arc April/May Issue 109

109 APR/MAY 2019 www.arc-magazine.com

Into Milan Lighting design returns for Salone Del Mobile!

TADAO ANDO • WOMEN IN LIGHTING / SHARON STAMMERS • FESTIVALS OF LIGHT • LIGMAN L-COLUMN REVIEWED

YOUR VISION - ANY SCALE - WORLDWIDE DYNA DRUM SERIES BY ACCLAIM LIGHTING

BANK OF AMERICA CORPORATE CENTER CHARLOTTE, NORTH CAROLINA

ALTICOM TV TOWER ALPHEN, NETHERLANDS

MOORISH CLOCK TOWER GUAYAQUIL, ECUADOR

DYNA DRUM GEN 2 Series Flexibility with output, control and color/white models makes this series a great fit for designs of all scale in outdoor environments.

SOLID STATE: SOLID PERFORMANCE

+31 (0) 45 - 5468560 EU +44 (0) 1162786177 UK +1 323 213 4626 USA DYNA DRUM HO

DYNA DRUM SO

DYNA DRUM EO

ACCLAIMLIGHTING.COM

darc room @ London Design Fair

19-22 September 2019 The Old Truman Brewery • Shoreditch • London www.darcroom.com • www.londondesignfair.co.uk

ANOLIS ARCHITECTURAL PRODUCT LINE

EMINERE

TM

The highest quality LED architectural and architainment fixture Eminere is designed by Robe for a wide range of exterior and interior applications. The various available lens options cover all possible uses from Flood Lighting, Wall Grazing, Wall Washing and Accent Lighting. Robe’s unique 18-bit colour mixing resolution ensures extra fine colour tuning as well as smooth dimming at low level intensity.

The new Eminere linear range was designed in our state-of-the-art R&D facility by industry experts with over 20 years experience in the field.

Our fixtures are IP 67 rated and therefore they are extensively tested to withstand extreme conditions.

Available in 1, 2, 3, and 4 foot sizes (300 / 600 / 900 / 1200 mm) with RGBW or RGBA single chips as standard. Easy to control, 1 pixel per foot.

Fixtures can be used for both permanent and temporary installations, including various architectural and architainment applications such as outdoor and indoor illumination of commercial buildings, hotels, offices, residences, historic buildings, assorted venues and for events, festivals and concerts.

www.robe.cz

www.hacel.co.uk

Chyme

ÂŽ

P e n d a n t

Presenting the new slim, contemporary Chyme Pendant designed and manufactured in the UK by Hacel.

Offering Cylo and Accent etched design features, the Chyme is available in three lengths with a maximum size of 1050mm and delivers lumen outputs up to 1137 lumens and efficacies of 95 lm/W. Distinctive powder coat finishes establish the Chyme as an elegant choice; used as a single focal point or in a cluster arrangement to create an exceptional, artistic statement in surrounding architecture.

Our stunning Product Portfolio and Catalogue presents a dynamic range of architecturally inspired, class leading LED luminaires with superior performance.

Request your high quality catalogue at marketing@hacel.co.uk or Download Now at www.hacel.co.uk/downloads

Arc-adv-april-may.indd 1

29-04-19 16:47

Your Design.

Your Specification.

Your Endor.

may 2019.indd 3

Create diverse lighting environments using one luminaire range, for a consistent style throughout. It allows designers to work with different lighting applications, light outputs, beam angles, housings, reflectors and finishes, using unobtrusive and low glare fixtures.

WATTAGES

COLOUR TEMPERATURES

REFLECTOR FINISHES

12W | 24W | 32W | 42W

3000K | 4000K

Polished Chrome | Matte Silver | Titanium

HOUSINGS

BEAM ANGLES

REFLECTOR SHAPES

Round | Square | Round Rimless

15° | 38° | 55°

Downlight | Wallwasher

Proudly Made In

Great Britain

5/2/2019 8:43:52 AM

Coralarium, Maldives by Mushroom Lighting – 2018 Winner, Structures (Low Budget)

[d]arc awards, MC Motors, London 5 December 2019 Entries are now open for the [d]arc awards. You can enter projects and products online at www.darcawards.com.

All entries will displayed online and each company that enters will receive a free profile page in the [d]arc directory. [d]arc night, the spectacular and creative awards party, will take place at MC Motors in London on 5th December 2019.

www.darcawards.com

Partners

Organised by

In collaboration with

Transforming your lighting vision into stunning Reality As LED pioneers, GDS have been at the helm of innovative design and product manufacture for 15 years. Our core focus is to provide practical solutions to your lighting challenges, utilising our unrivalled technical expertise to anchor and steer your vision on every project.

• • • • • •

Compact and powerful DMX and DALI hybrid with ArtNet Equipped with onboard webserver and smartphone app Easy to programme, with scene capture and snapshot editing Scene scheduling, with built-in lighting desk Scalable for small to large venues Installed with RDM suite

Global Design Solutions Ltd Unit 13, Riverside Business Park, Bristol BS4 4ED 0117 325 0063 www.gds.uk.com | sales@gds.uk.com

Hintze Hall, Natural History Museum, UK by DHA Designs – 2018 Winner, Places (High Budget)

[d]arc awards, MC Motors, London 5 December 2019 Entries are now open for the [d]arc awards. You can enter projects and products online at www.darcawards.com.

All entries will displayed online and each company that enters will receive a free profile page in the [d]arc directory. [d]arc night, the spectacular and creative awards party, will take place at MC Motors in London on 5th December 2019.

www.darcawards.com

Partners

Organised by

In collaboration with

custom LED optics light where you want it Make the most efficient use of your light and get your mitts on a custom LED optic from Forge.

We work with lighting OEMs to design and manufacture what you really want.

Optics that improve LOR, focus your light and minimise costs.

When combined with a custom Forge LED PCB we can create IK10, and IP66 assemblies, streamline your products and remove your headaches.

www.forge.co.uk +44 (0)1229 580000

Custom Optics March 2019.indd 2

21/02/2019 14:09:58

Skalar, Germany by Christopher Bauder and WHITEvoid, Germany – 2018 Winner, Art (High Budget)

[d]arc awards, MC Motors, London 5 December 2019 Entries are now open for the [d]arc awards. You can enter projects and products online at www.darcawards.com.

All entries will displayed online and each company that enters will receive a free profile page in the [d]arc directory. [d]arc night, the spectacular and creative awards party, will take place at MC Motors in London on 5th December 2019.

www.darcawards.com

Partners

Organised by

In collaboration with

074 Tadao Ando Robert Such talks to the renowned Japanese architect on the integral role that light and shadow can play in creating objects of architectural beauty.

Contents

APR/MAY 2019 022 024 026 028 034 042 044 122 130 132 144 146

018

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

www.arc-magazine.com

046 Sharon Stammers Kicking off arc’s parternship with the Women in Lighting initiative, Sarah Cullen sits down with its co-founder, Light Collective’s Sharon Stammers.

108 Milan Design Week We report on some of the best and brightest installations, exhibits and products that we saw during our time in Italy for Salone Del Mobile.

124 Expo Lighting America Expo Lighting America returned to Mexico City for its ninth edition this March, bringing a number of lectures, workshops and networking opportunities to the Latin American market.

126 Prolight + Sound We take a closer look at some of the architectural products on show in Frankfurt at Prolight + Sound.

128 iF Design Awards The 65th annual iF Design Awards were held in Munich this March, celebrating all facets of design across a broad spectrum of categories.

We highlight some of the lighting products to receive recognition.

066 Ocean Wonders: Sharks!, USA Focus Lighting has created a dramatic lighting solution for New York Aquarium’s Ocean Wonders: Sharks! exhibit, with a scheme that’s both aesthetically pleasing and safe for the marine life it houses.

Projects

APR/MAY 2019

054 St. Helen’s Square & London Wall Place, UK StudioFractal has brought a feeling of calm and tranquility to two separate green spaces in the heart of one of London’s busiest areas.

082 Tartu Valgus, Estonia Kicking off Part 2 of our Festivals of Light Round-up, Tartu Valgus returned to Estonia in October 2018, bringing together lighting designers and artists to illuminate the city’s landmarks.

086 Toronto Light Festival, Canada The third annual Toronto Light Festival brought a series of fun and interactive installations to the Canadian city’s Distillery District.

093 Lux Helsinki, Finland More than half a million visitors visited Helsinki for this year’s Lux Helsinki festival, which saw artists explore a range of topical environmental issues.

098 Winter Lights, UK After the joy of the Christmas festivities, Winter Lights in London’s Canary Wharf offered an artistic highlight for Londoners in the depressing month of January.

105 Fête des Lumières, France The annual Fête des Lumières festival, taking place in Lyon, pays special tribute to the French city’s longstanding relationship with light.

020

www.arc-magazine.com

E

Variable light distributions Zoom spotlights

The new ERCO zoom spotlights enable you to infinitely adjust their beam angle.

This innovative technology enables you to adjust both circular light distributions with zoom ranges spot (15°) to wide flood (65°) as well as oval light distributions from 19° x 71° to 74° x 60°.

Particularly useful in museums where light beams can be precisely matched to the dimensions of exhibits.

The two in-house developed optics bundle the light beams without loss when zooming.

This increases the illuminance in the narrow spot position by a factor of more than

ten and offers ideal conditions for impressively precise accentuations. www.erco.com/optec

Light is the fourth dimension of architecture

190329_EN_zoom_spot_arc_236x333.indd 1

28.03.19 14:27

EDITORIAL

Front cover: Come To Light installation at Salone Del Mobile Milano by Aria in collaboration with Unstatic Technologies Photography: Bordegoni

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

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

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

Design is everything...

Salone Del Mobile Milano was a welcome reminder of why we love lighting design...

With lots of noise about complete service providers, smart cities, the Internet of Things, Bluetooth mesh networking, connected

light, WiFi, LiFi and goodness knows what other technological and structural changes to our industry, it was extremely satisfying for

the arc team to visit a good old design show that showed beautiful things, cleverly designed in often stunning settings.

The event was a huge success too, proving that design is still

something to behold, even if the nitty gritty of technology is often

foremost in most of our minds. The 386,236 attendees, over the six days, from 181 different countries was a 12% increase over the 2017 edition, which also featured Euroluce and Workplace3.0.

Of course, technology and performance of lighting is number one

when it comes to specification decisions, but it was great to see the aesthetics of lighting design being so prominent in Milan. From stunning installations such as Aria’s Come To Light as featured

on our front cover, Raytrace by Benjamin Hubert / Cosentino

and TM Lighting, and Aglow by Liz West and Uozu to ridiculously

stunning stands at Euroluce like Flos and Artemide, design and,

more importantly, lighting design was celebrated as if we had all

Zoe Willcox z.willcox@mondiale.co.uk

remembered why we are part of this profession.

Chairman

This month sees us offically launch both [d]arc room and [d]arc

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

In some small part, this is what we are doing with our [d]arc events. awards for 2019. Both events approach traditional formats and

turn them on their head with creativity and collaboration with the involvement of consultants, Light Collective.

[d]arc room, with its own space at the Old Truman Brewery at

London Design Fair during London Design Festival in September,

offers pared down pods for companies large and small to creatively exhibit their products on a level playing field. Attracting 30,000

visitors last year, the event will aim to showcase 75 architectural and decorative lighting companies to the design community.

[d]arc awards pairs sponsors with lighting designers to create

installatons that will be shown at [d]arc night, the Christmas-

themed awards party on 5th December at the very special MC Motors venue in London.

Both events reflect our progressive attitude to lighting design and it would be great to have you involved. Get in touch!

To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc, ISSN

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

022

www.arc-magazine.com

Paul James Editor

Fabio Bonanni

Sistema per applicazioni a palo per sorgenti LED Lighting effects system, for LED light

ORION

ORION

Apparecchio per esterno Outdoor luminaires 16x16x26/40/68/96 cm 3700 lm max - 50 W - IP65

ORION

Apparecchio per esterno Outdoor luminaires 16x16x200/300/400 cm 4490 lm max - 80 W - IP65

AUGENTI LIGHTING S.R.L. Via Francesco Lana, 31 - 25065 Lumezzane (BS) Italy tel: (+39) 030 7282524 - fax: (+39) 030 7281879 - info@augentilighting.it

www.augentilighting.it

PROJECTS

NEWS

Headlines Signify acquires WiZ Connected (Netherlands) – Signify has entered into the world of Wi-Fi-based smart lighting with the acquisition of WiZ Connected.

Zumtobel redesigns Swiss customer centre (Switzerland) – Zumtobel welcomed around 200 guests to Zurich to mark the redesign of its Light Centre.

LIA announce working partnership with UL (UK) – The partnership has been set up to help UK manufacturers looking to export their products overseas.

Speirs + Major, Occhio & Tobias Grau among those honoured at iF Design Award Ceremony

[d]arc room and [d]arc awards officially launched (UK) – May sees the official launch of both [d]arc room and the 2019 [d]arc awards.

Read more at www.arc-magazine.com

(Germany) – The 65th edition of the iF Design Awards was held at the BMW Welt in Munich on 15 March 2019.

Eaton to spin off lighting business (USA) – Eaton’s spin-off lighting business will include brands such as Zero 88, iLight and Greengate, alongside the manufacturer’s Airport Lighting business.

SLL Young Lighter 2019 open for entry (UK) – Closing date for SLL Young Lighter 2019 competition is 10 May 2019.

Available Light studios relocate (USA) – Available Light’s Salem and New York studios expand into bigger locations to accommodate growing staff.

Point Of View and Firefly merge (Global) - Australian Lighting design consultancy Point Of View merges with UK and Hong Kong-based Firefly Lighting Design, creating Firefly Point Of View (FPOV).

Glamox acquires Luxonic Lighting

IALD Celebrates 50th Anniversary (USA) – The IALD is to commemorate its landmark 50th anniversary with events around the world throughout 2019.

Read more at www.arc-magazine.com

024

www.arc-magazine.com

(Norway/UK) - The acquisition will see both Glamox and Luxonic Lighting strengthen their position in the UK lighting market.

200CENT Tiny… Really Tiny! This LED spot has a diameter of just 26 mm, which makes it as small as a twoeuro coin. And thus, the name… 200Cent. Plus, it’s Powerful… really Powerful! The 200Cent’s light output is 750 lumens, which makes it more powerful than a traditional 50 W halogen spot (and at least 88% more economical). And all that with the best quality. The colour consistency is perfect (two-step MacAdam), so you will never see the slightest colour difference between spots.

The colour rendering (CRI 92) is also outstanding, which ensures that objects are illuminated true to life. Tiny and Powerful? Yes, it’s possible. The 200Cent is an optimal crossing of outstanding technology and minimalistic design.

W W W. 2 0 0 C E N T. E U

Made in Belgium

advertentie-200cent.indd 3

13/06/18 16:50

Lines (57° 59’N, 7° 16’W) UK Finnish artists Pekka Niittyvirta and Timo Aho have teamed up to create Lines (57° 59’N, 7° 16’W), an interactive, site specific light installation at the Outer Hebrides in Scotland.

Intended to explore the catastrophic impact of our relationship with nature and its long-term effects, Lines aims to provoke a dialogue on how the rising sea levels will affect coastal areas, its inhabitants and land usage in the future.

This is specifically relevant in the low-lying island archipelagos, such as Uist in the Outer Hebrides off the west coast of Scotland, and in particular to Taigh Chearsbaghagh Museum & Arts Centre in Lochmaddy, where the installation is situated, as due to predicted storm surges, the centre is unable to develop on its existing site.

026

www.arc-magazine.com

Through the use of sensors, the installation interacts with the rising tidal changes; activating three synchronized light lines by the high tide.

These sharp lines are emitted from LED neonrope lights that wrap around buildings and stretch across the sparse landscape, mounted onto aluminium channels that are attached either to the walls of the buildings or to steel stems protruding from the ground. These were then connected to sensors that activated the lights when there was a change in the tide, and therefore the water level.

The work helps viewers to imagine the future sea level rise in an undefined period of time, depending on our actions towards climate change. www.niittyvirta.com www.timoaho.org

EYEOPENER

Pic: Pekka Niittyvirta

www.arc-magazine.com

027

DRAWING BOARD

Pic: ReVR Studio

TBC Bank Headquarters Georgia

Pic: UNStudio

Located in a prominent and strategic site in Tbilisi, TBC Bank headquarters, designed by UNStudio, will act as a cultural and socioeconomic hub for the capital of Georgia.

Expressing movement and interaction as a means to achieving social sustainability was central to UNStudio’s architectural proposal. This also became the main design driver for the lighting design concept, developed by Lighting Design Collective.

TBC’s façade embraces various working clusters, connected through double and triple height semi-public spaces called ‘Social Nodes’. These nodes are open and engaging spaces for the users to meet, share knowledge and more, while establishing a strong visual connection towards the city. This powerful inside/outside connection inspired the lighting design team for the narrative behind the lighting: Resonance.

Aiming to resonate with architecture, people, nature and the city of Tbilisi, TBC’s night image generates a futuristic identity through real-time data visualisation and contextual content. The proposed lighting creates an ever-shifting experience, just like nature. This abstraction turns TBC into a vibrant cyber-physical space, mixing data with codes of nature.

The data visualisation aesthetic can be changed based on different factors such as: user engagement, natural light balancing, brand related data and events.

Apart from the dynamic content generated, based on data harvesting,

028

www.arc-magazine.com

the piece can also react to immediate environmental changes such as soundscapes, people’s movement or direct interaction.

The generative digital content transforms the piece to a unique ‘ambient communicator’ reacting to various internal and external parameters.

The Resonance network acts as a linking thread between the interior and exterior spaces by creating visual connections and tactile touch points. The content sourcing from the Nodes communicates the social life of TBC to Tbilisi. The changes in the façade affect the digital pieces in the lobby and can be triggered by the users/visitors of the space. On the other hand, the building reacts to the city events and celebrations.

From the media façade to the interior responsive installations, the introduced digital feed provides contextual environmental information in a calm and subtle way. This directly affects subconscious feelings and perception, without the need to activate cognitive thought processes, through Ambient Communication.

The construction process has recently started after a groundbreaking ceremony in Tbilisi. A full-scale mock-up of the façade solution with the integrated lighting is envisioned by UNStudio and LDC to demonstrate the proposal potentials to the client. www.ldcol.com www.unstudio.com

Beacon Muse Tune

Warm white

Show it off, make it great

Neutral white

Concord architectural lighting by Sylvania

Cool white

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

JB0934_SYL_Concord_Beacon_Muse_Tune_333x236mm_Ad_UK.01.indd 1

16/05/2018 10:25

DRAWING BOARD

Oriel, Moorfields Eye Hospital UK White Arkitekter, as part of an AECOM-led team, with Penoyre & Prasad, has won an international RIBA-led competition to design a flexible and modern facility for the globally-renowned Moorfields Eye Hospital and UCL Institute of Ophthalmology.

The proposal – named Oriel – will bring together eye care, research and education in one integrated facility.

White’s role is to develop a Scandinavian-influenced design strategy for the interiors and external landscapes including the ambience and lighting of all public spaces and contributing knowledge from its practice-based research into healthcare environments.

“We are delighted to be a member of the winning AECOM team, together with Penoyre & Prasad, and honoured to collaborate on this fantastic project,” said Charlotte Ruben, architect and partner at White Arkitekter. “We will bring Scandinavian flair to the design, especially to the external landscapes and interior public spaces. Carefully integrated into the neighbourhood, our proposed concept features clear wayfinding, vistas and interiors awash with art, daylight and greenery.”

The Oriel project brief focuses on outcomes for people rather than prescription of technical requirements.

The experience of each person – whether patient, family, carer or staff – who uses or visits the building, is a constant thread running through the design.

That experience includes their entire journey, from transport nodes to arrival and orientation, interaction

030

www.arc-magazine.com

within the building and with other people, to the experience of leaving the building.

Additional project ambitions range from improved efficiency and reduced CO2 emissions, to attracting staff and appealing to donors. Also aligned with Oriel’s purpose is the wish to create a distinguished piece of architecture and urban design that will extend the celebrated regeneration of King’s Cross.

Caroline Varnauskas, partner and architect at White, added: “Good acoustics and healthy materials – both important aspects in the Scandinavian design approach – have been incorporated into the design to promote wellbeing for patients and staff. Informal meeting places encourage academic collaboration.

A softly curved Ash wood railing in the central treestructure constitutes the backbone of the beautiful atrium – a significant feature for a new identity and a space for intimacy.”

Located within London’s St Pancras’ Hospital complex, the new facility is a joint proposal between Moorfields Eye Hospital, UCL Institute of Ophthalmology and Moorfields Eye Charity, and is part of a larger development plan that will transform an old existing hospital site into a lively neighbourhood within the London Borough of Camden. If approved, the new facility could be open to patients in 2025/26. www.whitearkitekter.com www.penoyreprasad.com www.aecom.com

DRAWING BOARD

Pics: Tengbom/WAX

WeXO Sweden As part of a competition beginning in May of last year, Swedish architecture firm Tengbom has unveiled its proposal for a new tech beacon in Växjö, Sweden.

Commissioned by Växjö city, alongside clients Castellum and Visma, the new building, entitled WeXO, will form a vital component of the city’s growing IT infrastructure, while acting as a physical lure for attracting businesses and startups to the area.

The brief was for a design that focuses on the wellbeing of its users, materials and energy usage, as well as the overall sustainability of the building. Aron Aspentröm, Architect at Tengbom, explained: “The proposal has three fundamental aims: firstly, it has a very clear urban approach, where we wanted the cluster to stand firmly in its context by continuing the existing block structure of the site, and by its inner courtyard it also invites and thereby connects the surrounding areas in a wider scale.

“Secondly, we wanted something that functions as a landmark, not because of its height but because of its unique and characteristic design. We wanted the building to be emblematic - a portal that clearly marked the entrance to the inner city.

“Thirdly, the building is strongly adapted to the client’s vision of a creative workplace, a vivid melting pot that will promote innovations and meetings, and the horizontal lines in the curved façades is meant to speak about this flow of ideas and co-working.”

Complementing these three fundamental aims, WeXO is a sum of three interlaced parts: from the calm central entrance, the form unfurls

032

www.arc-magazine.com

upwards and outwards, with a courtyard and large expanse of glass filling the building with daylight. Alongside a restaurant and seminar halls, the building features fluid, open co-working spaces, futureproofing the space for changes and advances in requirements for its tech-savvy users.

The city of Växjö is rooted in the Swedish timber industry, and Tengbom has reflected this with the use of natural, sustainable timber resources from the local area, as Aspenström explained: “Växjö is on the absolute frontline when it comes to contemporary wood-building, both nationally and internationally. Therefore it was a natural choice for us to use this material as much as possible.

“To combine this traditional material with modern materials, such as high-tech glass, is a way to link history with modernity, such as the IT industry that will be present in the building.”

The Swedish architecture firm has recently opened discussions with the client regarding the lighting design, and Aspenström is keen to stress the importance of lighting for such a visible new landmark.

“We know that in the darker hours the building will be strongly dependent on this aspect, and we believe that with the right lighting design, the curved façades might be even more thrilling after sunset,” he said.

“Our aim is not to use big gestures though, but by using subtle lighting to let the building speak for itself.” www.tengbom.se

Pics: Peter Murdock

Watches of Switzerland USA London-based design consultancy Capelo has collaborated with New York’s MNA to design the new flagship store for Watches of Switzerland.

Located on 60 Greene Street, the location is in the heart of the fashionable Soho district of New York City. Central to the project was the lighting solution, which Capelo and MNA developed alongside Lighting Workshop.

Established in 1924, the Watches of Switzerland Group is the largest luxury watch and jewellery retailer in the UK; the Greene Street store is its first showroom in New York City, and only the second in its new USA portfolio.

