experience and education in lighting I have had. I learnt how to connect products to projects, in a technical way, but I wanted to explore if a different way was possible and in 2009 founded One Eighty Light. A one eighty degree shift - being design led rather than product led, offering a business model that linked design and product choice together.
Lighting in 2009, the same year that Past President of the SLL Mike Simpson took over as CIBSE President. What I saw was the SLL being part of a bigger Institution, where the Façade Designers and Daylighting Group could interface with lighting in a much bigger way. The conversations that we were having with the SLL’s Young Lighters was the same story within CIBSE and the Young Engineers Network. If we talk about collaboration with external organisations, it is essential to continue to foster the same collaborative culture within CIBSE. What do you want to achieve during your presidency? My theme for my year as President is ‘Adapt to Change’, and I believe passionately this is what we need to do. And when we talk about change, we need to look at ourselves as Professional Engineering Institutions first. John Uff QC, in his wide ranging review of the Engineering profession, produced some far reaching recommendations. He identified the ‘lost three million’ – the three million people who could belong to an Engineering Institution but don’t. He also highlighted the need for a less siloed approach and more working across disciplines, and this is something I want CIBSE to lead. How do you see the lighting industry changing? Before my inaugural address as CIBSE President, I wanted to explore more about the disruptors that would have the biggest impact in lighting – changes in technology, changes in the geo-political context as the UK approaches Brexit, but overwhelmingly the message I was hearing was the change to our industry with AI. We must equip our future lighters with the tools they need to adapt to these changes, and initiatives like CIBSE’s newest Society, The Society of Digital Engineering reflect this.
What brands do you use at One Eighty Light? One of the things I am most proud of at One Eighty Light is the partners we work with. We work with some truly amazing partners, partners who believe what we believe, a philosophy and a culture of light. Working with fantastic brands such as Occhio, Davide Groppi, iGuzzini, Delta Light, viabizzuno and Bega every day is very rewarding.
You are discussing Human Centric Lighting at darc room. What do you think about this subject? I, like others, first learnt about ‘biodynamic lighting’ and ‘circadian lighting’ many years ago, and I wonder how much our knowledge of the subject has moved on since then. There has been a great deal of communication on the subject, but I am very interested in the factual research from academics, and where that will lead the standards in my own Society of Light and Lighting, and more broadly the WELL buildings conversation. It is not so much what we know, as what we don’t know.
What made you decide to go for CIBSE President? I was honoured to be elected President of the Society of Light and
www.cibse.org www.oneeightylight.com
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Eggboard
Pierpaolo Ferrari, 2018
Progetto CMR - Giacobone & Roj
106 Great Russell Street, London WC1B 3NB Tel. 020 7631 5200 info@artemide.co.uk
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Yesterday Singapore, Tomorrow the World Despite only forming two years ago, DP Lighting, an offshoot of DP Architects, has already established itself at the top of the Singapore lighting design market. We spoke with the firm to hear more about its remarkable rise, and how it fits within the wider DP family. 048
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INTERVIEW
E
stablished in 1967, two years after Singapore’s independence, DP
Architects (DPA) was founded with
the belief that this newly independent country should develop its own
personality and identity as an island
city-state with a diverse population.
Committed from the outset to be part of Singapore’s nation-building, DPA, originally known as Design
Partnership (DP), evolved in much the same way the
country did – adapting to changes, embracing innovation and pursuing excellence.
In the 51 years since its formation, DP has grown
extensively, now operating as a group of companies that cover a spectrum of services, from lighting design and
architecture to engineering, construction and landscape and arboricultural consultancy services.
“This growth has been possible because of three things: our continued pursuit of design excellence, our people-centric approach and a collaborative spirit,” said Angelene Chan, CEO of DP Architects and its group of companies. “From
early on, we realised that people are and will be the key to
greater success. After all, architecture is about the people – in other words, buildings for people, designed by people.” Chan, who recently won the President*s Design Award
2018 for Designer of the Year – the highest design accolade in Singapore, believes that the practice of architecture as a deeply meaningful act has the power to foster a strong
sense of community and improve lives. A believer in the
All images courtesy of DP Architects
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Interview
Previous Page DP Lighting founder Kevin Sturrock. Above Our Tampines Hub (OTH), the world’s largest Public-Private Partnership, is an integrated community, sports and lifestyle development that houses a wide range of facilities for arts, culture, civic, commercial, sports and community activites, and was designed through a participatory design process with the residents of the Tampines district of Singapore.
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transformative power of design, Chan’s greater
international market, such as in China with projects
learning and design thinking, cultivating a spirit of
completed Hongqiao Plot 8 Business Park,” Chan
As such, a culture of mentorship and collaboration
The One Global Studio network, an international
collaboration took place between DP and external
overseas offices, effectively expanding the firm’s
within the industry,” Chan continued.
Effectively embedded within its unique context,
led to the amassing of talents across a spectrum of
time and to tailor to the immediate needs of each of
companies today, which have helped in growing the
network and pool of shared resources that operate
world.”
Such an interconnected approach across its
growing its knowledge and expertise in various
consistent design approach and philosophy in its
Despite such a broad scope of expertise though, is
by a deep concern for the built environment and
“If we really had to narrow it down, it would be
enriches the human spirit and experience.
Chan. “It taps into the Mixed Development, Urban
Design is a sum of parts and DP makes it a point
typologies to capitalise on the creative mixing of
stage and assess them with a key design tool we call
that create greater social cohesion.”
“The APD wheel looks beyond architectural
Hub (OTH), the world’s largest Public-Private
environmental responsiveness and people-
2017. An integrated community, sports and lifestyle
able to realise greater design consistency and
for arts, culture, civic, commercial, sports and
collaboration among disciplines.”
participatory design process with the residents of
many disciplines is its people-oriented approach.
“We’ve also exported our design methodology
serious traction of late, and this human-centric
aspiration as a designer is to nurture a culture of
like the Foshan Arena Centre and the recently
exploration and invention within the practice.
added.
was inculcated within the firm. “In the early years,
initiative established by DPA, connects its seventeen
consultants, fellow experts and related specialists
global reach from Shanghai to London.
“Now, 51 years on, this spirit of collaboration has
each office allows DP to garner information in real
related fields, leading to the DP Architects group of
its clients, while utilising a comprehensive support
firm into the eighth largest architectural firm in the
across geographical boundaries.
Alongside its eight specialist arms, DPA has been
global operations has allowed DP to implement a
typologies, with ten key typology research groups.
work, as Chan explained: “DP’s designs are guided
there an area that DPA feels that it specialises in?
the need to create architecture of excellence that
our ‘Hub Ecology’, which is pioneered by DP,” said
“This is spearheaded by the ‘designFIRST’ ethos.
Planning and Sports, Community & Recreation
to carefully deliberate every design aspect at every
programmes in the development of town centres
the Attributes of Purposeful Design (APD) wheel.
A key example of this can be found in Our Tampines
aesthetics to consider a project design’s economics,
Partnership (PPP) project, which was completed in
centricity. By thus assessing our designs, DP is
development, OTH houses a wide range of facilities
quality among teams, raise awareness and increase
community activities, and was designed through a
A key facet of this design consistency among DP’s
the Tampines district in Singapore.
The notion of ‘Human Centric Lighting’ has gained
overseas via our One Global Studio network into the
notion is one that DP tries to implement across the
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interview
board.
that are in keeping with their cultural background,
essence is what drives DP’s design and aesthetics,”
51-year tenure, is The Dubai Mall. A site spanning
consistently integrates the spirit of the space and
Mall is the largest indoor mall in the world, and
responsive but also culturally relevant.”
largest indoor aquarium, an all-weather shopping
“People form the crux of architecture, and this in
Chan explained. “No matter the project’s origin, DP its people to create designs that are not only climate An example of this approach can be found in the
façade design of the Esplanade – Theatres on the
perhaps the standout project for the firm, across its more than 550,000sqm across four levels, the Dubai alongside 1,200 shops, it also houses the world’s
grove, an indoor adventure park and an Olympicsized ice skating rink.
Bay, a performing arts centre near the mouth of the
“The Dubai Mall has had a profound and lasting
monsoon, the cultural and performing arts building
complexity of the project alone was a challenge we
frames fitted with triangular glass and a system
truly push our design boundaries. The experience
Singapore River. Responding to the tropical heat and adopts a unique façade of lightweight, curved space-
impact for DPA,” Chan said. “The sheer scale and
were excited about, and it was the project that would
of champagne-coloured sunshades that optimise
and knowledge that we gained from the project was
panoramic views.
“Upon completion, it was the project that truly put
trade-off between solar shading and outward
The result provides a filtered natural light and a dramatic transformation of shadow and texture
absolutely invaluable.
DPA on the global map, and paved the way for other project works in the Middle East. It was a testimony
throughout the day. At night, it glows back onto the
of our design and project management capabilities,
“This façade, which resembles the thorny outset
opened doors of opportunity for us in the Middle
city, like a series of lanterns by the bay.
of a locally beloved Southeast Asian fruit, has
since resonated with the local community,” Chan
continued. “Endearingly nicknamed ‘The Durian’,
the design has evoked a sense of local identity while promoting international recognition.”
However, while The Esplanade is a remarkable
project, showcasing DP’s ambition to create projects
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and it endorsed us as a Singapore brand, which then East, China, Indonesia, Malaysia and the Turkey & CIS region.”
Alongside the Dubai Mall, Chan also cited projects
such as the Golden Mile Complex and People’s Park Complex in Singapore. “They were the prototypes
of the mixed development typologies you see today; and they were the first post-colonial architectures
Above Left Angelene Chan, CEO of DP Architects and its group of companies. Top Right The Dubai Mall, considered by Chan to be the standout project for DPA, is the largest indoor mall in the world, spanning more than 550,000sqm across four levels. The project’s sheer scale and complexity pushed the firm’s desin boundaries, and paved the way for more projects in the Middle East. Above Right The Golden Mile Complex was one of the first projects completed by DPA, and served as a prototype for the mixed development typologies that the firm implements today.
“The intention is always to emote architectural schemes by creating mood with lighting and to express identity by elevating design eccentricities.� Kevin Sturrock, DP Lighting
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INTERVIEW
www.arc-magazine.com
055
interview
Previous Page Rhizome House, created by DPL for Amsterdam Light Festival 2016, is a perfect marriage of light and structure, connecting with its audience because of, not due to, its lighting aesthetics. Above The DPL team (from L-R): Francis Lat, Designer; Donovan Tan, Technical BIM Officer; Michelle Tan, Assistant Designer; Christine Chan, Associate Director; Kevin Sturrock, Director; Victor Valera, Senior Designer; Doris Tan, Technical BIM Officer.
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born from the Metabolist movement that defined
lighting design and systems.
1970s.”
DPL’s approach applies to artistic and architectural
typologies and areas of specialism, DP established
civic spaces, roadways and bridges – which blends
Sturrock, a lighting designer with more than 30
structural, mechanical and electrical engineering
illumination design, the initial aim of DPL was
Despite its relatively short tenure, DPL has already
services” to DP clients.
building an impressive portfolio of projects in
Principal Design Director at independent lighting
wholeheartedly embraced by both our DPA clients
in 2001 and iLAB Singapore in 2007. Following a
across our One Global Studio network,” enthused
proposed integrating and absorbing iLAB into the DP
“To the extent that DPL is essentially working
Now, in his role as Director of DPL, Sturrock is
Turkey, Uzbekistan and back into the APAC region
company, from establishing its lighting design
China, Australia and of course, Singapore.
each project to managing the finances.
continues to work with clients carried over from
particularly evident within DPL and its synergy with
office projects and high-end luxury apartments and
with atmospheric design in lighting and visual
Amongst these projects is the Huafa Commercial
“The collaborative intention is always to emote
stunning LED media canopy and façade. Working
lighting and to express identity by elevating design
consultants for the entire 800,000sqm mixed-use
In order to achieve this, DPL brings its inherent
DPL also provided wayfinding and signage design
construction processes, diverse project experience
entire site and the largest water-media-screen and
the newly independent Singapore back in the early
Broadly known as ‘sensitive lighting design’,
To complement and augment the firm’s expanding
form, as well as urban infrastructure – including
DP Lighting (DPL) in 2016. Formed by Kevin
architectural concept with the pragmatics of
years experience in architectural lighting and
design.
to “offer a truly multi-disciplinary set of design
firmly established itself within the DP family,
Prior to forming DPL, Sturrock co-founded and was
the process. “DPL has been enthusiastically and
design consultancy iLAB, setting up iLAB Sydney
and also within the DP family culture from day one
meeting with DPA’s then-CEO Francis Lee, Sturrock
Sturrock.
family.
on DPA projects from London to the Middle East,
responsible for the day-to-day operation of the
with projects in Vietnam, Indonesia, Malaysia,
philosophy and directing the design strategies for
“As well as working primarily on DPA projects, DPL
The collaborative nature of the DP group is
the iLAB days on transport projects, commercial
DPA, combining purposeful design in architecture
residences,” Sturrock continued.
planning.
Plaza in Zhuhai, China, in which DPL created a
architectural schemes by creating mood with
alongside HOK architects as specialist lighting
eccentricities,” explained Sturrock.
development, including retail space, a hotel and spa,
understanding of the wider architectural and
strategies, as well as associated branding for the
across various typologies, and vast knowledge in
musical fountain installation in Mainland China.
Futon Acoustic luminaire
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INTERVIEW
“DP’s designs are guided by the need to create architecture that enriches the human spirit and experience.” Angelene Chan, DP Architects
Similarly, DPL collaborated with design architects
part of the Illuminade and Watercolour routes,
Makati in the Philippines. As well as designing the
and structure, speaking to and connecting with its
his team created a dynamic lighting scheme for the
aesthetics.
“Envisioned as a prominent retail destination,
the structure was inspired by the interconnected
entertainment needs of its high-end clientele,”
ultimate goal was to allow for the rhizomes, or root
with its bold linear accents and gloss envelop, is
way, where its perceived boundaries encourage
“With this in mind, we incorporated dynamic
continued.
retail development to the external lighting of
was essential that materiality and light come
Century City Mall to join the wider urbanscape
end product was a light installation containing
commercial establishment.”
weather-resistant, translucent high-density
throughout, giving the light both aesthetic and
root structures that grow, branch and connect.”
exterior, this use of light creates a seamless
already completed and many more in the pipeline,
depth and brightening every space.
one of the major players in the lighting design
architectural sphere, it has had success in
the support of the DP family and its One Global
at Amsterdam Light Festival 2016, where DPL
www.dpa.com.sg
at Broadway Malyan on the Century City Mall in
Rhizome House was a perfect marriage of light
lighting for the interior public spaces, Sturrock and
audience because of, not merely due to, its lighting
exterior façade of the 30,000sqm site.
Constructed out of high-density polyethylene,
the mall is designed to meet the leisure and
systems found in natural organisms. “The
Sturrock explained. “In this context, the façade,
networks, to be displayed in a fun and interactive
designed to be trendy and sleek yet sophisticated.
curious users to enter the trap,” Sturrock
highlights to the exterior, effectively tying the
“In creating these ‘perceived boundaries’, it
the surrounding residential blocks. This allows
together in a playful and interactive manner. Our
of Makati while enabling it to stand out as a
brilliantly changing RGB LED light diodes and
Inside, the lighting design uses linear elements
polyethylene material parametrically shaped as
practical functions. By echoing the tone of the
With a number of successful high profile projects
identity for the mall, while creating a sense of
DPL has, in its brief tenure, already become
While DPL predominantly works in the
community of Singapore and Southeast Asia. With
creating works of light art also, most notably
Studio network, the rest of the world awaits.
worked with colleagues at DPA to create Rhizome
www.dplighting.com.sg
House. Displayed at the Hermitage Dock as
058 000
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Top Left The Esplanade - Theatres on the Bay performing arts centre in Singapore features a unique façade of lightweight, curved space-frames, fitted with triangular glass and a system of champagnecoloured sunshades that optimise the trade-off between solar shading and outward panoramic views. The project is a clear example of DPA’s people-centric designs and aesthetics, fitting into the firm’s ethos of creating designs that seamlessly integrate the spirit of the space they occupy. Top Right For the Huafa Commercial Plaza in Zhuhai, China, DPL created a stunning LED media canopy and façade. Alongside this, the firm also provided wayfinding and signage design strategies and associated branding for the entire site, alongside the largest water-media-screen and musical fountain installation in Mainland China. Above DPL incorporated a dynamic lighting scheme to the exterior of the Century City Mall in Makati in the Philippines, effectively tying the retail development to the external lighting of the surrounding residential blocks, allowing the Mall to join the wider urbanscape of Makati, while enabling it to stand out as a commercial establishment.
C75-P Scan to read more about C75-P
Floating Light Please refer to our website for information about our 5 year warranty.
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PROJECT
Gateway to Dreams The Morpheus Hotel is one of the most recent striking addition to Zaha Hadid Architect’s portfolio of outstanding buildings. Situated in the heart of the City of Dreams, Macau, the hotel has quickly become the most eyecatching building on the city’s horizon.
PROJECT DETAILS The Morpheus Hotel, Macau, China Client: Melco Resorts Architect: Zaha Hadid Architects, UK Lighting Design: Isometrix, Hong Kong Lighting Supply/Installation: Creative Lighting Asia (CLA), Macau Photography: Virgile Simon Bertrand, Ivan Dupont & Christy Jimenez
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PROJECT
C
ommissioned by Melco Resorts, Zaha
circulation cores, or secondary towers, horizontally
with the challenge of creating a hotel
accommodation was required.
Hadid Architects (ZHA) was tasked
space that would stand out from the
crowd and dominate the landscape as an
architectural spectacle. Now completed, the Morpheus Hotel is set to become an iconic landmark on the city’s horizon.
The gateway building consists of two towers
blended together with internal voids through its
centre to create an urban window connecting the
hotel’s interior communal spaces with the outside city.
Planning began in 2012 when ZHA was initially
brought on board to rescue the site of a previously failed project. Foundations for this project were already laid, but access was restricted due to a
number of limitations; three sides of the site were enclosed by construction, a high-rise resort hotel was already standing to the west and a six-lane
highway to the north. Viviana Muscettola, ZHA’s
project manager, explained their design approach: “Vertical extrusion seemed logical as it addressed the two constraint sets: the restricted footprint
and the dense, varied programme. This strategy
also allowed Morpheus to be designed as a single
tower, but one that contained two internal vertical
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connected at podium or roof level, where dense
“This generated a simple block, maximising the development envelope with radius edges. The
block was then gouged with voids forming vortical urban windows, first one, then two and finally
three heterogeneous loops. This gives Morpheus its unique form. Along with the distinctive
aesthetic of the voids and the exciting internal
spaces, this form also provided more corner rooms, which faced the central voids and had very special views of the atrium space with the potential to maximise yield.”
Inspiration for the unique form of the Morpheus
Hotel originated through China’s rich traditions of jade carving. The exoskeleton was designed as a
sculptural element to the building and gives it its characterising feature.
Muscettola described the influences in ZHA’s
portfolio further: “ZHA has often explored the
logic and coherence in nature’s systems when we
are working to create environments. This research
also includes geological formations that have been carved and eroded by the elements – evident in
many of our previously completed projects such as the ‘canyons’ of the Galaxy Soho campus in
Previous Page The Morpheus is meticulously illuminated via integrated lighting supplied by CLA using fixtures from Lumascape. The custom designed luminaires are fitted delicately into the framework of the exoskeleton creating different levels and textures to bring the form to life during the evening hours. The up-lit palm trees and swimming pool lighting by Wibre add to the overall exotic impact the building has on Macau’s landscape. Above The intricate, diamondlike arhitectural wall textures are illuminated by Isometrix’s design using fixtures by iGuzzini, XAL and LightGraphix. This elevator atrium acts as a sculpture and piece of artwork in itself and the openness of the room allows all visitors and residents to capture the spectacle when moving throughout the building.
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PROJECT
Beijing. Traditional jade carving is a man-
rise exoskeleton,” she continued.
previous projects.” He continued to describe
processes; working with each stone’s unique
geometry and irregular exoskeleton, the
team had to factor in when designing a
forms.
their many required interconnections was a
many free-form structures and integrating
traditional Chinese architecture and arts,
added by Morpheus’ 40-storey height that
that could also be adjustable to uplight the
made extension of these natural erosion
composition to create intricately carved fluid “Zaha Hadid originally began studying including jade carving, when she first
travelled to China in 1981. This ongoing
“The complexity of Morpheus’ free-form sheer quantity of construction elements and challenge. Further layers of complexity were had to comply with Macau’s building
restrictions of 160-metres in height, its
the key architectural considerations their
scheme for Morpheus: “The exoskeleton has small, discrete and powerful light fixtures morphing shapes within each bay was the main challenge. This involved multiple
research continually informed her creative
complex programme of many different
calculations, studies and mock-ups to
design.”
location of all the different teams in the UK,
angles.
by ZHA as a solution to increasing the
collaborate seamlessly to ensure the
made to fit into the façade details with
thinking, particularly for the Morpheus
The exoskeleton is a unique concept devised
functions, the tight schedule and worldwide USA, China and Southeast Asia that had to
develop fixtures with the appropriate beam “All of the exterior light fixtures are custom
internal space for the hotel. It also provided
project’s success,” explained Muscettola.
minimal visual impact when seen during the
Isometrix, the project’s lead lighting
design firm Isometrix in Hong Kong and
Isometrix was first informed of the
an intricate and challenging canvas for
designer, to incorporate lighting fixtures.