The brief given to the design team was to create a showroom that was synonymous with the luxury of the premium watch brands, while also reflecting the character of the Soho District, and the fabric of the historic 1880s cast-iron building in which it is housed.

The store brings a welcome addition to the New York retail landscape, featuring an in-house cocktail bar, a curated library of watch books and an evolving collection of photographic artwork alongside the shopping experience.

With more than 8,300sqft of retail space spread across two floors, the boutique has a stylish

034

www.arc-magazine.com

palette of materials, including exposed brickwork and polished plaster walls, oak floors and tin tile ceilings. Together with a carefully considered lighting scheme, this creates an elegant backdrop for the products on display, while remaining sympathetic to the character of Soho.

Linear LEDs from Optic Arts highlight the 30ft wide street frontage, while Amerlux trackmounted narrow beam LEDs located within an architectural pocket behind the façade provide accent light to the storefront window displays.

Generous twelve-foot ceilings house recessed twin narrow-beam LED adjustable spotlights from Lucent, which create a comfortable lighting backdrop. Original cast-iron columns, featuring decorative capitals, are lit by MP Lighting’s recessed narrow-beam uplights, which highlight the column detail.

Inside the store, freestanding display cases feature stem and arm mounted continuous rectangular LED adjustable case lights, courtesy of XAL, that provide an added sparkle to the merchandise.

A feature digital, library and accessories wall draws attention to the blackened steel and oak staircase, encouraging the customer to

SPOTLIGHT

venture down to the lower-ground level. A linear LED strip from Optic Arts, surface mounted within the architectural detail, creates an unobtrusive lighting effect to the stairs, adding a subtle visual interest.

Contrasting with the ground-floor retail space, a cocktail bar - designed in partnership with Death & Co., one of New York’s most influential cocktail lounges - provides the focal point to the lowerground floor. It’s oak and marble counter, with brass and woven leather details, adding sophistication and complementing the high-end customer experience.

Lee Broom pendant lamps and a decorative tin tile ceiling add to the period feel, while recessed pinhole dimmable LED downlights with a narrow aperture, provided by Lucent, are located above the bar. These work with the decorative pendants to highlight the glasses, bottles and the bar counter. Windows behind the bar feature a linear LED grazing strip, courtesy of Edge Lighting, which adds visual brightness, highlighting the translucence of the windows.

Intended as a respite for shoppers and a gathering place for enthusiasts and the local community alike, the bar offers cocktails crafted exclusively for Watches of Switzerland clients. However, for the more literary-minded guest, an intimate library/ bookshop, curated by Esquire Fashion Director and noted watch enthusiast Nick Sullivan includes a range of books, from biographies to anthologies to luxe coffee table favourites. Bookshelf display cases are framed by light from recessed adjustable linear LEDs from XAL, while surface mounted LED strips light the bookshelves.

Within the central section of the lower-ground floor, accent light is provided by Amerlux’s trackmounted narrow-beam LEDs, while their unobtrusive monopoint LEDs are carefully positioned between the exposed beams, adding a sense of drama to the scene.

Elsewhere, a dedicated service and repairs consultation area provides direct access to Watches of Switzerland’s expert watchmakers. Here, track mounted LEDs from Lucent provide subtle, ambient light to ensure a comfortable environment.

“Our Watches of Switzerland Soho flagship is a special achievement for us on many levels,” said Brian Duffy, CEO of the Watches of Switzerland Group.

“From our choice of location, to the design and architectural detailing in the store, to our exceptional products, partners and the talented team we’ve assembled - it all comes together to make this an experience unlike any other in the watch industry today. This is an important first step in what promises to be an exciting journey as we expand into the US market.”

Lynda Murray, of Capelo, added: “With all needs catered for, the customer’s visit will benefit from carefully considered, luxury store design and the exceptional level of customer experience for which Watches of Switzerland is renowned.” www.capelo.design www.ltgworkshop.com www.mnarch.com

www.arc-magazine.com

035

SPOTLIGHT

Pics: Adrià Goula

Bala Perdida Club Spain Located in the heart of Madrid, in the Barrio de las Letras - the epicentre of the most cosmopolitan atmosphere in the city - is the Bala Perdida Club.

Hidden away in the basement of the Axel Hotel, the club was designed by El Equipo Creativo with the main objective to foster a feeling of freedom and fun for hotel guests and the public alike.

With its two vaulted brick spaces, the club’s interior is a unique environment reminiscent of a New York nightclub, where the ambience and music combine to create a magical and enveloping venue.

Because of the venue’s multi-purpose nature, operating as both a nightclub and a restaurant and cocktail bar, it was important for El Equipo Creativo to harness the ideal characteristics for its dual use, so that these two different needs could both be met.

To materialise this primary objective, the key aspect of the project was the use of two main elements: firstly, two mirrors were placed at each end of the club, creating an “infinite mirror” effect, and thus extending the space indefinitely.

Another highlight is the use of light and colour something that became the driving force of the project. In the axis of the vault, a longitudinal luminaire of dynamic digital LED strips was

036

www.arc-magazine.com

embedded in suspended ceiling lights. The LEDs contain dynamic programs that allow for the changing of intensity of the light and the colour of the room. This means that the scene can quickly go from a warm atmosphere to a dark one, according to the time of day and what is needed.

The lighting also serves to highlight the bar within the club. Here, a vertical lamp with RGB LED strips is integrated into the wall, programmed to change colours at the same time and intensity as the ceiling.

However, at each end of the vault is a “chill out space”, in which the LEDs bathe the space from bottom to top in a golden tone. This type of lighting was chosen to enhance the texture of the brick, and to create a comfortable atmosphere.

With these elements, the two ends of the Bala Perdida adapt to each other, creating a more relaxed atmosphere in the reserved area on one side, and the DJ area and bar on the other.

In creating the lighting for Bala Perdida, El Equipo Creativo collaborated with Lluria, who distributed the LED linear technology, and Ledscontrol, who provided all programming and control solutions for the different scenes. www.elequipocreativo.com

Gotta jump?

The all-new Vode ulo. Move and it moves with you. ulo is a 7-in-1 light you can use practically anywhere: tables, walls, shelves, wherever you need it. A magnetic ball connects the light bar to an ingenious system of mounts and anchors. Touch-less sensors will allow you to adjust color temperature and intensity with a wave of your hand. 2700-5000K CCT, 94 CRI and 77 lumens give Vode ulo the jump on every other kind of light.

SPOTLIGHT

Pics: Linus Lintner

Nationalmuseum Sweden The Nationalmuseum, Sweden’s museum of art and design, located in Stockholm, reopened in October 2018 following an extensive renovation aiming to place it in a new light.

Over a seven-year period, Kardorff Ingenieure Lichtplanung collaborated with architects Wingårdhs on the project to design the natural and artificial lighting within the museum.

The Nationalmuseum holds a collection of 700,000 objects, and is the largest art museum in the Nordic countries. On its opening, in 1866, the museum utilised the power of daylight, with the entry hall, galleries and inner courtyards featuring large windows and glass skylights. However, over recent years, the museum has closed itself off to natural light.

Therefore one of the major aims for Kardorff Ingenieure in renovating the museum was to create naturally lit spaces and art exhibits, restoring the stunning views of the city and re-establishing the ‘conversation between building and city’.

Using computer simulations, Kardorff Ingenieure studied the light and sun exposure of the historical building to use the potential offered by natural light, and to design the necessary protections. Sun and glare protection and the artificial lighting had to be carefully coordinated with one another, making onsite testing of many samples necessary to identify the most suitable materials.

While natural light inherently brightens the rooms during the day, purposefully directed artificial light was necessary to effectively present the artwork on display. This led to the installation of 1,500 spotlights of various kinds throughout the Nationalmuseum.

These artificial lights are used to unobtrusively show the architecture

038

www.arc-magazine.com

and set the stage for the objects on display. Each room was considered individually, keeping in mind the historical architectural impression of the galleries to avoid impacting them negatively. For example, in the domed halls, lighting tracks span the gaps between the pillars in a way that is parallel to the visitor’s line of sight.

The positioning of the lights was chosen so that not only free-standing works or those hung on the walls are illuminated. Most of the display cases are externally lit by spotlights, making them appear particularly light and transparent. In places where the lighting had to be integrated, it was done discreetly and minimally. Some galleries required special solutions: the wall-mounted luminaires designed specifically for the inner courtyards illuminate the impressive sculptures, while also serving to light spaces for events.

The spotlights in the gallery spaces were carefully chosen to match the requirements of the displays; all necessary lighting angles, amounts of light and myriad other criteria were defined before selecting what to use. The light cones are very homogenous, and contribute to the harmonious atmosphere in the galleries. Together with art restorers and curators, the light qualities of different spotlights were compared and evaluated in detail using original artworks.

Kardorff Ingenieure placed high priority on matching lighting atmosphere and mood to the innate character of each gallery, and on the light’s ability to reflect changes in weather and time of day. Light is therefore able to lend a living aspect to an exhibit, contributing to a unique architectural experience. www.kardorff.de

kreon

purity in light

kreon nuit, the ideal kreon light profile for residential, high end office and edgy hospitality projects.

Its basic form draws minimal attention and can easily be used in combination with other kreon tools of light, creating an artistic yet responsible use of light sources in a recessed, surface mounted or suspended installation, making it a highly versatile and performing linear lighting system. kreon.com

advertentie Mondo_juni 2018_2_2.indd 1

29/04/19 14:01

SPOTLIGHT

Pics: Lance Gerber, courtesy of the artist and Library Street Collective

Mirage Detroit USA Production lighting designer Andi Watson recently ventured into the art world, collaborating with LA-based mixed-media artist Doug Aitken for a new installation.

Entitled Mirage Detroit, this new mirrored art installation was conceived

by Doug Aitken Workshop, and has transformed the 100-year-old Savings Bank in Detroit into a mesmerising, mind-altering adventure for visitors, due in part to the use of customised GLP fixtures, used exclusively to light the space.

The concept, in which the 70,000sqft Silvers Building was transformed into a kaleidoscopic world of reflective mirrors, was developed over several months, via several conference calls, as Watson explained: “Doug sent me detailed drawings and renders of how the piece was going to look in the space, and we discussed how the lighting would be used to bring both buildings to life.”

Watson and Aitken agreed that only white light would be used in the installation as, according to Watson: “light is the medium and the language with which the Silvers Building and Mirage communicate. I wanted that communication to be as pure as possible and not affected by a subjective colour choice.”

Watson opted for fixtures from GLP, having had previous experience with the German company while touring with Radiohead. “The combination of rich, saturated colours, a clean white, really good optics and pixel level control enabled me to create both beautifully lit scenes and gorgeous modulated effects,” he said.

Mirage Detroit is a suburban house, built using mirrored panels that sit on a bed of stones sourced from a local river. The interior is empty and

040

www.arc-magazine.com

for the visitor, the shape and structure of the piece is revealed by the multiple reflections of the building, the pebbles, the wooden floor, and the visitors themselves.

The installation is in essence how light plays with all the surfaces in this illusory world, reflecting from the Silvers building to Mirage, and back again in a constant conversation.

One of the key building blocks of the lighting installation was the creation of a custom dimmer curve that matched “normal resting” human breathing. Watson said: “I wanted the building to breathe and be alive and for people to perceive that on an almost unconscious level.

“Because the lighting is constantly changing, even if almost imperceptibly so, it creates an ever changing environment that enables this dialogue between the Silvers Building and Mirage. The number of unique perceived environments is limited only by the time spent in the space. A visit could last minutes or even hours and always feel unique.”

The visitors themselves become a modulating factor in the end result, as when the lights are directed across the stones, shadows of people are created, which affects the overall look and feel. Inside Mirage, the experience is very much about the distorted and fragmented reflections that repeat almost endlessly, and so when the visitors themselves form part of those reflections and are lit or in shadow, they themselves become a part of the visual experience.

“Since Mirage is made of highly polished mirrors, you only see it by what is reflected in it,” Watson said. www.andiwatson.format.com

www.osram.com/flex

Light is modular Aesthetic design in a new form: LINEARlight Rigid NICHE Create outstanding visual effects with delicate light lines that blend elegantly into the architecture. Even in the tightest of spaces, the super slim solution from OSRAM unfolds its extraordinary optical impact. The modular LED blocks merge to powerful ďŹ xtures, providing seamless, homogeneous light designed for your needs.

Light is OSRAM

02633_OSR_ADV_NICHE_236x333.indd 1

23.04.19 15:48

CLICKON STUDIO Since its formation in 2015, Clickon Studio has steadily been making a name for itself in the Spanish lighting design community. Specialising in architectural, museum and hospitality lighting, the firm creates seamless, harmonic schemes that comfortably blend into the wider architectural fabric.

Hotel Silken SAAJ Las Palmas de Gran Canaria, Spain This seafront hotel has a curved, dichroic glass skin, intended to resemble a multicolour curtain moving in the sea breeze. To highlight those colours in the night, luminaires resting on glass slats facing upwards to illuminate the slat above so that the light reflects in one colour and transmits in another. Each luminaire is controlled by DMX to create a very soft, non-repetition pattern influenced by a camera and two microphones situated in the lobby.

The dark interior corridors of the hotel are illuminated with lighting that shines and blinks, following guests’ footsteps.

Hotel Royal Hideaway Corales Suites Costa Adeje, Spain Now more than ever, the unique experiences that come to us through the senses play a big role in how we interact with spaces, thanks to the rise of social networking. Alongside the traditional concepts that are sought in a hotel - comfort, rest, service, restoration - we have to consider the search for the “instagrammable experience� that fills our senses, that surprises us. In this sense, this is what Clickon Studio has tried to do with the lighting and automation for the Hotel Royal Hideaway Corales Suites, taking into consideration the rocky and dry environment of southern Tenerife, the architecture, and the interior design.

042

www.arc-magazine.com

SNAPSHOT

Auteide Corporate Offices Las Palmas de Gran Canaria, Spain

This project was challenging for Clickon Studio not just because of its setting in an historical building in the old quarter of Las Palmas, but also because of the owner’s love for contemporary art. Beyond being a corporate office, the space also showcases paintings ranging in very different styles. The approach for the lighting design was to use technical luminaires that would not interfere with the building, or with the art. Instead, the subtle lighting makes a little nod, through sinuous light lines, to link the different spaces along the building.

Atlantic Centre of Modern Art Las Palmas de Gran Canaria, Spain Opened in 1989, this museum needed a major overhaul, in which lighting and the ceilings would play a very important role. The ceilings were filled with luminaires of different types and shapes, speakers, WiFi access points and other elements that were all added along the years without any cohesion between them. So Clickon Studio rearranged all of the projectors, each of which being gradually replaced since the reform finished, with visible LED points. This led to designers choosing luminaires from multiple different manufacturers that share the same characteristic, for example the linear luminaires used in the attic.

Bungalows Cordial Biarritz San Bartolomé, Spain Clickon Studio was asked to update the illumination for this 1980s-era complex, while at the same time maintaining its personality and making it stand out from the surrounding complexes. The firm chose to do so by using a selection of curved form luminaires, intended to resemble the roofs of the complex, while utilising controlled light beams to create a more peaceful, quieter atmosphere. To highlight the complex, the tallest trees and palm trees were illuminated with precise optics to minimise the light pollution.

Clickon Studio Based in Madrid and the Canary Islands, Clickon Studio was founded by Emilio Pellejero Silva and Rafael Gavira Cabrera. Harnessing the duo’s previous experience in lighting design and building automation, Clickon Studio has, throughout its tenure, used light to enhance the natural beauty of spaces. They’ve also learned that the best combination is based on a personalised design, tailoring the approach depending on each project’s needs.

With an approach that centres on integral, harmonic solutions that combine comfort and efficiency, Clickon Studio is always looking forward, constantly updating with the latest trends and technological advances. www.clickon.studio

www.arc-magazine.com

043

BRIEFING

Mark Elliott Following the announcement of the recent merger between PointOfView and Firefly Lighting Design, to become Firefly Point Of View (FPOV), arc sat down with Mark Elliott, Global Creative Director, to discuss the merger, and the growing standing of lighting design in Australia.

How did you get into lighting design?

I think, like many others did 20+ years ago, by accident. I studied as a furniture designer; and worked in that field for a short time, but then saw a job as a junior lighting designer for Lumino Lighting. From there my passion for architecture was reinvigorated and it was the launchpad for me to collaborate with architects and designers I would probably never have been able to work for in their fields as an architect or interior designer. From Lumino I moved to work with Barrie Wilde at BDP. Barry was one of the pioneers of lighting design in the UK and it was great to work with someone like that early in my career. From BDP I joined Isometrix and Arnold Chan’s team there. This experience really sculpted my career and exposed me to the very best in architecture and design, collaborating with global leaders and Pritzker Prize winners. Following a move to Sydney in 2005, I joined another pioneer of lighting design, Andre Tammes and LDP, working on a number of large hospitality projects in India and China, which then took me to my current role at PointOfView, (now FPOV) where we grew the studio from four people to a team of 40+ across eight offices today.

You left Isometrix to move to Australia. What were the reasons for the move?

Like many people early in their careers, I was looking for new challenges, mostly personal. I was very happy with my role at Isometrix and in fact discussed with Arnold the possibility of continuing my role in Australia.

At the time Australia wasn’t really on the world stage for architecture and design, so it didn’t make sense; but the lure of sunshine and an easy way of life was too strong. Little did I know that “work hard play hard” was invented by the Australians, and specifically Sydneysiders, where the working environment is very demanding.

How does lighting design differ in Australia compared to the UK? It’s a much smaller industry in Australia, which means competition is much stronger between those at the top. We have been very lucky to be prominent in Australia at the time where Asian investment has driven the quality of design and demands of clients to a higher level.

Over the last decade I would say that design is on a par with the rest of the world and we see global design leaders like Foster + Partners, MAKE, Jean Nouvel, Frank Gehry, etc, working in Australia. This then lifts the practices of all other consultants and in response a knock-on effect for all clients to push harder for innovation and excellence to stand above their competitors. The Australian market, I believe, is a leader in sustainable design, implementing the ban on the GLS earlier than many other parts of the world, which led to the early adoption of LEDs projectwide. In fact I think that The Collins Bar in Adelaide in 2013 was the first full LED project we completed, where we implemented very early warm dim technology from acdc. That was a game changer for me, where we could get back to the warm, night time hospitality environment that was lost when halogen was no longer usable.

We spoke to you twelve years ago, just as you moved to Australia.

How has lighting design developed there since you arrived?

044

www.arc-magazine.com

Twelve years ago I felt that the industry was a long way behind.

I think the investment from Asia, together with the advances in technology meant that the demand for specialists has grown to deliver environments to meet client expectations and code requirements.

Today, Australia is up there with the best, delivering projects around the world, with global clients and collaborators. FPOV is testament to that, where we now have studios in Hong Kong and London, working on all continents (apart from Antarctica!).

And how has PointOfView expanded in that time?

I joined POV in 2005, at that time there were four of us in Sydney. We have grown with the industry and, hopefully, through the quality of our work. In 2010 we took ownership over from David Becker, POV’s founder, and have been growing organically ever since. I always judge myself on the projects we currently work on rather than our past, always striving for better results and more prestigious projects. We also merged with Tony Dowthwaite Lighting Design in the Gold Coast, Tony is the third in my list of lighting design pioneers, I believe TDLD was the first independent lighting design consultancy in Australia.

How did the merger with Firefly Lighting Design come about?

POV was looking to grow internationally, many of our hospitality clients in Asia enjoyed working with us but needed a local presence; and Firefly were looking to be part of a larger team to have more capacity to service clients. John Lau, Director of Firefly and I worked together at Isometrix, Peter Veale, Co-Director at Firefly, also worked at Isometrix, before my time. So, we knew each other, the way we worked, and our design philosophies were attuned, so a merger would form a true partnership and extension for both studios. It’s a continuation of our organic growth, an expansion of clients, market knowledge, global abilities, sharing of resources and an expansion and growth of expertise and experience, all with a view to deliver better and more innovative results for our clients.

You’ve also recently moved back to the UK. What were the reasons behind the move?

As part of the merger my role became a global one, to be the glue between each office to ensure the sharing of ideas, experience and consistency of delivery and creativity. To ensure that we all really benefit from the ‘global studio’ ideal and to ensure we don’t all work in silos, which would defeat the purpose.

Finally, what can we expect to see from FPOV in the near future?

I believe we are working on the world’s leading and most aspirational hospitality project in Crown Resort Barrangaroo, a $2.2billion project, with a global design team including Wilkinson Eyre, Meyer Davis and Bates Smart. Also in the works, Resorts World Manila, the $1billion Castle Towers Shopping Centre with Woods Bagot and UNStudio, the soon to be completed Jumeirah Sadiyaat Island Resort and the landscape and urban environment of the recently opened Jean Nouvel National Museum of Qatar. Beyond that, bigger and better things… www.f-pov.com

Photographer: Alan Williams.

Image courtesy of Westminster Abbey

The Queen’s Diamond Jubilee Galleries at Westminster Abbey TiMi 007, 5000K used to replicate daylight through stained glass window display

Blazing The Trail Editorial Assistant Sarah Cullen sat down with Sharon Stammers of Light Collective, to discuss her professional history and the conception of Women In Lighting.

F

or our first instalment of the

“One of the main things that I have learnt from working

thought it only appropriate to

lighting schemes, the best events, the best installations

Women in Lighting feature, we begin with the woman at the

front of this initiative, Sharon Stammers. arc sat down with

her to discuss her career history,

her place as a woman in the lighting industry, and how

Women in Lighting came about.

Stammers began her studies in Wales, completing a

degree in Theatre Studies. Wanting to stay out of the

spotlight (a trait that has followed her throughout her education and career), Stammers opted to focus her

studies behind the scenes, in particular on sound, set design and lighting.

“I used to daydream about lighting up large things like mountains, valleys or bridges, but never dreamt there

was a job out there where people did these things (preinternet days)!” Stammers reminisced.

“I attempted a few mini light interventions of my own – waving a large projector out of a window to project

images onto the buildings opposite – but my plans were a bit too ambitious for Aberystwyth!”

From the very beginning, Stammers has had a love

for literature and telling a story. Imagining she would follow a career in something book or theatre-related,

a continuous theme following her was to tell a story or follow a narrative.

046

www.arc-magazine.com

with light is that design is driven by narrative. The best or campaigns all have a story that underpins every

element and therefore my desire to tell stories gets fulfilled using the medium of light.”

After graduating, Stammers moved to London to begin work in the theatres. Not an unusual job per say, but

perhaps for a woman at the time, she started work as a stage electrician. “My first day at work consisted of

sorting out coloured gels in a cupboard. I spent a lot of

time up a ladder and didn’t really know what I was doing.

I used to hide fittings that I couldn’t fix and was shouted at in public during a concert for dropping the follow-

spot. I was also once fired from another job due to the lack of expertise in programming a lighting desk.

“I love the fact I was told I would never work in lighting again, and here I am, nearly 30 years on!”

Aspiring to be a Theatre Lighting Designer, Stammers

quickly became unsatisfied with working on the fringes.

“Hardly anyone came to see the shows, you had to take

all the lights down once the show was over and only the actors got to fully experience the lighting,” reflected Stammers.

Taking all of her experience in the theatre, Stammers went on to complete a City & Guilds Electricians

qualification that gave her the confidence to persevere

in the then male dominated industry, where she became

women in lighting

www.arc-magazine.com

047

women in lighting

the Technical Director at a venue in Brixton.

Co-ordinator for the PLDA, which no longer

awards, branding, trade stands and shows,

lighting was permanently installed in places

second child.

lighting, community projects, light

“Once I discovered there was a real job where where people lived and worked, I decided to

apply to the MSc course at the Bartlett, UCL. “I did the course part time in 1995 and

started work at the now legendary Lighting

Design Partnership. Nearly everyone worked there at some point – Barry Hannaford, Gary Campbell, Mark Major etc.”

Entering an industry very different to

that of the theatre, it didn’t take long for Stammers to find her feet and “graduate

from photocopying spec sheets and sending faxes to running projects”. This expanse

in knowledge brought confidence and she began inheriting larger lighting projects

as designers moved on from the company,

some of which included the London Coliseum and Somerset House.

Stammers was initially inspired to become a Lighting Designer and create the kind of schemes she would see in magazines, but

after having her first child, it quickly became more difficult to work full time.

“I looked for an alternative way to be a part of the industry and found a role as the UK

048

www.arc-magazine.com

exists, when I became pregnant with my

“This role meant travelling to other lighting events and talking to other designers in the UK and abroad, and learning about other aspects of the profession that I had not

previously considered. I later learnt that my

now business partner had recommended me for that role!”

During her time at PLDA was also when she

epic parties, pop-up events, guerrilla education and light art installations.

“Our clients have ranged from the small scale to the large: designing for a school in Glasgow where the brief was set by

the kids themselves, to a shopping mall in Kuwait, lighting an exhibition at the

Museum of London, to starting a campaign for promoting Women in Lighting. We like

met Martin Lupton. “It turns out he had

to describe ourselves as lighting evangelists

we were very good at coming up with creative

Reinforcing their self-dubbed title of light

never liked me previously, but we realised

ideas to promote the association and that we didn’t mind speaking out together on issues

that others shied away from,” she explained.

In 2008, the pair started Light Collective, a

lighting consultancy that embodies an array

and light activists.”

activists, Light Collective continued on the

Guerrilla Lighting initiative, originally set

up by Lupton and his colleague Laura Bayliss when working at BDP. Other initiatives include co-founding the Social Light

of lighting-based work. “We really struggle

Movement and helping organise the Noche

work is so diverse.

Stammers and Lupton have worked hard to

to categorise ourselves given that our body of “Our creative portfolio of work houses

more than architectural lighting design and has grown to encompass many innovative

projects that include marketing campaigns, competitions, curated exhibitions, lighting

Zero event in Chile with Paulina Villalobos. promote the lighting industry across the

world, tailoring their choices of projects to include many designers as their creative collaborators.

Another passion the two share is

Featured lights: Taketa Emergency 400

astrolighting.com

women in lighting

documenting light. Using film as their method of

Design Survey), Stammers believes the growth of

on YouTube to capture and record their journeys and

lighting design courses are both testimony to this

documentation, they established Light Collective TV projects over the years, presenting a visual diary of Light Collective.

When asked about the changes in the industry over

her career to date, Stammers explained the shifts in both technology and personnel: “Technically, it’s

an unrecognisable landscape. When I started, there were many light sources – metal halide, tungsten,

the profession and the growth in the number of development in gender balance.

“If you look at the quality and diversity of the awards entries and the schemes featured in magazines,

such as arc, you can see how the quality of lighting

design has grown, and this filters down,” elaborated Stammers.

“Through the Women in Lighting project we have

fluorescent etc., and you chose your source

discovered that the profession is developing in

LED has supplanted all of these light sources. This

Sudan for example – and this is great news.

according to the task. Today, in the majority of cases, observation was the inspiration behind making the

Perfect Light project. This was a film looking at our

ubiquitous use of LED that we made with the kind support of Citizen LEDs. We wish we had made it

five years earlier and maybe two versions that would have allowed us to document the changes, with a third one in another five years time!

“In terms of gender equality and being a woman in the industry, the numbers have radically changed – 20 years ago I was often the only woman in a

meeting, on a manufacturers trip or giving a talk.

Now, there are many more female designers - this

balance can only improve things for everyone,” she added.

Referencing the ILDS (arc’s International Lighting

050

www.arc-magazine.com

countries that we were never aware of – Panama and “However, there is still a long way to go. There are a lot of good designers and high quality lighting

manufacturers in the market now and by showing

the world what good lighting looks like and talking

about it on as many different forums as possible, we can help.”

Further to this, Stammers has observed an industryfelt fear that lighting designers may get left behind as technology advances at a rapid rate, and light

has the potential to become another digital add on.

She reinforces that it is important to make sure this doesn’t happen and that lighting designers “don’t

get crushed in the rush to add technology to projects or lost within marketing stories”.

The concept of Women in Lighting originated after

Previous Page Top (Private House in Italy) by Interni Studios. Photo by Zander Olsen.

Previous Page Bottom Left The Avenues, shopping mall in Kuwait Previous Page Bottom Right (We Heart Light) Light art installation made with 250 children for ILight Marina Bay. Top Left Xicato party at PLDC, Madrid.

Photo by Sanna Fisher-Payne.

Top Right The first Xicato Colour Dinner in London. Photo by Sanna Fisher-Payne Above Left (London Nights) Exhibition at Museum of London. Photo by Museum of London.

Above Right (Private House in Kenya)

by Interni Studios. Photo by Zander Olsen.

C

M

Y

CM

MY

CY

CMY

K

a showing of the Perfect Light in New York, when female audience

“This project has revealed to us that there are many areas of the

included many women in the film.

involved are finding it difficult, so now more than ever, we think the

members approached Light Collective to ask why they hadn’t

“We were shocked by the observation, as it had never occurred to

us that we had mainly interviewed men. I guess we were suffering

from the same unconscious bias that exists in many professions,” reflected Stammers.

After some research, a general trend of a lack of females in

conference line-ups, award juries and magazine panels became very

apparent. Wanting to redress this imbalance, Light Collective set out

to create an online platform where women in the industry can source inspiration, network and share their stories.

“We would like the website to be a massive database of women in

world where lighting design is not well established and the women

project is necessary. It’s easy for us to forget in the UK that women struggle in other countries for general equality, let alone in the

lighting industry. If you add into that the unconscious bias we are

observing and the overwhelming support we have had from so many women in so many countries, then we are more convinced than ever that this project is necessary.

“There is also a general critique that this is just a feminist agenda – to quote Gloria Steinem (that famous feminist!), ‘A feminist is

anyone who recognises the equality and full humanity of women and men’. Women in Lighting is about inclusivity and balance and how

lighting that can create inspiration or enable people to search for a

this is beneficial to the profession as a whole. Anyone against that

“[For the website] We initially planned to do twelve interviews, but

Something Stammers and Lupton have observed since the launch of

female mentor, designer or speaker,” explained Stammers.

I think by the end of May we will have done 50. We planned to ask 20

must be crazy…”

Women in Lighting is the need for support. As Lupton notes: “One

women to be ambassadors for the project in their country and help

of the things that has come out of the interviews is that women need

formalighting has also played a big part in supporting the project, in

men in the industry who will step forward to promote themselves,

spread the word - today we have 58 women in 58 different countries.” particular Sharon Magnaghi, who has taken a personal interest in Light Collective’s efforts, and is an ideal supporter as a leading female in the company.

“We have been critiqued that the project is unnecessary, but this has mainly been from European or American white males!” exclaimed Stammers.

052

www.arc-magazine.com

more encouragement to step up. They are not as ego driven as the

but if they see the purpose of stepping up is also to create a positive

role model for other women in lighting and their company, then they are really open to it.”

Generally speaking, Stammers has found her time in the lighting industry as a female almost non-problematic. Championing it as

a great industry to be a female in, she boasts the fact that women

women in lighting

“If you add into that the unconscious bias we are observing and the overwhelming support we have had from so many women in so many countries, we are more convinced than ever that this project is necessary.”

Left Hand Page Top & Bottom Left The Avenues, shopping mall in Kuwait. Elaborate architectural eggs on the exterior of the building are mirrored internally at the cinema entrance, where another egg structure is illuminated in a vibrant pink colour.

Left Hand Page Bottom Middle Lupton and Stammers have been hosts at the [d]arc awards for numerous years, and Stammers continues to be a female role model in public speaking for women in the industry.

Left Hand Page Bottom Right A guerrilla lighting event in Sclessin, Belgium, as part of a Social Light Movement workshop.

This Page Stammers completes video interviews as part of the Women in Lighting project, which are featured online as part of a large collection of interviews with numerous women in the lighting indsutry. (L-R: Beata Denton, Carlijn Timmermans, Clementine Fletcher-Smith and Carrie Donahue Bremner).

Sharon Stammers, Light Collective

can indulge in both creative and technical aspects of a project

and there are no barriers to break through, apart from your own

fears, in order to achieve great things. “The fact that we slot into

vital. As Lupton explained, it is a team effort that will create a

harmonious balance for the lighting community: “As a man being

part of Women in Lighting, I generally feel like a bit of an imposter.

many other industries like engineering and contracting, which are

But, as the aim is to achieve a gender balance, which is positive for

role models – and there are now many female ones – everything is

project is driven forward by both of us equally!

predominantly male, has sometimes been an issue but with good surmountable,” she explained.

Like Lupton had witnessed, Stammers explained one of the main

challenges the women interviewed for Women in Lighting mentioned

was confidence, or lack thereof, and how scary it is to stand up and talk about their work. Having a platform and female network that

demonstrates public speaking within the industry is now providing the role models for others to follow suit.

“I can safely say that each and every time I have had to present

something or showcase a project, I have been terrified. I still am now

even after all this time. However, I feel very strongly that in order for women to feel able to stand up and talk about their work, they need to see other women doing it. Hopefully, in a small way, I may have helped,” admitted Stammers.

“I have been incredibly lucky to find a work partner that balances me so well. The things that Martin does well, I am not so good at, and

vice versa. We have supported each other in the work/family balance

(once taking four kids to a meeting), and this has made a lot of things possible that I might not have been able to do otherwise.”

Finding support for Women in Lighting is strongly driven by the

females in the industry, but having support from the men is also

all involved in the industry, then it’s probably appropriate that the “I would really like to see more men stand up and support the

project. We are working hard to think of ways that can happen; it can be as simple as putting themselves out there saying they support it and also making sure that they ensure there is gender equality

in their company, on any conferences they curate or at any other opportunity.

“Working in partnership with Sharon for the past ten years has

been, and continues to be, a great experience. Her enthusiasm and professionalism are second to none. There is a well-known phrase

used to describe some people, ‘All fluff and no substance’ – Sharon is the total opposite of this, she is all substance and no fluff! She

continues to inspire and challenge me on a daily basis to be better at what we do.”

As a female journalist in a nearly all-male office (aside from Helen

Ankers, the editor of darc magazine), it is exciting to be a part of arc as an official media supporter for the initiative. We will be covering an array of professional female designers and projects headed

by leading women in the industry, and much more, in upcoming editions of the magazine.

www.womeninlighting.com

www.arc-magazine.com

053

PROJECT DETAILS St. Helen’s Square, London, UK Client: British Land, The Leadenhall Development Company, City of London and Aviva Lighting Design: StudioFractal, UK Architect: Gillespies, UK London Wall Place, London, UK Client: Brookfield, Oxford Properties Lighting Design: StudioFractal, UK Architect: MAKE, UK; Spacehub Landscape Architects, UK Photography: James Newton Photographs

054

www.arc-magazine.com

PROJECT

English City Gardens In a move to bring a feeling of calm and tranquillity in the midst of one of London’s busiest areas, StudioFractal has created a serene lighting scheme for two separate Green Spaces: St. Helen’s Square and London Wall Place.

www.arc-magazine.com

055

PROJECT

A

s the world’s cities continue to get

“We wanted the lighting design to support the

important that these ever-expanding

dwell and spend time in the space,” said Chris

bigger, it becomes increasingly

urban metropolises make room for

green spaces, to connect city dwellers to nature in a

way that is not always possible in such built up areas.

In the City of London, StudioFractal has collaborated with a couple of landscape architects to illuminate two such spaces: St. Helen’s Square and London Wall Place.

Nestled deep in the heart of London’s primary

financial district, St. Helen’s Square operates as a

major thoroughfare amidst the iconic architecture

of 30 St. Mary’s Axe (more commonly known as The Gherkin) and the Lloyds Building, in juxtaposition with the Leadenhall Market entrance.

StudioFractal collaborated with competition-

winning architects Gillespies to transform the

formerly lacklustre public space into an atmospheric meeting point for busy city dwellers and visitors alike.

Through meticulously crafted lighting, StudioFractal has enhanced the architects’ exquisitely formed

urban design, with its sinuous curving stone seating and pocket zones of park-like comfort.

056

www.arc-magazine.com

landscape design in encouraging pedestrians to Sutherland, Design Director at StudioFractal and lighting designer for St. Helen’s Square.

“The focus was on how the lighting could enhance the idea of useable green space and celebrate the

planting via lighting. Therefore we looked at ways the lighting and planting could work quietly and subtly with each other.”

StudioFractal developed various options of low-level lighting and plant lighting, keeping the focus at

pedestrian level to create a soft, peaceful ambiance.

Providing much of the ambient lighting across this 3,325m open space - the third largest in London - are three tapered steel columns, each housing a set of We-ef theatrical gobo luminaires. Here, light projectors cast leaf-like patterns onto the

stone paving, softening the hard landscape with

hints of nature in dappled light. The tallest column, provided by Urban Street Design stands at eighteen metres in height, embellished with a spiralling

finish, marking the historical presence of a medieval maypole that once stood in its place.

The final element came in Light Projects bespoke

Previous Page At St. Helen’s Square, StudioFractal worked with Gillespies to transform the formerly lacklustre public space into an atmospheric meeting point for both busy city dwellers and visitors.

Above At London Wall Place, StudioFractal were asked by MAKE Architects to complement and enhance the space’s striking new architectural forms and materials.

Clim

The Climatisation that is silent, invisible and even

Museum Mercier - France - 1000 m2 of Barrisol Clim®

Ceiling in Biosource membrane BOS 01 Arctic acoustic A15 and Biosource BOT 05 Atlas A15 Arch.: MHCS

1st place in Sustainability

Janus 2017 de l'Industrie

1st place in Energy Efficiency

Video Clim®

The Barrisol Clim® system is compatible with all hotand cold-air production technologies which use forced air.

Environmentally friendly (less energy, less matter) AAA cold and AAA hot performance, according to the ISO 7730 standard.

The temperature of the walls and the air, is homogeneous in every point of the room

Forced air

Forced air returns

The Barrisol Clim® solution can be also acoustic, luminous and printed 100% recyclable

w w w. b a r r i s o l . c o m

PROJECT

Above Left A key feature within the lighting at St. Helen’s Square is the introduction of bespoke ‘reed’ lights. Intended to bring a feel of magic at a human level, the reeds were developed by Light Projects to be as organic as possible.

Above Right St. Helen’s Square sits amidst the iconic architecture of 30 St. Mary’s Axe (more commonly known as The Gherkin) and the Lloyds Building.

Top Right The myriad elements of London Wall Place are united through a unique cladding - an iridescent coating of concrete and faience that reinterprets the knapped flint of the site’s Roman and Saxon remains.

‘reeds’ within the planting, which feature an illuminated, glowing tip. These reeds are intended to bring a feel of magic at a human

level, filling the area with an elegant playfulness. Developed to be as organic as possible, the reeds move and sway in the breeze.

Designed to add character and ambience to the space, the new

lighting scheme creates minimal impact on the daytime scheme, with low energy, integrated LED luminaires from LED Linear and

Kemps Lighting, secreted from view, offering longevity and minimal long-term maintenance.

Similarly with London Wall Place, StudioFractal worked to create a “change of pace” for workers in its surrounding buildings and for those passing through. A new destination in the City of London

district of the capital, London Wall Place offers an acre of landscaped public realm set between two statement office buildings. Designed

by MAKE Architects, the site responds to a client brief that called for a design that referenced the historic setting, extensive amenities

and pedestrian links to the existing neighbourhood by reinstating

its historic grids, knitting together two existing heritage structures - the remains of St. Alphage Church and a section of the original

London Wall - with new pedestrian routes and a series of beautifully landscaped gardens.

Uniting the new development is a unique cladding - an iridescent

coating of concrete and faience that reinterprets the knapped flint of the site’s Roman and Saxon remains.

In lighting this new space, StudioFractal was asked to complement and enhance the striking architectural forms and materials, and to bring to life this acre of public realm.

“London Wall Road is a very busy vehicular route surrounded by tall

058

www.arc-magazine.com

“Both projects provide a green immersive environment, not just a walkthrough but somewhere to sit and dwell; a break from the hard-landscaped environment that surrounds it.�

Ian Payne, Design Director, StudioFractal

060

www.arc-magazine.com

PROJECT

www.arc-magazine.com

061

office buildings, and we wanted to create an intimate feel, similar in

ambience to a residential garden,” said Ian Payne, Design Director at StudioFractal and designer of London Wall Place.

“So, you come in from a fast paced commercial environment, and as

you enter the gardens you immediately slow down. The look and feel establishes a more relaxed ambience, drawing your mind away from the inner-city hustle and bustle.”

To create this serene environment amid the hectic city surroundings, a detailed lighting strategy was developed that connected

commercial lobbies, gardens and the High Walk, enhancing views

through the project and ensuring veiling reflections in the glazing

were avoided so that the interior and exterior spaces were connected.

A layered lighting design utilising direct and reflected lighting

creates a softly undulating visual environment, making use of light, shadow, reflection and projection to complement and enhance

the material palette of stone, metal, water and planting, and to encourage exploration.

A key element of the lighting brief, Payne explained, was to create a

“sense of theatre and recognisable character” throughout the space.

“To achieve a unique ambience, a key approach for public realm lighting is the integration of the senses,” he said.

“Garden elements of water, planting, texture, movement and sound are all carefully orchestrated to build a subtly complex experience, one that has a true connection with nature and explores how we interact with it.”

Lighting was also used to bed the two commercial buildings within the landscape, something that is particularly evident with one

062

www.arc-magazine.com

PROJECT

Previous Page An aerial view of St. Helen’s Square, showcasing the low energy, integrated LED luminaires that add a soft, subtle illumination without impacting on the daytime scheme.

Left Both St. Helen’s Square and London Wall Place offer a sense of calm and tranquility for passersby, even amidst the hectic city surroundings.

Below Left For London Wall Place, StudioFractal worked with the wider design team to create an environment that felt “as natural as possible”, subtly blending the multilayered scheme.

building, where the landscape and architecture overlap. “The

sense of tranquillity, while bespoke, linear LED fittings from Kemps

point at which architecture meets landscape,” said Payne. “And

and shadow.

lighting integrated within the colonnade was about expressing the where water is integrated within the scheme, we have placed lighting to create reflections up onto the building and soffit, once again

blending the boundary between the architecture and the landscape.”

A hierarchy of concealed light sources were developed and positioned within the architectural detailing, drawing the eye between historic and contemporary forms and materials while embodying the landscaped gardens with a sense of contemplative serenity.

High-level wallwashing integrated within the building form creates a backdrop to the new structures and materials, drawing the eye

across the project and into the interiors. High-level We-ef ETC 130

spotlights provide subtle illumination to planting, project gobos onto the walkway below and illuminate the gently moving water feature.

Elsewhere, warmer, low level lighting directs pockets of brightness across the historic stonework, contemporary core-ten metal, GRC building columns and across the low level planting and walkways.

Care has been taken to avoid glare and present illuminated surfaces

against silhouetted forms, creating a playful and atmospheric series

of spaces, as Payne elaborated: “We had several workshops in which we discussed the materiality of the scheme with the architects,

exploring how each element of their design would interact with light.

“For example, with the dark ceramic, it was not about washing it

with light, it was about lighting the surfaces surrounding it, creating reflections to activate the material.”

Reflections of moving water activate sections of the soffit, adding a

Lighting integrated within the high walk extend the rhythm of light One of the biggest challenges in lighting London Wall Place,

according to Payne, was to create a scheme that felt natural and

a part of its wider environment. “The overriding challenge for us

throughout was how to express light and not the light fittings,” he said. “Along with the design team, we were determined to create

an environment that felt as natural as possible, subtly blending the multi-layered scheme.

“The architectural ceramic material posed a specific challenge when it came to integration and hiding equipment. The design had to be

established very early on, due to the prefabricated cladding that was brought to the site with holes already predrilled - this required a lot of forward planning and precision.”

The notion of creating an relaxed, calm, ambient space in the

middle of one of the largest cities in Europe also proved tricky

for StudioFractal, as Payne explained: “Where the public realm

meets the adjoining highways, our challenge was one of contrast: the bright, uniformly lit roads, designed to the City of London

requirements, against the undulating illumination of the public

realm, and our challenge was to create a smooth transition between the two.

“Our solution was carefully positioned dual purpose fittings. So for example, when lighting the road, we positioned iGuzzini’s Wow

fixtures upon the building, for functional road lighting but also to wash light onto the green walls and planting below. In doing so,

www.arc-magazine.com

063

PROJECT

Left The challenge for both sites came where the public realm meets the adjoining highways, and in the contrast between the bright, uniformly lit roads and the undulating illumination of the public realm.

Below Left London Wall Place was intended to reference its historical surroundings, knitting together the heritage structures of the remains of St. Alphage Church and a section of the original London Wall with new pedestrian routes and series of beautifully landscaped gardens.

Below At London Wall Place, lighting was used to bed the two commercial buildings within the landscape.

This was done by concealing and positioning lighting within the architectural detailing and expressing the point at which architecture meets landscape.

lighting specified

it integrated this natural language of the

between spaces.”

For both St. Helen’s Square and London

Square and London Wall Place, StudioFractal

scheme throughout its boundaries.”

Wall Place, StudioFractal looked to bring an element of theatricality. With St. Helen’s Square, StudioFractal wanted to create

a more playful approach to the lighting,

using gobos and illuminated reeds within

the planter beds, while London Wall Place

was more about subtly revealing the texture within landscape and “enhancing the

character of the overall development at night”.

“Both projects have a similar purpose in

creating a Green City zone for people to use, to provide a green immersive environment,

not just a walkthrough but somewhere to sit and dwell; offering a break from the hard-

landscaped environment that surrounds it,” Payne said.

“Both are great at achieving this, and apply similar principles of playfulness, exploring narratives around nature, balancing

light and shadow, and in particular using

patterned light to create visual differences

064

www.arc-magazine.com

Following the success of both St. Helen’s

is currently working on St Alphage Garden, a

thin strip of public realm adjacent to London Wall Place, with the intention of connecting it to the rest of the scheme.

Although creating a tranquil environment for rest and relaxation in the midst of the hectic surrounds of the City of London

sounds like an impossible task, Payne and

Sutherland believe that they have achieved exactly what they set out to, offering up a

relaxed space for passers-by to sit and dwell.

“As you walk around the gardens, you do

get this sense of calm, and even though you

have the traffic noise in the background, you cannot help but be inspired by a feeling of tranquillity,” Payne said.

“As the planting grows, this will offer new views and different things to discover -

through exploring the sites’ new interplay with light and nature.”

www.studiofractal.co.uk

St. Helen’s Square Kemps Lighting Flexus LED Linear VarioLED Light Projects Bespoke Fibre Optic ‘Reeds’ Urban Street Design Feature Column We-ef Gobo Projectors We-ef In-ground Uplights We-ef Lighting Columns London Wall Place acdc Blade Micro acdc Blade Pro acdc FINO acdc Integrex Applelec Light Sheet Bega Glashutte Limburg Range Ecosense Linear HP Ext/Int iGuzzini Bespoke External Projector iGuzzini Iround iGuzzini Woody iGuzzini Wow Kemps Lighting Highwalk Luminaire KKDC SEN KKDC SEN-F LED Linear VarioLED LTS Lighting Lichtkanal Modular Lighting Instruments Lotis Modular Lighting Instruments SL Nano Poly Out We-ef ETC 130 We-ef Gobo projector

PROJECT DETAILS Ocean Wonders: Sharks! New York Aquarium, New York, USA Client: Wildlife Conservation Society (WCS) Lighting Design: Focus Lighting, USA Architect: Edelman Sultan Knox Wood Architects, USA Exhibit Designer: Portico Group, USA Photography: Ryan Fischer

066

www.arc-magazine.com

project

We’re Gonna Need a Bigger Boat!