“Exoskeletons are the structures of buildings
The client, Melco, approached lighting
Arnold Chan, Principal Director of the Hong
Kong and UK offices, for consultancy on both
day,” he added.
uniqueness and complexity of the building, along with the views and opinions of the
placed outside their external envelope.
the interior and exterior of the building.
client, through ZHA’s first design brief. Ng
frees its internal spaces from supporting
Hong Kong, explained: “They needed a firm
requirments further: “Our challenge was to
Locating a building’s structure externally walls and columns – creating larger areas for use by visitors and enabling these spaces to be much more adaptable. Low-rise free-
form exoskeletons exist elsewhere, as do high-rise exoskeletons that follow strict
orthogonal grids. But, our research did not find any precedents for a free-form high-
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Nelson Ng, Design Director at Isometrix
that could understand the aesthetics of ZHA as well as knowledge and understanding of
the local culture and prerequisites of running a hotel and casino complex in Macau.
Isometrix has studios in both London and Hong Kong and has had very successful
collaborations with the ZHA and Melco on
explained the balance of design and client develop and create a design that balanced
the wishes of the architect, to incorporate
light fixtures discreetly and emphasise the
forms architecturally, all whilst ensuring the hotel visually stands out from the
surrounding buildings, all in line with the client’s aspirations.”
PROJECT
Previous Page The exoskeleton forms an extreme ceiling pattern and interesting focal point inside the lounge area. This Page The striking exoskeleton exterior is illuminated by custommade fixtures by Lumascape that stand out dramatically next to neighbouring casino and hotel buildings, ensuring the Morpheus takes centre stage. Far Right The internal lobby of the hotel welcomes guests into a futuristic and chic reception area, fitted with pure white, modern furnishings from Vondom.
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During the installation process, the team
“After numerous sample submittals and
all of its aesthetic, structural and
with limited space within the cladding. It
installation contract, using two fully bespoke
create a building with such complexity as the
and consistently in its entirety.
incorporating the PowerSync proprietary
With such an impressive external façade, it
relationship with ZHA and how easy it was to
RGBW horizontal narrow beam product,
same standards of impact and design quality.
on a number of projects dating back to Vitra
façade section. The second was a 100-watt
available space and allowed for a huge
Member Club, Roca London Gallery, The
spaces within the central core of the
many varying requirements of the
scheme for the Chengdu Contemporary Art
Ng elaborated: “Working as part of an
hotel create an “urban window that links the
“We were free to come up with ideas and
who helped and supported us on resolving
city,” Muscettola commented, with
tuned and refined after a detailed process of
and felt no pressure throughout the duration
“Three horizontal vortices generate the
project consultants, as well as considering
A recent development in technology allowed
hotel’s dramatic internal public spaces;
Isometrix turned to Creative Lighting Asia
work from a single digital 3D model that
spectacular views of both the atrium and the
Paul Rees, of CLA, described their
building. The design could be manipulated
number of hotel rooms with external views
the façade lighting, CLA took a design brief
around the world, which were then instantly
on either side of the building. In between the
Lumascape Lighting from Brisbane,
highly automated procedure and available
series of bridges create unique spaces for the
that needed to take in both the output and
Muscettola regarded the new technology as
by renowned chefs including Alain Ducasse
structure, but also with the flexibility of
we build in the future. The technologies that
elevators provide guests with remarkable
space allowances within the exoskeleton.
digital 3D model of the hotel that combined
they travel between the voids of the
was up against difficult conditions along
mock-ups, CLA was awarded the supply and
construction information enabled us to
was important for the façade to be lit evenly
luminaires from Lumascape, both
Morpheus”.
Ng explained Isometrix’s working
technology. One fitting was a nine-watt
was important the interior continued the
work as a team: “We have worked together
designed to uplight the underside of each
The unique exoskeleton optimised the
Fire Station and Home House Private
RGBW floodlight to uplight the external
amount of adaptability to accommodate the
Serpentine Sackler Gallery and developed a
building,” he added.
prestigious venue. The internal voids of the
Centre.
experienced and skilled team of consultants
hotel’s interior communal spaces with the
options, with the final scheme being finely
any lighting issues meant we were confident
reference to the internal design.
discussion and collaboration with the other
of the project.”
voids through the building and define the
budget constraints.”
all the design and construction teams to
creating unique corner suites with
(CLA) to aid in their fixtures for the façade.
contained information from every part of the
city. This arrangement maximises the
introduction to the project: “With respect to
and altered by any member of the teams
and guarantees an equal room distribution
drawn up by Isometrix and approached
re-calibrated, analysed and checked by a
free-form voids that traverse the atrium, a
Australia, to work on two custom solutions
for any member of the teams to work from.
hotel’s restaurants, bars and guest lounges
beam angles required for such an organic
something that will “radically change how
and Pierre Hermé. The atrium’s twelve glass
design to allow them to fit into the very tight
allowed us to create such a comprehensive
views of the hotel’s interior and exterior as
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PROJECT
Above Landscape view of the Morpheus Hotel reaffirms the impact it has on the cityscape’s horizon. In keeping with the modern style of surrounding buildings, the exoskeleton gives the Morpheus that extra wow factor that dominates over its neighbours. Left The internal lounge area boasts decadent furnishings to match the elegant lighting scheme designed in collaboration between Zaha Hadid Architects and Isometrix. This area is one of those that allowed for artistic creativity from the design team, which gave them the freedom to create their desired final look.
building,” she added.
programmed like a changing landscape for
and Isometrix had full artistic control. As
Outside, Wibre underwater LEDs are used to
The atria were particular areas where ZHA Muscettola reflected: “There is an inevitable logic to this holistic conformation in the
upper atrium spaces, which are enclosed by
free-form exoskeleton, macro-windows and faceted windows. But in the lower atrium
lighting specified eSavelite Floodlight eSavelite LED strip iGuzzini Laser Blade Series Unilux Spotlight Ivela 1146 Spotlight LightGraphix LD56T-700 Series Uplight Lumascape Custom 9W RGBW IP67 Uplight Lumascape Custom 100W RGBW IP67 Floodlight Lumascape LSLED-110-8W-RGBW-LH Uplight Lumascape LSLED-120-80W Floodlight Lumascape PowerSync Custom Driver & Power Supply Enclosures Lumascape Quadralux Q6 & Q8 Series Floodlights Wibre 4.0171.20.02 Underwater LED XAL BO 55 Basic Series Track Spot
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areas, the three dimensional logic of the
exoskeleton and macro-windows is forcibly extended and scaled down, most visibly in
the design of the ground floor Pierre Hermé Lounge Bar’s pavilion.”
Working closely with Isometrix in these
areas, ZHA and the team created theatrical
qualities and projected high level concealed floodlights onto its faceted wall panels.
Using the Laser Blade series of linear down lights by iGuzzini, track mounted spots by
XAL and mini floor uplights by LightGraphix; the team achieved their dramatic and
sophisticated lighting scheme in the internal spaces. Light boxes were created to follow
the unique shapes and forms of the atrium
wall design. Individual DMX control-dimmed channels are fitted to each light box allowing the whole atmosphere of the atrium to be
different times of the day.
illuminate the swimming pool, adding a
further exotic atmosphere to the building and its surroundings.
Tony Ryan, Project Director at CLA,
commented: “The complexity of this structure, from both a lit effect and
installation point of view were what made
this project a huge challenge. But working with the design teams of both ZHA and Isometrix, we were able to pull off an
amazing project and one that is truly a
stunning addition to the Macau skyline.”
Muscettola reflected on the relationship ZHA had with the client during the construction: “In Morpheus, Melco have established an entirely new brand within their portfolio
that they plan to continue in other locations in Asia. From the very beginning, Melco shared ZHA’s vision of creating new
experiences that offer visitors a journey of the imagination.”
www.zaha-hadid.com www.isometrix.co.uk www.cla.asia
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PROJECT DETAILS The Macallan Distillery, Speyside, Scotland Client: The Edrington Company Lighting Design: Speirs + Major, UK Architect: Rogers Stirk Harbour + Partners, UK Exhibition Design: Atelier BrĂźckner, Germany Dynamic Lighting: Jason Bruges Studio, UK Electrical Engineering: Arup, UK Photography: Magnum Photos, Speirs + Major
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PROJECT
Revealing the Mystery Set in the picturesque Speyside countryside, the Macallan Distillery is a testament to the beauty of the Scottish landscape. Thanks in part to a dynamic lighting scheme from Speirs + Major, the distillery now has a production facility and visitor experience to match.
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peyside, in the North East of Scotland,
the production process at once. These cells are
beautiful scenery and high quality
undulating timber ceiling, while from the exterior,
is known the world over for its
whiskies, with a number of distilleries
in the region.
One such distillery, The Macallan, has recently opened a new production facility and visitor
experience, on the stunning Easter Elchies estate, the historic location where they have been distilling single malt whisky since 1824.
Designed by architects Rogers Stirk Harbour +
Partners (RSHP), with lighting design by Speirs +
Major, the new building is nestled seamlessly into the beautiful surrounding countryside, blending into the landscape while offering visitors the
opportunity to immerse themselves in the intricate processes that go into making the world-renowned whisky.
The new distillery features a series of production
‘cells’ arranged in a linear format, with an open-
plan layout that enables a view of all the stages of
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reflected from above in the form of the gently
the site’s roof appears as grass-covered peaks that rise and fall within the estate grounds, signalling to approaching visitors the activities housed
below. Set into the naturally sloping contours of the site, the design makes direct reference to ancient Scottish earthworks.
Speirs + Major collaborated closely with the client, Edrington, and RSHP to use light to shape an
atmospheric experience of the site and the new building, working also with Atelier Brückner to
integrate light into the experience of each of the displays in the exhibition and gallery area.
“The lighting has a profound influence on the experience of the site and the new distillery,”
explained Mark Major, Principal of Speirs + Major. “The site itself is characterised by its beauty – the
rolling hills, long summer nights, and the purity of the water.
PROJECT
“Our lighting design draws from these dynamic
sense of wonder in the alchemy within the pipes
that transforms perceptions of scale and space,
The varying qualities of light and the pay of light
qualities, crafting a balance of light and darkness building a sense of revelation – of both the
architecture and the whisky making process – into the visitor journey.”
“From the client’s perspective, the brief was for
the building to be the best distillery experience in the world,” added Clementine Fletcher-Smith, Associate Partner at Speirs + Major. “RSHP
wanted the lighting to be fully integrated into the project, to help to express the relationship
between the architecture, the landscape, the historical Easter Elchies house (the spiritual home of the Macallan) and the whisky.
“From the dramatic first glimpse of the
illuminated undulating roofline and the mirrored
reflection of trees and path lights, to the carefully orchestrated layering and depth within the
interior, light is designed to celebrate the scale and form of the architecture, while evoking a
and distilling equipment.”
on different materials reflects the tonal qualities found in the landscape and the whisky. A
sweeping brand wall made of hundreds of
illuminated and controlled bottles of whisky
forms an animated tapestry of light, glass and liquid, marking an impressive entrance to the visitor experience.
Behind this, the glass cabinets of the ‘Jewel Box’ are set against black polished surfaces, each
individually controlled to highlight some of the most precious bottles and collaborations from the Macallan range.
Previous Page The ‘Cave Privée’, a unique circular whisky store that closes the visitor experience, features a dynamic light show created by Jason Bruges. Far Left The central bar features recessed LED lights, creating a soft glow and quiet shadows where visitors can enjoy a sample of Macallan whisky. Top Left Speirs + Major’s lighting scheme is illuminated entirely by LEDs, with fixtures from the likes of Mike Stoane Lighting, acdc, LED Linear, Alto and Thorn used throughout. Top Right The open plan layout of the distillery reveals all stages of the production process at once in a series of production ‘cells’, reflected above the building in the form of its gently undulating timber roof. Above Left The exhibition and gallery area, designed by Atelier Brückner, enables visitors to immerse themselves in the various flavours of the different Macallan ranges. Above Right The Cave Privée uses programmable dynamic light, combining with black polished surfaces to create stunning kaleidoscopic effects.
Looking through to the production area, coloured light provides visual cues that help to tell the
story of the whisky, with a cool blue used for the stainless steel cold process equipment, and
amber red hues for the hot copper stills. The
peaks within the timber roof glow softly with
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PROJECT
Speirs + Major used different qualities and tones of light throughout the distillery to evoke the local landscape, and allude to the breadth of tasting notes that characterise Macallan whiskys, with amber red lighting for the copper stills (as shown above), and a cool, blue light for the stainless steel cold process equipment (seen below).
warm white light, echoing the heat from below and accentuating the form.
Exhibits are arranged in a special area, and form a part of the tour. From backlit text, to shafts of ‘sunlight’ appearing through
timber shutters, to an illuminated floating drop of liquid, the
lighting is meticulously crafted to that in each case light becomes an integral part of the display.
Lighting control was a key aspect for the designers from Speirs + Major, both in terms of enhancing the sense of revelation they
sought, and also in supporting the telling of the whisky making story. A dynamic lighting scheme offers two modes, the first of which is an automated set of scenes for the lighting in the
production area, designed to sequence throughout the day, creating a dramatic backdrop for the visitor centre bar.
The second is a theatrical control system that supports the
distillery in running visitor tours of the plant, lead by a guide, who uses a tablet computer to cue various programmed scenes.
At the beginning of each tour, the interior is either solely day-lit,
encouraging visitors to look out to the landscaping outside, or if it is dark, light is restricted to the interior route lighting to create a sense of suspense while walking the full length of an otherwise
dark process unit. As the tour commences, the wash backs are lit up, followed by the stills, gradually building the story. Scenes range from a strong focus on a single entity through to a full revelation of the space.
This journey culminates in the ‘Cave Privée’, a unique circular
whisky store, where programmable dynamic light combines with black polished surfaces to create stunning, immersive
kaleidoscopic effects. In this area, the day-to-day architectural lighting was designed by Speirs + Major, along with numerous event lighting scenes, while the dynamic light show that completes the tour was created by Jason Bruges.
In parallel to creating this highly engaging and experiential
lighting scheme, there was an equally pressing requirement of the brief; to provide lighting suitable for the technical demands of
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“Light is designed to celebrate the scale and form of the architecture, while evoking a sense of wonder in the alchemy within the pipes and distilling equipment� Clementine Fletcher-Smith, Speirs + Major
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PROJECT
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PROJECT
Previous Page In order to keep lighting equipment off the underside of the roof Speirs + Major worked with the architects to develop special columns that coordinate with various pipes and flues, on which the luminaires could be fixed, allowing the ceiling to remain free of any fixtures. Above Located in the lush Scottish countryside, the Macallan Distillery is housed under an undulating living roof, nestled seamlessly into the Speyside landscape. Left As the site is also a working distillery, Speirs + Major had to balance its theatrical lighting scheme with the technical lighting needed for the distillery.
lighting a fully operational distillery.
the world.
provided for the building to successfully operate as a
with RSHP to find the right balance between
“We had to ensure that good quality working light was working production facility,” explained Fletcher-
Smith. “The challenge was to do this in such a way that we could still support an unforgettable visitor experience.
“Alongside the dynamic lighting, there is a layer of
robust functional lighting that allows the production team to do their jobs. By zoning and using lighting control, we made it possible to carefully direct the
operational light to only the required specific areas at a given time, so that the rest of the distillery was free to be lit in a dramatic manner when required.” Extensive investigations were also carried out
regarding the role of daylighting within the building, helping the design team to determine the level of
impact that they could create using artificial light when natural light is present, as well as when
conditions are dark outside – the timing of which
varies dramatically throughout the year in this part of
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“We studied different skylight and glazing options preserving the views and connection to the landscape
and benefitting from the natural light when available, whilst also ensuring that we could create the desired effects,” Fletcher-Smith continued.
Speirs + Major has a long history of working with
architects at RSHP, collaborating on projects as varied as the Millennium Dome and Terminal 5 at Heathrow Airport in London, and the Barangaroo South
Masterplan in Sydney, Australia, alongside the new extension to Geneva Airport, a project that is still ongoing.
“RSHP was very keen to keep all lighting equipment off the underside of the roof for both aesthetic and
maintenance reasons,” Fletcher-Smith explained. “Their concept was for the soffit to appear to float above the ‘landscape’ of the distillery below.
“Throughout the process areas, we worked around
this by developing special columns that coordinate
Arc-AugSept18_Precisionlighting.indd 1
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PROJECT
Above A sweeping brand wall, comprised of hundreds of bottles, has been backlit to create a vibrant tapestry of light, glass and liquid that glows against dark backgrounds.
lighting specified acdc Eclipse acdc Plaza 35 acdc Plaza 10 Alto 0-Series 03 Pinhole Alto 0-Series 04 Downlight Alto 0-Series 04 Wallwasher Ares Kamino Ares Vincenza Bega Garden and Pathway Luminaire Bega LED Bollard DAL Lightline LED 60 Pendant Dialight Europe SafeSite Stainless Steel LED Linear Luminaire ETC Colorsource CE Spot ETC Colorsource Par ETC Mosaic ETC Paradigm Flos Round Light Small Hoffmeister Control.X Hoffmeister Gino LED Linear VarioLED HYDRA HD10 Lucent Pinhole Edge Accent Lumino Vector V36I Mike Stoane Lighting Bay Type X Mike Stoane Lighting Mole Type X Mike Stoane Lighting STX 2.70 Mike Stoane Lighting Toad X Petrel 6 Series Philips Color Kinetics ColorGraze MX4 Powercore Philips Lighting Coreline Highbay Philips Lighting GentleSpace gen2 Reggiani Cells Opal Thorn Aquaforce II LED Thorn Areaflood Thorn Orus LED Stirrup Mount We-ef ETC330-GB LED Wila Puck
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with various pipes and flues, on which the
lighting when required.”
and exhibition areas it was agreed that lighting
commitment to quality while embracing
long as they were carefully coordinated with the
draws on this dialectic, generating a strong
Another important consideration for the lighting
surfaces, textures and space.
within an ATEX-rated environment (a site with a
passion for creating something really special
proximity to extremely hot equipment.
reveal the narrative of their product, as well as
lighting equipment Speirs + Major could
the lighting to become an inherent part of the
process contractors to review and refine the
Mark Major added: “This was a truly wonderful
significantly reducing the areas with the most
complex brief including consideration for
more flexibility in the luminaire specification.
theatrical storytelling, while also providing the
the likes of Mike Stoane Lighting, acdc, LED
production facility, without compromise to any
“The scheme is lit entirely by LEDs,” Fletcher-
“Fortunately we were blessed with a supportive
all of the dynamic light fittings – RGBW
and with highly collaborative design partners in
visitor level in the production area.
fully integrate the light into the design, so that
floodlights fitted with dichroic filters are used,
truly unprecedented, while meeting all the
luminaires to provide functional process
www.speirsandmajor.com
luminaires could be fixed. In the visitor’s centre
The Macallan brand combines tradition and a
could be fixed to the roof in limited positions, as
innovative technology. The lighting design
design.”
sense of narrative through the revelation of
design team was the restriction of working
Fletcher-Smith continued: “The Macallan’s
risk of explosions), particularly in such close
allowed us to explore how light could be used to
While the ATEX rating initially limited what
to enhance the architecture itself, has enabled
actually use, the team worked with the whisky
whisky experience.”
ATEX classifications within the process area,
project. It required our response to a highly
stringent restrictions, which in turn allowed for
history, architecture, brand experience and
As such, Speirs + Major utilised fixtures from
required functional light for a working
Linear, Alto and Thorn throughout the site.
of these aspects.
Smith confirmed. “In response to the zoning,
and imaginative client who was open to ideas,
spotlights – are located above the mezzanine/
RSHP and Atelier Brückner. This enabled us to
“Below the mezzanine, ATEX compliant LED
we could choreograph an experience that is
along with ATEX compliant industrial
other requirements of the brief.”
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Let There Be Light Designers at SmithGroup have renovated an old 1920s era warehouse into the beautiful Museum of the Bible, taking visitors on an ethereal journey of discovery to parallel one’s journey with the Bible itself.
PROJECT DETAILS Museum of the Bible, Washington D.C, USA Client: The Museum of the Bible Lighting Design: SmithGroup, USA Architect: SmithGroup, USA Interactive Media Design: Technomedia, Canada Glass Artist: Larry Kirkland, USA Photography: Alan Karchmer, Alex Fradkin
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I
n the heart of Washington D.C, a
brightness at the entry point, focusing on the
Capitol building, designers at
dock – as well as the glass addition on the roof.”
stone’s throw from the United States
entrance, which was the remnant of the loading
SmithGroup have renovated a 1920s
However, due to the site’s proximity to the Capitol
era warehouse, transforming it into the new
building, SmithGroup had to comply with the
The museum repurposes the 400,000sqft building
Principal at the firm, explained: “The site is a
ballroom, while a six-storey atrium and two-storey
literally falls into the last block of the jurisdictional
the original architectural structure.
independent federal agency charged with giving
alongside the lighting design, and the firm sought
matters of design and aesthetics, as they affect the
site, as well as the museum’s non-sectarian
nation’s capital. The Commission is composed of
traditional elements of the building’s façade, such
disciplines including art, architecture, landscape
transformed into the main entrance to the
for the project to have a lighting design that was
Careful to respect the heritage of the building,
“There’s a hierarchy of brightness within the
team looked to the concept of a palimpsest – the
Capitol, so the technical aspect, even on the arrival
structure while still retaining trace elements of the
meet that criteria.
Luke Renwick, Associate Lighting Designer at
to the architecture and reverent to the existing
adhered to this concept: “From a lighting
sensitive when it comes to this identity and impact
elements that remain or are resurrected, no pun
Because of this “hierarchy of brightness”, the
– things like the canopy and the hierarchy of
subtle, as Renwick described, serving to accent the
Museum of the Bible.
‘urban fabric’ of the city, as Rodrigo Manriquez,
with exhibition spaces, a theatre, restaurant and
couple of blocks from the Capitol building, and it
glass roof addition bring a new, modern element to
review of the Commission of Fine Art, an
SmithGroup was responsible for the architecture,
expert advice within the District of Columbia on
to reflect the unusual architectural heritage of the
federal interest and preserve the dignity of the
educational mission, by highlighting some of the
seven presidentially appointed experts in relevant
as the original warehouse loading dock, which was
architecture and urban design. It was a challenge
building.
sensitive to all things considered.
while still creating something new, the design
district that nothing can be brighter than the
idea of adding something new to an existing
sequence of the building, had to be balanced to
original features.