Ocean Wonders: Sharks! is an example of how developed lighting solutions create a dramatic effect but are also environmentally aware. Focus Lighting’s design incorporate both striking lighting schemes that are both aesthetically pleasing and safe for the natural habitats and marine life.

www.arc-magazine.com

067

F

ocus Lighting, a New York-

with significant delays as a result of

display shifts from less saturated tints

design firm, teamed up with the

Sandy, which in turn created additional

building into richer tones of blue and purple

based architectural lighting

Wildlife Conservation Society

(WCS), an organisation that manages five

of New York City’s six zoos and aquariums, to design the lighting for Ocean Wonders:

Sharks!, a 57,000sqft, three-storey exhibit

building next to the Coney Island boardwalk.

Christine Hope, Principal Designer at Focus

Lighting spoke to arc about the ideas behind the firm’s design concepts: “From the

beginning of the project, the goal was to

design an experience that communicates the importance of ocean conservation and the

vital role sharks play in our ecosystems. Each design element works to support this goal.”

Frustratingly for the teams, the project took over a decade from start to finish,

068

www.arc-magazine.com

structural damage caused by Hurricane challenges, like constantly changing and updating lighting technologies

and the changes in work personnel.

The visitor’s journey into the exhibit begins

at the exterior of the building when they are presented with a 1,000ft long shimmering

wall that wraps the exterior of the building.

The wall, designed by environmental artist Ned Kahn, utilises the wind power of the coast to move 33,000 aluminium plates

that flap and reflect light. Each night after sunset, a five-hour long programmed

light display, designed by Focus Lighting,

illuminates the wall with a carefully curated set of scenes inspired by ocean life.

As the sun sets, the automatically triggered

of cyan and emerald and transitions the

as night falls. The colours and rhythms of the natural wind are reminiscent of the

natural bioluminescent tides and backlight

flickers through, creating a silvery shimmer of fish-like scales across the wall.

“The nighttime look of the shimmer

wall was critical to creating the sense

of excitement we were trying to achieve with this project,” explained Hope.

“Its impact on the Coney Island skyline is unparalleled and captures the

curiosity of everyone who sees it.”

In the base of the wall, two rows of Philips Color Kinetics LED strips are used to

illuminate the aluminium flaps. White

uplights behind the shimmer wall bounce

project

off the swinging panels and directly into

and light levels seen at various depths

the Philips Color Kinetics LED grazers

the exhibit’s second large tank is a full

the viewer’s eyes as a quick sparkle, while in front of the wall paint the surface in vivid colours that can be seen up and down the boardwalk and the beach.

Moving through into the building, visitors are led on a dramatic journey that takes them further into the deep ocean.

“Our lighting is designed to help present

the natural beauty each experience is meant to evoke and create the illusion of complete immersion,” explained Principal Lighting

Designer at Focus Lighting, Brett Andersen.

“One of our key challenges was accurately replicating the various underwater

environments from which the animals come. We worked closely with WCS’s

diving team to find the exact water colours

and regions of our oceans. For instance, cylinder that replicates an area of the

harbour called the New York Bight, with

each species on display native to that area.

We developed alongside WCS the colour of the water seen when diving in this area at a depth of 60-80ft below the surface.”

Upon entering the aquarium, the first

tank visitors experience is the Coral Reef tank, a tunnel designed to have the look

Previous Page The 1000ft long shimmering wall that wraps the exterior of the building was designed by environmental artist Ned Kahn, and utilises the wind power of the coast to move 33,000 aluminium plates that flap and reflect light.

Above Left Focus Lighting worked closely with the Wildlife Conservation Society to find the exact water colours and light levels seen at various depths and regions of the world’s oceans.

Top Right Each night after sunset, a five-hour long programmed light display, designed by Focus Lighting, uses LEDs from Philips Color Kinetics to illuminate the wall with a carefully curated set of scenes inspired by ocean life.

Above Right In the Meet the Shark room, where majority of the exhibit’s information is presented, lighting levels are higher than in most other areas so that visitors can read the various bits of information.

and feel of a bright and colourful coral reef. For this effect, the lighting team

specified RGBW LED fixtures to light the tank, which allowed them to tune the

lighting to the exact colour quality needed in order to make the coral stand out.

Working above and around water required a

www.arc-magazine.com

069

project

“The decision to exclusively use LEDs grew as technology advanced over the course of the project.”

Christine Hope, Focus Lighting

Left The team at Focus Lighting worked to support a storyline with light throughout the interpretive exhibit designs, whether this was with the light theming elements or the live animals.

number of unique mounting techniques. At the Coral

onto the tank and distracts from the spectacle.

the water on a custom designed trolley system. This

room, where the majority of the exhibit’s information

Reef tank, for instance, each light was mounted above allowed for precise fixture placement around the deeply textured coral, all while mitigating sightlines into the fixtures. The system also makes maintenance easy

as the fixtures can be pulled back over solid ground.

The New York Bight tank has a custom designed mounting structure with a white painted ceiling

above that allow carefully tuned RGBW floodlights to reflect off and into the tank. This creates a soft even glow of light that is experienced at a depth of 60-80ft. Smaller, direct accent spotlights

mounted to the top of the mounting structure add subtle, natural feeling highlights.

The Canyon’s Edge is the exhibit’s deep ocean shark tank, which the team wanted to have a dark and

ominous feel. Cool LED spots create shafts of ‘sunlight’ in narrow strips of the sandy bottom along the front edge of the tank, and then the exhibit falls off into

darkness. The deeper recesses of the tank are flooded with blue LED light so sharks are barely visible in

the murky waters, before suddenly coming into view as they approach the front of the tank. The viewer’s room is in complete darkness so nothing reflects

070

www.arc-magazine.com

Hope explained further: “In the Meet The Shark

is presented, lighting levels are higher than most other areas so that visitors can read the various

bits of information. While at the Canyon’s Edge,

the exhibit’s largest and final tank, the observation area was left dark to offer visitors a grand, theatrelike view of the animals before parting.

“The decision to exclusively use LEDs grew as

technology advanced over the course of the project.

Once the colour quality, output and performance of the LED accents and floodlighting were at

an acceptable level, revising our specifications became the clear choice,” she explained.

“On the interior, we were able to fine-tune the

colours we used to highlight various elements of

coral or rockwork in the tanks, while also minimising the difficult access of tanks for maintenance. On the exterior, Philips Color Kinetics’ linear RGB

fixtures allowed us to create infinite combinations of colour movement while we created the lighting

art-piece. We used ETC Paradigm control racks and processors for all the interior and exterior lighting, along with a Mosaic processor to programme and

project

run the exterior nightly lighting show.”

all to appreciate the depths of our oceans.

with light throughout the interpretive

the emotional connection we are able to

The team worked to support a storyline

exhibit designs, whether it was with the

light theming elements or the live animals.

Keeping the lighting out of view was an

important factor of keeping the environment feeling authentic and immersive and not staged. “The display lighting had to be flexible and easily adjustable, yet very

well-hidden so as not to distract from the exhibits themselves,” explained Hope.

Linear cove accents from Philips Color

Kinetics, track accents from Juno and tapelight accents from Luminii were utilised throughout the exhibition, while Focus Lighting used

Lumenpulse Lumenbeam accents at the tanks.

“The lighting at the tanks had to properly illuminate the water without creating

hotspots or glare. Our goal was to make

everything feel very natural,” Hope continued.

After the lengthy fourteen-year process,

this aquarium has created an educational

and aesthetically pleasing environment for

072

www.arc-magazine.com

“Much of the success of this project is in evoke among visitors,” Hope reflected.

“This is a direct result of the way lighting

integrates with each experience and creates

a feeling of authenticity that the visitors will remember long after visiting the aquarium, and hopefully, encourages them to take

Top Focus Lighting worked to ensure that the lighting for the tanks properly illuminated the water, without creating hotspots or glare, therefore making it feel very natural.

Above Left The Canyon’s Edge is the exhibit’s deep ocean shark tank, which designers wanted to have a dark and ominous feel. Cool LED spots create shafts of ‘sunlight’ in narrow strips at the front of the tank, before it falls off into darkness.

Above Right It was important for the lighting designers that any fixtures in the main exhibition spaces were well-hidden, so as not to distract from the exhibits themselves, while remaining flexible and easily adjustable.

action in the effort to preserve our oceans.

“The project was very collaborative; each design element needed to support the

others to create a cohesive, memorable experience that quickly drives home

the exhibit’s key message: preserving our planet’s oceans,” she added.

“The final lighting design is almost exactly what we envisioned so many years ago.

In fact, we have photos of the exhibit

today that look nearly identical to early renderings of the project. For us, that is an immense accomplishment.” www.focuslighting.com

lighting specified Bega LED Steplights ETC Mosaic ETC Unison Paradigm System Juno Trac 12 Mini Cylinder Lumenpulse Lumenbeam Static White + RGBW Luminii LL30 Tapelight Philips Color Kinetics EW Cove MX Philips Color Kinetics Color Graze QLX

Wall Director

Altitude

Ouro

Pavilion

KFL3

Kim Evolution See us at LightFair Booth - 1425

www.kimlighting.com

Copyright © 2019 Kim Lighting, a division of Hubbell Lighting, Inc. All rights reserved.

kl_family_Arc_Ad_042519.indd 1

4/25/19 2:08 PM

Pic: Kinji Kanno

074

www.arc-magazine.com

PROFILE

In Praise of Light and Shadows Robert Such sits down with renowned Japanese architect Tadao Ando to discuss the integral role that light and shadow can play in creating objects of architectural beauty.

T

he Minamidera Art House Project guide,

standing at the entrance to the rectangular

wooden building that houses James Turrell’s lighting installation, politely instructs each

visitor to keep a hand on the wall when inside the building. It’s not clear why we need to do

this, but it soon makes sense - it’s pitch black

inside. Only after a few minutes do my eyes become accustomed to

the darkness, and a faint rectangular light starts to appear out of the

gloom. It’s some distance away across the dark interior, but it’s hard to tell how far…

Designed by Japanese architect Tadao Ando, the Minamidera Art

House Project building that houses Turrell’s lightwork stands on the island of Naoshima in Japan’s Seto Inland Sea. Naoshima is one of a

number of islands on which stand museums, art spaces and outdoor artworks.

Admired by Ando, the American light artist James Turrell is one

of many architects and artists that have influenced the way that

Ando has worked with light throughout his life. Ando has joined

forces with Turrell on projects numerous times, and Turrell’s work continues to be an inspiration. Turrell also has lightworks in the

Chichu Art Museum on Naoshima - a museum also designed by Ando.

“It is particularly important,” said the 1995 Pritzker Prize winning Ando, “to take steps forward when building a museum for

contemporary art. Artists are very courageous. They are stepping forward all of the time. Architects must do the same.

www.arc-magazine.com

075

profile

Pic: Shigeo Ogawa

Above Left Throughout Ando’s portfolio, the architect has regularly experimented with the relationship between light and shadow, as demonstrated here at the Ando Museum in Naoshima, Japan.

Above Right Another of Ando’s projects in Naoshima, Benesse House, explores the delicate blend of natural and artificial lighting.

Pic: Mitsuo Matsuoka

“We must share the fear of challenging the

with close-up and wide-angle architectural

courageous, but we cannot escape fear when taking

sketches.”

some experience, you are not likely to fail.”

Le Corbusier’s floor plans over and over again”.

Corbusier that had a strong influence on Ando’s

neighbourhood, Ando’s home was a small terraced

unseen world. We are all humans, and we can be

risks. As long as you dare to step forward, and have As for architects that inspired him, it was Le

early career. He first became aware of the SwissFrench architect’s work while perusing the

Born and raised in Osaka in a traditional residential house. He describes it as “a dark place with little light and small windows”.

“In the dim interior, I appreciated what little light

“I first laid my eyes on a portfolio of Le Corbusier

with light coming into my room. Since then, this

explains. “Immediately, I felt in my bones - this is

architecture that values light and reminds me of

in the art section of that bookstore,” Ando

we received. I would often fill my cupped hands is the type of architecture I’ve wanted to build:

it.” At that time he was, he says, “very passionate

the same feelings I experienced as a child.

was a life-changing turning point for the 20-year-

restores architecture from a metaphysical to an

about life, but my destiny was yet to be defined.” It old would-be architect who was then working part-time at an architecture firm.

“Nature in the form of light, water, and sky

earthly plane and gives life to space. A concern for the relationship between architecture and nature

The Le Corbusier book was too expensive to buy

inevitably leads to a concern for the temporal

able to buy it about a month later. Then he read it

sense of time and to create compositions in which

straight away though, so Ando saved up and was

“page by page, every night until I grew tired of it”, he says.

“Even though my knowledge was not extensive enough to understand the intricacies of

modernism, the contents of the book were utterly fascinating. Each page was beautifully laid out

www.arc-magazine.com

Wanting to be able to design in this way, he “traced

bookshelves in an old bookshop in his hometown of Osaka.

076

photographs in addition to attractive plans and

context of architecture. I want to emphasise the

a feeling of transience or the passing of time is a part of the spatial experience.”

Another book that had a profound influence on the young Ando was a thin, but influential book called In Praise of Shadows by the well-known Japanese writer Jun’ichirō Tanizaki. The book details

PROLED FLEX TUBE FLAT RGB IP67 (for outdoor use) The PROLED FLEX TUBE FLAT RGB is an innovative LED product replacing the classic neon tubes.

It can be used at every location including edges and corners. The FLEX TUBE has cutting signs printed on for an easy cutting to the required length. Installation is quite easy. Due to the high flexibility and pliability various shapes and designs are possible. With an operating voltage of 24 VDC and the protection rating IP67 FLEX TUBE is absolutely safe for indoor and outdoor use.

IP67 ACCESSORIES FOR FLEX TUBES

MBN GmbH Balthasar-Schaller-Str. 3 86316 Friedberg · Germany Phone +49.821.60099-0 Fax +49.821.60099-99 info@proled.com

proled.com

“Artists are very courageous.

They are stepping forward all of the time. Architects must do the same.�

Tadao Ando

Pic: Mistuo Matsuoka

078

www.arc-magazine.com

profile

www.arc-magazine.com

079

“Nature in the form of light, water, and sky, restores architecture from a metaphysical to an earthly plane and gives life to space.�

Tadao Ando

Pic: Mitsuo Matsuoka

080

www.arc-magazine.com

profile

Previous Page The Chichu Art Museum features a remarkable installation from renowned artist James Turrell. Turrell’s work has consistently been an influence on the way that Ando has worked with light throughout his career.

Left The Ibaraki Kasugaoka Church, more commonly known as the Church of the Light, features a striking cruciform opening, cut out in the concrete fabric of the building. Ando was determined for this opening to be open to the elements, but when the clients refused to remove the glass, he built a life-sized replica, without the glass, for an exhibition. This, he believes, “significantly intensified” the experience of light in the church.

Right The Minamidera Art House Project, designed by Ando, plunges visitors into pitch black darkness on entering, before another of Turrell’s artworks is gradually revealed. Such a design ties into Ando’s philosophy that “in order to appreciate the beauty of light and the space it illuminates, darkness is absolutely necessary”.

Below Left The Lee Ufan Museum, an art gallery located in Naoshima, Japan.

Bottom Left Tadao Ando spent fourteen months restoring the Punta Della Dogana Museum in Venice, Italy, opening it to the public at the 2009 Venice Art Biennale.

Below Right Alongside his work on museums, Ando has designed residential housing, including the extensive Rokko Housing Project, completed in three parts from 1981 to 1998, gradually rising up the Rokko Mountains in Kobe, Japan.

Pic: Shigeo Ogawa

Pic: Shigeo Ogawa

Pic: Shigeo Ogawa

Pic: Mitsuo Matsuoka

Tanizaki’s thoughts on light and shadows

elements in order “to introduce pure and

religious precepts. In order to appreciate the

“The balance of light and shadow is always

client refused to remove the glass.

darkness is absolutely necessary.”

in various aspects of Japanese culture.

difficult. Without shadow, one cannot fully appreciate light,” says Ando.

Inside another of Ando’s well-known works, the Ibaraki Kasugaoka Church in Ibaraki,

just outside Osaka, light and shadow also play a key role in a visitor’s experiential

appreciation of the building interior. More

commonly known as the Church of the Light, the building’s most striking feature is a

cruciform opening, cut out in the concrete, in the wall facing the congregation.

It is also a project that Ando returned to time and again to try and convince the client to

remove the glass that was installed to keep out the rain and wind. When Ando first

designed the Church of the Light in 1989,

he proposed that the cross be open to the

natural light into the space,” he says. The Ando eventually gave up, so he did the next best thing: make a life-size replica of the church, for an exhibition. In his version

there was no glass, just as he wanted it to

be. “In comparison to the original church, the experience of light had significantly intensified,” he says.

When Ando thinks of great uses of light in

architecture, it is monasteries that come to mind, such as the Thoronet Abbey and the

Notre-Dame de Sénanque Abbey in France.

“The light found inside these religious buildings create space and carry life.

“When I first entered Abbaye du Thoronet, I encountered a feeling of great power. In the

profound silence of the place, I became aware

beauty of light and the spaces it illuminates, Necessary, yes; yet in the Minamidera Art House Project, where there is no light at all at first, the complete darkness in the building is unnerving. But the mystery

and the eventual surprise revelation make

Turrell’s light artwork, and the islands in the

Seto Inland Sea generally, well worth visiting - just like the architectural works of Japan’s most famous architect, whose thoughtfully designed and beautifully made works can

be found all over Japan and in many other

locations around the world, and who believes that although shadows are necessary, “light is pivotal for the livelihood of humankind”. www.tadao-ando.com

of the light transcending the severity of

www.arc-magazine.com

081

Pics: Annika Haas

Estonian Essence Kicking off Part 2 of our Festivals of Light Round-up, Tartu Valgus returned to the Estonian city in October 2018, bringing together lighting designers and artists to illuminate the city’s landmarks and discuss the latest trends and advancements in the industry.

T

artu Valgus (TAVA), otherwise known

from Belgium, Estonia, Germany, India, Japan and

international festival of light held every

three groups. Professional lighting designers Johan

as Tartu in Light, is a cross-disciplinary two years in the Estonian city of Tartu.

The main programme for TAVA 2018 consisted of a workshop and light fair, alongside a series

of outdoor installations and indoor exhibitions.

Additionally, smaller-scale satellite programmes were organised in collaboration with cultural organisations and companies within Tartu.

The entire site-specific festival lasted for 30 days,

and Simas Rinkevičius led these three groups, with the goal of creating a lighting design concept and solution for each site, improving their nocturnal

presence and making them landmarks within the city.

The first workshop, at the Estonian Ministry of Education and Research and led by Röklander,

was focused on the theme The Heart Within, with

the idea of education becoming lively, welcoming

to investigate and improve Tartu’s current urban

house was to recreate the architect’s original idea

lighting, while creating real-sized prototypes for its citizens and visitors to experience. Based on their importance and impact on the urban fabric, three

sites were chosen for the workshop, creating an ‘Axis of Light’ in Tartu’s inner city: the Estonian Ministry of Education and Research; St. John’s Church;

and the Toy Museum. More than 20 participants

www.arc-magazine.com

Röklander, Dr. Amardeep M. Dugar and Ruta Palionyte

capturing the essence of the Estonian city.

The workshop, curated by Sabine de Schutter, aimed

082

the UK participated in the workshop, divided into

and playful. The narrative for this former bank of entering a temple, and show the soul of the

building. Designed by architect Arnold Matteus in 1935, it has two visible façades that each required different types of treatment: the highway façade and the entrance façade. The vertical elements on the highway façade have been highlighted in a formal manner, with warm white light.

Festivals of light

The entrance façade, the great hall and its

transition from an old to a new religion. An oak

for lighting in a lively, welcoming and playful

light to depict grove worship, while the church

facing landscaped park provided the scope

manner. Patterns of coloured light and shadows filtering through the trees create the perfect

backdrop for festivities on the entrance façade.

Low-lying luminaires on the walking track in

front of the entrance add to the welcoming feel, while the monument to Peeter Põld, Estonia’s first Minister of Education, is illuminated to

create a symbolic meaning of its heart within.

The second workshop, led by Dr. Dugar at St. John’s Church ran with the theme of John’s

Epiphany, and aimed to take visitors on an

experiential yet sensitive journey of the different

religious faiths within Estonia through light - from the ancient pre-Christian era, when Estonians believed in an animistic religion called Faith of the Earth, to the coming of Christianity.

The site was divided into three parts - the Grove, the Sanctuary and the Portal - to depict the

tree adjacent to the church was lit in a blue-green buttresses and walls were illuminated in warm

white and amber tones to depict Christian worship.

However, a blue-green light emanating from the church windows shows how the old religion has survived amidst the new through folk tales.

The combination of blue-green and amber-warm light for the different elements also shows how different faiths co-exist freely, with close ties

amongst themselves in the state of Estonia. The

church’s unique terracotta sculptures, modelled

after citizens of Tartu, are highlighted with amber light, touting it as the “People’s Church”.

The final workshop, headed up by Ruta

Palionyte and Simas Rinkevičius at Tartu’s

Far Left The Estonian Ministry of Education and Research; the site of the first workshop, led by Johan Röklander, was designed around the theme The Heart Within - where education becomes lively, welcoming and playful.

Top Right Alongside the three workshops, TAVA 2018 featured a two-day conference, curated by Johan Mortiz and Tina Wikström.

Top Left The third workshop, located at the Toy Museum, invited visitors to free their inner child in a playground of light.

Middle Right The second workshop, situated at St. John’s Church, examined the history of different religious faiths practiced in Estonia throughout history.

Bottom Right The Estonian Ministry of Education and Research required two different types of lighting treatment for its two visible façades: a formal, warm white light for the highway façade, and a more lively, welcoming illumination for the entrance façade.

Bottom Left The two-day conference featured presentations from lighting designers, manufacturers and light artists, discussing the latest trends and advancements in the lighting industry.

Toy Museum, was designed to let the toys

guide visitors “through the rabbit hole to the wonderland” with its theme of Wonderlight.

Inspired by fairytales such as Alice in Wonderland,

www.arc-magazine.com

083

Festivals of light

St. John’s Church, Tartu: the location of the second lighting workshop.

along with actual archives of the museum and puppet theatre,

by Dr. Dugar that explored how ‘Slow Design’ can become the

The layout of the site, comprising side-street elevations of the toy

Elsewhere, Claire Tomara discussed how people’s participation is

along with the museum’s backyard, provided a unique palette

entertaining lecture, critically questioned whether LEDs are a miracle

play to demonstrate the “real” black and white world of adults.

is that which is integrated within overall design, while Lina Färie

the narrative reveals the true identity and character of the place.

museum, adjoining puppet theatre and administrative buildings, for exploration with light. The street-side windows used shadow

Visitors could only see shadows of the real toys and puppets inside the museum and theatre “hurrying” to the museum’s backyard.

next rubric for the fast-paced world of connected lighting.

used to shape the lighting of public spaces, while Emre Günes, in an or a curse. Johan Röklander explained how the best form of light

used one of her projects as a point of departure to discuss a process for including groups whose interests are not commonly taken into

The backyard gate is treated as a “rabbit hole” through which

consideration in city planning. Darío Nuñez Salazar challenged

the museum and theatre come alive at night, and hurry to the

Lighting, Smart Lighting and the Internet of Things. Finally, Sabine

and sometimes creepy manner through light and colour. Simple

workshops that contributed towards strategies for urban lighting.

visitors enter the magical, colourful world of children. Toys from backyard to play their magical games in an interactive, playful

the newest trends in lighting design, such as Human Centric

De Schutter shared her stories about organising lighting design

principles of light and colour, using dichroic filters and inter-

The second day of the conference looked at light art, and provided

Alongside the workshops, TAVA 2018 also included a two-day

performative manner. Artists such as Mischa Kuball, Immanuel Pax,

reflections on water, were used to create “wonderlight”.

conference on lighting design and light art, curated by Johan Mortiz and Tina Wikström - held after the workshop week,

artists an opportunity to express their opinions in a more

Taavi Suisalu, Mónica Ruiz Loyola, Jacob Tækker, Timo Toots and

Carl Michael von Hausswolff described their various unconventional

when the lighting festival was officially opened to the public.

explorations with light as a medium for urban and public art. Other

for knowledge exchange between professionals, industries

Tõnso looked further into the artists’ dimensions of creativity.

The aim of this peer-to-peer event was to create a platform and municipalities by combining renowned speakers with newcomers from different backgrounds, whose work is

connected to perception, public space or research in light.

The first day of the conference was dedicated to lighting design

with a more academic theme, titled ‘Resilient Design in a Changing World’. The conference started with an opening keynote lecture

084

www.arc-magazine.com

artists, such as Kristel Saan, Liisa Hirsch, Johannes Luik and Aivar Following the event, Dr. Dugar said: “TAVA 2018 is a very

good example of depicting fruitful collaborations that can

exist between lighting technologies, light art, lighting design and human interaction, while keeping our focus on human beings as the inhabitants of our built environments.” www.tartuvalgus.ee

Sunlight Spectru

m

Conventional

Sunlight Spectru

m

info.europe@seoulsemicon.com

Perspective by Studio Rosenblatt

Tunnelception by Young Offenders x Electric Perfume

086

www.arc-magazine.com

Long View by Don Kennell

festivals of light

Oh, Canada

Strange Attractor by Crispell Wagner

The third annual Toronto Light Festival brings a series of fun and interactive installations to the Canadian city’s Distillery District.

T

he Toronto Light Festival returned for its third year this

January, transforming the Canadian city’s Distillery District

into one of the largest outdoor light sculpture galleries in North America.

Free to the public and run daily until the beginning of March, the event exhibits the creativity of both local and international light artists, with

Penta-Or by ENA

more than 30 installations and sculptures for visitors to experience.

The festival is an attempt to ‘create something special that will lift the

collective spirit of the city’, with organisers stating: “We aspire to make

ourselves proud and organise an event that is inspirational. In a world with so many dark and ominous messages, we want to create a positive, magical urban world that people of all ages and backgrounds will enjoy and look forward to.”

“Our goal is to make people smile,” said Mathew Rosenblatt, Executive

Producer and artist exhibitor. “During our coldest months of the year, at a time when people might feel isolated, we want to bring them together to

experience something really special and add more warmth and light to their lives.”

“Some people look for reasons to stay inside, we put on this festival for those who are looking for a reason not to.”

Works on show at this year’s festival include rainbows, deoxyribonucleic

acid and the meaning of life, created by artists from Canada, the US, Europe and the Middle East. Some of the festival’s signature pieces include Long

Double Helix I by Dr. George Neil

View, by American artist Don Kennell; a 35-foot tall polar bear made from

car hoods, the installation serves as a symbol for the connection between carbon footprint and habitat loss.

Meanwhile the interactive installation Double Helix I, by artist Dr. George

Neil, also from the US, gives visitors an opportunity to launch their own large-scale waves in light and motion.

Further highlights include Tunnelception, by local creative teams Young

Offenders and Electric Perfume. Inspired by the new Reese’s Pieces Peanut,

Tunnelception invites visitors to either step into a vortex of luminous

layers, or “enjoy the bright and shiny outer shell”.

Elsewhere, The Phoenix Rainbow acts as a giant symbol of love, hope and

possibility, while more than 500 feet of addressable RGB LED lighting fills the installation with a myriad of colours and patterns.

Interactive installation Strange Attractor features a human-sized, rotating

cylinder composed of programmed, full-spectrum LED lights. When

standing within the cylinder, the LEDs flash in algorithmic patterns that stimulate the optic nerve, affecting the brain’s electrical oscillations.

Rotating the cylinder at varying speeds can produce different visual phenomena, meaning that no two experiences are the same.

Created by Israeli art collective ENA, Penta-Or, or ‘Five Lights’, is made up

of eleven metal arches and over 75 metres of LED lights, all coming together to provide visitors with a “glimpse into a brighter future.”

New to this year’s event, the Distillery District has enhanced the wintertime experience by offering arts, culture and entertainment-centric activities

alongside the light art installations. This includes art produced by some of Toronto’s leading mural artists, an outdoor heated bar, and jazz and classical music performances in public spaces.

“This winter, don’t run from the cold, head straight into it,” continued Rosenblatt. “However, we do recommend dressing appropriately.” www.torontolightfest.com

The Phoenix Rainbow by The Phoenix Rainbow Team

www.arc-magazine.com

087

festivals of light

The festival’s theme looked into the artists’ varied interpretations of ‘home’.

The light artwork included a number of interactive visual pieces using props, video mapping, projection and accompanying sound.

The installations took over some of the city’s most iconic buildings, transforming them into illuminated artworks over the two day period.

Home Is Where the Light Is Light Up Lancaster completed its sixth light festival in November 2018, attracting 48,000 visitors to the small city in the north of England.

T

he two-day Light Up Lancaster festival completed

the world to create visual stories from their drawings, exploring

event was organised by Lancaster City Council,

Illuminos created an interactive installation at the Judges’ Lodgings

its sixth edition on November 2 and 3, 2018. The Lancaster Business Improvement District

and Lancaster Arts Partners, and is quickly becoming one of the north of England’s must see annual events.

This year saw installations basing their concepts around

the theme ‘Home’. Artists, both national and international,

brought unique and thought provoking installations to the

city for visitors to explore, including an illuminated art trail where buildings, squares, gardens and monuments were

transformed with projections, artworks and performances.

During the second day of the festival, family friendly

craft workshops were on offer to visitors before the finale fireworks display, on the grounds of Lancaster Castle, to mark the closure of the event for another year.

Highlights from the event included House Down at Lancaster Castle:

a live music and video mapping installation created by touring

theatre company imitating the dog, and hip hop artist Testament.

The former worked with local schools and children from across

088

www.arc-magazine.com

the notion of ‘home’ and what it means to young people today.

where visitors could explore the universe by controlling a telescope to watch as stars and constellations were tracked and revealed, and planets uncovered their secrets through light and sound.

In the Market Square, a pair of kites, resembling snowy owls, soared over a garden of luminous flowers in The Pikooks installation.

Lancaster University created an interactive Family Zone in Lancaster Central Library in collaboration with the festival. Drawing on the

world changing research of the university’s academics, there were

a number of thought provoking hands-on light based activities that explored numbers, planets, colours, lights and the human body.

“Year on year we have seen this festival grow both in size and

popularity and this event promised to be the most spectacular of

them all and, importantly, two great days for all those who study, live, work and do business in the city,” commented Councillor

Darren Clifford, Cabinet Member responsible for tourism and leisure. www.lightuplancaster.co.uk

ROADSHOW

Place Jean Jaurès, Tours, France Photo: Caroline Gasch Partner: MW MarvalWay

NEW SPOTLIGHT SERIES

CENTUM°°

by WIBRE

LIGHT UNDERWATER. REDEFINED.

TH

NG

CTRICAL, L L, ELE IGH MA TI ER

GEPRÜFT CERTIFIED IN S

BK

E

L

ED

TIT U T

D R. U W E

SLA

4.0052 4.0102 4.0292

4.0050

4.0100

4.0202

NEW DEVELOPMENT – 12 V-DC-STANDARD – 166lm/W – OPTIMIZED HEAT MANAGEMENT – WIBRE QUALITY – REDUCED COSTS More information about CENTUM°° can be found at www.wibre.de.

PIONEERS IN IP68-LIGHTING UNTERWASSERBELEUCHTUNG | AUSSENBELEUCHTUNG

Anzeige_236x333.indd 1

Made in Germany. Since 1919. www.wibre.de WIBRE Elektrogeräte GmbH & Co. KG · Leingarten/Germany +49(0)7131 9053-0 · info@wibre.de

25.04.19 09:17

Pics: Martin Bostock, unless otherwise stated.

Northern Illuminations The Lightpool Festival is held in Blackpool at the end of October each year, building on the century-old tradition of Blackpool Illuminations.

We take a closer look at Light Odyssey’s orchestral display.

T

he Lightpool Festival, directed by Alex

animators from the around the world, and it was the

each year in the northern English

along with the Arts Council’s belief in the concept,

Rinsler, is held on the 25-27th October coastal town of Blackpool. The event

builds on the century-old tradition of Blackpool

audience of 1,500 people. 24 laser projectors,

purpose of family entertainment.

orchestral classical music enveloped the audience in

As part of this event, the town is brought to life with

the Carnival of the Lights, consisting of lit-up trams and vehicles in convoy from across the country.

mapped 2D and 3D animated content and soaring music and light.

Director of QED Paul Wigfield explained: “When

QED was first approached with the idea for Light

Light Odyssey began its journey in 2016 when Czech

Odyssey, it was clear that the scale of the creative

Macula) won an international tender to create a

involved.

digital art collective Hyperbinary (formerly The

3D-projection for the Blackpool Tower buildings.

Eighteen months and several failed funding bids

later, the team was able to press ‘go’ on the event with support from Arts Council England.

The Lightpool Festival teamed up with BBC

Philharmonic, QED Productions and seven teams of

www.arc-magazine.com

that helped bring the project to life.

Light Odyssey was launched in October to an

Illuminations, where, for generations, the town

has been the epicentre of light experiments for the

090

strength of having the BBC Philharmonic on board,

ambition was as great as the technical challenges “It was an opportunity to push the boundaries of projection mapping and to produce a unique and very special entertainment experience.”

In terms of technology, the project required the

very latest in media server and high brightness laser projection technology, with projectors positioned

festivals of light

Pic: Paul Richardson

even among the audience seating and the orchestra.

FR65x65 DVI matrix switcher and then distributed to

largest areas of ceilings and façades, while eight RZ-

system, which provided both signal and network

Sixteen Panasonic RZ-31K projectors covered the 21K laser projectors filled in the smaller areas.

The Empress Ballroom holds eight beautifully ornate chandeliers, which posed challenges during the

instalment phase. These, however, precluded any cross projection on to the end walls. Two pairs of

blended RZ-21Ks with ultra short throw 0.36:1 mirror lenses were deployed on the upper balconies in order to gain the required coverage.

“The Panasonic 3-chip DLP laser projectors provide the highest light output of any projectors in their

class whilst using less power,” explained Wigfield.

“They also run extremely quietly, which is a very important consideration for a classical concert.

Having laser light source engines meant that it was

possible to mount them in any orientation and at the most jaunty of angles.”

The content was pre-visualised and played back onsite using four disguise 4x4pro media servers fitted with quad DVI VFC cards.

The 48 individual 1920 x 1200 resolution outputs (main and back-up) were fed into a Lightware

each projector using QED Production’s bespoke fibre control.

Harris Predator II 16-Channel DVI multi-viewers

then enabled monitoring of all the projector signals from the control position, and the disguise media

server line-up was achieved using QED’s KVM Xtreme

The light projections cover the ceiling of the historic building, bringing together an experience for the audience through classical music and lighting.

The BBC Philhamonic Orchestra, QED Productions and a group of animators came together to devise a programme of light and music to form the unforgettable spectacle.

remote fibre system so the team could digitally warp and stitch together the digital canvas by hand.

The animation template was 10,000 x 3,813 pixel

resolution, and the spectacle required nearly an hour of full-motion video content. However, the artists

rose to the challenge and were not only able to deliver within incredibly tight timescales but impressed with their different styles and interpretations, from stopmotion shadow play through to highly geometric architectural manipulation.

Lastly, the show lighting design needed to take into account the needs of the orchestra to be able to see the hands of the conductor, while minimising any

ambient light that might diminish the impact of the illuminations.

www.hyperbinary.com

www.arc-magazine.com

091

Photography by Nacása & Partners

Pre-Conference May 19–20, 2019

Trade Show & Conference May 21–23, 2019

REGISTER NOW LIGHTFAIR.COM

The connected future is yours to discover at LIGHTFAIR® International 2019: the all that is new and next. Where brilliant solutions in lighting, connectivity, design and integration will unfold in a synergy of light in life. In the unsurpassed resources of the world’s largest annual architectural and commercial lighting event.

LIGHTFAIR® International LIGHTFAIR.COM

Philadelphia, PA USA Pennsylvania Convention Cetner

lighting and design industry’s source for

3990_Arc_Magazine_333mmx236mm_2.27.19.indd 1

2/27/19 3:21 PM

festivals of light

Helsinki Highlights This year’s Lux Helsinki festival was bigger and better, with more than half a million visitors attending the Finnish city in early January. The free to attend festival took on a theme that allowed artists to explore topical environmental issues.

T district.

aking place between the 5 and 9 January this

social media no doubt plays a big role in its popularity. A

Helsinki light festival, situated in the

are creating archives of shared memories on their social

year, half a million visitors attended the Lux Kansalaistori square and the Etu-Töölö

This year’s event was the biggest yet, with a record

number of partners, 30 installations, a large programme of events and 34 participating restaurants, all spread

over ten locations. The trail started at the Kasalaistori

Square in the city centre then led via Finlandia Hall and

Kunsthalle Helsinki to the National Museum of Finland.

new phenomenon we have noticed is that festival-goers media channels,” Paloniemi continued.

This year’s installations took an environmental

awareness and human rights approach. Ramboll Light

Studio, as part of Lux Architecture series, transformed

the rear facing façade of the Finlandia Hall into flowing

water in a light and sound piece. The aim was to remind spectators of the importance of water as an exhaustible

natural resource. Trespassing, an installation by Finnish

The series of installations was designed as a

artists Immanuel Pax, explored the contradiction

order, from start to finish.

security cameras on its head.

dramaturgical series that should be seen in numerical “Lux Helsinki is growing all the time into a more

important and internationally recognised urban event celebrating both light and art. There are no signs of

waning interest in the event; on the contrary, more and

between freedom and security by flipping the idea of “Huge media screens will be transformed into tools for

art that explores some of the biggest issues facing us in the future,” explained Paloniemi.

The End of the Digital New Age by Finnish artist Mikko

more visitors are coming to Helsinki in wintertime to

Kunnari and Moonlight by Italian artist Marco Brianza

Lux Helsinki.

urban spaces, by using the large media screens outside

experience the light art,” said Ilkka Paloniemi, Curator of “Lux Helsinki is ideally suited to the winter mood. After all the Christmas celebrations indoors, people want to

get outside and experience something real. The festival offers enormous visual and picturesque appeal, and

both draw attention to the waste light that dominates

Sanomatalo and the Helsinki Music Centre as advertising platforms for art.

Shelter Seekers is a projection mapping installation that

used the façade of the National Museum of Finland,

www.arc-magazine.com

093

festivals of light

manipulating the architecture. Mexican artist

the designated route, Lux Helsinki also

of migration and climate change through the

time across the city’s borders, stretching out to

Ghiju Díaz de Léon wanted to tackle the issues metaphor of endangered monarch butterflies.

“This installation pays respect to all the living creatures, from people to butterflies, who

encounter major obstacles while seeking for a

better place to live. The world should help them find this place,” Díaz de Léon said.

American artist Zach Lieberman created

Reflection Studies, an interactive installation

that allowed members of the public to play with various letters and shapes on a light table that projected the motions and patterns onto the wall of the Kunsthalle Helsinki art museum.

“I am passionate about light and its motion. I love how light can be mathematical, angular

and precise, yet at the same time also liquid and undulating,” Lieberman commented.

Satellite installations have allowed the festival

footprint to be even bigger than previous years.

In addition to the twelve official pieces along

094

www.arc-magazine.com

presented satellite installations for the first Hanasaari in the neighbouring Espoo municipality.

The dozens of artists involved presented a

diverse range of light art, created using both

traditional and modern techniques. The Lantern

Park, a Lux Helsinki classic that is created each year, in particular drew praise from visitors.

With around 300 individual lanterns, a magical and dreamlike atmosphere was created in the idyllic surroundings of Villa Hakasalmi.

“Lux Helsinki 2019 is a truly diverse light festival that presents both new and old

Helsinki: it celebrates our amazing new central library while at the same time recalling the revolutionary history of the Old Student House,” reflected Paloniemi. www.luxhelsinki.fi

Previous Page A sequence of differently coloured moons created a magical nocturnal atmosphere at the Kansalaistori square. Moonlight was a video art installation by Italian artist Marco Brianza that gradually transformed the moon into pixels that light up their environment – the object disappeared but the power of light remains. Top Left Mexican light artist Ghiju Díaz de Léon breathed life into the National Museum of Finland with her amazing projection mapping. Shelter Seekers addressed the biggest challenges of our age: migration, inequality, climate change and the loss of natural diversity.

Top Right This year’s Lux Architecture series illuminates Finlandia Hall, designed by legendary Finnish architect Alvar Aalto. The rear façade of the building facing the Töölönlahti bay was transformed into flowing water by an impressive light and sound installation.

Above Left The video art installation Trespassing

by Helsinki-based light artist Immanuel Pax took over the public space by turning the idea of security cameras on its head. In the installation, the camera had been replaced by a video projector that transformed the dull grey wall into a moving work of art. Instead of a security camera recording the movements of locals, the projector projected onto the wall a minimalistic video in which the pieces of a metal fence turn into birds flying away.

Above Right Lantern Park was created by children, young people, students and artists, whose individual works created an impressive installation when put together. This year for the first time, pre-schoolers are also taking part with their own creations. Lantern Park is a communal art project that gets bigger with each year, lighting up the area around the Töölönlahti like never before.

festivals of light

The Passage Garden Pic: Vladimir Karpenko

The Classical Transition Pic: J Enger

The Classical Transition Pic: J Enger

The Passage Garden Pic: Jing Sun

Feel the Darkness Pic: Marco Campus

The Bright Side of Life Pic: Marco Campus

A World Of Light The third instalment of Luci in Riviera, hosted in the Italian city of Dolo, welcomed a team of lighting designers, students and young architects to create a series of urban lighting installations.

T

he objective for Luci in Riviera has always been

light and colours, but to create installations that keep in mind

the cultural heritage of the Riviera del Brenta,

outside the box and find creative and fascinating solutions.

to recount with light the suggestions evoked by the waterway that unites Padua and Venice.

The lighting workshop, now in its third year, saw the participation of fifteen young designers and lighting designers from three continents. With a chosen theme of Un mondo di luce (A

world of light), the event aimed to underline the difference and the plurality of views that unites us, even in lighting.

The city of Dolo played a leading role for the second consecutive year of the only educational event in Italy dedicated to urban

lighting. The city is rich in history, and a small urban jewel that

recalls to memory the atmospheres of the Venetian tradition. Its antique views, the cultural heritage and the availability of public spaces make it the ideal place for experimenting with light.

For the latest instalment of the event, organisers brought in four professional lighting designers with international academic experience as workshop heads: Jan Ehjed, Dorit Malin, Natalia Markevich, and Helena Gentili.

Spread across six days, the workshops welcomed fifteen participants - university students, young architects,

lighting designers and lighting consultants - to work together to create four temporary light installations.

The participants were asked to not only freely experiment with

096

www.arc-magazine.com

human perception first. These constraints pushed them to think With this edition of Luci in Riviera, organisers did not make any

temporary ‘connecting’ installations. Instead, the aim was to make

the path of the main installations immediately recognisable, and to

show the difference of creative lighting solutions compared to public lighting, even if designed according to standards and regulations.

By engaging the local community in the installations, including voluntary associations, the Adult Disability Assistance

Centres, the local schools, the Municipal Library, the Parish

of San Rocco and the volunteers of the Amedeo Bosello Senior Centre, Luci in Riviera becomes part of a broader project, where well-designed lighting is a driving element.

Each edition of Luci in Riviera is unique, and every time,

organisers try to improve it by expanding the network of

collaborators with schools and associations in the area. In this instance, students at Lazzari Tourists’ Technician School of Dolo worked as translators, while students from the ENAIP Veneto professional school assisted with electrical work.

Following the event, organisers praised the work of the four

workshop heads, describing the experience as “very positive”, with plans already well underway for the 2019 edition later this year. www.luciinriviera.com

Pics: Sean Pollock Photographer

Winter Solace After the joy of the Christmas festivities, Winter Lights in London’s Canary Wharf, offers an artistic highlight in the depressing month of January. Paul James paid a visit to see the past [d]arc awards winner in action.

B

ack for its fifth year, Winter Lights

about recycling and climate change.

Saturday 26 January, showcasing 22

Watson comments: “To mark the fifth year of the

ran for twelve days from Tuesday 15 – dazzling light installations and was

attended by approximately 300,000 visitors, with many more visitors and workers on the Estate interacting with one or more pieces.

Due to the nature of Canary Wharf’s built-up,

constantly lit environment, Winter Lights has a lot to compete with to show the artworks off in their best light. The commercial needs of the London

business hub means that getting buildings to turn off their interior lights at night-time is well-

nigh impossible but the festival has succeeded

in becoming one of the UK’s most creative - and popular - events in the light art calendar.

In response to this year’s theme of sustainability

www.arc-magazine.com

Winter Lights festival at Canary Wharf, we wanted

to capture the atmosphere of the nation in moving

towards a more sustainable future and have collated artworks which are profound in their creation and appearance.

“By incorporating themes around the relationship

between everyday materials and the environment,

we want to continue pushing the conversation about waste across all generations through inspiring

artworks that are accessible to all. The pieces on

show were by some of the world’s most renowned

artists and it was an unforgettable experience and education for everyone who attended.”

To emphasise the sustainability theme, Floating

and waste reduction, many of the pieces displayed

Islands by Mürüde Mehmet was made from plastic

materials. Others also portrayed strong messages

fluorescent colours, these vibrant floating islands

were crafted using recycled and sustainable

098

Visual Arts curator of Canary Wharf Group, Keith

bottles by children of Tower Hamlets and painted in

festivals of light

showed the waste created by plastic as the sculptures

geometry reflecting and shifting light rays along

small-scale exhibition of work by Art of OK (Oskar

moves within the installation.

drift down streams in Jubilee Park. Elsewhere, a

Krajewski), Recyclism, created a lot of interest by

the entire rainbow colour range while the spectator

Submergence by Squidsoup was the biggest version

evoking a deep underlying message of showing the

of this immersive, walkthrough installation that the

useful objects. Time & Tide, created by Paul & Pute,

technologists and designers had ever done.

world how to transform our waste into beautiful and drew attention to halting pollution of the ocean with plastics, highlighting the limited time left to repair the plastic problem before damage to the planet is irreversible.

Making its UK debut at Canary Wharf was Whale

Ghost from French creative studio Pitaya. This

18-metre, monumental silhouette of the whale encourages visitors to think about the effect of

humans on our biodiversity. Last Parade by Alexander

Reichstein was a 25-metre video projection where the shadows of endangered animals are marching along the Canary Wharf waterside. Heofon Light Maze by

Brut Deluxe consisted of a maze based on triangular

UK-based international group of artists, researchers, Transport for London (TFL) reported an average

increase in footfall of just under 13,000 people per

Left hand page (clockwise from top left) A birds eye view of some of part of Canary Wharf during Winter Lights; Whale Ghost by Pitaya and Two Hearts by Stuart Langley; Vena Lumen by Fontys Vena.