“Because of that it turns out to be more respectful
SmithGroup, explained how the lighting design
components, while the new additions are also very
standpoint, we tried to grab hold of accenting
to the urban fabric.”
intended, from the industrial age with lighting
lighting for the external façade remained fairly
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Previous Page The Museum of the Bible is situated in a renovated 1920s era warehouse, and SmithGroup wanted to create an external lighting solution that honoured the heritage of the site. Top Left The restaurant space channels Middle Eastern structures in its design, calling to mind an outdoor souk market with its use of dark wood and a drooped fabric ceiling. Backed with tunable white Ribbonlyte LED tape lighting from Acolyte, the ceiling is intended to create an open-air feeling in the space, despite its enclosed nature. Above Left The Tabernacle theatre features undulating walls, behind which cove lighting from Traxon recreates the feeling of natural light creeping into a tent. Above Right As visitors enter the museum, they are greeted by a large art glass installation, developed by Larry Kirkland, that is sandblasted with an imprint of Psalm 19 in Greek. This installation is illuminated by Lumenpulse Lumenfacade inground and graze fixtures, along with Philips Color Kinetics eW Reach Compact flood lights.
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PROJECT
Above The entrance to the museum, repurposing the original warehouse loading dock, features two 42-foot bronze panels, representing the Gutenberg printing press. These panels are highlighted with Bega ingrade fixtures, providing texture to the Latin typeface imprinted on each panel.
architectural elements of the building,
Reach Compact flood lights “activate” the
mounted either side of the new entrance at the
Inside, the firm designed an experiential
“The panels represent the Gutenberg Printing
visitors on a journey of individual discovery.
Renwick continued. “We used Bega linear
curiosity, the lighting quality is intended to
including the huge, 42-foot bronze panels old loading dock.
Press, and include Genesis in Latin type face,” ingrades to highlight the entry point and
provide texture to the typeface. The housings
By encouraging movement, reflection and spark a transcendental guest journey that
parallels one’s personal journey with the Bible itself – sometimes subtle and ethereal, and
Just inside the main entrance portal is a large
Although SmithGroup was not involved in the
Kirkland, this component is comprised of a
team wanted to extend the experience of the
art glass installation. Developed by artist Larry
other times very explicit.
design of the exhibitions themselves, the
four-layer sandwich of glass, with the
exhibits into the rest of the site, ensuring a
Psalm 19 in Greek – a replication of a biblical
adding to the experiential nature of the
backside sandblasted to create an imprint of
codex exhibited within the museum. This deep sandblasting has been sandwiched with a film
consistency in the conceptual integrity and museum.
“If you go to a museum, you enter a pavilion or
in the glass, giving a rich golden brown image,
an exhibit area and you’re immersed in that
translations of the Psalm engraved into it.
controlled, it’s theatrical in its nature, but as
while the front side features sixteen different The number of layers, Renwick explained, serves to draw out the engravings, the
translations and the rich texture and colour of the installation, while the dynamic dimming of Lumenpulse’s Lumenfacade inground and
graze fixtures, and Philips Color Kinetics’ eW
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lighting solution that uses light to guide
had to be fairly small to fit into the structural footing detailing.”
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glass for visitors as they enter the museum.
experience,” said Manriquez. “It’s very
soon as you leave that exhibit, you go into a neutral, what we call a negative space or transitional space.
“Our challenge was to take all that negative space and fill it with something that is
interesting, without breaking away from the
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“The reflective contrast allows visitors to engage with the feature element on a personal level – fostering the interaction of the person and the museum, the person and the Bible.” Luke Renwick, SmithGroup
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PROJECT
overall experience, framing it in a way that you
difficult for SmithGroup.
time to pause, regroup and reorient yourself within
light fixture was going to be,” said Renwick. “We
A key example of this can be found in the building’s
entire space, but we felt like there were so many
clad in Jerusalem stone framing a dramatic digital
could be visually overwhelming if we didn’t balance
designers at Technomedia. This breath-taking space
“We wanted the ceiling to remain prominent, yet
museum experience as they enter, as Renwick
simply be seen from thirty feet above them, but
you can blur the lines between museum public space
That’s where the floor finish, of all things, comes
“We have the digital ceiling, that’s changing out
The idea for a ultra-reflective floor surface was
human level we focused on the columns and the
concept of lightness building from the lobby up to
the experience.”
visitors up the staircase to the exhibit floors and
of the columns, not only to ground them
“We had this idea for the floor tiles to transition
pedestrian scale in this otherwise grand space.
further and said what about the finish?” said
columns in light, creating a subtle, rhythmic
element, so if we made the floor a high polished
you down the volume of the space.”
reflective contrast allows a visitor to look down and
source of light in the lobby comes from the ceiling
– fostering the interaction of the person and the
side of the installation and the highly polished floor.
relating one’s external physical experience to what
lobby, factoring it into their designs initially proved
internally.”
never left the experience, but you give yourself some
“At first we didn’t know what this essentially giant
the building.”
knew that it would likely be able to illuminate the
main lobby. The long corridor an avenue of columns
interesting elements to the space, that the screen
ceiling installation, created by interactive media
it out with other accentuated features.
serves to immediately immerse visitors into the
give people the ability to interact with it – not to
explained: “The lobby is one of those spaces where
actually have some tangible experience with it.
and museum exhibit space,” he said.
into play.”
different scenes and is very interactive, but at the
initially intended to complement the design team’s
floor to really engage people and make them part of
the atrium stairs, with the visual brightness drawing
To do this, the team opted for a bottom up grounding
ultimately the glass roof addition.
conceptually in the space, but also to provide a more
from dark to light colour, but we took it a step
Philips Color Kinetics Evenbalance fixtures wash the
Renwick. “We had this incredible luminous ceiling
impression that, according to Renwick, “helps pull
finish, especially in some of the dark tile areas, that
Aside from the uplighting of the columns, the main
engage with the feature element on a personal level
display, which is reflected in channel glass either
museum, the person and the Bible, and ultimately
While the display is an impressive focal point for the
the Bible is telling you and making you ponder
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Previous Page The museum lobby is dominated by a stunning digital ceiling installation, created by Technomedia, and highly polished floors, bringing a self-reflective quality to the space. Top Left The digital ceiling transitions between a number of different scenes, and is intended to be interactive for visitors to the museum. Above Left The Gathering Room, inspired by the Palace of Versailles, is adorned with Corinthian-style columns and contemporary, custommade chandeliers from Lasvit. Above Right Lighting in the main atrium remains fairly minimal, utilising EcoSense Trov linear LED cove lighting, and Lumenpulse downlights on each landing.
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PROJECT
“The suspended staircase is probably my favourite space in the way that the lightness, and increased ethereal quality was realised.” Luke Renwick, SmithGroup
Throughout the museum, SmithGroup tried to bring
the lighting for this space, considering the site’s
complementing the site’s subject matter, and this is
to be very careful about what this looked like from
main vertical transition in the building, the atrium
want it to be a floating glowing element, so we had
natural daylight.
illuminate.”
concerns given to SmithGroup by the museum was
along the galley space, while accent lighting was
much natural light into the building as possible.
highlighting the curved ribs of the structure.
client wanted this grand stair naturally illuminated
features the grand Gathering Room – initially
make the floor openings as big as possible, keeping
ballroom is adorned with a modern-day
the daylight contribution, and also maximised the
contemporary-styled, custom-made chandeliers
explained.
The Tabernacle, a theatre space inspired by the
which is probably my favourite space in the building
biblical times features undulating ribbon panels that
increased ethereal quality that we worked hard to
system from Traxon behind these panels allows light
staircase there’s this beautiful notion of brightness
changes in daylight from high noon to sunset, the
Careful not to overpower the natural daylight
behind the room’s design. “It comes back to this
lighting solution for the atrium was fairly simple,
different spaces, and be true to the symbolism
daylighting increases. Renwick and the design team
The restaurant space, the last area to be completed,
into the stairs, but instead opted for simple cove
in its design, this time calling to mind an outdoor
alongside Lumenpulse downlights on each landing.
drooping fabric ceiling. This fabric ceiling is backed
newest addition to the building, the two-storey glass
from Acolyte, simulating an open-air feeling in the
and restaurant. The parametrically designed galley
the overhead cooling tower. Again, this lighting is
curtain-like glass wall, offering stunning views of
lunchtime setting, to a more moody and warm
However, SmithGroup had to be cautious in creating
The Museum of the Bible is a vast amalgamation of a
an “ethereal” quality to the lighting design,
standing within the urban fabric of the city. “We had
particularly evident in the six-storey atrium. The
the outside looking in,” said Renwick. “We didn’t
leads up to the glass rooftop galley, harnessing
to be intentional about which surfaces to
Upon joining the project, one of the primary
The team specified track lighting from LSI and Soraa
to open up the floor space of the atrium, getting as
added to the underside of the balcony, gently
“When we got involved on the daylighting front, the
Further to these main spaces, the museum also
by a central skylight. We worked with the team to
inspired by the ornate Palace of Versailles, this
the staircase out of the way so that it’s not blocking
interpretation of Corinthian-style columns and
north façade fenestration for diffuse light,” Renwick
from Lasvit.
“From there, it turned into this suspended staircase,
portable tent structures used as places of worship in
– just in the way that the lightness, and this
enclose the space. A simple RGBW cove lighting
create, was successfully realised. As you climb the
to peek through. Shifting in colour to evoke the
that increases.”
lighting further complements the inspiration
pouring through the rooftop skylight, the artificial
concept of trying to let the lightness connect the
remaining the same on each level while the
without being overtly explicit,” Renwick continued.
considered handrail lighting and integrating lighting
again channels traditional Middle Eastern structures
lighting, utilising EcoSense Trov linear LEDs,
souk market with its use of dark wood and a
The journey through the museum culminates in the
with tunable white Ribbonlyte LED tape lighting
rooftop ‘Galley’ that leads to the theatre, ballroom
space despite its enclosed nature and proximity to
space features an arced rib structure supporting a
adjustable, from a natural, daylight-esque
Washington D.C and the U.S. Capitol building.
fine-dining evening experience.
Previous Page The atrium was intended to open up the space and make the most of the natural daylight from the rooftop skylight, which creating an “ethereal” experience as visitors climb the stairs. Above Due to the “heirarchy of brightness” within the district, the exterior lighting of the museum is more subtle, instead paying tribute to the original features of the 1920s-era building.
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PROJECT
number of different diverse typologies and
believe that the overall experience of
work to ensure a conceptual integrity and
seven-year completion period, and the
spaces, meaning the design team had to consistency throughout the site, with a
degree of coherency within the lighting. It was a challenge that could have been overwhelming for SmithGroup, but
Manriquez is pleased with the end result. “What gets me about this project is the
intent to keep these different spaces looking as if they’re guided by the same principle of design, there’s a consistency. There were
some challenges and concessions made at
every corner, but we had a good team and a
committed client that was willing to see it for what it was, and the integrity of the design remained.”
“Of course you could look at a project of this scale and say we could have done things a
little bit differently,” Renwick added, “but the fact that our conceptual goals were
completely realised, the fact that our team
really executed these challenging solutions, I think shows that we were successful.”
However, while Renwick feels that there are minor elements that could have been
improved upon, both he and Manriquez
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working on the project throughout its
collaborative creative process, helped to
Above The Galley space, a new addition to the fabric of the building, offers sublime views of the United States Capitol building. Track lighting from LSI and Soraa gently illuminate the space, while accent lighting was added to the underside of the balcony, highlighting the arced ribs of the structure.
make it the success that it has become.
“I think we had a really good design team
where everybody gave up some responsibility or pride if you will, or the protectiveness of
their craft, and it opened it up to just solving the design challenges at hand,” Renwick said.
“It’s a great story, we learned a bunch about the different media – glass, metal, brick
– and the actual tactile nature of lighting relative to each one of those materials,” Manriquez added.
“It might be a cliché, but I think the growth
that the team had to be able to weather over a five to seven year period, the partnership attitude of the client to allow us to pull and
push where creativity and creative solutions were coming in, made the project a success. “That to me is the takeaway: the journey
together, growing and really understanding
each other’s crafts, that’s how we can make the process better for the next one.” www.smithgroup.com
lighting specified Acolyte Ribbonlyte Bega 7393LED Bega 7678LED Bega 7918LED Cole Lighting custom LED handrails EcoSense Trov ETC Décor Series Lasvit custom ballroom chandeliers Litelab ALS LSI CX38 Lumenpulse Lumenfacade Philips Color Kinetics Evenbalance Philips Color Kinetics eW Reach Compact RSA Combolight LED Soraa PAR38LED Traxon Covelight AC HO RGBW USAI BeveLED We-ef FLC131 LED
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Sunbeams and Shadows Lighting the Queen’s Diamond Jubilee Galleries at Westminster Abbey.
T
he Queen’s Diamond Jubilee Galleries
the contrast between sunbeams and shadows,
Abbey, located in the medieval
felt that it was important that the making of a
is a new museum inside Westminster triforium, a gallery that runs sixteen
patterns of light and patterns of structure – we modern museum display did not undermine or
metres above the Abbey floor. Hidden to the
compete with the unique qualities of the space.”
the Galleries to the public on June 11th marked
greatly to the quality of the Triforium – however
public for more than 700 years, the opening of an exciting moment in the Abbey’s history. The Galleries give visitors magnificent
Light, both daylight and sunlight, contributes
its retention was slightly at odds with the display of light-sensitive objects in the collection. Max
views to the Palace of Westminster and into
Fordham’s London office was challenged with an
Westminster Abbey through 300 treasures
allowed MUMA to locate objects within the space
rich and varied thousand-year history.
light control measures were introduced, such
the Abbey church. They tell the history of
from the Abbey’s collection, reflecting its
extensive daylight study of the galleries, which
to best suit their light sensitivity. Other daylight
DHA Designs was first introduced to the project
as motorised blinds that are lowered outside
September 2015. DHA Designs had been working
for visitors to be retained while creating lower
by architects and museum specialists, MUMA, in with MUMA on a number of heritage projects over the last ten years, since their first collaboration
of public hours, allowing the daylit experience light level areas for more sensitive objects.
Peter Fordham, partner at DHA Designs, was
on the restaurant at the Royal Academy of Arts in
responsible for the lighting design from the
at the Victoria & Albert Museum in 2010.
this June. The lighting design evolved as
2004 to the Medieval and Renaissance Galleries
MUMA describes their first visit: “On our first visit
to the Triforium, we were struck by its otherworldly quality and unexpected characteristics – the unfolding spaces with intriguing glimpses
inviting exploration, opportunities for views
and the stunning vista along the Chancel, the
crankiness of the timber, the beauty of the stone,
initial concepts through to its completion
new technology became available during the design process, as Fordham explains:
“The lighting design is a traditional track and
spot solution, using black lighting tracks fixed to the five-metre high timber ceilings between the
deep timber beams, allowing maximum flexibility on site during the commissioning and focusing
PROJECT DETAILS Queen’s Diamond Jubilee Galleries, London, UK Client: Westminster Abbey Lighting Design: DHA Designs, UK Architect: MUMA, UK Photography: Alan Williams; images courtesy of Westminster Abbey
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PROJECT
stages. When we started the project, we were adamant that we wanted to keep the lighting control as simple as possible. We
originally proposed small track mounted LED spotlights with
built in potentiometers, so that we could set light levels for each fixture as we put them into the track at the end of the project.
“We were really keen to avoid DALI, since we find this protocol slow and clumsy during the commissioning stages of a
heritage project, where we are often changing and refining positions of the luminaires on the lighting tracks to suit
the final positions of the objects. Using a DALI system, this
requires a dedicated programmer to re-address the fixtures
every time the fixtures are repositioned on the lighting track. But as the requirements for daylight control became more
complicated, a DALI solution was quite difficult to dismiss.” And then, the eureka moment occurred at Light + Building in 2016, during a whisky tasting event, attended by DHA Designs, on the Mike Stoane Lighting stand. “I had read
about Xicato’s XIM Bluetooth modules already, but never really understood what they could do in the museum and gallery environment,” stated Peter Fordham.
“And I’d certainly never seen it in operation before. Mike Stoane’s display had it all: the usual, lockable fixtures that I know and trust from Mike Stoane, plus Xicato’s
LEDs delivering quality white light which I could control
with ease using my iPhone, plus battery operated PIR and lux sensors hidden into a picture frame that connect via
Bluetooth to the LEDs. And the whisky wasn’t bad either!” Returning to the UK, DHA Designs was tasked with how to
introduce Xicato’s Bluetooth modules to the project before a fast approaching tender. With the help of Mike Stoane Lighting and
Xicato, DHA Designs arranged on-site mock-ups with fixtures and sensors to demonstrate the quality of light and the new Bluetooth control technology to Westminster Abbey and the design team. “Using Bluetooth control, we were able to simplify the Previous Page The Queen’s Diamond Jubilee Galleries at Westminster Abbey harness both natural and artificial light, creating a serene exhibition space. Top The lighting design scheme, developed by DHA Designs, utilises Mike Stoane Lighting fixtures and Xicato XIM modules in a Bluetooth system, simplifying the installation process and allowing for ease of controllability. Above Architects MUMA were struck by the space’s “otherworldly quality and unexpected characteristics” of the space, citing the “crankiness of the timber, the beauty of the stone” and the “contrast between sunbeams and shadows”.
lighting installation instantly, by providing only non-
dimmable power to the lighting track and reducing the extent of cabling. It also saved over £12,000 on a conventional
lighting control system.” However, despite the sophistication and ease of controlling the fixtures on an iPhone, the Clerk of Works at Westminster Abbey was adamant to have a
single lighting control panel to turn on and off the lights at any time of day or night, without using a smartphone.
One of the limitations of early Bluetooth lighting control was the signal strength between fixtures. Whilst it was easy to
control lights in one small area, controlling over two hundred
fixtures together as one group from a single location was a more difficult task, particularly when the galleries are spread out across two sides of the Abbey in a horse-shoe shaped plan. Bluetooth Mesh would overcome these issues easily, but
the technology was still in the pipeline as far as Xicato were
concerned. But the speed of construction on site could not wait for Mesh to become available. Ultimately, a decision was made
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Previous Page The galleries run sixteen metres above the Abbey floor, located in the medieval triforum, which had been hidden to the public for more than 700 years. Far Left A number of the displays were designed with integral lighting, either by using remote fibre optic lighting from Schott or integrated LED fixtures from Tryka (for the Architectural Fragments displays). The backlit stained glass displays use linear LED strips from KKDC with remote dimmable drivers. Left The lighting design opts for a simple track and spot solution, using black Eutrac lighting tracks fixed between the ceiling’s deep timber beams, allowing for maximum flexibility on site. Above While the use of daylight was integral to the design of the Galleries, its retention was at odds with some of the light-sensitive objects in the collection. DHA Designs conducted extensive daylight studies, allowing MUMA to locate objects within the space to best suit their light sensitivity.
to introduce a number of Xicato’s Bluetooth
gallery spaces concluded with a cumulative lux-
and to ensure that lighting commands could be
The daylight analysis was consistently updated as
Mike Stoane Lighting developed a housing that
order to maximise the amount of daylight in the
and lux sensors in a single ceiling mounted
of the objects, or indeed, the visitor experience.
height, Mike Stoane Lighting was able to map
outside of public hours, manually operated
and the Gateways, allowing DHA Designs to
specific areas from direct sunlight. In other areas,
gain complete coverage across the site.
further reduce daylight levels and UV penetration.
LEDs. A number of the displays were designed with
able to focus on specific key objects located in the
optic lighting, or using LED fixtures inside some
that an object will receive, expressed in cumulative
backlit stained glass displays that sit in front of the
the total allowable lux-hour budget for that
bays use linear LED strips from KKDC with remote
determine how much artificial light could be
strips were used in the Architectural Fragments
Throughout the construction period, DHA Designs,
controlled by the Xicato Control application,
within the constraints of the operating hours and
1-10V. Xicato offered its XIB Intelligent Bridge for
On a daily basis the site had to be cleared by 16:45,
their GalaXi Bluetooth lighting control system.
hour. Other events at the Abbey required high level
Gateways to sit as a backbone to the system
hour analysis for DHA Designs to work towards.
shared seamlessly between all 250 fixtures.
more layers of intervention were introduced, in
could locate both the Gateways and the PIR
space, without compromising on the sensitivity
enclosure. Based on a five-metre mounting
As well as motorised window blinds that operate
the field of reception for both their sensors
retractable drapes were introduced to shield
plot their positions across the galleries to
solar film was applied to some of the windows to
Not all of the lighting specification used Xicato
In their analysis, Max Fordham’s engineers were
integral lighting, either using Schott’s remote fibre
gallery and calculate the annual amount of daylight
of the display cases. For example, the beautiful
lux hours. This could then be subtracted from
circular eight-leafed windows in two of the chapel
object, according to its sensitivity, in order to
dimmable drivers, while Tryka’s Grazeline LED
added, based on a six-hour day, six days per week.
display case. All of these devices needed to be
along with all other contractors, had to work
either by switching on or off, or by dimming using
services that took place at Westminster Abbey.
each of these units, adding seamless control to
before the start of Evensong, which lasted one
Max Fordham’s extensive daylight analysis of the
security searches the day before the event, cutting
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PROJECT
into valuable programming and commissioning
on and off automatically using the PIR sensors
The actual programming of the lighting system
increase, the spotlights that light onto the more
Designs to pre-commission all of the Mike
the lux-hour budget. And, of course, the Clerk of
so that it can easily be identified by the Xicato
device that allows a staff member to manually
the track; once all of the fixtures were in place,
operated and maintained outside of public hours.
set, but this could only take place after dark
control system again, Fordham was quick to
“Commissioning a daylit gallery in May and
the days of conventional lighting control for
on site with Xicato to get things set up” said
And the advantage of using Xicato’s system
had to overcome was the change in Bluetooth
and flicker free lighting from their LEDs
full of content and large display cases.
“We plan to revisit the lighting again with
with DHA Designs for the programming and
time, once they have collected lux-hour
signal strength from the Abbey’s Wi-Fi hotspots
we can improve the existing program and
allows you to select specific LED modules to
the Abbey have shown interest in using URL
Bluetooth Mesh works”, added van der Meulen.
visitor experience smartphone application.”
galleries have received favorable coverage since
the sunbeams and shadows.
time as the opening date drew closer.
across the galleries, and as the daylight levels
took place in two stages: the first allowed DHA
sensitive objects slowly dim down to conserve
Stoane fixtures with a device number and name,
Works did get his touchscreen: a simple Android
Control application after it had been added to
select a lighting scene so that the galleries can be
the actual light levels and fine tuning could be
Asked whether he would use the same
once the levels of daylight had dropped.
respond. “Absolutely. Xicato has proved that
June is never ideal, requiring several late nights
museums and galleries are now numbered.
Fordham. One of the difficulties that Xicato
is that you also get the consistency of colour
signal strength when the gallery spaces were
as well as cutting edge lighting control.
Patrick van der Meulen from Xicato was onsite
the Abbey conservators in 6-12 months’
commissioning. “Despite the relatively low
data from their sensors, and to see how
to our Bluetooth Gateways, the Xicato system
functionality of the sensors. In addition,
work as node points, in the same way that
beacon function of the Xicato LEDs in a future
The system is now up and running, and the
But for the time being, you can enjoy
their opening. All of the lighting now switches
www.dhadesigns.com
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Above The lighting system features Mike Stoane Lighting spotlights mapped to a Xicato control application, which allowed for more detailed fine tuning of the light levels.
lighting specified Eutrac track KKDC TiMi 007 5000K LED strips and dimmable drivers Mike Stoane Lighting EuroFled.3000k Mike Stoane Lighting TTX2.70.Mini Museum & Gallery Lighting (Phill Reddiough) Schott fibre optics Tryka Grazeline 4000K LED strips Xicato Galaxi and gateway control system
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PROJECT DETAILS The Amstel Hotel, Amsterdam, Netherlands Client: Katara Hospitality, Qatar Lighting Design: Lichtconsult, Netherlands; Hans Wolff & Partners, Netherlands Photography: Luuk Kramer & Arjen Veldt Photography
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PROJECT
From the heart of Amsterdam The Amstel Hotel is glowing with pride after its lighting renovation, bringing the historic landmark back to life.
I
n the heart of the city of Amsterdam is the Amstel Hotel, one of the most prestigious hotels in the
Netherlands. Dating back to 1867, this five-star rated accommodation has acted as a temporary home for
numerous celebrities and members of the royal family.
Founded by a prominent doctor of the nineteenth century, Dr.
Samuel Sarphati built the magnificent building as an architectural landmark that he hoped would one day put Amsterdam on the
international map. Heavily influenced by some of Europe’s most famous buildings, the Golden Age architectural style is strongly
evident in the façade’s design and in the detailed arches, and has attracted many high-profile guests since opening on 27th April 1867.
Now owned by the globally recognised hospitality organisation, Katara Hospitality, the building has undergone a large-scale
restoration on its exterior. The restorations took place over the
course of exactly one year to transform the roof and façade to their former glory. With years of previous work put in to orchestrate the restoration programme, design teams worked towards
reinstating all original colours and renew a total of 300 elements, ornaments and statues. As part of the planning process, original images of the façade from the local city archives were studied in depth.
Contractor Leidens Burgy Bouwbedrijf completed the full
restoration, whilst the lighting design was brought together in a
joint effort from Lichtconsult and Hans Wolff & Partners Lighting Designers for the complete exterior of the hotel.
CLS was responsible for the design and fabrication of most of the
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PROJECT
Previous Page The light reflections bouncing off the surface of the Amstel River add a tranquil atmosphere for the impressive Amstel Hotel. Along with CLS lighting fixtures, a combination from Pharos, LED Linear, Ligman, Opticalight and Tekna luminaires have been used to accentuate the architectural details of this nineteenth century building, bringing it quickly into the 21st century. DMX controls have also allowed for full adaptability of colour temperatures and control of energy usage for the luminaires, ensuring a modern scheme is in place for preservation and years to come in their historic setting. This Page Floodlights accentuate the architectural features and archways on the impressive building. The hotel glows in warm lighting but does not interfere with the guest’s rooms or create too much light pollution.
fixtures that were used, including a number of pre-existing fixtures
complete building at night time, strengthen the façade renovations
These particular fittings were anodized in a special colour, the
Smits described the approach to working with such a large team: “A
that were customised into variant designs from its REVO series. mounts were custom-built to the appropriate size, optics with
several angular apertures were fitted into one fixture and special DMX electronics were designed for the REVO Micro.
Each fitting has the ability to be individually controlled with
customised tunable white LED modules with a range of 1800 to
3000K. The REVO inground DMX was created specifically for this
project and, in turn, has become available in the main CLS fixtures range.
Koen Smits, Lighting Designer and Associate from Lichtconsult,
described their involvement: “If I remember correctly, it was Van
Hoogevest Architects who, back in 2015, first felt there should be a lighting designer on the renovation team. The founding architect Gijsbert Van Hoogevest is an acquaintance of Hans Wolff, who
ultimately asked us to help them out for the preliminary design phase. Later in the restoration process and when the definitive
design was made, the main contractors hired us as a permanent part of the team.
“To make a lighting design scheme that would show the grace of the
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and return its charm and greatness, was the aim for us.”
challenge was to overcome the differences in our ensemble of
contributors in our project team, (architect, contractor, middle-east owner, municipality officers and the committee on building aesthetics) and to realise the main goal – to illuminate this
magnificent and iconic building without altering the architecture or
adding visual clutter and without causing obtrusive light for the hotel guests and surrounding neighbours.”
The lighting team also faced challenges when minimising the visual installations on the façade. Smits elaborated: “It is the ever-
returning issue of the much-needed air cable to supply power for the luminaires, which unfortunately hasn’t been invented yet! So, we had to try and hide all of the cables as much as possible by laying
them behind the roofing, picking smart trajectories like drainpipes and such to ascend and descend lines using separate gears with
smaller, lower voltage cables. All of these choices were made in close consultation with the restoration team and hotel facility managers.” It is not usual practice to have two large lighting design firms working together on one project, but in this particular case
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â&#x20AC;&#x153;As a member of the Dutch Committee of Obtrusive Lighting, I know how much harm a light installation can do to its neighbours and the dark sky. â&#x20AC;? Koen Smits, Lichtconsult
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PROJECT
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PROJECT
Lichtconsult and Hans Wolff & Partners worked very well together
illuminated and now provides a pleasant space for the hotel guests to
“In the last ten years, we have worked closely together on many
the glass roof and miniature LED dots were installed on the interior
issues and I focus more on the detailing and design. Throughout the
Illuminating the entrance lobby was an important task for the team.
other as a sounding board. I feel very blessed with our
completed using in-ground luminaires to highlight the pillars, linear
Hans Wolff, of Hans Wolff & Partners, described their participation
down lighting on the canopy to raise the street lighting to a
specialisation in historic restoration projects and have previously
Adding lighting to the lowest part of the well-known view from the
and “with great enthusiasm”, as Smits remarked.
retire in. Wall luminaires were located on the columns that support
projects. Usually, Hans Wolff concentrates on the more conceptual
structure of the roof.
process, we maintained a healthy overlap and benefited from each
Illuminating the entrance balcony, stairs and landing in the area was
collaborations,” he continued.
LED fixtures that shed light on the intricately detailed balustrade and
in the project: “Hans Wolff & Partners are known for their
comfortable level that eases access on the floor levels to the stairs.
worked on notable cultural buildings such as the Anne Frank House,
riverside emphasises the building’s position close to the water’s edge
Concertgebouw.
Wolff, Smits and the team also felt it important to incorporate
historical houses along the canals etc. and it’s been done in a modest
perfectly balanced final ‘image’, as well as ensuring both light levels
this initiative was taken over by commercial parties. The result?
able to fine tune any issues in the illuminations that they stumbled
Royal Picture Gallery Mauritshuis, Hermitage a/d Amstel and
and creates the illusion that the hotel is floating.
“Amsterdam has a long tradition of using floodlighting for their
dimmable settings for almost all of the fittings in order to create the
and tasteful way by the local government. However, more recently
and colour temperatures can be regulated. In doing so, the team were
Much higher light levels, papering the walls with lanterns,
across when putting the design scheme into practice. Smits referred
overpowering contrasts with the surroundings and the use of
to some examples: “The varying tonal differences between the 100+
“So, ultimately there was a lot of pressure on us to come up with a
pilasters meant the shorter ones needed less light.”
Amstel Hotel in a much more modest, stylish and attractive way.”
pollution and obtrusive lighting that may impact on the quality of
Pharos, Ligman and Tekna, the team put together a detailed scheme
Dutch Committee of Obtrusive Lighting, I know how much harm a
The vertical structure and pilasters are lit upwards using CLS Revo
deliberate choices were made to prevent negative effects as much as
In-ground luminaires and CLS Revo Micros. The lounge area has
façade from poles on a distance use masks to cut off not only the
‘dynamic’ colour lighting.
year old bricks and the new bricks, and the height differences of the
light plan that overcame all of these ‘derailments’ and light the
One particular hurdle they had to pay close attention to was the light
Using fixtures and technology from CLS, Opticalight, LED Linear,
for the elaborate and highly decorated façade of the hotel building. fixtures, whilst the rest of the façade is illuminated with CLS Revo accentuated the annex on the riverside that was not previously
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stay for the hotel guests. Smits elaborated: “As a member of the light installation can do to its neighbours and the dark sky. So,
possible. The LED projectors from Opticalight that illuminate the direct light into the windows of the guest, but also any light that
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08/08/2018 13:05:39
PROJECT
Previous Page The hotel stands out boldly against the midnight blue sky of Amsterdam, stamping a regal-like impression on the city’s landscape. The beautiful lighting design reflecting off the water’s edge gives the appearance of the hotel floating on the river’s edge at dusk. This Page Exterior shots of the Amstel Hotel. Lighting provided by CLS ensures the façade of the building is washed in even tones and temperatures that highlight the architectural elements of the historic building. The amber tones create a warm and inviting atmosphere for the local residents and visitors alike.
would otherwise end up in the atmosphere. Projectors mounted on the façade were dimmed per architectural element so just the
necessary amount of light (and energy) would be used for the desired night effects.”
The stunning and authentic results have created an iconic landmark
on Amsterdam’s landscape today and provide a beautiful focal point that can be seen from the Amstel River.
Smits described the impact the luminaire design has: “I love the way the building is seen from the Amstel River. It really begins at the
quay, where the wall luminaires softly light up the passage in front of the restaurant and swimming pool.
“Further up, the lounge annex is illuminated with up/down wall
luminaires and the window sills of the building are then accentuated. The big brick façade is shown with special projectors with masks that illuminated the wall texture but cut out the windows, so guests can look in to the beam and not be blinded by it,” he explained.
The final result delivers a warm and inviting environment for prestigious guests and locals of Amsterdam to appreciate. www.lichtconsult.nl
www.hanswolff.lighting
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Mondo August 2018 full page.indd 2
01/08/2018 18:09:04
art
Under The Westway For her most recent installation, Colour Transfer, light artist Liz West has transformed an ordinary underpass in Paddington Central into a beautiful, vibrant display of colour.
L
ight artist Liz West has, throughout
from Paddington Central. I recognised that
a new way of seeing, using colour
with prism forms would create a dynamic optical
her work, always aimed to encourage and light together to help illuminate,
and therefore increase and heighten people’s individual visual perception and wellbeing.
Her latest installation, Colour Transfer, is no
exception, bringing a much-needed flash of colour to London’s Paddington Central
Situated in an underpass tunnel underneath the Westway, Colour Transfer comprises multiple
angled coloured mirrors, vertically spanning the
combining the entire kaleidoscopic spectrum
illusion, forming undulating and rhythmic shapes that would play on people’s visual and physical perceptions as they move through the space.” These shapes form a strong link with the
fluidity of the surrounding canal, glistening in the sunlight like the surface of the water.
Installed over the course of a week after 22 months of planning, off-site fabrication, workshopping, drawings and renders, Colour Transfer is West’s
height of the brickwork to create an optically
first permanent major work in London, and
prismatic shapes mirror those of the tunnel’s
“I think it transforms the space with a vibrant
vibrant and kaleidoscopic installation. The
architecture, and the spectrum of colours apparent in the work changes depending on your viewing angle, creating a bright optical illusion.
Running in a spectral arrangement from dark red to pale pink, the colour palette stands
out from its surroundings while still sitting
harmoniously within its location. As passersby move through the tunnel, they encounter
the fluctuating effect of light and reflections created by the coloured aluminium mirrors.
“One of the key aspects of the work was to capture the essence of the surroundings and to introduce
a sculpture that would inspire and energise those passing by,” said West of Colour Transfer.
“I knew that an injection of colour was needed
to create an immersive environment, something people could experience as they walked to and
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she is delighted with the finished result.
hit of much-needed colour and reflection,
and I’m very proud to have a major work in
such a central location in London,” she said,
adding that the response she has had since its unveiling has been “nothing but positive”.
“Lots of people have been contacting me to say how much the drab and previously mundane space has
been transformed. Some people have witnessed the sun bouncing off the end panels to create pools of
coloured light on the ground, which rarely happens but is an intentional intricacy to the work.
“I adore seeing all the amazing photographs of
the work pop up online – there are many vantage
points to the work, from all directions, so it is great to see the work through other people’s eyes.” www.liz-west.com
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essay
Bridging the Gap Part 2 Part One of Bridging the Gap between Design and Technology introduced the Lighting Design Objectives – Direct Flux Distribution (LDO-DFD) Procedure. Part Two opens with a brief summary of the procedure and follows with a demonstration of its application using the Illumination Hierarchy Spreadsheet.
LIGHTING DESIGN OBJECTIVES Illumination Efficiency
Illumination Hierarchy
Indirect Flux Field
PERCEIVED ADEQUACY OF ILLUMINATION
HOW BRIGHTLY-LIT
MRSE
Direct Flux Distribution
FLUX
VISUAL EMPHASIS
TAIR
DIRECT FLUX DISTRIBTION SPECIFICATION
Figure 1 The Lighting Design Objectives – Direct Flux Distribution (LDO-DFD) Procedure. This procedure guides the user from having specified lighting design objectives (LDOs) that relate to how lighting may influence the appearance of a lit space, to developing a specification of a direct flux distribution (DFD) that would achieve the required balance of LDOs.
The LDO-DFD procedure The Lighting Design Objectives - Direct Flux Distribution (LDO-
the indirect flux field (IFF). These concepts relate to two specific
proposed definition for the prime purpose of indoor lighting practice,
appearance of their surroundings.
DFD) Procedure is indicated in Figure 1. This procedure is based on a
expressed as: to satisfy (or better to exceed) peoples’ expectations for how lighting may influence the appearance of their surroundings.
The purpose of the procedure is to guide practitioners from having devised a listing of lighting design objectives (LDOs) that relate to how the quantity and distribution of illumination may influence the appearance of an indoor location to the development of a
specification of direct flux distribution (DFD) that can confidently be expected to achieve a specified combination of LDOs.
The model of indoor lighting on which the procedure is based comprises an enclosed space in which:
• A direct flux distribution (DFD) is created by some surfaces being selected as target surfaces to receive direct luminous flux.
• The sum of direct flux reflected from target surfaces is the first reflected flux (FRF).
• The FRF generates the indirect flux field (IFF) by multiple interreflections within the volume of the enclosed space.
The illumination within a room may be characterised by two
quantifiable concepts: direct flux distribution (DFD), specified by a schedule of incident direct flux (lm) on target surfaces; and mean
aspects of peoples’ assessments of how lighting influences that
• MRSE is proposed as the index of peoples’ overall assessments
of how brightly-lit, or dimly-lit, a space appears to be, and Table 1 shows a tentatively proposed ‘how brightly-lit’ HBL/MRSE
scale. Research is in hand to establish a ‘perceived adequacy of
illumination’ (PAI) scale for categories of activities associated with various indoor spaces, which may be used by regulators to specify minimum illumination levels.
• The distribution of direct flux influences peoples’ assessments
of ‘visual emphasis’, and Table 2 proposes a relationship to target/ ambient illumination ratio (TAIR), being the ratio of target surface
illuminance to MRSE. The TAIR metric is used for planning the DFD to satisfy lighting design objectives, giving priority to illumination efficiency (flux utilisation) or hierarchy (a distribution of visual emphasis to achieve an envisaged visual effect).
The output of the procedure specifies DFD as a listing of target
surface flux values that offers the practitioner this prospect: provide these levels of flux onto these surfaces to achieve your specified balance of lighting design objectives.
room surface exitance (MRSE), which is the average flux density of
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essay
HOW BRIGHTLY-LIT (HBL)
MRSE (im/m2)
Brightly-lit
150
Slightly Brightly-lit
120
Neither dim nor Brightly-lit
90
Slightly dimly-lit
60
Dimly-lit
30
The Illumination Hierarchy Spreadsheet Imagine that you are working on a lighting project for a new hotel. Figure 2
shows a plan of the reception area. You are at the stage of having completed
the first phase, and you have your listing of lighting design objectives (LDOs) for the night-time lighting. You are ready to move on to the second phase of
determining the lighting specification, and for this you will use the Illumination Hierarchy Spreadsheet to define the required direct flux distribution (DFD).
Table 1. Tentatively proposed how brightly-lit/mean room surface exitance relationship.
Step One starts with downloading the Illumination Hierarchy Spreadsheet
from https://1drv.ms/x/s!AteYXbEsDomRvR7K0F-mBqURyiA1 This is an Excel spreadsheet, but you do not have to be an experienced Excel user to operate it. The user only fills in the shaded cells and may add or delete rows. ILLUMINATION HIERARCHY SPREADSHEET
VISUAL EMPHASIS
TAIR
Emphatic
40
Strong
10
Distinct
3
Noticeable
1.5
Table 2. Tentatively proposed visual emphasis/target-ambient illuminance ratio relationship.
180104 Project Name:
Hotel Reception area
MRSE
Room Surface
120
Surface Area m^2
lm/m^2
Surface Reflectance
Surface Absorption
TAIR
Direct Surface Illuminance lx
DFD lm
Target Surface FRF lm
Ceiling
131.6
0.75
32.9
1
0
0
0
Wall 1
32.8
0.45
18.0
1
0
0
0
Wall 2, excl mural
29.7
0.45
16.3
1
0
0
0
Mural
14
0.65
4.9
1
0
0
0
Wall 3, solid
6.6
0.45
3.6
1
0
0
0
Wall 3, glazed
26.2
0.1
23.6
1
0
0
0
Wall 4
27.2
0.45
15.0
1
0
0
0
14
0.25
10.5
1
0
0
0
55.4
0.25
41.6
1
0
0
0
Reception Counter Circulation Water Feature Lounge Lift doors
4.6
0.75
1.2
1
0
0
0
70.7
0.12
62.2
1
0
0
0
4.8
0.4
2.9
1
0
0
0
Room surface absorption Total direct flux Required total first reflected flux Target surfaces first reflected flux FRF difference
232.6 0
m^2 lm
27917
lm
100
0
lm
0
% %
27917
lm
100
%
Spreadsheet (1) © Kit Cuttle
As shown in Spreadsheet (1), you start by filling in the project name, and then
comes the task of listing the room surfaces and objects that make up the space. For every significant room surface that forms part of the lit scene, the surface
area and surface reflectance values are entered into their columns. The aim here is to achieve a realistic model without excessive detail. As the reception counter and the water feature cover parts of the floor area, the circulation and lounge areas add up to less than the ceiling area. Also, although the circulation and
lounge areas have the same floor covering, the lounge area is accorded a lower surface reflectance to allow for the effect of furniture. For three-dimensional
objects, surface areas include the whole exposed surface area, so that the water feature is treated as a vertical cylinder with the lower end cap obscured.
As the data for each surface is entered, its surface absorption value appears in the adjacent column, this being the measure of the capacity of the surface to absorb Figure 2 Plan view of hotel reception area. Details of room surfaces and other features are indicated in the illumination hierarchy spreadsheet examples.
light. Upon completion, the total room surface absorption for all room surfaces is
given in the lower box and is shown to be 232.6sqm. (For the technically-minded, a website link with more explanation is given later.) This completes the tedious part of the procedure, and you are now ready to make some decisions.
You stay with Spreadsheet (1) for Step Two and consider the level of surrounding brightness for this space. From discussions with the client, you know that a
distinctly ‘brightly-lit’ daytime appearance is wanted, but for night-time, when people are entering from a relatively dimly-lit exterior, it has been agreed that
surrounding brightness is to reduce to ‘slightly brightly-lit’. Reference to Table
1 indicates that a MRSE level of 120lm/sqm would be appropriate, and that value is entered. Immediately, in the lower box you see that 27,917 lumens of first
reflected flux (FRF) from all room surfaces is required to generate the required
120lm/sqm of MRSE. This is the source of ambient illumination. You now need to consider how you will distribute flux within this space to generate this FRF.
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essay
Step 3 brings you to the creative bit. Your aim is to develop an
value to 2.0 puts you right on target. This means that if each target
emphasis. You do this by referring to Table 2 and filling in the TAIR
then the resulting first reflected flux will generate the chosen value
illumination hierarchy, comprising an ordered distribution of visual
surface receives the indicated value of direct surface illuminance,
column with target/ambient illuminance ratio values for each listed
of MRSE.
room surface, shown in Spreadsheet (2). Keep in mind that it is
assumed that all surfaces receive indirect illumination equal to the
MRSE level, so that a surface that has a TAIR value of one receives no direct illumination.