This page (clockwise from top left) Submergence by Squidsoup; the Winter Lights neon sign; Recycled Future by Art of OK (Oskar Krajewski); Prismatica by RAW Design.

day during Winter Lights 2019. Crossrail Place alone

saw an audience of 182,596 people. The last day of the festival was the busiest with 29,810 visitors, which

represented an increase of 8,287 from the previous festival.

Overall Winter Lights reached people from 36

different postcode areas across London. Visitors came from as far away as Devon and Wales with guests also travelling from USA, Brazil, Spain, the Netherlands and New Zealand.

www.group.canarywharf.com

www.arc-magazine.com

099

Festivals of light

Pics: Lloyd Smith

Night Light Illuminight returned to Dean Castle Country Park for a second year, filling the Scottish countryside with light.

I

n November of last year, the second Illuminight event took over the Dean Castle Country Park

in Kilmarnock, Scotland, welcoming more than 42,000 visitors during its four-week run.

Presented by East Ayrshire Leisure and Unique Events, in

collaboration with production specialists Black Light, Illuminight took visitors on an enchanted woodland trail, discovering

mythical creatures and magical beasts using state-of-the-art technology, water projection, light, fire and sound, designed by a collection of Scottish lighting designers and creatives.

Along with new audiences, the event welcomed partners and

sponsors for 2018, while title sponsors Lidl UK provided audiences with the opportunity to become stars of the show, with a

specially commissioned installation projecting live social media images and messages as visitors explored the illuminations.

Councillor Elena Whitman, Chair of East Ayrshire Leisure,

said: “Illuminight has been another great success this year.

As part of the programme, it was a great pleasure to be able to

support an adapted show for the National Autistic Society and to see the excited faces of so many children as they explored the magical world of Dean Castle Country Park. It was a

privilege to work alongside Unique Events and Blacklight, and we can’t wait to see how the creative ideas flow for 2019.”

Penny Dougherty, Director of Unique Events, said: “We

thoroughly enjoyed our second outing to Dean Castle Country Park - it’s a stunning location for Illuminight. We are thrilled

that the people of Kilmarnock, East Ayrshire and beyond came in their tens of thousands to enjoy the spectacular lighting and visual effects, and we’re very much looking forward to returning in 2019 with an even more exciting show.” www.illuminight.com

Illuminight will return to Dean Castle Country Park

on 23 October - 17 November 2019.

100

www.arc-magazine.com

festivals of light

Keep Portland Weird In February of this year, the Portland Winter Light Festival returned for its fourth year, bringing nearly 200 installations to the Oregon city.

T

he fourth annual Portland Winter

“The Portland Winter Light Festival is meant to

city at the beginning of February,

each other during the darkest and coldest time

Light Festival came to the Oregon with a mission to build community by

innovation of artists and participants, and the

The Portland Winter Light Festival (PDXWLF) is a

and shine to create this inspiring community. We

city-wide, vibrant outdoor arts festival held at the height of winter, when there are few free cultural

are incredibly pleased by how many people chose to make PDXWLF an unforgettable part of their wintertime experience this year.”

collaboration between organisations, businesses,

PDXWLF in an effort to propel forward its mission

The 2019 festival welcomed more than 154,000

public realm through artful lighting. The Festival

artists and guests.

The Willamette Light Brigade (WLB) founded

of connecting the community and enriching the

visitors and presented nearly 200 public art

began as a coalescence of ideas in 2016, and was

of charge.

of Architecture Jeff Schnabel, Lighting Designer

installations, performances and workshops, all free Amongst the many striking artworks and

installations were a 30-foot disco ball by Ivan

www.arc-magazine.com

dedication of our audience that came out rain, snow

events taking place in the city. The ambition for the festival organisers is to build community through

102

of the year. We are humbled by the creativity and

bringing cutting-edge art and technology to diverse audiences, while invigorating the city in winter.

Top Left Fast Forward by Waterleaf Architecture (pic: Timothy Niou).

Top Centre Portal by Chance Ci and Chris Pitzer (pic: Brooke Hoyer).

Top Right Monolith Synth with LED Animation by Paul Stoffregen (pic: Brooke Hoyer).

Above Left The Willamette River, with the west side of the festival in the distance (pic: Aaron Greene).

Above Right Inside Out by Henry V (pic: Brooke Hoyer).

bring people outside to engage with the city and

spearheaded by Portland State University Professor and Artistic Director Chris Herring, and Technical Director Jean Margaret Thomas. The three were

McLean at Tom McCall Waterfront Park, large

separately inspired by dynamic winter light festivals

Marquam Bridge made by local multimedia artists,

The inaugural version of the festival took place

projection installations on the underside of the

and free water taxi rides on the Crystal Dolphin that featured performances by the Portland Opera.

“We couldn’t be happier with this year’s event,”

said Executive Director Alisha Sullivan. “The winter weather certainly showed up in full force, and what really amazes us is that the crowds did too.

from around the world.

along the Willamette River, Eastbank Esplanade

and Oregon Museum of Science and Industry. In its fourth year, the festival’s footprint has expanded

to areas in all corners of the city, including a major presence at Portland State University. www.pdxwlf.com

LINEAR

WITHOUT

LIMITATION SEE US AT LIGHTFAIR

BOOTH - 1425

WWW.AAL.NET COPYRIGHT © 2019 ARCHITECTURAL AREA LIGHTING, A DIVISION OF HUBBELL LIGHTING, INC. ALL RIGHTS RESERVED.

festivals of light

Pics: Muriel Chaulet unless otherwise stated

The French Connection

D

ating all the way back to the 1800s, light has held a

special place in French city of Lyon when, in 1852, the city’s residents placed candles in coloured glasses

on their window sills and balconies to celebrate the

installation of a statue of the Virgin Mary on the Fourvière Hill.

Entire districts of the city were lit up, transforming the façades of the buildings in a show of lights.

To commemorate this event, each December the people of Lyon

The Fête des Lumières is an annual lighting festival that takes over Lyon, paying tribute to the longstanding relationship that the French city has with light.

celebrate the lighting up of their city with Fête des Lumières, a fourday event that showcases the city’s living heritage with a series of light installations. Light, symbolising the renewed identity of the

city, takes visitors on a journey through a poetic world, filled with magic and dreams.

The festival highlights the heritage of the Presqu’île and Vieux-

Lyon in its best possible light, illuminating its Renaissance façades and majestic buildings. Thanks to the artists’ creations, Lyon’s

most beautiful buildings serve as the backdrop for huge lighting installations.

The 2018 edition of Fête des Lumières welcomed approximately 1.8 million visitors over its four days, including 100,000 from across

Europe. More than 40 light creations were installed across the city, creating astonishing and in some cases participatory experiences

for the many visitors. Crossing a range of disciplines, artists from

around the world show the city in a new light, opening the doors on improbable and ephemeral worlds.

These experiences included Présages, a poetic installation by Marie-

Jeanne Gauthé and Géraud Périole situated at the Parc de la Tête

d’or, and the Tricolore, an immersive work located at the Hôtel de Ville and created by Ralf Lottig. Featuring a contemporary use of

laser beams, the spectacular light show was choreographed to the

rhythm of a classical orchestral score. The lasers drew elegant lines

www.arc-magazine.com

105

festivals of light

Previous Page Pigments de Lumière by Ocubo Top Left Une Petite Place Pour de Grands Rêves

by Inook Top Right Tricolore by Ralf Lottig Far Left Présages by Marie-Jeanne Gauthé and Géraud Périole Left Lumignons du Coeur Above Lumières en Soi(e) by Creatmosphere

Pic: Frédéric Guignard-Perret

and shapes in the air like delicate phosphorescent wires, underlining the details of the historic building in a glittering, romantic ballet in

to Inook for its installation Une Petite Place Pour de Grands Rêves

(A Little Place for Big Dreams). Situated at the Place Bellecour,

which light becomes corporeal.

this location was transformed into a child’s bedroom for a giant

the four evenings to illuminate the surroundings with their music,

illuminated by a rotating Ferris Wheel that in turn acted as a

At the Museum of Fine Arts, 50 amateur pianists took turns over while Mingshi Lighting carpeted the lawn of the ancient Roman

Odéon theatre with more than 4,000 illuminated cotton flowers - the emblem of Guangzhou - to resemble a lotus pond for its installation

Yu Da Ba Jiao.

Anooki character. Large ‘marbles’ were scattered across the square, nightlight, onto which the Anooki’s dreams were projected every fifteen minutes.

The festival’s Trophée Récylum des Lumières Durables award was

granted to Creatmosphere for Lumières en Soi(e), which saw Place

One of the event’s highlights though, came from Portuguese creative

Gabriel Rambaud covered with around 300 solar energy lamps linked

having first participated in 2017. Its installation, entitled Pigments

effects, perforated designs, graffiti, films and mirrors, each lamp

studio and multimedia company Ocubo, who returned to the event,

de Lumière, created abstract paintings on the façade of the Saint-

Jean Cathedral in the heart of the old city, projecting a series of

images in a mix of kaleidoscopic effects and psychedelic flowers in a spectacular slow motion show. Conceived as an abstract tribute to, and celebration of, all the colours that make up light, represented

one by one through a succession of different effects, the story is told

through flowers that react to interaction with the elements of nature such as wind, water and ice.

The installation was the recipient of the Trophée des Partenaires, an award granted each year by the festival’s partners to the best

artistic showcase. Emma Violy, production assistant for the Fête des

Lumières said of the installation: “The show had incredible feedback, from the public, press and fellow artists. Saint-Jean is one of the key

locations in the festival programme, with high expectations attached to it. In my opinion, this project not only met but exceeded those expectations. It was extremely impressive, both technically and artistically.”

Elsewhere, the Trophée des Lumières France 3 award was granted

106

www.arc-magazine.com

to a weave of electroluminescent ribbons. Featuring shimmering was unique, producing a different pattern that created a restful

atmosphere throughout the square. These hundreds of separate

lights were created by inter-generational workshops, involving the

charity Les Petits Frères des Pauvres, and the residents of care homes and day centres throughout the city. For the artist, this communitybased approach acted as a way of meeting those excluded from

society and bringing them back into the community by including them in a creative project.

Finally, in paying homage to the city’s act of solidarity in the 1800s, 160 volunteers rallied together every evening to light 15,000 small

candles, creating the Lumignons du Coeur installation. Here, visitors could make a donation, purchasing one of more candles that could

participate in creating the luminous scenography installed at Place

Sathonay. The profits of these sales are donated to a different charity

each year. At the 2018 festival €84,500 was raised for the Lyon-based Dr Clown, an association that entertains hospitalised children. www.fetedeslumieres.lyon.fr

MAKE OUR OPTICS THE HEART OF YOUR RETAIL LUMINAIRE

ILONA

DAISY

Drop by to see our latest innovations: Lightfair International BOOTH #3451 Guangzhou International Lighting Exhibition BOOTH #3.2 B27

LEDiL® is a registered trademark of LEDiL Oy in the European Union, the U.S.A. and certain other countries. | www.ledil.com

A Spotlight on Italy The arc team travelled to Milan this April for the latest instalment of Salone Del Mobile - a week-long design event that showcased all of the latest product innovations, showrooms and events from Italy and beyond.

Here is an extensive review of Euroluce and the events that took place over the course of Milan Design Week.

108

www.arc-magazine.com

EVENT

RaytraceT

TM Lighting, Benjamin Hubert and Cosentino TM Lighting joined with British designer Benjamin Hubert of LAYER

Two mirrors placed at either end of the passageway create an infinity

distribution firm that specialises in surfaces for architecture and

the eye to see.

in collaboration with Cosentino, an international production and design, to create Raytrace at Milan Design Week.

The installation was a large and immersive architectural piece

that introduced Dekton, an ultra-compact large format surface by

Cosentino that explored the product’s design, innovation, strength, durability and beauty.

The Raytrace construction was 25 metres long and six metres high in a triangular shape, forming a passageway out of the Dekton

compact surfaces, seemingly balanced on a single edge within a dark atmospheric space.

When entering the space, visitors were met with water-like

reflections on the walls, evoking the feeling of being underwater.

As visitors continued along the passage, they became part of the

installation as their shadows began to cast shapes on the surfaces.

mirage and draw the reflections and patterns created even further for TM Lighting specified its high-colour rendition LED ZeroSixty accent lights with a custom length snoot to provide enhanced glare control.

These were mounted above the installation on Arttrack tracks to focus the light directly onto the Dekton ultracompact surfaces, creating the desired effects.

Hubert’s design referenced the technological qualities of Dekton as an indoor/outdoor architectural product, and the natural minerals used to produce the material. Taking inspiration from the Dekton

creation process, Hubert created a dramatic, interactive experience showcasing the harmony between nature, light and architecture.

Pics: David Zanardi

www.tmlighting.com

www.arc-magazine.com

109

Lines Out Of The Box

Targetti

At Frida in Isola, Targetti hosted the illustrator Ale Giorgini who

presented Lines Out Of The Box, an exhibition illuminated entirely

by Oz, the new magnetic lighting system by Targetti. Visitors

were encouraged to interact with the flexible modular system that allows the user to create, change and adapt the configuration and form of their lighting in a simple and immediate manner.

During the evening event, artist Giorgini illustrated the back wall of the restaurant, covered in ivy, with lines and colours.

Pics: Sarah Cullen

www.targetti.com

The Light Gate iGuzzini

The Light Gate opened its doors to the Fuorisalone public through an exclusive journey through Un-Revealed, a shaping secrets

exhibition by young designers from the Creative Academy, which

led through to The Light Experience, where visitors could witness a full and interactive display of iGuzzini’s range of lighting fixtures.

On the 9th and 10th April, light was transformed into language to describe the secrets to storytelling and craftsmanship in

Lightthinking Talks, given by Alessandro Mari and Alberto Cavalli.

Pic: Sarah Cullen

www.iguzzini.com

Intono Showroom L&L Luce&Light

In its quaint showroom, L&L Luce&Light presented Intono, the

latest chameleon-like, wall-mounted product. The versatile outdoor fixture is available in four different sizes with either a single or double beam.

The showroom, painted in a warming light terracotta colour,

demonstrated the ability to paint Intono in your desired colour to

match the exterior façade it will be mounted on. The team had also

showed off the fixtures’ smart sound system by syncing it up with an Amazon Alexa and pre-programmed a series of musical destinations that visitors could interact with. “Alexa, take me to Bologna!” www.lucelight.it

110

www.arc-magazine.com

EVENT

Come To Light T Aria

Come to Light was an entrancing installation created by Aria

used to great effect for Come To Light at Ventura Centrale.

in collaboration with Unstatic Technologies, using the new

Aria is the new architectural lighting brand from Italian

The sensory light experience utilised the minimalist lighting fixtures

the application of high-performance LEDs, controls and optic

Trentacinque (35) linear range.

to form a geometric light sculpture that performed to a moody score of ambient noise and music.

The Trentacinque (35) has 360 degree distribution, configurable

miniature spot lights and a multiple colour finishes and options;

from hidden to revealed. Used to create concealed details or become

manufacturers Ivela, and focuses significant investment in technologies to develop new products.

Pics: Bordegoni

www.aria.lighting

www.unstatic.tech

the centerpiece of a breath-taking installation, the fixtures were

www.arc-magazine.com

111

EVENT

Ventura CentraleT

Modular Lighting Instruments & Lensvelt In collaboration with Janpaul Scholtmeijer (JPS Architects),

Lensvelt and Modular Lighting Instruments came together to

transform the rough and industrial arches of Ventura Centrale.

The theatre-like showroom was washed in a pastel pink hue,

with Lensvelt’s furniture illuminated by spotlights from Modular Lighting Instruments.

Visitors were encouraged to enter the ‘backstage’ areas behind

the pink drapes to witness the props and scenes of transparent canvases.

Some of the fixtures used to illuminate the new collections from Lensvelt were the Marbel Suspension, Pista – a minimalist track

system and the Dent – an ultra-thin wall fixture that combines a

minimalist approach with a design flare - and the new editions of the Qbini – the General and Asy models increase the collection to make the miniature spotlights even more versatile. www.supermodular.com

Liz WestT Uozu

At the Uozu showroom, the evening event opened with a spatial narrative developed through the works of Liz West and Kinetic Mobiles Copenhagen, and special guests Eduardo Alessi and

Tommaso Masera (Masera Design). The first of two nights of talks

and cocktails, the evening explored the connection between light, space and colour from different perspectives.

The second night focused on Enlightening retail experiences: the new frontiers of interior design for commercial. The talks explored the

idea of the need for retail spaces to express a strong brand identity through the union of architecture, interior design and lighting

design, creating an experiential kind of space. Lighting design is

essential in this, being the main medium through which customers

perceive the environment, followed by the colours and the materials.

Guest speakers for the second evening include Kaoru Mende, Arturo Dell’Acqua Bellavitis and Vittorio Linfante.

Also as part of Milan Design Week, Liz West featured her installation

Aglow, comprised of 169 acrylic bowls arranged on the ground

in a hexagon shape. The rims of the fluorescent bowls glow as if illuminated and are highly reflective to allow viewers to see the architecture and their surroundings from a new perspective of vibrant colour.

Pics: Sarah Cullen

www.uozulighting.com www.liz-west.com

112

www.arc-magazine.com

Eggboard

Pierpaolo Ferrari, 2018

Progetto CMR - Giacobone & Roj

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

ADV2018 UK.indd 4

26/04/18 13:26

EVENT

Women In Lighting Meet Up Light Collective & formalighting On April 8th, one month after the launch of the international Women In Lighting project, the Italian Ambassador Giorgia Brusemini

of the lighting blog Ogni casa è illuminata, with the support of

formalighting, organised a special meeting in Milan: an aperitif at

the Café Populaire at the opening of the Milan Design Week and in conjunction with Euroluce.

It was an opportunity to network and learn about Light Collective,

creators of the Women In Lighting digital platform during their visit to Italy.

Italian lighting designers such as Claudia Giacomobello and

Giovanni Liotta from Save The Clock, Massimiliano Cirillo from the Corte Gherardi Lighting studio, Giacomo Rossi from Rossi Lighting

Design and Lorenzo Bruscaglioni from the Luminae studio, but also international designers who came to Milan for the fair, such as the designer Christine Kuhne, attended the evening.

Also in attendance were Helena Gentillini (India’s Ambassador), Holga Tuzova (Russia’s Ambassador) and Sharon Maghnagi of

formalighting alongside many other supporters of the project, and some added specialised and professional journalists and industry professionals.

www.womeninlighting.com

Motusorbitas

Applelec

Motusorbitas is the result of collaboration between Giovanni Bonelli

Gallery and Alessandr Zambelli. The gallery space was set with

satellite sculptures that floated like stars. These were illuminated with lunar-like lighting from Applelec’s OLED panels.

The immersive experience, supported by Applelec, set out to

investigate the vastness of space, experimenting with a design

language that linked the abstract and ancestral. The installation played on the innate inquisitive nature of humans and our fascination and fear with outer space.

“50 years after the landing, Motusorbitas takes us into space and

reveals a universe of satellite sculptures in motion as celestial bodies.

The curiosity and the sense of discovery that have always aroused fascination and fear in man seeks confirmation in an alphabet

consisting of luminous signals, sent into the unexpected ether of

reply. The objects light up with moonlight thanks to the presence of

special OLED panels and, through hidden mechanical devices, dance in space almost in the absence of gravity, ” explained Zambelli. www.applelec.co.uk

114

www.arc-magazine.com

MOTUSORBITAS

by Alessandro Zambelli & Applelec Salone del Mobile 2019

DESIGN WITH OLED. Applelec’s range of rigid and flexible organic LEDs present new possibilities for designers in light Experience OLED light in Applelec’s new London showroom launching at Clerkenwell Design Week 2019. Find us at: The Old Trading House 15 Northburgh Street, London EC1V 0JR www.designwitholed.co.uk | oled@applelec.co.uk | + 44 (0) 1274 774 477

MondoARC single page OLED.indd 1

02/05/2019 14:05:57

EVENT

Bodies In Motion T Humanscale

Bodies in Motion is an installation by Humanscale that

acts as a bold expression of sustainability presented in a

minimally built interactive experience that explores the essence of human movement.

The installation is a visual metaphor of Humanscale’s commitment to human factors and designing for

movement. It highlights its use of natural ergonomics,

which draw upon the laws of physics and motion to design products that automatically adapt to the user’s position.

Todd Bracher, long-time collaborator with Humanscale,

created the multi-sensory experience at Salone del Mobile.

Bracher approached Studio TheGreenEyl, a design and

research practice, with an interest in exploring new modes of expressing human movement, with a focus on digital design.

Bodies in Motion is a reinterpretation of the original

scientific method of motion perception developed by

Swedish psychophysicist, Gunnar Johansson in 1973, which involved placing lights on key points of the human body to highlight movement.

“When considering the experience, we looked to strip

away cosmetic distractions and reveal human movement in its purest form. We wanted to extend this essential understanding of motion to fill the tunnel at Ventura

Centrale in an experience that engages all visitors in the space,” explained Bracher.

To capture visitors’ interaction with the custom-designed software, the installation used state-of-the-art depth cameras and fifteen moving light sources, which then

translated movements into light sculptures projected across the space. The light displays an abstract human frame

across a circular screen as a subtle tribute to the Vetruvian Man by Leonardo da Vinci on the 500th anniversary of his death.

“This year, we’ve shifted our perspective to showcase

our core values and brand ethos,” said Leena Jain, CMO of Humanscale. “Bodies in Motion gives visitors an

experiential understanding of Humanscale’s commitment to supporting free and spontaneous movement, while showcasing our innovative approach to design and engineering in a sustainable way.”

The installation presented the firm’s understanding of designing for diverse body types by capturing the

universality of human movement, while simultaneously

expressing the varied shapes, sizes and proportions unique to each person.

Pics: David Zanardi

www.humanscale.com

116

www.arc-magazine.com

Light planning by / 8’18’’ Project by / AWP Jardins de l’Arche, Paris, France

L&L_Arc_06-07 2019.indd 1

02/05/19 14:20

EVENT

Archi Talks

Delta Light

During Milan Design Week, Delta Light opened the doors on its

newest showroom in the Tortona district of Milan. The new Delta Light Studio has been developed on an original format that will

present conceptual exhibitions, training activities dedicated to the study of light and above all, the presence of experts and a smart lab dedicated to products.

During April, the firm also held a three-day thematic workshop programme, Delta Archi Talks, with the collaborations of the UNS Studio and the APIL and IALD associations as well as the

participation of Ignacio Mallol Azcárraga, Tarik Zaharna, Dean Skira, Alfonso Femia, Pietro Palladino and Jason Edling. An

installation, created specifically for Milan Design Week, in the

Nuova Uruguay bowling club, was open to the public. The concept of ‘rebirth’ was presented via an interactive journey through golden spheres, black cubes and Polesano street lamps. www.deltalight.com

Inspired Barcelona: Mediterranean Design Faro Barcelona & Lamp Inspired Barcelona: Mediterranean Design consisted of two spaces

curated by Emiliana Design Studio and BCD Barcelona Centre de

Disseny, and CODIC and HCB Habitat Cluster Barcelona. On one side, visitors get a fragment of Barcelona’s lifestyle and its relationship with the sea and its most distinctive aspects of its climate. On the

other, it expresses Barcelona’s genuine soul with a balance between tradition and innovation, openness and repetition of deeply rooted values, materialisation and originality. Lamp was a part of the

exhibition and presented its B-Side LED Beacons and Stormbell lamp. The key pieces chosen play a key role that emphasise the Mediterranean spirit, turning its distinguishing features into a stimulus for creativity.