180104 Project Name:
Hotel Reception area
MRSE
ILLUMINATION HIERARCHY SPREADSHEET
Room Surface
180104 Project Name:
ILLUMINATION HIERARCHY SPREADSHEET
120
Surface Area m^2
lm/m^2
Surface Reflectance
Surface Absorption
TAIR
Hotel Reception area
MRSE
120
Room Surface
Surface Area m^2
lm/m^2
Surface Reflectance
Surface Absorption
TAIR
Direct Surface Illuminance lx
DFD lm
Target Surface FRF lm
Direct Surface Illuminance lx
DFD lm
Target Surface FRF lm
Ceiling
131.6
0.75
32.9
2
120
15792
11844
Wall 1
32.8
0.45
18.0
1.5
60
1968
886
Wall 2, excl mural
29.7
0.45
16.3
1.5
60
1782
802
Mural
14
0.65
4.9
5
480
6720
4368
Wall 3, solid
6.6
0.45
3.6
1
0
0
0
Wall 3, glazed
26.2
0.1
23.6
1
0
0
0
Ceiling
131.6
0.75
32.9
1
0
0
0
Wall 4
27.2
0.45
15.0
1.5
60
1632
734
Wall 1
32.8
0.45
18.0
1.5
60
1968
886
Reception Counter
14
0.25
10.5
5
480
6720
1680
Wall 2, excl mural
29.7
0.45
16.3
1.5
60
1782
802
Circulation
55.4
0.25
41.6
1.5
60
3324
831
Mural
14
0.65
4.9
5
480
6720
4368
Water Feature
4.6
0.75
1.2
10
1080
4968
3726
Wall 3, solid
6.6
0.45
3.6
1
0
0
0
Lounge
70.7
0.12
62.2
3
240
16968
2036
Wall 3, glazed
26.2
0.1
23.6
1
0
0
0
Lift doors
4.8
0.4
2.9
5
480
2304
922
Wall 4
27.2
0.45
15.0
1.5
60
1632
734
Reception Counter Circulation Water Feature Lounge Lift doors
14
0.25
10.5
5
480
6720
1680
55.4
0.25
41.6
1.5
60
3324
831
4.6
0.75
1.2
10
1080
4968
3726
70.7
0.12
62.2
3
240
16968
2036
4.8
0.4
2.9
5
480
2304
922
Room surface absorption
232.6
Room surface absorption
232.6
m^2
Total direct flux
62178
lm
Required total first reflected flux
27917
lm
100
%
Target surfaces first reflected flux
27829
lm
100
%
88
lm
0
%
FRF difference
Spreadsheet (3) © Kit Cuttle
m^2
Total direct flux
46386
lm
Required total first reflected flux
27917
lm
100
%
Target surfaces first reflected flux
15985
lm
57
%
FRF difference
11932
lm
43
%
Spreadsheet (2) © Kit Cuttle
Careful attention needs to be given to this lighting distribution, and
it should be talked through with the client. It might satisfy his or her
expectations for how lighting would influence the appearance of this space, but are you entirely satisfied? The treatment of the principal
You start by ignoring the ceiling and attending to the walls. These
selected features appears to work well, but the visual emphasis for
‘noticeable’ level of visual emphasis. You enter a 1.5 value in the TAIR
less than that of the ceiling. Might the appearance of the ceiling be
are to have an attractive woodgrain finish, and you decide upon a
the woodgrain was supposed to be ‘noticeable’, and its TAIR value is
column for wall one, and immediately the spreadsheet indicates that
distracting?
for this, the direct surface illuminance needs to be 60 lux; and for
this, 1,968 lumens of direct flux are required, which will produce 886 lumens of first reflected flux (FRF). Also, (but this is not shown in
spreadsheet (2)) the box below would indicate that the target surface
FRF contributes 3% of the total required FRF. Readers are encouraged to download the spreadsheet and follow the workings on-screen. You move on and add a TAIR value of 1.5 for wall two, and this
doubles the target surfaces FRF contribution to 6%. Then you come to the mural. It is a colourful work, and the client wants it to be a
memorable and welcoming feature of the hotel. You give it a TAIR value of 5, and at this point the spreadsheet would show that the
target surfaces FRF contribution jumps to 22% of the required total FRF. There is no point in directing flux onto wall three as so much
of it will be lost to the outdoors, but wall four gets similar treatment to the two previous walls. Continuing down the column, the water
feature is selected for ‘strong’ visual emphasis, and other objects are accorded values to complete an illumination hierarchy. As is shown in the spreadsheet, the target surfaces FRF provides 15,985 lumens,
which is 57% of the total required FRF. This leaves you with the task of making up the remaining 43%.
For Step 4, you switch from illumination hierarchy mode to
giving priority to illumination efficiency (see Figure 1). The key
to optimising flux utilisation for providing MRSE is to maximise
first reflected flux by directing flux from the luminaires onto high
ILLUMINATION HIERARCHY SPREADSHEET 180104 Project Name:
MRSE
Room Surface
Hotel Reception area 120
Surface Area m^2
lm/m^2
Surface Reflectance
Surface Absorption
TAIR
Direct Surface Illuminance lx
DFD lm
Target Surface FRF lm
Ceiling
131.6
0.75
32.9
1.6
72
9475
7106
Wall 1
32.8
0.45
18.0
2.5
180
5904
2657
Wall 2, excl mural
29.7
0.45
16.3
2.5
180
5346
2406
Mural
14
0.65
4.9
5
480
6720
4368
Wall 3, solid
6.6
0.45
3.6
1
0
0
0
Wall 3, glazed
26.2
0.1
23.6
1
0
0
0
Wall 4
27.2
0.45
15.0
2.5
180
4896
2203
14
0.25
10.5
5
480
6720
1680
55.4
0.25
41.6
1.5
60
3324
831
4.6
0.75
1.2
10
1080
4968
3726
70.7
0.12
62.2
3
240
16968
2036
4.8
0.4
2.9
5
480
2304
922
Reception Counter Circulation Water Feature Lounge Lift doors
Room surface absorption
232.6
m^2
Total direct flux
62178
lm
Required total first reflected flux
27917
lm
100
%
Target surfaces first reflected flux
27829
lm
100
%
88
lm
0
%
FRF difference
Spreadsheet (4) © Kit Cuttle
reflectance target surfaces, and for this, you turn your attention to
You raise the TAIR values for walls one, two and four to a value of 2.5,
a value of 1.5 in the ceiling TAIR cell causes the target surfaces FRF to
than the required total FRF value (this is not shown). So, it is back
the ceiling and try some trial-and-error experimentation. Entering rise to 21,907 lm, which is 78% of the required total FRF value (this
not shown), but as is shown in spreadsheet (3), increasing the TAIR
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and this causes the target surface FRF value increase to 17% more
to the ceiling again and some more experimentation. As shown in
spreadsheet (4), you arrive at the finding that a ceiling TAIR value of
essay
1.6 brings the illumination distribution back in
require lighting standards and recommended
You now have the basis of a working
illumination levels to be redrafted in terms
distribution DFD column. It tells you that if the
metric. It would require the lighting design
direct flux, the reflected flux will generate the
current practice to be reprogrammed based on
to the chosen ‘how brightly-lit’, and also, it will
would require the lighting industry to replace
by the distribution of TAIR values. Providing
luminaires designed to distribute flux onto
illumination engineering, which if combined
it would require leadership within the lighting
the potential to lead to an outcome that might
a changed understanding of the purpose of
it should be expected to achieve the designer’s
of this concept would affect differently those
balance.
practice documents that specify minimum
specification. The crucial data is the direct flux
of minimum levels of MRSE, or some similar
target surfaces receive the specified levels of
software that forms the technical basis of
ambient illumination (MRSE) that corresponds
the LDO-DFD (or some similar) procedure. It
achieve the balance of visual emphasis defined
its standard ranges of lighting products with
the DFD is then a matter of conventional
selected target surfaces and objects. Moreover,
with some judicious selection of luminaires, has
profession to achieve general acceptance of
well exceed the client’s expectations. At least,
indoor illumination. While general acceptance
envisaged illumination hierarchy.
practitioners in general lighting practice
Conclusions and outcomes
and those in professional lighting design, it is proposed with the aim that it may form a
step towards bridging the gap between those practitioners.
The LDO-DFD procedure should not be
thought of as a design method. It requires the practitioner to have selected and specified
Acknowledgements
essence of the design process. It has nothing
The concepts described in this article started
availability of daylight; or low levels of indoor
with staff and students at the RPI Lighting
the lighting design objectives, and this is the to say about the colour of lighting; or the
ambient illumination (such as emergency
lighting); or outdoor lighting (where ambient illumination is effectively zero); although all of these could be included in due course. It
simply provides one plank of a bridge between
design and technology, but if adopted, it would inevitably bring about significant changes in indoor lighting practice.
The procedure guides practitioners, whether they see themselves as lighting engineers
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.
126
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or designers, to distribute light according to how it influences the appearance of
peoples’ surroundings. The outcome would be general lighting practice being directed towards application of luminous flux for
visual effectiveness, and this would involve
fundamental revaluation of efficient lighting practice. It would free practitioners from
imposition of debilitating ‘uniformity’ criteria.
The procedure has the flexibility to suit projects ranging from straightforward general lighting practice to complex architectural or display
lighting projects. If lighting standards were based on the PAI principle and specified in
MRSE, their effect would be to exclude ambient illumination levels likely to be assessed as
inadequate; otherwise, practitioners would
be free to choose ambient illumination levels ranging from dimly-lit to brightly-lit. Target
to evolve through the author’s interaction
Research Center, NY, USA, while he worked
there between 1990 and 1999. Since then, the author has maintained communication with
three colleagues from that period: Prof Mark
Rea, Prof Emeritus Peter Boyce, and Dr Howard
Brandston. These interactions have been crucial in the development of the proposed procedure. In 2011, the author was contacted by Dr Kevin
Kelly of the Dublin Institute of Technology with a proposal that a PhD research programme
be initiated to examine the author’s recently published concepts. Since then, Dr James
Duff has conducted research under Kelly’s
supervision and with the author as adviser that has provided proof of concept for a selection of the author’s proposals, and research is continuing at DIT to establish functional
relationships to enable specification for design applications. The continuing support of these colleagues is gratefully acknowledged.
Sincere thanks are expressed also to those individuals and organisations that have
provided the author with opportunities to
address audiences around the world during the past decade, and in particular, to those individuals who have contributed their
comments towards the development of the proposed procedure.
surfaces selected for visual emphasis can range
For more information about the LDO-DFD
merchandise, visual tasks or safety hazards.
vixlhidbpxybv80/More%20about%20the%20
from room surfaces to architectural features, The obstacles to achieving this change in
lighting practice are formidable. It would require research effort to establish the
underlying human response functions. It would
Procedure go to: https://www.dropbox.com/s/ LDO-DFD%20Procedure.docx?dl=0
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
PLACES - High ASICS Flagship Regent Street, UK Lighting Design: into Lighting, Brinkworth, Skratch AV, UK into Lighting, alongside Brinkworth and Skratch AV, provided the lighting design for the largest ASICS retail store to date, based on a concept that pairs sound mind with sound body, by balancing the highly technical aspects of the brand with natural, warm finishes, features and materials. The concept offers consumers a fully integrated, holistic sports environment where both the mind and body are stimulated. On entering the store, customers are greeted with a bespoke, kinetic light installation that runs the length of the store and pulsates at the same pace as the heart rate of a 100-metre sprinter. ART - Low He’e Nalu, Australia Lighting Design: Golsana Heshmati and Maria Dautant, Australia He’e Nalu was first installed at Sydney’s Royal Botanical Gardens as part of VIVID Sydney between May and June 2018. Inspired by the nature of waves, this art piece invite visitors to ride a light and sound experience. Two walls of light filled columns frame an undulated passage where sound is bounced from wall to wall creating the sense of a wave tunnel. The length and height of the structure was carefully considered to fully surround the visitors. This installation wants to take them under a sea of light for a couple of minutes to experience waves in a new and bright way. PLACES - Low Dogpatch Vaults, Ireland Lighting Design: Britelux Lighting, Ireland The concept for this project was to highlight the vaulted walls and ceiling of the 1820s Dublin merchant building creating an atmospheric event and meeting space for Dogpatch Labs, a popular co-working space for start-up and IT companies.
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darc awards / architectural
Since opening the doors for entries for the 2018 darc awards / architectural, we have been inundated with projects, installations and events from around the world. Want to enter yourself? Entries will be open until the 28th of September, so there’s still loads of time for you to submit your projects, products, events or light art installations for this year’s awards, and reap the benefits of the global exposure that comes with entering the world’s only peerto-peer lighting design awards. Below is just a small sample of the fantastic entries that we have received so far. Head to www.darcawards.com/architectural for more information on how to enter, and to check out all of our current entries.
STRUCTURES - High Kunshan Civic Centre, China Lighting Design: Beijing United Artists Lighting Design, China The exploitation of light, both theatrical and architectural, is central to the architectural design of the grand canopy of Kunshan Civic Center (KSCC). KSCC was designed with a mission to inherit the culture of Chinese Kunqu Opera and connect people to culture, present to past. With the help of the French colour consultant Alain Boni, Beijing United Artists developed a new methodology: “art installation by light”, in creating the visually intriguing light skin of the grand canopy.
PLACES - High 1Rebel Nova Gym Studio, UK Lighting Design: DurhamLD, UK The premise of the 1Rebel gyms is to use high quality sound and light installations that would normally be found in a high end nightclub to create an atmosphere where the ‘buzz’ is created by endorphins from exercise. DurhamLD has brought theatrical integrity of lighting design and state of the art fixtures into an exercise gym environment. The studio features a foyer light display made of several hundred LED ring ‘T-9’ look-a-likes programmed with dynamic patterns. In the studio itself an instructor faces around forty exercise bikes and switches the lighting, laser and screen program manually as the session progresses with a touch screen interface. EVENT Kronach in Lights, Germany Organiser: Kronach Creativ, Germany The secret of Kronach in lights lies in its unique atmosphere. The light festival amazes its visitors with a well-balanced mixture of feeling at ease, discovering and being amazed by the mystically shining light-artworks throughout the town. The architectural lighting of historic buildings sheds a new light on their fascinating details, often unnoticed until then. Colourful mappings transform façades into hypnotising, thrilling plays of light. This and more is what fascinates the visitors of the 10-day festival every year at the beginning of May. In 2018 the unique artwork attracted more than 140,000 visitors - more than ever before.
www.arc-magazine.com
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darc days... and nights Taking place for the second year, darc room has moved to a new venue in Shoreditch in the heart of the design district in London. The daytime education sessions promises to be an exciting programme for designers and engineers involved in lighting specification. Register at www.darcroom.com.
darc room : workshops WEDNESDAY 19TH SEPTEMBER
THURSDAY 20TH SEPTEMBER
12:00 – 18:00 (3 x 2 hour sessions) Ambient Communication - Tapio Rosenius, Skandal Experience the future of digital content creation for media facades and architectural environments – straight outta Finland! darc room is delighted to be able to offer a free co-design workshop on Ambient Communication, a new way of conveying information, aiding human behaviour and providing services through light.
12:00 – 18:00 (3 x 2 hour sessions) Ambient Communication - Tapio Rosenius, Skandal Experience the future of digital content creation for media facades and architectural environments – straight outta Finland! darc room is delighted to be able to offer a free co-design workshop on Ambient Communication, a new way of conveying information, aiding human behaviour and providing services through light.
12:00 – 13:00 LED Education - Jeremy Fielding, Atrium Everything you wanted to know about LEDs* (*but were afraid to ask). If darc room was set in an American High School we’d call this LED 101 – using hands-on demonstrations and simple, easy to understand explanations join Jeremy Fielding from Atrium on a journey through the basic concepts of colour rendering, colour temperature, flicker, dimming, consistency, spectral power distributions, control and much more – all the hot topics with live demonstrations of key elements. 13:30 – 15:30 Human Centric Lighting In this interactive discussion session, darc room is delighted to welcome leading healthy lighting proponent and critic Dr. Karolina M. Zielinska-Dabkowska RIBA, IALD, IES, MSLL to lead a discussion with fellow professionals Mark Ridler (Director of Lighting at BDP); Rebecca Weir (Creative Director at Light IQ); Stephen Lisk (Lighting Designer and current President of CIBSE) and Iain Carlile (Lighting Designer and current President of the SLL). Can you contribute to the debate and try to help the development of an article on an industry-wide collaborative position on human centric lighting? 16:00 – 17:00 Control - David Kriebel, LensVector Control is always at the top of the list when you ask lighting designers what they want to know more about, but now sophisticated lighting control is available to everyone from tech-savvy designers to anyone with a smart device. darc room brings you a hands-on workshop where you can get to experience the latest Casambi Bluetooth based lighting control technology applied to dynamic LensVector beam shaping, output control and colour temperature. In this workshop, you will get to see the hardware that normally sits behind the scenes, learn how to use a simple iPhone or Android app to create group, set static scenes, and create animated scenes. 19:00 – 20.00 Inspirations - Light Collective (sponsored by Delta Light) Light Collective and arc magazine will launch their Inspirations book, sponsored by Delta Light, based on 45 original pieces of artwork by international designers as featured in arc magazine from 2010 to 2017. Come along for a fun and interesting presentation!
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12:00 – 13:00 LED Education - Jeremy Fielding, Atrium Everything you wanted to know about LEDs* (*but were afraid to ask). If darc room was set in an American High School we’d call this LED 101 – using hands-on demonstrations and simple, easy to understand explanations join Jeremy Fielding from Atrium on a journey through the basic concepts of colour rendering, colour temperature, flicker, dimming, consistency, spectral power distributions, control and much more – all the hot topics with live demonstrations of key elements. 14:00 – 16:00 Connected Light - Francesco Anselmo, Arup darc room has asked Francesco Anselmo, from Arup to break the trem ‘connected light’ down for us. He’s not selling anything, not promoting a specific standard but he is passionate about the future of connected light. He wants everyone to see where this technology can take us as it gradually becomes part of our daily lives in the same way that e-mail has taken over from handwritten letters. 16:30 – 17:30 How to be brilliant… - Rebecca Hutchison, John Cullen Lighting darc room is delighted to welcome special guests and collaborators the ILP with a one-off edition of their incredibly successful How to be brilliant series, developed especially for students, interns, apprentices and new entrants to the lighting profession. Rebecca Hutchinson, Senior Lighting Designer at John Cullen Lighting, will review the latest Building Regulations, consider where best to position fittings for optimum effect, consider how to layer light for added interest and flexibility of mood, review circuiting, control and integration for maximum impact and look at how to finesse lamps, lenses and control to maximise the scheme. 19:00 – 20.00 Inspirations - Light Collective (sponsored by Delta Light) Light Collective and arc magazine will launch their Inspirations book, sponsored by Delta Light, based on 45 original pieces of artwork by international designers as featured in arc magazine from 2010 to 2017. Come along for a fun and interesting presentation!
darc room
darc room : live WEDNESDAY 19TH SEPTEMBER
THURSDAY 20TH SEPTEMBER
12.20 Liz West Multi-angled colour
12.20 Gavriil Papadiotis, Gavriilux Lighting Design through a viewfinder
12.40 Sam Neuman, Kate and Sam Nightclub Colour Splash – simple analogue multimedia lighting installations
12.40 Keith Bradshaw, Speirs + Major Not letting go
13.00 Paul Traynor, Light Bureau The Optic Cloak: Lighting of Architecture in Disguise of Art 13.20 Sanjit Bahra, Design Plus Light To the Rhythm…. 13.40 Marci Song, SEAM Lighting up the London Design Festival – a test bed for experimental architectural lighting 14.00 Stuart Alexander, Michael Grubb Studios For the love of cables… 14.20 Marcus Steffen, MS Lighting Design Project Management: how to deliver a successful Lighting Design project 14.40 Neil Knowles, Elektra Light is art. Regulations and guidelines are superfluous 15.00 Mark Tweedale, Light4 Cundall The sunlight simulation experience 15.20 Chiara Carucci, Tengbom Lost in translation - Light (in) words 15.40 Ellie Greisen, Studio EG The Disney Reef at Great Ormond Street Children’s Hospital 16.00 Gary Thornton, Neolight The evolution of the modern day lighting designer 16.20 Brendan Keely / Juliet Rennie, Society of Light & Lighting A Society of Light 16.40 Paul Beale, 18 Degrees Colour in context 17.00 Vasiliki Malakasi, GIA Equation KaleidoSCAPE: an immersive, interactive experience of light and colour 17.20 Rosa Dogg / Ágúst Gunnlaugsson, Limelight / EFLA Diversity of light in Iceland
13.00 Jonathan Rush, Hoare Lea Project Seed – an immersive experience in virtual reality 13.20 Cinzia Moretti, Moretti Interior Design, BIID member How to improve the perceived value of the interior with good lighting and how this can affect human psychology 13.40 Kristian Krogh, Lighting Design Collective Playful Design – 5 prompts for the next 5 years 14.00 Elettra Bordonaro, Light Follows Behaviour Aesthetic of light and social inequality 14.20 Peter Fordham, DHA Designs Tunnel Vision – managing your client’s expectations on a diminishing budget 14.40 Karen Van Creveld, University College London 10 illuminating themes – light, health and wellbeing 15.00 Mark Sutton Vane, Sutton Vane Associates Big! Lighting the world’s largest new cultural centre, Kuwait 15.20 Inessa Demidova, Arup Empathetic design for healthcare 15.40 George Singer True Beauty 16.00 Ben Rigby, Haberdashery Making emotional connections with light 16.20 Katia Kolovea, Urban Electric London Light: A non-verbal language in the urban space 16.40 Sunny Sribanditmongkol, Studio 29 Light: Identity 17.00 Bruno Falip, Nicolaudie How DMX can impact the design of LED architectural lighting installations 17.20 Alex Bittner / Karen Smart, Lighting Design International Lighting design… weighing lightly in a heavyweight construction industry?
17.40 Richard Taylor, Graphic Strategy Light, design, connectivity and all the other challenges
17.40 Monique Tollgard, Staffan Tollgard Design Group Q&A with darc editor, Helen Ankers : The challenge of contemporary finishes and lighting in a listed property
17.55 Olga Tuzova, Politecnico di Milano Light in the shadow
17.55 Dan Blaker, Nulty Innovation or interpretation
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darc details darc room will feature over 50 lighting brands at this year’s event in Shoreditch on 19th - 20th September. Here’s a selection. Register at www.darcroom.com to get the darc room app to get more information and to gain entry to the event. darc room is the ‘new kid on the trade show block’ brought to you by arc and darc magazines and light collective, the team behind the darc awards. It is a curated, creative lighting exhibition for specifiers and designers and is returning for its second year in a new venue in the centre of London. This is the third darc event brand following the incredibly successful launches of darc awards / architectural and darc awards / decorative in 2015 and 2016. The darc awards is a unique concept utilising arc and darc magazines’ reputation as being the most widely read and respected lighting design publications in the world and fully engages with the specifiers who participate. darc room will take place at the Nicholls & Clarke Building on Shoreditch High Street, in the middle of London’s design zone, during London Design Festival on 1920 September 2018. www.darcroom.com
Erco Compar, one of the ranges Erco will be showing at darc room, gives architects, lighting designers and engineers broad scope for creative precision. With this range of innovative recessed luminaires, Erco has extended the spectrum of round and square recessed lighting tools with a striking linear design. The slim luminaires – available from a width of 52mm – offer a subtle decorative detail in the ceiling whilst providing extremely efficient lighting tools with high standards of visual comfort. pod 5 • www.erco.com
LensVector Dynamic Beam Shaping using LensVector’s liquid crystal lens allows infinite beam control from spot to flood. It couldn’t be simpler to integrate and use. The lens seamlessly integrates with track and recessed luminaires and even laser devices. For architects and designers, control is at your fingertips regardless of wired or wireless protocol. Visit their booth to see how Casambi can be used to manage local or remote luminaires and view Targetti fixtures that already integrate Dynamic Beam Shaping from LensVector. pod 29 • www.lensvector.com
Ligman Ligman, with a new team on board including Martin Valentine and Emre Güneş, will be showcasing, amongst others, its special Vancouver column and bollard range with the unique corporate mashrabiya pattern of Abu Dhabi City Municipality. Column versions of this bespoke design are now installed around the grounds of the main Municipality HQ in Abu Dhabi in a matching RAL finish to the historic building cladding and more already underway for other Municipality sites. pod 30 • www.ligman.com
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tossB Belgium company tossB will be returning to darc room to display its decorative yet technical range of lighting. When tossB designs its lighting, the unique place taken up by light in our lives and its influence on our sense of well-being are considered very crucial elements. Inspired by the ‘Calumet’ sacred pipes smoked by the indigenous tribes of North America, Tribes is a family of pendant luminaries with a graphic and minimalist design. Equipped with two direct and one indirect LED spot modules, it is manufactured in two versions – individual and triple. pod 18/19 • www.tossb.com
darc room
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. pod 7 • www.aionled.com
Nicolaudie Nicolaudie will be showing their full suite of lighting control solutions at darc room including the new ESA Pro 2. Now compatible with the entire STICK range, the 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, multizone programming and more. pod 22 • www.nicolaudie.com
Targetti Zeno DBS is the first projector fitted with innovative Dynamic Beam Shaper (DBS) technology, the result of collaboration between Targetti and LensVector. The combination of the expertise of Targetti in developing optical systems and this exclusive technology brought about the development of the Zeno DBS projectors fitted with a specially designed optical system to dynamically vary the beam opening angle passing in a gradual manner from a Spot (around 10°) type emission to a wider Wide Flood (around 50°) without any mechanical parts but by using an IoT control system. pod 23 • www.targetti.com
Linea Light Group Linea Light Group will be returning to darc room with their range of architectural and decorative lighting. One such product is the Tour_P that has three different emissions: direct, indirect and lateral. A large lighting ring, the LED SMD source single emission with opal diffuser springs a warm diffusive light. Four different diameters defined by an extra slim section, makes this suspension very light and neutral. Three combinable lighting effects in numbers of variations, the Tour_P is able to transform spaces with a single minimal and contemporary sign of light. pod 33 • www.linealight.com
Feelux FLXible Neon by Feelux features LED lighting with spot free illumination in a flexible form. Available in 2700K, 3000K, 3500K and 4000K, its flexibility permits horizontal or vertical bending depending on product type. A convenient cutting line offers special customisation, providing maximum possibilities to fit for the requirements of its specific length and height. The range is available in both indoor and outdoor with an IP67 rating. FLXible Neon can be applied in many areas such as hotels, malls, and building façades. pod 25 • www.feelux.com
EcoSense EcoSense will be returning to darc room this year to show their award-winning Rise fixture amongst others. Meticulously designed to the last detail, the Rise lighting system incorporates a multi-faceted light platform made up of energy-efficient spot, accent, landscape and floodlight fixtures. The lighting system impresses with its aesthetically distinctive and compact design as well as its powerful technical features such as a five-degree beam angle and a light output of 300 to 11,000 lumens – it thus embodies an impressive new tool for lighting designers. pod 48 • www.ecosense.com
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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. pod 29 • www.casambi.com
LITE As well as displaying their distributed brands such as Studio Due and Philips Color Kinetics, LITE Architectural Lighting will be showing their own MaxiLED range for the first time at a UK exhibition. Fittings such as the IP66 rated MaxiEDGE (pictured) for corridor and window edge lighting simplifies what has been historically complicated LED installations when DMX controllability is required. MaxiLED combines power and data in to a single set of wires, which lowers installation costs and greatly simplifies retrofit installations, when energy savings or dynamic solutions are desired. pod 37 • www.lite-ltd.co.uk
ledbcn Barcelona-based company ledbcn makes its debut at darc room showcasing its Design collections such as the colourful design spot tracks Auri (pictured), Ero for 48VDC mag track and Straight minimalist family of LED projectors. To complement these collections ledbcn will show its latest ‘less is more’ concept - small diameters with narrow beam angles but at the same time powerful LED light fittings. A series of recessed luminaires with great visual comfort, low luminance and UGR will complete their portfolio for this show. pod 41 • www.ledbcn.com
ES-System ES-System will be showing its WHY system at darc room. An innovative, concave shape, the luminaire shines in four directions whilst the sides emit white light or light in any RGB colour. An opalised diffuser ensures uniform light distribution. A parabolic louvre or a microprismatic diffuser guarantee a low unified glare rating (UGR<19). Different module lengths are available. A high colour rendering index and different color temperatures ensure excellent visual comfort. pod 6 • www.essystem.pl
Lumenpulse Group The Lumenpulse Group will be displaying their Exenia range of decorative yet technical light fittings at darc room. The distinctive feature of Exenia collections is the colour, totally natural, with over one thousand catalogue finishes and endless possibilities of personalisation. For example, the Willy pendant mounted LED luminaire with direct light distribution features housing and a decorative ring that are finished in liquid paint with a plethora of colour choices. pod 31 • www.lumenpulse.com
LED Linear Invisible light meets brightness and high light quality: Mars Nano implements a new state-of-the-art Nano lense system providing an optimal control of the light with no direct view to the LED’s. The luminaire is freely scalable up to 4m with a lumen output ranging from 600 to 6,815 lm/m and a wide range of color temperatures. It’s available for recessed, ceiling and pendant installations. Various optics ranging from 15°C till 65°C allow total freedom of creativity for lighting designers and architects. pod 24 • www.ledlinear.com
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DESIGN WITH OLED. Organic LEDs in rigid and flexible forms present new possibilities for designers in light www.designwitholed.co.uk oled@applelec.co.uk + 44 (0) 1274 774 477
OLED advert for darc room.indd 1
31/07/2018 09:09:06
Bion Technologies LITE Architectural Lighting will be showing fittings from German manufacturer Bion Technologies at darc room. Discus 1, a flat, circular light fixture, is available in three performance classes and offers a selected portfolio of application-orientated light distributions. The IOT control option – a native integration of WiFi in the fixture – enables direct involvement of the digital light technology LED in digital IT‑networks and thus, a direct link to the digital world. pod 37 • www.biontechnologies.com
formalighting formalighting will be showing the evolution of its award-winning Moto-Zero at darc room. The innovative Moto-Zero Compasso 100, equipped with Lumenetix Araya5 RGBW modules, offers a vast range of options to create special lighting effects and tune the colour temperature to enhance event design or intensify the peculiar style of an ambience. The movement of the light head (355° pan and 90° tilt) as well the light intensity are controlled at the tap and slide of a finger with the formalighting wireless app powered by Casambi for smartphone and tablet. pod 26 • www.formalighting.com
Tryka LED Tryka LED returns to darc room with a host of architectural lighting applications. Manufactured in the UK, Stripline provides high performance, efficient linear lighting in lengths of 300mm, 500mm and 1000mm. At 12W/m, Stripline26 measures just 26mm wide, making it perfect for discrete installations whilst the range grows in size and power up to 77W/m. Mono or full colour arrays with a wide variety of beam angles and with optional glare shield accessories. pod 32 • www.tryka.com
AxaLight Designed and manufactured exclusively by Axalight in Europe and backed by a fiveyear warranty, the company will be showing their adaptable range of products made with Nichia LEDs with their cloud drive technology. All products can be adapted to suit the customer. Utilising rigid PBC designs ensuring thermal management, durability, modularity and serviceability, Axalight offers a wide array of options and bespoke solutions. pod 28 • www.axalight.com
Madrix Madrix, based in Germany, is all about powerful yet simple control products such as the Luna, reliable Art-Net nodes that drive hundreds of DMX universes, for creative LED lighting. The Luna reliably distributes DMX512 data over long or short distances using Ethernet network or USB. Its sync mode makes sure that lighting effects look their best on the LEDs. This device converts Art-Net data from Ethernet network to DMX512. Any small or large project greatly benefits from dependable data distribution and efficient operation. pod 12 • www.madrix.com
MP Lighting Canadian manufacturer, MP Lighting, will be making their UK debut by showing, amongst others, the L199 Interior Pendant that provides lighting for counter tops, floor, open space and architectural features. MP Lighting specialises in manufacturing specification-grade architectural LED fixtures, as well as Low Voltage, Line Voltage, and Multi-Circuit Track Systems. Established in 1994, MP Lighting is a Canadian owned and operated company with headquarters in Vancouver. pod 36 • www.mplighting.com
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SAAS Instruments SAAS has a growing collection of awardwinning light fittings. These luminaires have been created especially for SAAS by a wide range of designers. The lamps are evocative statement pieces, manufactured in Helsinki and found in several design museum collections around the world. One such luminaire is the Sub. Designed by two rising Finnish design stars for SAAS Instruments, Sub is a big fixture with a subtle indirect light. Sub can be mounted in the ceiling or on the wall, giving a nice ambient light. pod 13 • www.saas.fi
Applelec Applelec’s range of rigid and flexible OLED light panels is now available to the UK lighting market, with luminaire products becoming available to purchase later on in the year. Featuring the latest in lighting technology, OLED panels provide new possibilities in lighting design and are seen by many experts as delivering more human friendly characteristics than other lighting solutions. The OLED light panels produce no glare or UV, feature lower blue light levels than non-organic LEDs and generate a low heat output, which eliminates the need for heat sinks and diffusers. pod 43 • www.applelec.co.uk
LightGraphix LightGraphix will launch the new LD34 Linear In-Ground wallwasher at darc room as well as the surface mounted LD38. Both use the same LEDs and optics as the popular inground LD56 and LD51 adjustable spotlights so they enable a whole facade to be lit. The LD34 is very compact with a depth of 60mm, whilst achieving over 3800lm/m with very low glare. A wide range of LED spacings and beam angle options will be available, along with RGBW and Tunable white. pod 50 • www.lightgraphix.co.uk
Pulsar Pulsar will be bringing their brand new LuxEOS InGround 09 luminaire to darc room. Designed and built in Cambridge, UK, this is a luminaire for anyone who’s looking for a tough, reliable, and attractive InGround with state of the art features. Equipped with intelligent DMX / RDM control, Pulsar’s custom light engines and LuxRAMP technology, the InGround 09 takes all the innovative features from the LuxEOS range of floodlights and puts them into an InGround format. pod 4 • www.pulsarlight.com
Chroma Q Chroma-Q’s multi award-winning Inspire fixtures range is to be featured at darc room. With fully homogenised colour mixing, Chroma-Q Inspire RGBW LED house lights provide an excellent selection of stunning soft pastels, bold saturates and ‘true’ whites, with no unsightly colour separation shadows; adjustable between 1,000k to 10,000k CCT. Featuring the 9,125 lumens Inspire XT, the 4,390 lumens Inspire, and the 3,010 lumens Inspire Mini, the range has the ability to seamlessly transform the look and feel of a space. pod 45 • www.chroma-q.com
Coelux CoeLux lighting systems reproduce the true effect of natural sunlight entering through the opening in the integrated ceiling, with a realistic sun perceived at infinite distance surrounded by a clear deep blue sky. Objects shine in the exceptional light casting sharp sky-blue shadows. In a new development, CoeLux Moon will demonstrate how the ability of artificial light to generate comfort and relaxation is connected with the possibility of delivering the experience of an infinite space, even before illuminating. pod 52 • www.coelux.com
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Radiant Lighting Centura is a flexible, modular LED interior linear lighting system, designed to make complex designs simple. An innovative design offers the flexibility to follow curved surfaces, encircle columns and domes, and make irregular shaped pendants, all whilst offering excellent lighting control and uniformity. It is available in uplight and downlight solutions, surface-mounted or suspended, and with a light output of up to 5,000lm/m, making it ideal for a range of applications including architectural, hospitality, leisure and retail. pod 9 • www.radiantlights.co.uk
Studio Due LITE Architectural Lighting will be demonstrating Pin Light, Studio Due’s compact ultra narrow LED spot designed to create dramatic lighting effects on façades and architectural surfaces. It’s equipped with a coupled ultra-narrow 1.5° optic for accurate and detailed projection on surfaces to create effects of great impact. Suitable for outdoor installations thanks to the IP65 rating protection, it is available with one monochromatic LED (warm white, neutral white, cool white, red, green, blue or amber). On/off or dimmable function are also available options. pod 37 • www.studiodue.com
Quasar Science Quasar Science will be demonstrating their RGB-X Rainbow Linear Fixture at darc room. The Rainbow combines powerful RGB LEDs with the variable white crossfade technology used in the Q-LED X-Crossfade Linear fixtures. The 2,000-6,000k diodes give a full range of high CRI, broad spectrum light, whilst providing a full 360° palette for vibrant fully saturated colour; or when mixed with X-fade white light it produces beautiful soft pastels. Each fixture can be individually mounted or combined into large arrays to provide complete artistic control. pod 46 • www.quasarscience.com
Forge Forge designs, develops and manufactures cutting edge LED solutions with an emphasis on quality and delivering value. For 25 years they have manufactured LED solutions focused on innovation, quality and providing superior service. Forge’s LED light engines offer value and efficiency. Additions include a 380mm tile, 315mm round and 560mm x 24mm linear strip. The exclusive 560mm x 24mm strip is ideal for T8 replacements. With luminous flux of 1961 lumens at 350mA, and efficacy of up to 163lm/W, this 4,000K 48 LED linear strip is an efficient and effective solution. pod 51 • www.forge.co.uk
Zico Lighting Zico Lighting is a UK company that creates exceptional quality LED filament lamps with unique designs. It has built a strong niche in the lighting market by fusing the design of the antique style lamp with LED efficiency in a high quality product with exceptional features including the smoothest dimming. It works with interior designers, lighting designers and lighting manufacturers who traditionally specified tungsten and halogen lamps for their client projects to create practical yet beautiful lamps. pod 17 • www.zico.lighting
Elumeros UK company Elumeros will be showing the Colour Combat MP, a high-output DMX/ RDM flood fixture, at darc room. By adding the colour Lime into the mix the colour intensities are increased, better hues and saturations are achieved, and the lumen package is increased when compared to the traditional RGB/W/A technologies. The use of Lime in Elumeros’ fixtures means they are suitable for RGB, RGBW, RGBA and Dynamic White applications, all in one fixture. This technology is also an option across the entire Elumeros portfolio, honouring their slogan ‘Progressive Solutions’. pod 40 • www.elumeros.com
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directing light in your direction
+44 (0)1229 580000
Darc Room Ad.indd 2
www.forge.co.uk
sales@forge.co.uk
14/08/2018 12:33:10
Slim Pickings Since their appearance at last year’s darc room, Lightly Technologies’ ultra-thin LED Hikari SQ panels have been gaining a lot of attention. Here, David Morgan casts his eye over the slimline sources that will be on show at darc room this September.
W
hen a small start-up company manages to
raise more than £400k of equity investment
by crowdfunding to develop and market a ‘Post It’ note-sized light panel I was intrigued and
wanted to know more about the technology and the team behind the company.
The two founders, Matt Hanbury and Brian
Charman, met in 2012 while they were both working at Philips
Lighting. Matt started at Philips on its engineering graduate scheme and was sent to its OLED factory in Aachen, Germany to work on
mechanical engineering for OLED modules. At that time Brian was manager of the Philips Lighting Experience Showroom, where he
introduced new lighting technologies, including OLEDs, to customers and specifiers. After leaving Philips, Matt worked in Japan for Apple
on the production engineering and development of iPhone displays, which introduced him to a wide network of suppliers in Asia. Both of these experiences gave him tremendous exposure to the detail
design and mass production of thin illuminated panels. On moving to Dublin, Matt decided to start his own company to create a new light
source that would fulfil the initial promise of OLED light sources but
without the associated high costs and their inadequate performance. After some months of frantic development work, a prototype of a
panel was ready, and with patent protection for the design in place,
Brian joined as joint founder of Lightly Technologies in June 2016 to
help commercialise the concept. After self-funding the company for the first year, an initial round of Angel investment with family and
friends was completed by mid-2017 to allow the company to continue to invest in development and tooling.
The first modules, in pre-production form, were unveiled at darc
room in London last September and were branded Hikari SQ. Hikari is Japanese for light and the modules were square, hence the SQ
addition. Matt and Brian were encouraged by the positive reaction at
the show from both lighting designers and luminaire manufacturers and embarked on a second round of fundraising, which completed in early 2018. The investment raised has allowed the company to
invest in production tooling, stock and most importantly sales and marketing activity.
When I first spotted the company at darc room I was impressed by
the thinness of the panel, the even lit surface and the high level of light output.
My immediate impression was that it was another version of an OLED panel but after realising that the technology was based on traditional LED sources combined with advanced optical design I purchased a
developer kit and we have been investigating how to incorporate the Hikari SQ into our luminaire developments.
The design of the Hikari SQ is based on a thin side-lit, injection-
moulded micro prismatic controller. The quality of the optics ensures that the panel is evenly lit across the surface, allowing uniformity,
and there are almost no telltale signs of LED dots around the edges. The Hikari SQ is 100mm x 100mm and 3.5mm thick, and provides
up to 400 lumens with an efficiency of 80 lumens per Watt. Surface brightness is up to 10,000 nits, which to my eye is on the limit of
comfort for a small light source, although it is in fact lower than a T5 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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fluorescent lamp.
The technical characteristics are familiar ones for LED sources with a lifetime of 50,000 hours. The initial range of colour temperatures will be 2,700k, 3,000k and 4,000k with a CRI 90 and R9 over 60.
Uniformity across the surface is 85-percent and the beam angle is
DAVID MORGAN
100-degrees. It is understood that no extra heat sinking is required
with the light sources hidden from view as much as possible.
base of some form.
to a more considered concern that there may be insufficient specific
but when run at full power it should be mounted onto a sheet metal Apparently, the greatest interest in the modules so far has come
from the retail and hospitality sectors, where potential uses include statement chandeliers in entrances as well as decorative and high-
performance luminaires for these applications. The first luminaires incorporating the Hikari SQ are likely to be launched this autumn.
The plan is that once the 100mm x 100mm module is fully launched other shapes and sizes will be introduced. Dynamic white versions
are also likely to be introduced soon, with colour changing following later on in the product pipeline.
As a luminaire designer, my first questions to any supplier offering a new light source are what the primary lighting applications are,
where it can be used and how this source will help me to create novel, attractive, functional and commercially viable luminaire designs.
One of the key issues for me is whether the Hikari SQ can be used as
a naked light source. The OLED sales story that large areas of evenly lit panels are attractive always seemed somewhat questionable. It
is one thing to experience and enjoy the perfectly flat light effect of Anthony Gormleyâ&#x20AC;&#x2122;s Blind Light fog installation, but most lighting projects require a mixture of accent lighting and indirect lighting
My reaction to the Hikari SQ has oscillated from initial enthusiasm
applications to generate volume sales. However, it may turn out that the Hikari SQ will have many niche applications rather than a few
killer uses and that these will be sufficient to give the company the critical sales momentum needed to thrive.
We worked on a project some years ago with Joe Geitner of George Sexton Associates where the Hikari SQ would have been the
perfect light source. We ended up making a custom LED panel that
worked fine, but the overall depth of the luminaire could have been reduced significantly if the Lightly source had been available then. Joe Geitnerâ&#x20AC;&#x2122;s comments on the Hikari SQ were positive for use in
cabinet lighting but he felt that the 100mm x 100mm size might be a
limitation for other uses. As the product range develops, the offering will become more attractive as it will offer more uses, for more applications.
If Lightly can gain sales growth with the initial module and go on to create a full range of ultra-thin LED modules in a variety of shapes, sizes and colours then the future will most certainly look bright for Lightly Technologies. www.lightly.tech
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EVENT
Enlightening the Americas The third installment of InterLumi Panama educated more than 3,500 visitors on efficient lighting and renewable energies.