At Euroluce, Faro Barcelona also presented their exterior

architectural products, Block , Lotus and Slot. Block is a series of beacons and a wall lamp designed by Alex&Manel Lluscà in grey

cement, with soft oval shapes. Lotus is designed by Estudi Ribaudí

and is inspired by the leaves of the lotus flower. The Slot stake series, also designed by the Faro Barcelona team, is a spot that orientates the light beam to any desired focal point. www.faro.es

www.lamp.es

118

www.arc-magazine.com

Derby_singola_ARC_TRAC.indd 1

02/04/19 12:13

Fashionable Finds Milan Design Week is one of the largest events in the design calendar, which sees designers from around the world flock to the Italian city. Held as part of Salone del Mobile, Euroluce is the ideal location for lighting manufacturers to unveil their latest products and designs. We take a look at some of the hottest items that launched or were showcased at Euroluce this year.

Concrete Eclipse Astro Presented at this years’ Euroluce, Astro’s striking Eclipse wall light is now available in a smooth Concrete finish. Celebrating the character and charm of raw material aesthetics, the Eclipse Concrete presents lighting in an architectural form. Each light is individually cast by reinforcing raw concrete with weatherproofing additives, producing a robust and authentic product with natural imperfections. Appearing to float on the surface, the Eclipse Concrete produces a soft glow that blends into its surroundings, complementing the architecture around it. www.astrolighting.com

120

www.arc-magazine.com

Rollip Linea Light Group With its aluminium profile and polycarbonate diffuser, Rollip is a continuous line designed to mark spaces, without interruptions, with uniform light output, perfectly integrated within the architecture, to light up a corridor, a room or a floor below, or to emphasise the walls with wallwasher lighting. Available in a wide range, varied and designed for many installation needs: with recessed versions of 35 and 70mm, available in ‘standalone’ fixtures, finished and complete in two different sizes, or in modular modules in custom installations. www.linealight.com

Coelux HT 25 Coelux CoeLux HT 25 allows great design freedom, its 25cm thickness is suitable for recessed installation even in small heights. It can be installed in different compositions and the subtle design of the frame facilitates the creation of semi-continuous windows, with the perception of large portions of sky. By entering the emitted spot a slightly diffused sun appears. The optical design helps to create the sun perceived at infinite distance and, moving in space, the observer has the impression that the sun is always positioned above his head. www.coelux.com

Moto-Flap formalighting Moto-Flap is the latest addition to formalighting’s award winning Motolux range. Designed by architect Franco Mirenzi, Moto-flap illuminates surrounding surfaces and emits a beam of luminous indirect light. Controlled by the formalighting app powered by Casambi, Moto-Flap can be remotely opened and angled up to 90 degrees and rotated 360 degrees. Resembling a pearl oyster shell, Moto-flap is ideal for hospitality applications, with adaptability to various light scenes in areas such as hotel corridors, guest rooms and foyers. www.formalighting.com

EVENT

My Circuit Flos Designed by Michael Anastassiades, My Circuit is a track lighting system that provides versatile illumination solutions for interiors. Simple combinations of individual curved and linear sections allow users to draw endless configurations, tailored to a space. The tracks are surface mounted to allow for elegant transfer of power to different parts of the room through the drawing gesture. Five pendant fixtures can be attached and repositioned along the track to serve individual functions. www.flos.com

Puck Arkoslight The Puck range, available as a surface mounted or recessed luminaire, aims to fulfil the functions of general lighting while retaining a discreet presence. Its circular form is made entirely of aluminium, with a slight rounded slant to hold the light source back a few centimetres. Its latest generation LED is positioned behind a spherical optical glass lens, instead of a reflector, which spreads the light while reducing flux and increasing efficiency. www.arkoslight.com

Volare R Molto Luce Volare R is an extension of the Molto Luce Volare power rail system. The minimalist 230V 2-stage rail, at 18x18mm, can now be integrated into the ceiling using a recessed profile. At a width of 32mm, the framed version is barely visible in the ceiling. There is also a frameless version at only 24mm that emphasises the minimalist design.

Thanks to the shape of the profile, the magnetically attached Volare rails and the lighting adapter completely disappear into the ceiling. www.moltolucelighting.com

Antarktikós Artemide Antarktikós is an innovative patented optical system that creates a blade of light from a single LED source that opens to draw a 360° light profile. The perfect tool for architectural lighting that efficiently underlines the profiles of openings and niches, the fixture generates a perceptual sign that brings together spaces and identifies geometries for a human-friendly experience. www.artemide.com

Bollard Kos Proled The Proled Bollard series is suitable for the illumination of parks, paths, gardens, etc., offering a variety of design possibilities in outdoor illumination. The Kos, alongside it’s partner Mykonos, is IP65-rated, with a warm white colour temperature of 3,000K. With a horizontal 360° beam angle, or a vertical downwards angle of 45°, the bollards are available at heights of 550mm or 800mm and come in a powder-coated aluminium, finished in dark grey. www.proled.com

Riccio Martinelli Luce The Riccio system consists of a family of small-sized LEDs with a special swivel attachment and magnets for easy installation on an electrified track. The support for the track contains the spot when it is turned longitudinally, but when the support arm is extracted, the spot, with its interchangeable 14° and 34° optics, can be turned and tilted in any direction. The product aims to minimise the visual impact of light sources in situations where the observer’s eye must not be subjected to distracting influences. www.martinelliluce.it

www.arc-magazine.com

121

Expert Column David Morgan gets up close and personal with the latest product from Ligman, the L-Column intelligent light column. To be exhibited at Lightfair International, the L-Column combines lighting, security and smart city elements in one integrated system.

W

hen a lighting company started in Bangkok in 1995 by Sakchai Manawongsakul,

manufacturing high-quality exterior

luminaires, grows into a global lighting

manufacturer, it seems likely that there will be some interesting product developments in the works.

Now employing 520 people, with four factories, offices in thirteen countries and more than 100 distributors, recent expansions for

Ligman included last year’s opening of its European factory in the

Czech Republic and a new global headquarters building in Bangkok, alongside the first of a number of planned flagship stores opened

in Bangkok and Singapore, as well as new Ligman offices in the UK, France and China.

The Ligman approach to luminaire design has been straightforward, with a focus on the commercial exterior lighting market. The

product range has expanded over the years to cover both interior and exterior lighting. Products are well constructed, in most cases with a simple clean and geometric design aesthetic, and good lighting performance.

Martin Valentine was recruited in 2017 as Ligman’s Global Design Director to oversee the development of more complex lighting

systems. Valentine’s extensive experience as a leading lighting

designer in the UK, and as in-house consultant to the Abu Dhabi city, gives him a unique perspective for this new role with Ligman.

The first result of Valentine’s efforts is the L-Column intelligent

light column, which combines a remarkably wide variety of lighting, security and smart city elements in one integrated system.

Valentine was heavily involved with the research and design of the L-Column since the idea was first raised. It took just under one

year to bring this development through to manufacture and it was officially launched in March this year.

The research, design and development process for the range was

undertaken by the in-house management team with Stephen Dunk

heading product design, supported by input from an industrial design practice.

Valentine was keen to ensure the system offers excellent lighting performance and that the lighting elements would not be

compromised in order to fit them within the pole diameter. A fully

integrated visual appearance where all the elements share a common design language was also a key requirement.

The results of this do not disappoint. A circular 216mm diameter

extruded base column has a minimum height of three metres and a maximum height of eight metres when fitted with the various lighting and other modules.

A variety of new lighting modules have been developed as part of

the L-Column range and standard Ligman luminaires can also be

incorporated. Ligman’s post top lanterns, such as Anesti, Laluna or Macaron, coordinate visually with the geometry of the column and

will provide good urban ambient lighting to the base of the column.

The 360-degree luminaire module provides up to 6,000 lumens

with an efficiency of up to 101 lumens per Watt. 3000K or 4000K 80 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

122

www.arc-magazine.com

CRI LEDs are the standard options. Four lighting distributions are

achieved with the use of optical controllers, including two elliptical distributions of 134 x 48 degrees and 134 x 54 degrees.

A Wifi hub can also be incorporated in this 360-degree luminaire module as part of a Smart City system.

DAVID MORGAN

360° Lighting

Cluster projectors (4)

WIFI

Occupancy Sensor

180° Camera

Weather station

EV Charger + Intercom

Speaker

NEMA

Single and twin street lighting pole modules enable any of the

thirteen ranges of Ligman street lighting luminaires to be mounted, although some of these designs will integrate visually better than

360° Lighting

others with the rest of the system.

WIFI

Two sizes of aimable projector modules house either two or four LED projectors, which incorporate a COB LED light engine with four distributions. Anti-glare snoots and other accessories are

available for these projectors. A decision was made not to enclose the

projectors within a clear window detail in order to allow wider aiming angles to be achieved. Thermal management of the projectors will

Cluster Projectors

also be easier without any enclosure to trap heat.

It is understood that a number of additional lighting elements will be added in future, including colour-changing beacons that can be used for decorative, wayfinding or indicator functions.

The non-lighting elements include daylight and proximity sensors,

Camera

CCTV with single and twin modules, a weather station, loudspeakers, an intercom and an electric vehicle charging station.

The Ligman L-Management system offers a complete addressable project lighting monitoring and control solution and can provide

Occupancy Sensors

additional information to a control centre such as digital video

surveillance, air pollution level monitoring, asset tracking and an intercom for face-to-face communication.

Assets can be tracked through RFID monitoring and security can be

Speaker

increased with the use of 360-degree zoomable surveillance cameras.

The weather station and its pollution monitors will even allow a city to implement traffic calming policies and meet international WHO targets.

Using wireless technology, gateways and a data concentrator, street

lights become smart, talking through a mesh network to the control

centre. The hardware and software tools provided by Ligman provide live information to the control centre, allowing local authorities to

monitor the health of the city by displaying not only the status of the luminaires but also the power consumption and usage.

Intercom

L-Column is an ambitious addition to the Ligman range, which should enable more complex urban lighting projects to be

undertaken. Although the range was only launched in March this

EV Charger

year, I spotted it at LEDucation in New York, and the reaction so far from specifiers around the world has been very positive.

In less than 25 years Ligman has grown into a global player and

developed a solid product range, which is why this is a company to watch and see what they deliver next. www.ligman.com

www.arc-magazine.com

123

Light & Tech Expo Lighting America returned to Mexico City for its ninth edition this March, bringing a number of lectures, workshops and networking opportunities to the Latin American market.

E

xpo Lighting America (ELA) is an annual hub for

the Latin American lighting design community both practitioners and manufacturers alike - to come together and share ideas and knowledge.

Held at the Citibanamex Center in Mexico City from 5-7 March, this

year’s show - the ninth edition of the event - featured more than 100 exhibitors, five interactive areas, two specialised pavilions, thirteen ‘Light Talks’ presentations and seven interactive workshops.

Centred around the theme of ‘Light & Tech’, the show saw a wide range of exhibitors, both from the international and domestic market, present examples of innovation

and technological development in the field of lighting, and its burgeoning relationship with the Internet of Things (IoT), connectivity, intelligence and more.

Among the exhibitor list, international manufacturers such as Signify, Ledvance, Osram and Eaton sat alongside Latin American companies large and small, highlighting the

growing reputation of the lighting industry in this market.

ELA organisers wanted to highlight this growing reputation by supporting young people who are just starting their path

in the lighting industry, with the introduction of the Nuevos

Talentos pavilion - a new area for this year’s event comprised of small booths from emerging local talent. This pavilion featured stands from Quarso, Luma Company Vorm and LSBAstudio.

Elsewhere, the Smart Pavilion presented representative brands in intelligent lighting. Here, exhibitors such as Osram, ATP Iluminación, Plusrite, Oso Colmenero, lightroom/lab, Next City Labs and Technolite hosted workshops for visitors to

experience directly all the virtues of technological innovations.

Returning this year, the Décor Lighting Pavilion, dedicated to

124

www.arc-magazine.com

EVENT

decorative lighting manufacturers, featured

Construlita Lighting Awards - one of

Astro and G-Tec Iluminación - distributors

Latin American lighting community.

among others - showcasing the new forms

back the popular Dark Room installations: a

Heading up the programme of Light Talks were

from young designers, hidden away in their

York-based Pelle Design; Croatian light artist

the show, Dark Room allowed visitors to

Principal of Fisher Marantz Stone. Alongside

The first installation, Dancing With Strangers,

Rafael Serradura of Ledvance; Signify’s Fabiano

the study of light by the artist Láslo Moholy-Nagy,

stands from the likes of Studio davidpompa,

the leading awards programmes for the

for Flos, Vode, davide groppi and DGA,

For the 2019 edition of ELA, organisers brought

of design that lighting fixtures can take.

series of three separate lighting installations

keynote speakers Oliver Pelle, founder of New

own dark space. A popular feature within

Maja Petric; and Enrique García Carrera, Associate

experience light in a different way.

these, a busy schedule featured presentations from

created by students of CENTRO, was inspired by

Vivori, Tomas Patterson of Lux Populi; Ricardo I

Soto Chavarria from Estevez; Guillermo Redrado of ATP Iluminación, Mesa Redonda from IES Sección

paying tribute to the Bauhaus as its celebrates its centenary. Quarso, alongside Apex created

Fragments of the Cosmos, a multi-coloured piece

Mexico, Luis Juan López Barreiro from Iluminet;

that refers to the energy of the universe, just

Quarso; and lighting designer Angélica Valencia. In

The final installation, Electroluminescence,

Diego Amozurrutia and Jimena Martínez from

at the moment when a constellation explodes.

the midst of this packed programme of speakers,

created by Luis Enrique González and Omar

discussion featuring former IALD President Victor

playfulness of light, where the luminaires come

Light Talks was host to a fascinating round table Palacio, former IES President Peter Peterson,

Georgina Salazar, owner of GA Iluminación and Creative Director of 333 Luxes, Elias Cisneros.

This discussion saw the four members, each recognised within the lighting community,

share their thoughts on the state of the industry, and where they think the future will lead us.

The show also played host to the

Far Left Enrique Garciá Carrera, Associate Principal and Fisher Marantz Stone, gives his keynote presentation.

Top Left Light artist Maja Petric gave a fascinating insight into her portfolio of tech-driven installations during her keynote presentation.

Top Right Expo Lighting America featured a series of interactive workshops from lighting manufacturers in the Smart Pavilion.

Centre Alongside local manufacturers and distributors, ELA hosted stands from the likes of Signify, Osram and Ledvance.

Bottom Left The Nuevos Talentos Pavilion gave the opportunity for smaller, up and coming companies, to show off their products.

Bottom Middle Oliver Pelle, founder of Pelle Design, discusses his approach to design, showcasing some of his studio’s beautiful products in the process.

Bottom Right Fragments of the Cosmos, a multi-coloured installation created

by Quarso, alongside Apex, for ELA’s Dark Room.

Gómez, was a piece intended to evoke the

to life through contact with the spectator.

Following the show, event organisers said:

“At ELA 2019, the passionate people of light enjoyed an entire experience of light.

“We are already preparing for our

2020 edition, where we will celebrate the tenth anniversary of ELA.”

www.expolightingamerica.com

www.arc-magazine.com

125

Show Stoppers

Some of the architectural lighting products on show at Prolight + Sound, Frankfurt.

Mosaic OJR ArchWork Mosaic OJR is a compact IP-rated LED gobo projector designed for the projection of logos, images and textures onto commercial buildings, hotels and city facades. The small size allows for mounting anywhere without any impact on the surrounding environment or architecture.

The onboard zoom ranges from 14° to 44° allowing for an extensive user-flexibility, from projecting crisp and accurate logos to textured projections. www.musiclights.it

PAK INNLED Thanks to its integrated magnets, PAK can cling to any magnetic surface (suspended ceiling, metallic structures…) and highlight anything, anywhere. Its three LED spotlights can be individually oriented for a personalised lighting configuration.

Battery operated, PAK offers an autonomy of 10h. This smart LED light bar is available in black or white. Multiple options are available regarding the lenses (6°, 10°, 26° or 46°) and the colour temperature (warm white or neutral white). www.innled.fr

Dyna Drum SO Pendant Acclaim Lighting The Dyna Drum SO Pendant is a high output, outdoor rated, LED pendant fixture with a wired digital communication network. It features 12”, 24”, and 36” NTS (1” pole options, on-board digital display, a 100-277VAC internal power supply, and a built-in receiver for the Aria wireless DMX system, which allows up to 32 fixtures in a series. With a total lumen package of 7,769 at 5500K 6°, it is ideal for large scale indoor or outdoor downlight applications. www.acclaimlighting.com

Image Spot Rosco Using a mere 45W of power, the Image Spot LED gobo projector packs amazing output into a compact package. Crystal clear optics ensure bright imaging in virtually any environment, allowing vivid gobo image projections up to 40 feet (12m) away and beyond. Image Spot is available as an IP65 fixture, as an HT model for installations into areas with high ambient temperatures, and as a UV model for projecting into fluorescent environments. www.rosco.com

sunDial quad Artistic Licence sunDial quad is a trailing edge mains dimmer that offers a professional DMX512/RDM controlled solution. With four channels each providing 250W (or up to 500W per pair), it is more than ample for LED, but also suitable for crossover markets that might have legacy incandescent technology. It works ‘out of the box’ with any dimmable replacement LED bulb (or dimmable incandescent or CFL source), but performance can be further optimised by the selection (via RDM) of one of four dimming curves on a per-channel basis. www.artisticlicence.com

Kiosc Touch Visual Productions The Kiosc Touch range of lighting controllers is designed for permanent installations and offers many communication protocols for system integration. The new Kiosc Touch is a fit-and-forget wall-mount touch screen module with a customisable user interface for controlling networked devices. Where lighting engines, audio players and media servers will be the back-end to a system, Kiosc will provide the front-end. Bundled with the Kiosc Editor, the app allows for quick designs that incorporate logos, password and multiple pages. www.visualproductions.nl

126

www.arc-magazine.com

event

Anolis Eminere Robe Eminere is designed by Robe for a wide range of exterior and interior applications.

The various available lense options cover all possible uses from floodlighting, wall grazing, wall washing and accent lighting.

Robe’s 18 bit colour mixing resolution ensures extra fine colour tuning as well as smooth dimming and low level intensity.

Available in 300/600/900/1200mm with RGBW or RGBA single chips as standard, Eminere is easy to control with 1 pixel per foot. www.robe.cz

STICK-CU4 Nicolaudie The STICK-CW4 offers some new features for RGB/RGBW LED control: 1024 DMX channels, WiFi connection, built-in clock/ calendar. Up to 36 scenes can be stored within the controller and directly recalled via six touch sensitive buttons. A button located in the centre of the colour wheel can be used to jump between scenes or reset a color change. Scenes can also be triggered over WiFi from a mobile phone or tablet. Programmable with ESA2 and ESA Pro 2 software. www.nicolaudie.com

Chroma-Q A.C. Entertainment Technologies Providing inspiration for the architectural and installation market is the multi awardwinning Chroma-Q Inspire range of LED house lights. These versatile fixtures have been fitted in a multitude of venues to create an immersive experience. The Chroma-Q Color Force II was also on show to demonstrate stunning colour blending for grazing a variety of interior surfaces.

All fixtures on the stand were controlled using the Vista 3 by Chroma-Q lighting and media platform. www.ac-et.com

Archibar-i SL150 RDM Studio Due The Archibar-i SL150 RDM is the latest fixture in the Archibar line, an inground LED linear bar that combines aesthetic and resistance with ideal performance in a versatile projector. Waterproof and tremendously resistant, the Archibar-i SL150 RDM is available in RGBW/FC and Monochromatic light sources as well as in White Balance. Optics are 25° medium (38mm lenses) with configuration by DRS (remote control device) setup and RDM / DMX Protocol. www.studiodue.com

Madrix 5.1 Madrix Madrix 5.1 is the latest version of the German company´s control software for pixel mapping in 2D or 3D. The new version will bring native support for Blackmagic Design, NDI and Spout to the award-winning pixel mapper. The visual lighting design toolbox has never been more versatile or flexible as you can now combine your favorite solutions for video and pixel control quickly and easily. All Madrix products are made in Germany. www.madrix.com

Exterior Wash 100 Martin Exterior Wash 100 is a powerful, compact and energy-efficient LED lighting fixture designed to illuminate smaller structures, features of a building and landscaping.

A discreet, optional snoot integrates seamlessly with the slick design of the fixtures. It has built-in display for ease-ofuse, a wide selection of beam angles and is fully IP-rated for permanent outdoor use. The Exterior Wash 100 is designed for narrow beam applications and is based on separate LEDs for red, green, blue and white. www.martin.com

www.arc-magazine.com

127

iF Design Awards

Black Foster Arkoslight Black Foster, designed by Arkoslight Product Manager Rubén Saldaña, is the lighting fixture that transfers the lauded “Invisible Black” effect to a linear system. Black Foster is composed of a series of combinable modules enabling the alternation of segments with and without light emission.

However, whether it is on or off, this luminaire always keeps the aesthetics of a perfect dark line. www.arkoslight.com

Envelope Linea Light Group Envelope is a wall light that illuminates interior environments or furnishings of particular value with style. Extremely versatile, it is available in three versions: single emission (also suitable as outdoor pathway), biemission or quadruple emission. The single emission version can be installed outdoor, thanks to its IP66 rating. www.linealight.com

Linetik Zumtobel The elegant Linetik speaks a clear yet minimalist design language. With a crosssection measuring just 25x25mm across all pendant bodies, as well as across the lighting element and stands of all freestanding luminaires, the design is ultra-slim yet robust - and can be assembled in just a few steps, illuminating your room in a matter of minutes. www.zumtobel.com

Jilly Erco With Jilly, Erco presents a new luminaire type for office workplace lighting that combines the flexibility of spotlights with the visual comfort of downlights. Jilly’s elegant design is characterised by a flat cast aluminium housing and a striking low beam louvre. The highly efficient lighting technology meets the criteria for standard-compliant lighting at the office workplace. Flexible mounting on the power track means that the luminaires can always be optimally positioned and aligned even if the office layout changes. www.erco.com

Ginko 3.0 L&L Luce&Light Ginko 3.0 is an outdoor projector with two wattages and a wide range of optics, including one with sharp optics and two with elliptical optics, adjustable through 360° using a magnet, and a shadow-effect filter that recreates the natural dappled effect of light shining through foliage. Ginko is available in jasper green, a special finish developed for use in landscape design, in addition to standard finishes, different light colour temperatures and a choice between CRI 80 and 90 for improved colour rendering. www.lucelight.it

Aperture Fluxwerx Aperture is a linear LED pendant luminaire with a unique open aperture design, delivering unparalleled longitudinal clarity and views right through the fixture to the architecture. Available in two different patterns, with two endcap options, Aperture combines minimalist design and architectural-grade materials with superior optical and energy performance. Its ocular Anidolic optic technology provides a precisely controlled batwing distribution with no view of the LED point source. www.fluxwerx.com

128

www.arc-magazine.com

if design awards

In March, the 65th annual iF Design Awards were held at the BMW Welt in Munich, Germany. Celebrating all facets of design across a broad spectrum of categories, including Product Design, Architecture, Interior Design and Service Design, this year’s awards saw more than 6,000 entries from 50 countries submitted. Here, we take a look at some of the architectural lighting products to receive recognition.

Pivot XAL The new Pivot decorative-graphic light insets for the Move It 25 profile system offers a wealth of artistic lighting design solutions.