T
he third edition of InterLumi Panama was held
Director of smartLIGHTING and Luis Juan López, Director of
Center in Panama City, performing as the
than 130 professionals and students from related fields attended.
from 11 to 13 July 2018 at the ATLAPA Convention meeting point for the lighting and renewable
energy industry in Central America and the Caribbean. During the three-day event, more than 3,500 visitors
from 23 countries/regions attended, while more than 85
exhibiting brands from fifteen countries/regions participated to share the latest products and technologies.
The event saw an increase in visitor numbers of more than 30%.
This was the result of an innovative policy that focused on offering
the customer a high quality content – not only presenting products, but also sharing experiences of industrial trends and innovations.
The concurrent events of InterLumi Panama 2018 played a leading role in this. The third edition of the Efficient Lighting Forum
impressed attendees with a strong lineup discussing topics including lighting trends, smart cities and renewable energies. Each speaker
selected a practical issue and shared their knowledge on it, attracting a large audience, who has praised the professionalism of the forum. Elsewhere, the first Lighting Design Seminar was held on the
first day of the fair. Co-organized with COARQ and presented by
the president of APDI, Rafael Gallego, together with Mario Prieto,
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Iluminet, the seminar exceeded everyone’s expectations, with more The inauguration ceremony of InterLumi Panama 2018, held on the first evening of the fair, welcomed the Governor of Panama Province, President of COARQ (Association of Architects of
Panama), President of PGBC (Panama Green Building Council), Coordinator of Climate Change for Latin America and the
Caribbean of the UN Environment, among many other VIP
guests. The ceremony featured a performance from traditional Panamanian dancers, and was considered a great success.
Organisers of the event, America Expo Group, said: “We are especially grateful to all the people who allowed this event
to come true; exhibiting companies, visitors, governmental
organisations, associations, chambers and all the staff that in one way or another collaborated with the realisation of this project. “Encouraged by the positive feedback of the year’s event, InterLumi will keep on promoting the knowledge of
efficient lighting and renewable energies and connecting the Latin American market to the rest of the world.” www.inter-lumi.com
InterLumi Panama will return in 2019 from 25 to 27 July.
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CASE STUDY
A Jewel of Stone With the help of Aion LED, the Freemark Abbey winery has a new lighting scheme that tastefully pays tribute to the site’s rich history.
T
he Freemark Abbey winery in Napa Valley, California,
dimming control system design required linking five independent
lighting scheme, courtesy of Aion LED.
restaurant, retail, ballroom and café.
has undergone a large-scale renovation, with a new
The winery was first opened in 1886, commissioned by
the first female vintner in California, Josephine Tychson, and in the 130 years since its inception has grown in both size and reputation.
The site features a beautiful stone building, constructed with stone
from the nearby Glass Mountain by the same labourers that worked the field and produced the wine. The building was designed to
provide stable year round temperatures to support wine making in
the heat of the wine country and the thick and heavy stone structure
was dark and uninviting to keep out light and heat. The beautiful and organic variations in the stone coursework and mortar highlight the handmade quality of this structure, and its evolution over time. Purchased by Jackson Family Wines in August of 2006, the new
owners wanted to pay tribute to the site’s rich history while looking to the future and planned a renovation to the landmark stone structure, which began in 2015.
There were a number of challenges facing the adaptive reuse of this
structure; first and foremost was the goal to use light to celebrate and observe the original stone façades while creating warm and inviting light-filled spaces with very flexible and adaptive uses.
The client requested an entirely LED lighting system to reduce
maintenance and operating expenses while meeting California Title 24 – an energy efficiency standard to preserve outdoor and indoor environmental quality in the state.
Another challenge came in planning for multiple uses within the
building, each requiring separate electrical services and meters. The
dimming systems for the five different building uses: winery, Lighting Designers at Studio 321 worked closely with project
architect SB Architects and interior designer Brayton Hughes Design Studio on the project, developing AutoDesk Revit and 3D Studio
Max lighting models, calculations and renderings to simulate and study the interaction of natural daylighting and artificial electric
lighting. These studies informed the team to optimise the location,
shape, size, glazing type, and shading for the new feature skylights. Designers studied the interaction of sidelight and skylight within the spaces as well as the integration of daylight and electric light throughout the year to optimise each system.
The lighting design integrated Aion LED’s AT401, AT845 and 892427-LE direct and indirect linear LED lighting into the building
structure to highlight and celebrate the beautiful stone walls, as well as the upper level vaulted ceilings.
The front of the building along Highway 29 was tailored to meet the needs of the new indoor/outdoor restaurant, while the upper level
also includes a retail hall, wine tasting and VIP tasting venues. The
lower level includes a pre-function space, barrel room, event space, wine library and café that spills out into the courtyard beyond the east façade of the building.
The indirect landscape lighting and façade uplighting creates a warm
and inviting connection between the interior and exterior spaces, and supports the outdoor patio café and restaurant functions, including a lounge, bar, dining space and Yakitori grill. www.aionled.com
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case study
Pics: Ebener
Orchestrated Lighting The Richard Wagner Museum in Germany presents an exhibition never before seen by the general public, illuminated by ADO Lights.
T
he modern extension of the
so the artefacts can be fully appreciated.
Bayreuth, Germany, has a
219 Mini Spots from ADO Lights to
Richard Wagner Museum in new lighting scheme by Licht
Kunst Licht, supplied by ADO Lights and TTC Timmler Technology.
The elongated low building, designed by
renowned Berlin museum architect Volker Staab and constructed from steel and
glass, is home to temporary exhibitions
as well as the performance history of the Bayreuth Festival at which operas by the 19th-century German composer Richard Wagner were held. This is the first time this valuable collection can be seen in
this diversity by the general public. The
exhibition consists of costumes floating in ceiling-high display cases, stage set
models, the Parsifal Glockenspiel from
the 1920s and the Valkyrie hero rocking
horse as well as a collection of black and white photographs.
Most of the rooms are immersed in
dramatic black like a dark theatre space
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Designers from Licht Kunst Licht added illuminate the exhibits. The thumb-
sized LED-Luc spots are magnetic and can be individually directed due to an
adjustable internal tongue. The lenses are interchangeable (50, 25 and 10 degrees)
to be able to adapt the illumination to the specifications of Licht Kunst Licht. Honeycomb louvres ensure glare
protection along with conical fittings that direct the light.
The colour of the steel luminaire housings were also adapted to blend in with their
settings, from black to white depending on the corresponding room colours. www.ado-lights.com
The Mosaic Flood and Mosaic Profile features a high CRI output with TUNABLE WHITE from 1800K-8000K with a CRI of 90+ across the entire color temperature range. Rich blues, ambers, reds, violets and greens can be added in gradients or can completely saturate the output of the light.
www.tslight.com
CASE STUDY
Pics: © Erco; Photography: Frieder Blickle
Work of Art Following in-depth refurbishment, the gallery spaces of the Hamburger Kunsthalle shine in fresh colours and brilliant LED light from Erco.
T
he Kunsthalle Hamburg holds one of the most important
can be described as “general lighting from wallwashing plus accents
of quality and quantity. The museum, founded in the
solution for the gallery spaces and also supports visitor orientation,
collections of art in Northern Germany – both in terms 19th century, is centrally located in the Hanseatic city
between the main railway station and the Alster. It consists of
three striking buildings that are architecturally contrasting and
yet interconnected: the so-called foundation building inaugurated in 1869, the extension building constructed from 1909 to 1921 and the Gallery of the Present opened to the public in 1996. Following completion of the overall refurbishment of the museum complex
last year, the Kunsthalle now radiates in a fresh and contemporary splendour. Light from Erco plays a central role in the heart of the museum, the gallery rooms.
The modernisation of the Hamburger Kunsthalle, which was carried out between 2014 and 2016 helped by a donation from the Dorit
and Alexander Otto Foundation and with planning by the Hamburg offices of LH Architekten, consisted of a variety of conversion,
extension and refurbishment measures. The return of the main
entrance into the foundation building as part of this project won
high public approval, and with it the spatial re-conception of the exhibition area making it more visitor-orientated. The new wall
colours in the galleries of both older buildings also achieved a high
degree of attention, as did the relighting in these exhibition spaces in association with extensive upgrading to energy-efficient LED light. The lighting concept for the gallery rooms of the Kunsthalle was created in collaboration with the team of curators, ECE and Ralf
Suerbaum, the technical manager of the museum. Fundamentally it
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on artworks”. The wallwashing provides the basis of the lighting while the precisely aligned spotlights emphasise the individual artworks. As a consequence, light and brightness are always
where they are needed. The illumination of the rooms is calm and
harmonious whilst any dramatic effects and spectacular displaying is intentionally avoided.
Erco Light Board with wallwash light distribution and a connected load of 30W are used for the wallwashing in the Hamburger
Kunsthalle. As an alternative, Light Boards with oval flood lenses and 15W connected loads were installed in the smaller rooms.
For accenting the artworks, Optec spotlights are used that have
connected loads of 5-9W according to their distance to the artworks; these are fitted primarily with spot or narrow spot lenses.
All luminaires feature a 3000k warm white light colour spectrum.
Suerbaum justifies this principle decision with the character of the collection and architecture of the museum. Neutral white light,
according to his estimation, would have an excessively cool and technical appearance within this framework.
Both the responsible managers at the Kunsthalle and the public
at large are completely satisfied with the results of the relighting.
Visitors described the museum’s new lighting solution as ‘fresh’ and ‘a lot more chic’ reported Suerbaum. The gallery rooms actually do
appear noble, graceful and dignified as well as being pleasantly fresh, friendly and inviting. www.erco.com
Fitted LED design solutions – for interior and exterior for business houses and private residences, façades, parcs, gardens, museums, public spaces, churches, shopping malls, showrooms, film and television studios, hotels … above/below: LED-LUC – magnetic MiniSpot
®
by TTC Timmler Technology
TTC Timmler Technology GmbH Christian-Schäfer-Str. 8 D-53881 Flamersheim T E
+49 2255 921 200 info@ado-lights.com
www.ado-lights.com www.led-luc.com www.ttc-technology.eu
CASE STUDY
Park Life Swedish landscape architects Landskapasgruppen have designed a new sports park in the picturesque coastal town of Kungshamns, with lighting provided by Anolis.
K
ungshamns is a picturesque coastal harbour town in
light-emitting molecules and an enzyme generally called the
province.
Janssen worked closely with her colleague and landscape-architect
the Sotenäs Municipality in Sweden’s Västtra Götaland
‘luciferin’, which reacts with oxygen and creates the light.
The Sotenäs Kommun (town council) issued a tender to
Rasmus Lagerstrőm who designed the park, and they also consulted a
design a new sports park in the city centre, offering a variety of playing
number of lighting experts including the projects division of Bellalite,
to professionals.
options.
received the assignment based on their framework proposal for the
levels, colour temperatures and the robustness and reliability of the
which features Anolis luminaires, were then put forward.
and the IP67-rated Anolis ArcSource 48MC Integrals ticked all the
anyone wanting to practice a variety of sporting activities from
high poles positioned around the park and powered from local mains
sports training hall.
to the fixtures utilising embedded Lumen Radio receivers, which talk
lighting designer Karin Janssen chose Anolis ArcSource 48 Integral
the lighting poles ensures a good signal throughout the area. All the
it to life after dark, ensuring that those using the space can continue
(Remote Device Management), a function of the fixtures that also
“We needed a high quality luminaire that would also help create
across the area.
“The idea was for it to be a place where everyone is welcome to come
series of pre-set looks and scenes as the evening progresses.
and it was important for the lighting to look good when dimmed
series of motion sensors around the park, so anyone walking through
residential developments.”
Janssen and Lagerstrőm specified Bellalite’s Johan Zachrisson as the
pools of different hued light in the designated four lighting zones.
with the lights and control system, and the many park users, for which
required for the pre-programmed colour schemes that shift subtly
results.
The idea of using these shades came from bioluminescence, which
place and a central location and hub for other events happening in and
Organisms like plankton, fireflies and angelfish can glow by releasing
www.anolislighting.com
and development areas for children and young people, from beginners
Anolis Swedish distributor, to determine what would be the best
Gothenburg-based creative landscape architects, Landskapasgruppen,
Everyone pooled ideas and considered throw distances, required lux
space. Innovative ideas and an integral lighting scheme for the space,
fixtures for a tough outdoor environment, particularly in the winter,
The Kungshalms Näridrottsplats (local sports ground) is open to
boxes as the best option. The fixtures are all rigged on eight metre
skateboarding to football to basketball and is adjacent to a brand new
A Pharos system is used for control, with data transmitted wirelessly
When it came to lighting the environment, Landskapasgruppen’s head
to a transmitter located on the building. A repeater rigged on one of
MCs as the primary fixtures to illuminate the park at dusk and bring
setup and addressing of the fixtures was done wirelessly using RDM
their activities safely.
monitors wireless signal strength to ensure there is a good covering
a relaxed and inclusive ambience in the park,” explained Janssen.
The lights switch on automatically as dusk falls and cycle through a
and play or practice. Naturally there were the safety considerations,
White ‘activity’ settings are also pre-programmed, triggered by a
and necessary to prevent light spillage or pollution for the nearby
will have their path automatically lit.
The designers wanted a colour-changing fixture to create small
programmer as part of their tender application due to his familiarity
In addition to the whites, a good selection of blues and greens were
the park has already become a valuable local asset, appreciate the
throughout the evening.
In addition to sports training, it has become a community meeting
is a common phenomenon in the ocean along Sweden’s west coast.
around the town.
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Up to 150LPW
Beam angle
30*90°
Beam angle
60*110°
Beam angle
90*110° A professional indoor lighting manufacturer with 14years experience. Factory Add: 1 Xianke 1st Road, Huadong Town, Huadu Dist.,Guangzhou, China E-mail: info@ledialighting.com Tel: 0086-20-37706057
CASE STUDY
Camp Rules French lighting designers 8’18” have utilised lighting from L&L Luce&Light for The Camp, a centre dedicated to research and innovation.
I
talian lighting manufacturers
an amphitheatre, and a restaurant and
the lighting for The Camp, a
experimental gardens.
L&L Luce&Light has provided
new, major architectural project
white canopy that takes its inspiration
A start-up incubator and centre for research
houses thirteen buildings made of concrete
and experimentation on innovation, The
Camp is dedicated to emerging technologies
from the tents used by nomads. The canopy and curved glass, intended as incubators for start-ups.
and the smart cities of the future.
Lighting designers from 8’18’’ Concepteurs
a “base camp” from which the “explorers”
for this project, utilising Neva linear profiles,
sustainable and humane future”.
Plin bollards.
The site takes inspiration from the idea of
set off on expeditions to “explore together a
Lumière elected to use L&L outdoor fixtures
Siri and Pivot projectors, Lira step lights, and
Inaugurated last September, The Camp
“We decided to give greater prominence to
Chevalierè, and designed by architectural
fabric, rather than to the other architectural
was founded by the entrepreneur Frédéric practice Corinne Vezzoni & Associés in
Marseilles, while the lighting design was
the huge “Tent”, a canopy structure in white elements,” said Agnès Charvet, lighting
designer with 8’18”, who supervised the
the work of lighting design studio 8’18”
project. “The tent was lit with the aim of
Set against the backdrop of the Provence
materiality of the canopy structure itself.
Concepteurs Lumière.
countryside, The Camp is an architectural complex with a minimal design, intended to integrate harmoniously into the
environment. Its 10,000sqm of built surface area contains offices, laboratories, lodges with rooms for campers, sports facilities,
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The campus’ main body consists of a huge
in Aix-en-Provence, France, dedicated to innovation.
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bar, alongside spaces for meditation, and
producing indirect light and highlighting the “Each of the buildings that make up The
Camp has been constructed with a fabric “bubble” at the top, and it is in these elements that the light operates.” www.lucelight.it
CASE STUDY
Director’s Cut Targetti has illuminated the Museo Zeffirelli in Florence, a museum celebrating the works of director Franco Zeffirelli.
A
fter careful retrofitting and renovation
on a specially made structure, were chosen. With
and Fabio Valelà, the Complex of
emphasise the works in the museum rooms,
work by the architects Marco Paolieri San Firenze is now home to the
Fondazione Franco Zeffirelli and the International Centre for Performing Arts.
Originally a convent of Filippini fathers, the
right wing of the complex was previously home to the Florence Court until 2012 when it was
chosen by the City Hall to house the entire artistic and cultural works of the great director Franco Zeffirelli. The Centre, with its archive, school and library, was the brainchild of the director
himself, who wanted to create a place of training and teaching linked to the performing arts with
a full programme of exhibitions and educational
initiatives. To do this, the Centre has classrooms,
workshops and a music room used for concerts and film shows.
For the renovation project of the former court area, Targetti provided the lighting for the museum and
the monumental music room. To light the museum
that houses more than 250 works of art that tell the story of the director’s life and career using scene designs, drawings and sketches, miniaturised
fixtures from the Otto range, mounted on a track
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their compact size the Otto adjustable projectors creating defined and well-controlled beams on every piece on display. Particularly suitable in spaces where a precise and modulated light is
required, these projectors reproduce colours and shades perfectly.
In the music room, with its frescoed vaulted ceiling surrounded by boxes in exedras inside and along
the side walls, professional projectors from the Ray range were used. These fixtures, with an essential, simple design, produce different effects due to the different optical systems they are equipped with. Every single exedra is emphasised with precise
light beams that highlight the statues in a skilful contrast of light and shade.
The LED technology the projectors are equipped
with makes it possible to maintain colour fidelity
by enhancing the frescoed works that can be found inside the room. Fixtures from the Ray range
integrate perfectly with the architectural context to ensure comfortable lighting in the space and a relaxing experience during performances. www.targetti.com
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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.
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CASE STUDY
Minimalist Marvel Linea Light Group has developed a lighting scheme that complements the minimalist design of the new Raffles Institute fashion & design school in Milan.
T
he Raffles Institute is appreciated for its modern
opaline diffuser with internal driver for SMD LED source, with warm
internationally renowned fashion and design professors,
internal side, ideal for environments where a wide and uniform light
and innovative way of teaching, led by a team of
and a unique training programme that highlights the
teaching efficacy of the big masters, allowing work on real and tangible projects.
For its first European branch, located in the Porta Venezia area of Milan, the Raffles Institute selected Linea Light Group lighting
solutions, which provide a 360-degree service, according to Alter Partner Studio needs, the design studio in charge of the project.
The renovated space is characterised by big, clean spaces, elegance and an attention to luminosity, and each environment, like the
reception, common areas, corridors, classrooms and meeting rooms found its personality thanks to Linea Light fixtures.
In the reception area and the lobby, two large spaces with minimalist furniture, the Pool fixture was chosen for its soft, diffused light and minimal design. For the common areas like corridors and break
rooms, the Gypsum family was chosen: a series of recessed fixtures with a gypsum concave surface that makes the source invisible and softens the outflowing light.
Designed to enhance the decorative aspect of the stairs in the main lobby, there is a waterfall of Baton, cylindrical suspensions of different sizes, which provides style and a sense of motion.
Meeting rooms and desk areas are lit up by Tour intersections; the
circular suspended lamp with a rigorous style, aluminium body and
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and diffused light, in three different emissions: direct, indirect and is required.
For the classrooms, Alter Partner Studios opted for linear
lighting with the Shore family, and Outline, which allows infinite
compositions to generate lines and continuous angles; and recessed lighting from the Fylo family, which emphasises the decorative aspect and guarantees a light cove, perfect in case of video projection.
In the laboratories, round ceiling lights from the Square family, with topLED source were used.
The showroom, dedicated to shows and festivals, is emphasised by
Angular, a triphase track system projector. Minimalist in its design,
it offers great performances, guaranteed by an arrayLED light source and a tilting movement that reaches 45-degrees.
Great attention has also been given to the outdoors: on the windows,
an LED strip profile has been placed to create an effect of illuminated glasses. Suelo projectors provide vertical lighting, and Mini-Outline fixtures are mounted above the stairs. In the load/unload area,
Mywhite ceiling lamps were used, adapted for both outdoor and
indoor settings, with a simple design that embellishes any kind of scenario.
www.linealight.com
CASE STUDY
Walk This Way A new lighting installation in an Amsterdam shopping centre, created by Intra, provides a welcoming pop of colour, inviting shoppers inside.
I
ntra lighting has created new
the investor now wanted to create a passage that’s
a one-of-a-kind ceiling above the
continuing paving that connects it further to the
customised lighting solutions for Kalverpassage shopping area in
Instead of a steel and concrete façade, the new
modern diversity.
with a light curtain ceiling, making the shopping
The Kalverpassage is an attractive shopping
destination in the Dutch capital, framing shops,
Kalverpassage now opens its two main entrances site lighter and more spacious. This renewed
entrance, with its striking original art, invites the
impressive art and catering. Located within the
shoppers to enter the Kalverpassage, and brings a
and Singel streets in Amsterdam, the shopping site
The new LED artwork is comprised of Intra’s
interests.
the fixture, Insta was challenged to create a
triangle formed by the Kalverstraat, Heiligeweg
forms a crossroads of different styles, cultures and
pop of color to this historical part of the city.
newly-developed Haron luminaire. In developing
When Kalverpassage underwent a renovation by
product that would be sophisticated but eclectic,
Groep, the site changed from shopping centre
at the same time. Designed in two sizes with a
a real estate investor and developer Kroonenberg to shopping passage. The starting point for the
renovation was to create a spatially and culturally
crazy and colourful, but monotone and classy
flexible mounting system, Haron offers endless possibilities that fit to any 2D or 3D surface.
rich city triangle that meets the wishes of the
What once started with a luminaire sketch at
historical structure that dates back to the middle
ceiling artwork at Kalverpassage created by LED-
current consumers but still pays respect to the ages.
Changing retail needs required the redevelopment of this shopping site and a construction of a space that’s suitable for international retail
requirements. Instead of creating a shopping
centre that was isolated from the ‘outside city’,
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streets outside.
Amsterdam Netherlands, that represents the
connection between city’s historic charm and its
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discretely connected to the surrounding area, with
Intra lighting office later grew into a luminaire
technology artist Sigrid Calon. In a palette of 364 col-ours with seven colours swapping out every
week, every minute reveals new patterns with the tri-angular LED panels, creating a special feeling that welcomes customers. www.intra-lighting.com
We Design
To Change
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& INTERIEUR City Festival 18.10â&#x20AC;&#x201C;04.11
Principal partner
New Arrivals Here we take a look at the latest products that have been launched in the industry.
Orao Cariboni Orao lights up faรงades, paths and urban spaces with LED technology. The optical systems guarantee visual comfort, safety and enhanced quality of space. It includes different installation methods for any environment. Rotosymmetrical, symmetrical, asymmetrical and street optics are available, as well as solutions for wet road surfaces. The high efficiency of the lamps used and the various smart lighting systems ensure that only the required areas are lit. www.caribonigroup.com
Mini Cove Moda Moda Mini Cove Interior is an award-winning miniature line voltage cove lighting system. Powerful and efficient with a choice of standard output at 502 lm/ft or high output delivering 1004 lm/ft packaged in a small size of 33mm tall. Mini Cove utilises the latest Advanced Moda design and electronic engineering, ensuring fixtures are cool to the touch even at 1004 lm/ft. The L70 (longevity) of the fixture is extended and phosphor degradation kept to a minimum. www.modalight.com
Lempea Tehomet Combining modern aesthetics with natural elements, Tehomet decorative wooden poles bring a traditional material to streets and parks and a myriad of shapes and possibilities. Typical sites and applications are city park areas, play parks, day-care centres, historic urban settings and low-rise residential districts as well as indoor lighting requirements. www.woodenpoles.com
Boya Climar Lighting The circular shape design of the Boya product range allows an easy integration into any spacial concept. Efficiently designed, it harnesses the power of LED technology to simulate adjustable natural light. It provides harmonious lighting, designed to meet the most demanding expectations and new challenges, assuming itself as an architectural element. www.climarlighting.com
Task Circle Suspended XAL This flat pendant luminaire has a frame height of 15mm and consists of four ring segmants, which are optionally complemented by two additional longitudinal parts in the oval version. Its white powder-coated frame, made of aluminium profiles and aluminium die-castings, features round edges on the end faces. The flat design is achieved by LED side feed (LPG) technology. A microprasmatic cover ensures precise direct light control and a glare-free work light. www.xal.com
Haron Intra Haron offers a combination of RGB + White lighting and is made out of a powder-coated aluminium body with IP67 protection. You can select from two different types of diffuser; double layer edged glass or edged glass in a combination with transparent one. The luminaire provides even light in any colour or creative patterns. This luminaire can be ordered in two sizes that can be easily combined into a large scale systems. Mounting elements offer maximum installation freedom. www.intra-lighting.com
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red dot design awards
FLX Stix NDPro Feelux Ultra slim linear light with high CRI and spot-free lighting effect. The FLX Stix NDPro benefits from a quick connection, which provides seamless lighting with no dark spots at the linkage point and colour consistency, as well as easy installation for convenience. Having a variety of different accessories and dimming options can be used for creating innovative installation concepts. Unlike using only brackets, magnets on the fixture can give various ideas of mounting methods. www.feelux.com
D35-R Glamox Glamox D35-R is a compact design and comes in three sizes, designed for recessed or surface mounting. With its compact, low-profile design, it is the ideal solution in applications with restricted mounting or void spaces. With the surface version you can add a decorative touch to the lighting solution. Available with two optics, the Microprismatic (MP) and Opal (OP). www.glamox.com
Tana Spot KKDC Tana Spot is the new compact and adjustable luminaire designed for shelf display feature illumination from KKDC, with surface mounting via screw fixing and male/ female connectors. Tana Spot is a directional module designed to be installed in line with our existing product series ‘Tana’. It offers high CRI Lensed options with a choice of 16, 24 and 26 degrees, LED (CRI ≥ 90). www.kkdc.lighting
DIALux Mobile DIAL With DIALux Mobile, DIAL has launched the first app for light planning where users can plan light in the interior space directly on site on a smartphone or tablet with real products. The app for iOS and Android devices is free of charge and now available for download. The planner can create a room and define a lighting system with just a few clicks. The user then immediately receives a result on the number and positions of luminaires required to meet the standard requirements of lighting in a room. www.dial.de www.dialux.com
Sephora & Ren DW Windsor Ren is a range of bollards and waymarkers defined by clean lines and performance. With an optical system, low energy consumption and the ability to hit P5 lighting classes at 6metre spacings. Sephora is a family of circular public realm street lights available in two styles and three sizes; 450, 650 and Halo. Two light engines; comfort for humanfocused lighting of pedestrianised squares and urban spaces (available in 2200K 3000K CCT) and performance for higheroutput large area lighting. Lumen packages are available between 1000lm and 34000lm. www.dwwindsor.com
illuminet dot-spot dot-spot has developed illuminet specifically for exclusive light designing in bathrooms. The wall niche, the entire surface of the wall which is illuminated, is used as a part of the atmospheric setting within the bathroom. The wall niche is manufactured from highquality mineral material. The entire rear wall is illuminated homogeneously. Sizes of 300x300mm and 600x300mm are available. www.dot-spot.eu
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Red Dot Award: Product Design
t: Do Red st of Be est B the
t: Do Red st of Be est B the
ble ura n o n o Ho enti M
Loop Fluvia Loop is an elegant and minimalist design by Antoni Arola for Fluvia that applies OLED technology to 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
Ghost Linear Simes The design of the Ghost line is the outcome of a fundamental rethinking of the way outdoor lighting is conceived. This interesting concept of outdoor lighting is based on a basic principle of “subtraction” rather than the familiar approach of “addition”. No visible lighting fixture is added to the building’s structure; instead, it consists in a void filled with light. The aim is to make the light come directly from the structure, from the concrete itself. www.simes.it
AlDecimo Panzeri Equipped with a pressure mechanism, the luminaire comes out of the wall at a light touch. When closed, the light only shows its square perimeter, while in the open position, the light beam is projected over the wall. When closed, the power of the light is automatically regulated via dimmers, which reduce the light output to twenty percent of its potential. The finish is white but it can be painted or even covered with wallpaper if requested. www.panzeri.it
Dunbar 160 Astro The design concept of Dunbar 160 uses the pure aesthetics of exposed concrete. Inspired by the flowing lines of a Mobius strip, the soft curve structure of the wall luminaire is combined with the crisp linear edge of its light output. LEDs, deeply recessed in the reflector, provide powerful yet glare-free illumination. Each luminaire is individually cast, resulting in an authentic product solution with natural imperfections and a distinctive character. www.astrolighting.com
GreenSpaceAccent - LED projector Philips Lighting In order to achieve a homogenous overall appearance on the ceiling, this spotlight was designed with a compact housing which integrates all technical components. The front and back of the cylinder feature refined details for air ventilation, optical glare protection and cable routing. GreenSpace Accent is suitable for retail lighting and available with special LEDs to provide optimal lighting for clothes and fresh foodstuffs. www.lighting.philips.co.uk
XY180 Delta Light XY180 is a three-piece lighting collection, the floor, wall and ceiling lights of which are suitable for both domestic and public interiors. The basic elements, which include a dimmable tube light in different lengths and two different spotlights, can be individually combined via a hinge. This allows the creation of customised lighting scenarios. Thanks to their versatility, the luminaires can take unpredictable and asymmetrical positions. www.deltalight.com
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red dot design awards
This yearâ&#x20AC;&#x2122;s Red Dot Awards in Essen, Germany, brought together designers and manufacturers from 59 countries who entered more than 6,300 products into the competition. 45 of those products won an Honourable Mention, while 1,684 designs received a Red Dot. 1.1% of entries, a total of 69 innovations, were considered for the highest award in the competition, the Red Dot: Best of the Best. Here is a round up of the winning architectural lighting products.
Grid LFO Molto Luce Grid is a square ceiling-mounted luminaire integrating four effective spotlights. By a special LFO lens, the light can be focused to a minimum of 8mm at the light exit opening, and then be re-expanded into a light beam of 30 or 55 degrees by the very same lens. This leads to excellent glare control and thus contributes to the improvement of visual comfort. The powder-coated surface of the luminaire body is optionally available in black or white. www.moltoluce.com
RingO Alto RingO is a luminaire that is suitable for ceiling, wall or pendant luminaire installation. A mounting device allows quick installation by simply pushing the large luminaire into the bracket. The plastic diffuser is shockproof, dustproof and maximises the diffusion of the soft, glare-free light. It comes with a choice of different colour temperatures. The daylight mode measures the current room light via sensors and automatically adjusts the light intensity. www.alto.co.kr
Seti Lamp Seti is a versatile and simply designed outdoor lamp. An extrusion profile integrated into its body allows inserting different light sources for focal, ambient or signage illumination. Seti offers the choice between a pleasant diffused lighting, an indirect light for the illumination of paths and roads, as well as a spot model designed to direct the light flow towards the ground with a marked beam of light. The electric components are reliably protected against bad weather in all models. www.lamp.es
Xuan Zhi ABB The series has a unique ladder shape due to its non-frame, arc-shaped switch board and its base dip angle design. The integrated mounting board has a mesh reinforcement structure to ensure that, even in harsh environments, it will not deform. For the first time in China, CNIIB has used Rapid Heat Cycle Molding technology and high polishing molds to achieve a glass mirror effect, making it smoother as well as more wear-resistant and environmentally friendly. www.abb.com
Walky iGuzzini This collection of round, square and rectangular wall lamps allows for flexible indoor and outdoor installation. As comfortable path lighting, the series is especially suitable for the use in public spaces. Available as both recessed and surface-mounted luminaires, starting from a height of 45mm, Walky embodies a compact product solution. The recessed versions can be dimmed. A new visual appearance ensures a uniform horizontal illumination without casting any shadows. www.iguzzini.com
Cardan evolution Zumtobel This series of freely movable, recessed downlights enables flexible and highly efficient accent lighting. The special shape of the housing prevents self-illumination and, in combination with a compact design, leads to a homogeneous appearance of the ceiling. The timeless, simple design vocabulary blends harmoniously into different architectural environments. Furthermore, a wide range of accessories and different designs offers a high degree of flexibility. www.zumtobel.com
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red dot design awards
Lantern Royalux This outdoor lighting series takes up the look of traditional lanterns. The distinctive combination of an aluminium body with glass surfaces underlines the pleasant light temperature of the LEDs. The wall lamps are equipped with an integrated motion detector, with a detection range of six to ten metres and a detection angle of 120 degrees. The lighting time can be set between eight seconds and eight minutes. The series includes two wall lamps, two portable lamps and a matching bollard lamp. www.royalux.cn
Boom Stickbulb The design of this chandelier is inspired by the dynamics of destroyed buildings. Boom combines cast-brass joints and linear wooden bulb holders of different sizes to create forms of exploding light. The chandelier is available in two configurations, the single boom in three sizes and the double boom. The wood for the original LED holders comes from dismantled water towers, which stood on old buildings in New York City. www.stickbulb.com
wittenberg 4.0 Mawa Design A surface-mounted spotlight with an angular aluminum housing (powder-coated) has an even more compact structure with no visible screws or cable. With an approximately doubled light output and improved colour rendition, the spotlight has a large light emission surface and excellent glare control. The spotlight can rotate 365 degrees and can be tilted 90 degrees. The whole spotlight can be demounted rapidly due to the bayonet, which is patent pending. www.mawa-design.de
Skywalker Fagerhult With a width of 36mm and a characteristic opening between the two light sources, this pendant luminaire showcases a playful design language. Rounded corners temper the appearance of the clearly defined outer profile. Skywalker offers lighting technology complementing the human biorhythm and complies with European lighting standards. The combination of 40 percent direct and 60 percent indirect light yields a homogeneous room illumination, while the use of TunableWhite technology allows for individual adjustments. www.fagerhult.com
VarioLed Flex VENUS True Colour LED Linear A new polyurethane encapsulation technology enabled the production of this light line for indoor and outdoor use. It is available in two models: Top View bends two-dimensionally perpendicular to the luminous surface, while the 3D model enables a homogeneous light line, which can be twisted or bent in three dimensions. Both models feature the same cross-section, an intelligent cable feed and special end caps which enable a seamless luminaire-toluminaire installation. www.led-linear.com
Clip Joy Lighting Clip is an outdoor lamp series that provides indirect lighting, and as the name already suggests, it features shapes that are inspired by the contour of a clip. The top cover serves as a glare shield, while the bright inner sides at the gap disperse the light in the desired directions. The black aluminium bollard lamp measures 305 Ă&#x2014; 251 Ă&#x2014; 51mm, while the wall lamp features a depth of only 69mm. Both lamps offer a colour temperature of 3,000K at 10 watts and a light output of 250 lumens. www.joylighting.com
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DESIGN. DELIVER. PERFORM. 5 reasons to register today: Free to attend
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red dot design awards
Gioco Sattler The new Sattler luminaire, based on the Golden Ratio, is available in five sizes. Whether as a rectangle or a square, direct or indirect light emission, Gioco offers a high degree of flexibility and creative scope for a wide range of applications. Its clear lines and transitions along the edges are enhanced by the anodized brush finishes. The fixture comes with an optional Acoustic Panel set, which may be added at any time and ensures a noticeable reduction of reverberation and a corresponding improvement of the overall room acoustics. www.sattler-lighting.com
Leno Surface XAL Leno Surface is a strikingly flat surfacemounted luminaire suitable for both wall and ceiling mounting. Its flat design is based on LED side feed (LGP) technology paired with a magnetic mounting system. The powder-coated, extruded aluminium profile, with a total height of only 28mm, is available in white, grey or black. For the cover, there is a choice between an opal model, with a fifteen percent increased light output, and a micro-prismatic model. www.xal.com
Loop Fluxwerx Loop is a series of linear suspended and recessed luminaires. Its aperture design merges geometric shapes with advanced LED technology, making the lights suitable for different environments. Equipped with the novel Radial Anidolic technology, they deliver highly efficacious, axially symmetric lighting distributions. The small transparent optical lens allows a high level of visual comfort from all viewing angles as well as a uniform illumination of work surfaces and has a high energy-efficiency. www.fluxwerx.com
Tablet FL Linea Light The Tablet FL is an aluminium upright luminaire with a metal base and optional white or black finish. Itâ&#x20AC;&#x2122;s rectangular, slender and minimal in shape, it has two swivel modules in series with topLED sources and polycarbonate diffuser. Controlled at 350 degrees, the light on each support can be directed in all directions or limited to defined portions of the room, acting as ambient light or for relaxation corners. www.linealight.com
Parelia LED Trilux The Parelia LED pendant luminaire not only features an unusual length of more than two metres, its interrupted direct light component is connected with the indirect component via a light line, which also lends it a highly distinctive character. For example, it facilitates a continuous line model where the direct and indirect light components alternate along the line. www.trilux.com
Chiara Alteme Licht Its delicate profile with lateral light integration and its suspension cable providing the power supply means Chiara is discreet and appears to be floating in the room. When switched off, the semi-transparent, microstructured conical prism sheet allows a hazy view. The entire electronics are integrated into the canopy and come with an optional accessory set. It can also be accommodated in a suspended ceiling to reduce the visual impact to an absolute minimum. www.alteme.ch
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Recolight_Adverts_July2018_Mondo.pdf
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Household Luminaire Producers
CHARGING IS FLAT FEE PER KILO We tell you in advance what this is.
PEACE OF MIND Recolight members don’t need to worry about market share, target changes, or the compliance fee.
£ £10.00
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NO HIDDEN COSTS
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Making it simple for you to build into your budget.
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Join a WEEE scheme
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2019
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Declare all WEEE products
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Contribute to recycling costs
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PROJECTS
EXPO DIARY
Event Diary Industry events where you’ll find arc in the months ahead LEDFORUM 23-24 August São Paulo, Brazil
LED SYMPOSIUM + EXPO 25-27 September Bregenz, Austria
INTERLIGHT MOSCOW 6-9 November Moscow, Russia
www.ledforum.com.br
www.led-professional-symposium.com
www.interlight-moscow.ru.messefrankfurt.com
DARC ROOM 19-20 September London, UK
LIGHTS IN ALINGSÅS 28 September - 4 November Alingsås, Sweden
IALD ENLIGHTEN EUROPE 7-9 November Barcelona, Spain
www.darcroom.com
www.lightsinalingsas.se
www.iald.org
ISTANBULLIGHT 19-22 September Istanbul, Turkey
IALD ENLIGHTEN AMERICAS 11-13 October Seattle, USA
MATELEC 13-16 November Madrid, Spain
www.istanbullight.com
www.iald.org
www.matelec.ifema.es
LIGHT MIDDLE EAST 23-25 September Dubai, UAE
PLDC 25-27 October Singapore
ILLUMINOTRONICA 29 November - 1 December Bologna, Italy
www.lightme.net
www.pld-c.com
www.illuminotronica.it
TRENDS IN LIGHTING 25-27 September Bregenz, Austria
HONG KONG INTL LIGHTING FAIR 27-30 October Hong Kong, China
DARC AWARDS / ARCHITECTURAL 6 December London, UK
www.trends.lighting
www.hktdc.com/fair/hklightingfairae-en
www.darcawards.com/architectural
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V50056 Lighting Designer Ad 101mm x 150mm copy.pdf
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07/08/2018
09:08
INTERMEDIATE LIGHTING DESIGNERS Isometrix’s extensive global portfolio encompasses all sectors of lighting design including Hospitality, Food & Beverage, Retail, Residential, Exterior, Commercial, one-off Events and Exhibitions. Our award winning international lighting design consultancy offers the opportunity to work on challenging and unique projects worldwide working with the world's premier Architects, Interior Designers and Clients. London Studios Intermediate Lighting Designers Candidates will have demonstrable creative and technical experience, be organised with the ability to offer ideas and solutions. The role includes design input into projects from concept to completion, working within a team with direct contact with Clients, Architects and Designers. Successful candidates will be able to demonstrate the following skills: • Excellent visualisation skills including hand sketching (2D and 3D) and Photoshop renderings.
Lighting Designer
• Proficiency in AutoCAD, Adobe and MS Office.
Troup Bywaters + Anders (TB+A) are looking for a Lighting Designer to join our busy design team in Manchester. You’ll be supporting our award-winning Light + Lighting Solutions team, delivering architectural lighting design to clients and internal teams nationally. To find out more and apply online, please visit www.tbanda.com/people/vacancies
International travel will be required and a competitive salary plus bonus and generous benefit package are offered. To join our dynamic multi-national team please send your CV and work samples to: ltg@isometrix.co.uk or 8 Glasshouse Yard, London, EC1A 4JN, UK
www.isometrix.co.uk
ADVERTISERS INDEX Acolyte.......................................................... 85
Fuhua Electronic ...................................... 125
MBN.............................................................. 12
ADO Lights................................................. 149
Glamox......................................................... 59
Mike Stoane................................................. 99
Aion LED....................................................... 53
Guangzhou International Lighting Exhibition. 157
Nicolaudie.................................................... 11
Alto Co, Ltd.................................................. 75
GVA............................................................... 91
Nordic Light............................................... 171
Anolis........................................................... 4-5
Hacel............................................................. 39
PLDC........................................................... 120
Applelec...................................................... 135
Huda............................................................. 17
Precision Lighting........................................ 79
Architectural Area Lighting...........................3
IALD.............................................................. 16
Recolight...................................................... 81
Artemide...................................................... 47
Interieur..................................................... 159
Rethink the Night...................................... 153
Astro............................................................. 33
Intra.............................................................. 57
ROXO............................................................ 15
Barrisol......................................................... 87
Isometrix.................................................... 169
StrongLED.................................................... 95
CIBSE.......................................................... 165
John Cullen................................................... 43
Studio Due................................................. 147
Climar........................................................... 31
KKDC........................................................... 105
Targetti............................................................2
CLS.............................................................. 109
koizumi......................................................... 51
TAVA........................................................... 127
Concept Light............................................ 167
Lamp Lighting.............................................. 41
Tehomet - A Valmont Company................ 14
darc Night................................................... 8-9
LED Linear.................................................. 172
Times Square Lighting.............................. 147
darc Room.................................................. 6-7
Ledia........................................................... 151
Trends in Lighting..................................... 143
David Morgan Associates......................... 115
Light Middle East....................................... 155
Troup Bywaters + Anders........................ 169
Dial.............................................................. 149
Lightgraphix................................................. 65
Unilamp........................................................ 13
Erco............................................................... 29
Ligman........................................................ 113
University Of Wismar................................ 151
ES-SYSTEM................................................... 23
Linea Light Group....................................... 19
Vexica......................................................... 117
Feelux........................................................... 25
Lival............................................................... 10
Vode.............................................................. 21
Forge Europa............................................. 139
Lumascape................................................... 69
Wibre............................................................ 63
Forma........................................................... 37
Lumileds..................................................... 123
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
THE BACK PAGE BUCKET LIST
#05 GavriiLux / Gavriil Papadiotis
Curated by
“Once you really start paying attention to light, no space will ever be boring or the same again. Looking through a camera’s viewfinder just helps with focusing.” Gavriil Papadiotis
What: To experience how lighting can transform even the deepest & otherwise darkest places. Where: At the Salt Cathedral of Zipaquirá, Colombia (Spanish: Catedral de Sal de Zipaquirá). This is an underground Roman Catholic church built within the tunnels of an active salt mine 200 metres underground in a halite mountain. How: If you find yourself in Bogota, the city of Zipaquira is only a 40min bus ride from the city centre (47km). When: All year round but avoid visiting during the Holy Week. This is an active church so it will be packed. Why: The sheer scale of this architectural marvel’s proportions is overwhelming. When you are 200m underground, the carefully integrated lighting, or the lack of it, makes for a breath taking experience.
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www.gavriiLux.com