Pivot makes it easy to create individual and three-dimensional lighting graphics on walls and ceilings. A tunable white version allows the light colour to be changed. The Pivot light inset is available in five lengths and can be rotated through 360°. It is mounted magnetically in the profile, without tools, and can be moved as required at one end. www.xal.com

Mars Nano LED Linear Mars Nano is a stylish linear solution for general lighting, offering minimalist design language with maximum lighting and design effects. Various mounting options are suitable for recessed, ceiling or pendant installations. This innovative lighting system delivers up to 113 lm/W with a colour rendering of CRI > 95. The optimum glare control through a black matte finish enables a UGR glare rating of UGR < 13 and delivers high-quality and pleasant light. www.led-linear.com

LINEARlight Flex Diffuse Osram The minimal dimensions and high performance of LINEARlight Flex Diffuse means you can create perfect homogenous lines of diffuse light without visible points of light. Thanks to a careful selection of LEDs and single-bin sourcing, it achieves long-lasting homogeneity and constant light output over its entire lifetime. The top-emitting 800lm/m and side-emitting 600lm/m LED strips are made from high-performance silicone and come with IP67-rated protection. www.osram.com

Vior Ribag Vior is a universal lighting solution, uniting two different lighting moods with a single LED and precise light control. Brilliant direct light is guided through carefully positioned lenses, glare-free - in selectable beam angles of 40°, 50°, or 60°. The result is spacecreating indirect light, shadow-free, perfectly homogeneous, even across the ceiling.

Vior provides a unique lighting and spatial effect. The transparent materialisation is characterised by lightness and supports the architecture. www.ribag.eu

Sonnos LED Trilux The Sonnos LED is a diverse family of downlights for all customer-specific requirements - from showcasing in support of the architecture all the way to energyefficient general lighting. The luminaire is available in a square or round design in four different sizes with a default colour rendering of Ra >90, and can be adapted ideally to the respective area of application via a uniquely broad selection of optics, photometrics, and installation options. www.trilux.com

Stage Round Simes Stage Round is a compact projector featuring a high luminous emission and comfortable optics. Inspired by Holscher Design Studio, the attention to detail expresses itself in an interplay of minimalist, clean and essential forms. The comfortable optics, the feasibility of orienting the light in various angles and the advanced aesthetic research are the main features of the entire range. Sizes are reduced to minimal dimensions while maintaining high levels of performance, both in terms of quality and light emission. www.simes.it

www.arc-magazine.com

129

130

www.arc-magazine.com

DARK SOURCE

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

Box of Treasures The MGM Cotai’s striking ‘jewellery box’ façade utilises Acclaim Lighting’s LED fixtures to shine in dazzling brilliance along the Macau skyline.

T

he recently opened MGM Cotai in Macau

Bushell. “By utilising a composition of similar elements and

lighting to create an iconic structure and

landscape-like structure that allows for a variety of

combines architectural marvel and inspired dramatic spatial experience. Its striking stacked

‘jewellery box’ design pays tribute to the local culture while showcasing spectacular engineering feats.

The creative use of immaculate Chinese decorative imagery resulted in a striking façade that brilliantly illuminates

MGM’s branded gold tones. The structure encapsulates two hotel towers and a mansion, and the stacked boxes of each tower are cantilevered to create a single distinctive and modern art form.

It took the creative talents of 350 architects, designers and consultants to bring this vision to life. It is one of many

initiatives designed to attract more advanced and innovative forms of entertainment to Macau as it grows into a global tourist destination.

“From the outset, we wanted to design a structure that would really stand out on the skyline,” said John Bushell, Design Principal at Kohn Pedersen Fox (KPF), the New York and

London-based design architect firm that was appointed for this project.

“We wanted to build something of the highest architectural

quality that is also a place for people to have fun,” continued

132

www.arc-magazine.com

openings in between the buildings, we created a mountain

interpretations. The outside is striking both in daylight and at night with lots of dramatic spatial experiences within.”

The $3.45billion facility is the largest property and the

first private sector project ever to achieve the China Green

Building (Macau) Design Label Certification. With more than

four million square feet, MGM Cotai has approximately 1,400

hotel rooms and suites, meeting space, a high-end spa, retail offerings and dining outlets, as well as the first international mansion at MGM. It additionally houses Asia’s first dynamic theatre and a $12million art collection featuring more than 300 captivating and thought-provoking works of art.

Although the exterior of this architectural icon is visually

striking in the daylight, it offers an even more exceptional night-time experience thanks to dramatic lighting made

possible by 60,000 LED fixtures that are part of an integrated lighting system spread across all four elevations of the towers.

Architectural lighting designer Illuminating Concepts’ intent for the façade lighting was to make the silver, gold, and

copper powder-coated aluminum finishes glow and create an

elegant, yet distinctive presence. Challenges came in lighting

CASE STUDY

the façade’s large surface area, which had no setback to light

Featuring a built in DMX/ RDM driver for control, the fixtures

this with a lighting design solution that integrated custom

link cables.

the tower from below; Illuminating Concepts addressed

lighting fixtures within the façade detailing. The fixtures,

mounted only on the bottom edge of each ‘facet’, uniformly illuminate the bottom, top and sides of the individual

patterns. Illuminating Concepts worked with Acclaim Lighting to design the custom fixture.

“By concealing the fixtures within the façade, we were

able to produce the dramatic lighting design effect without

interruption in the façade pattern,” said Kelly Stechshulte,

Illuminating Concepts Executive Director. “Integrated fixture solutions such as this will continue to make large and more complex façade lighting designs like MGM Cotai possible.”

Acclaim Lighting provided the two major exterior light

sources, which created high output, brilliant illuminations

and superior colour rendering with high-energy efficiency.

The high power, outdoor linear fixture specified was the

custom IP67 Dyna Graze Exterior HO DMX units. Designed exclusively for MGM Cotai, they were developed with maximum durability and control flexibility in mind.

Dyna Graze offers multiple configurations, available in

one and four-foot sections, provides 1,100 lumens per foot and maintains 70-percent of its lumens at 150,000 hours.

were easily linked together in one chain using weatherproof In addition, Acclaim Lighting’s Dyna Drum HO provides a

high power, high-energy efficiency floodlight that combines stellar performance with a compact form factor. Consuming only 228 watts, each Dyna Drum HO fixture provides 12,000

lumens with a 10x60-degree spread lens for the MGM facility.

Dyna Drum HO also features an onboard DMX+RDM driver

with Acclaim’s Aria wireless DMX technology and rear OLED display with full text readout for ultimate control. A single hybrid cable carries power and data for clean and efficient installation.

The end result is an energy-efficient, highly versatile lighting system that showcases the architectural innovations of the building in a dramatic and sophisticated manner.

“We have worked very closely with the Illuminating Concept Design team to ensure that we could best outfit the building with the perfect, custom lighting fixtures to accentuate

the façade,” said CY Fun of PTP, a specialist façade lighting integrator. “Everything has come together extremely well and we are proud to see the MGM Cotai stand out on the skyline of Macau’s strip.”

www.acclaimlighting.com

www.arc-magazine.com

133

CASE STUDY

Pics: Alessandra Chemollo

Art & Caffeine In renovating an old, 19th century warehouse Italian architects at traverse-vighy architetti have created a vibrant, modern home for Faema’s first flagship store, featuring simple yet effective lighting from L&L Luce&Light.

C

offee is seen the world over

their showrooms and exhibition spaces, have

experience of the space’s different uses.

Italy, and it is no secret that it

combines fashion, design and the arts.

steel surfaces of the Faema espresso

as being synonymous with

was Venice that imported the

famous beverage into Europe in the second

half of the 16th century. In fact, it was in that very city that the first Caffé, or coffee house, was opened, as a place for socialising while you drank your coffee.

In subsequent centuries, these coffee houses became more important, developing into

centres for cultural and political discourse, until they became what they are today:

meeting places for conversation and sharing, in a true coffee culture. One such place is the new Art & Caffeine, the first flagship store

of Faema, the legendary Milanese brand that

produces professional coffee and cappuccino machines.

The space, in the Tortona area of Milan,

is located in a renovated warehouse in a

small industrial zone in via Forcella along

the Milan–Vigevano railway line. Suitably

enough, the warehouse had previously been used for roasting coffee beans. The area has recently come back into vogue thanks to

the artists, creatives and stylists who, with

134

www.arc-magazine.com

brought new vitality to a neighbourhood that The warehouse’s restoration involved the

careful recovery of the nineteenth-century riveted steel structures and the lime-

plastered brick walls. These were integrated

into a modern structure of exposed systems, designed to give prominence to the coffee machines and the visitors’ experience.

Art & Caffeine accommodates diverse

activities happening in synergy, such as the repair-shop work of fixing and customising coffee machines, coffee roasting, coffee

workshops, and reception and co-working activities. The entire project, the work of traverso-vighy architetti, has seen the

deliberate use of ‘raw’ materials in line with those originally used in the nineteenthcentury factory: raised floors in charred larch, rough-iron display structures

and stencil graphics on the walls; and

all enriched by the element of light, the

project’s main material, used to enhance

the different operational areas. It has been manipulated in various ways to adapt it to

the natural exterior light and mark visitors’

Beams of cool light pick out the stainless machines, while warm, diffuse lights bathe the work surfaces and cup racks.

The nineteenth-century shell has been

highlighted with a special system of grazing light to bring out the morphology and

textures of the old, lime-plastered brick

walls. To achieve this, a professional lighting system with vertical emission and dynamic colour was integrated into the perimeter

of the new raised floor, utilising the Neva 5 linear profile by L&L Luce&Light.

The flagship store, the very first in the

more-than-70-year history of the Gruppo Cimbali brand, is intended primarily for

baristas and others involved in the world

of coffee. However, it will also be open to the public during the major events that

every year make Milan the capital of design, food and fashion, as well as during other

important events scheduled to take place in the city.

www.lucelight.it

CASE STUDY

Pics: Zumtobel; Faruk Pinjo, courtesy of Ed Ruscha and Gagosian

Art. Light. Freedom For the recent renovation of the Vienna Secession Gallery, Zumtobel, alongside architect Adolf Krischanitz, has developed a new lighting solution that, utilising tunableWhite LEDs, brings a feeling of natural light to the space.

D

esigned by architect Joseph Maria Olbrich and opened

A series of flat, closely aligned vaulted ceilings help give the gallery

the Vienna Secession is an architectural manifesto

these striking elements create an elegant wave effect above the

in 1898 as a showroom for the Union of Austrian Artists,

its distinctive appearance. Painted in white to match the walls,

for Art Nouveau. And now, after a year of general

heads of the visitors, bringing a certain dynamism to the otherwise

refurbishment, the Vienna Secession is shining with fantastic new

restrained spaces. Linaria tunableWhite LED light lines are mounted

developed by Zumtobel, alongside architect Adolf Krischanitz.

reflectors. Arcos tunableWhite LED spotlights can also be clicked into

entrance hall defined by two lateral arch-shaped wall niches, where

Another highlight is the Beethoven Frieze by Gustav Klimt. The

This daylight is integrated in a subtle way via two long wall openings

our desire for happiness and is the only artwork in an impressive

Visitors then experience space reduction realised to an absolute

emit light for the illuminated ceiling, Supersystem II LED spotlights

the entrance hall. Right-angled, completely white and divided into a

almost three-dimensional effect. All the tunableWhite installations

neutral backdrop for the exhibits, enabling them to be shown off to

phase, using luminaires that make the most of advanced technology

As part of a previous set of renovations, fluorescent lamps were

of 2700-6500K.

the impression of daylight in the evening and during winter. During

Developed by Hermann Czech and Adolf Krischanitz in collaboration

architects to develop a special lighting solution that uses Tecton

with the historic architecture. The luminous glass spheres deliver

illumination. Adjustable between 3000-6000K, this light is intended

integrated LED downlights project vertical accents from above.

While Tecton slim tunableWhite LED luminaires present works of

subtle functionality and agreeable atmosphere of lighting solutions

utilised to provide atmospheric lighting for festive functions and

freedom.

splendour, thanks to a new tunableWhite LED lighting solution,

in tracks on the crest of the vaults, whose gentle curves also serve as

On entering the Secession, visitors first find themselves in an

the tracks for even more flexibility.

solemn tranquillity and glistening daylight characterise the space.

painting, measuring 34 metres long and two metres high, deals with

over the arches, from which light pours into the high room.

high-ceilinged room. Tecton slim tunableWhite LED luminaires

minimum in the large main exhibition room that directly adjoins

immerse the Beethoven Frieze in direct wide-area light, creating an

high middle zone and two lower peripheral areas, the space forms a

in the basement were added as part of the second construction

their full effect.

to ensure completely flicker-free light in a colour temperature range

mounted on the steel roof construction above the glass ceiling to give

The gift shop is illuminated by four Alva LED pendant luminaires.

the latest general refurbishment, Zumtobel worked closely with the

with Zumtobel, these restrained fittings harmonise perfectly

slim tunableWhite LED luminaires to guarantee a pleasant, even

pleasant indirect illumination for gentle background lighting, while

to mimic natural daylight.

Here, as everywhere else in the building, visitors experience the

art in just the right light, the changeable light colours can also be

that also offer artists and curators the greatest possible creative

special events.

www.zumtobel.com

136

www.arc-magazine.com

LIQUID

design Walter de Silva

PIL_ADV_ARC.indd 1

www.performanceinlighting.com

04/03/19 10:52

CASE STUDY

Contemporary Canadian Culture The British Columbia Photography and Media Arts Society turned to Erco to illuminate the Polygon Gallery, situated in the Port of North Vancouver.

T

he Polygon Gallery, located in the Port of North

the shop area of the gallery, combining a high degree of flexibility

Operated by the British Columbia Photography and

In the Polygon Gallery, the luminaires demonstrate their ability to

Vancouver, is Canada’s largest non-profit photo gallery.

Media Arts Society, the gallery sits in a striking new

building, designed by Patkau Architects. The building was designed

as a striking two-floor construction with a saw-tooth roof. Situated

in an exposed location directly on the waterfront, on a newly created

plaza at Lower Lonsdale’s harbour quay, the Polygon Gallery features a remarkable view of the Vancouver city skyline.

The almost completely enclosed gallery floor, with its characteristic

saw-tooth roof, crowns the large glazed ground floor, complete with foyer, café and shop, offering views into and through the building from the outside. The building’s façade - a shell of perforated

stainless steel shingles - enables the building to blend into its urban surroundings and, depending on the daylight, makes it appear in iridescent grey and silver tones.

The gallery shows a wide spectrum of Canadian contemporary art by

both local and international artists, with a focus on photography and media art within the context of historical and international exhibits.

The architects designed the two largest exhibition rooms on the

upper floor to be airy and spacious, receiving daylight exclusively through the northern-facing skylights. This ensures glare-free

illumination of the spaces during the day without hard shadows.

To keep the difference between daylight and artificial light as low as possible, the lighting designers opted for Erco LED lighting tools,

with a neutral 4000K light colour, in both the exhibition spaces and

138

www.arc-magazine.com

with a linear design and efficient visual comfort.

ideally meet the most varied of lighting requirements within an art

context - with uniform, glare-free general lighting on the one hand and crisp accentuation of the exhibits on the other.

The horizontal steel girders below the saw-tooth roof accommodate a flush-mounted track system on which Light Board spotlights and lens wallwashers have been mounted. Thanks to simple

repositioning, these can be flexibly modified to the general concept

and exhibits of the specific exhibition, and also precisely aligned. The adjustability, technology, and simple linear design of Light Board convinced the lighting designers.

The control gear is integrated into the flat housing of the luminaires, which appear completely uniform and identical in construction,

even when fitted with different lenses, and are also visually discreet within the overall design of the exhibition space.

The architects underlined the contrast between the transparently designed ground floor and the closed upper floor of the Polygon

Gallery, via their selection of different LED lighting tools. In the large glazed ground floor, individual exhibits are crisply illuminated with Pollux contour spotlights. In this way, the artworks set themselves

apart from other areas, and draw attention to the actual exhibitions on the upper floor. www.erco.com

ANOTHER PERSON’S DARK SPACE IS OUR BLANK CANVAS. AN IALD PROFESSIONAL LIGHTING DESIGNER SEES THE POSSIBILITIES IN EVERY ENVIRONMENT. LEARN HOW AN IALD LIGHTING DESIGNER CAN TURN YOUR VISION INTO REALITY. VISIT IALD.ORG AND CLICK ON "FIND A LIGHTING DESIGNER" TO REFINE YOUR SEARCH.

PUBLIC PASSAGE | MUNICH, GERMANY | LIGHTING DESIGN, PFARRÉ LIGHTING DESIGN | © ANDREAS J. FOCKE

CASE STUDY

The Shipping Forecast Linea Light Group has helped to bring a modern, elegant yet functional feel to the new offices of the Latvian Shipping Company, located in the capital city of Riga.

F

ounded in 1940, the Latvian Shipping Company

The lighting project especially addressed the client’s

sailors in Latvia.

interior without sacrificing functionality and personal

is a naval company that employs more than 700 For its new HQ offices, located on the 8th floor

of Place Eleven, in the Latvian capital of Riga, the company has chosen Linea Light Group’s lighting solutions.

The goal for the Italian lighting manufacturers was to

highlight the design of this open-space office full of subtle

details and ingenious solutions typical of a Nordic approach, mindful of the psychological and physical wellbeing of

employees both in the choice of materials and colours.

The total area of 1,200sqm was organised into modern, elegant and functional offices. The space was designed

according to the specific use, with the workstations in the executive sector arranged next to the windows in order to make the most of natural light.

The minimalist work areas, with their neutral tones,

successfully combine with the more colourful and furnished common areas.

Particular attention was paid to acoustics, from the sound

absorbing felt used in meeting rooms to the acoustic panels placed in the common areas.

140

www.arc-magazine.com

request to best emphasize the classic architecture of the space, while achieving the ultimate goal of safeguarding employees’ wellbeing.

The Angular LED floodlights, complete with three-phase tracks, proved to be the best answer to the architect’s

request of a lighting solution that could single out and enhance specific details of the office space.

Angular is a highly versatile three-phase track floodlight.

The sleek, minimalist design is combined with top lighting performance, guaranteed by an array LED source and a tilting movement of up to 45-degrees, supported by a

practical goniometric indicator for precise tilt adjustment.

The model can be combined with three different types of optics and is equipped with a wide range of accessories, including flap and anti-glare filtering systems. Its top

performance makes it particularly suitable for illuminating art galleries and places of worship, as well as public spaces and shops.

www.linealight.com

Glow by Cora Sheibani Jewels with Fluorescence Louisa Guinness gallery, London

Nano Spotlight with UV LED, narrow beam lens and UV filter Up to 2 Watts per spotlight Micro Track mounted

www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | david@radiantlights.co.uk | All products designed by arc ad April 2019.indd 3

18/04/2019 12:59:42

ADVERTISERS INDEX Acclaim Lighting.............................................2

Fuhua Electronic............................................8

Nicolaudie.................................................... 11

Alto................................................................ 31

Global Design Solutions............................. 14

Nordic Light............................................... 147

Applelec...................................................... 115

Guangzhou Lightfair................................. 135

Osram........................................................... 41

Architectural Area Lighting...................... 103

Hacel Lighting............................................. 6-7

Performance in Lighting........................... 137

Artemide.................................................... 113

Huda Lighting.............................................. 65

Proled........................................................... 77

Astro Lighting.............................................. 49

IALD............................................................ 139

Radiant Architectural Lighting................. 141

Augenti Lighting.......................................... 23

Intra Lighting............................................. 145

Ricoman....................................................... 12

Barrisol......................................................... 57

Kim Lighting................................................. 73

Robe............................................................ 4-5

Brick In The Wall.......................................... 25

KKDC............................................................. 45

Roxo Lighting............................................... 33

Climar........................................................... 59

Kreon............................................................ 39

Seoul Semiconductor................................. 85

CLS-LED........................................................ 10

L&L Luce&Light......................................... 117

Studio Due................................................. 137

Collingwood Lighting................................ 101

LAPD Lighting Design............................... 143

Studio-29.................................................... 143

Colors........................................................... 97

LED Linear.................................................. 148

Trends in Lighting..................................... 104

Concord - Architectural Lighting............... 29

Ledil............................................................ 107

Unilamp...........................................................9

ERCO............................................................. 21

Lightfair International................................ 92

Visual Energy............................................. 143

Feelux........................................................... 19

Linea Light Group..................................... 119

Vode.............................................................. 37

Forge............................................................. 16

Luminus....................................................... 71

Wibre............................................................ 89

formalighting............................................... 51

Megaman..................................................... 95

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

CASE STUDY

Pics: Donal Murphy

The Lighting Network Intra Lighting has been used to illuminate Facebook’s Irish headquarters at Nova Atria South in Dublin.

F

acebook’s Dublin offices have

as needed, where and when it was needed.

with luminaires from Intra Lighting

the building - opens up from its centre point to

recently undergone a makeover,

illuminating the creative workspace.

Located in Nova Atria South in Sandyford, on the

outskirts of the Irish capital, the offices act as an

Irish base for the social media giants. Taking over the premises from previous occupants Microsoft,

Facebook brought in local firm Plus Architecture to

upscale the project by “searching for solutions that create a light, colourful space led by the six-story height of the building”.

The modern office building covers nearly

16,000sqm altogether, more than 2,600sqm of

which is office accommodation overlooking the

central space - the 906sqm airy atrium, which is flooded with natural light.

The building’s height led to the creation of screens, or ‘rafts’ as they are known in the architectural sphere, which were added to section the

impressive height into additional structures. These canopies presented an opportunity to incorporate both Intra Lighting’s Gyons on top, with

pendant Pipes giving the space localised sections underneath, and establishing light as much light

142

www.arc-magazine.com

The central atrium - the networking core of

both sides, where the office spaces are, drawing attention with diagonally adorned ceilings that follow the pattern that leads here from the building’s entrance.

At the entrance, visitors are greeted by a tall

window, the portal of which is concealed with

wave lights all around, framing the entrance. The

structure follows to the reception area, where the pattern of barcodes appears on both sides, before the view opens on the atrium. Here, the pattern echoes across the different sections, and again later on in the balcony ceiling, subtly creating depth within the vast space.

Opposite the main entrance, another doorway leads to the office’s bicycle storage garage.

Lighting in the form of circular clusters, using

Intra Lighting’s Round Waves, suspended from the ceiling replicate the map of Dublin. The circular pattern is intended to indicate to cyclists the

distance travelled in their morning commute. www.intra-lighting.com

SENIOR LIGHTING DESIGNER Visu al En er gy int er nat ional awar ded win n i n g a rch itectur al light ing des ign c ons ult anc y i s s e e k i n g a h igh ly creat iv e and ex per ienc ed Senior D e s i g n e r t o jo in its tea m in Shor edit c h, London. You w i l l l e a d o n a l l p roje ct stages on a v ar iet y of pr ogr es s iv e a n d e x c i t i n g lu xu ry lig ht ing pr ojec t s wor ldwide, and m a n a g e a n i n h ou se tea m of des igner s .

Yo u sho uld hav e a r elev ant des ign- bas e d d e g r e e i n Archite ctu r e, I nt er ior Ar c hit ec t ur e, I ndus t r i a l D e s i g n , o r so meth ing s im ilar. You s hould be f lue n t i n A u t o C A D , Microsoft O ff ic e, Adobe Phot os hop, I nD e s i g n a n d DIAL ux â&#x20AC;&#x201C; k nowledge of Rev it would als o b e b e n e f i c i a l .

Stro ng writ t en and v er bal c om m unic at io n s k i l l s i n En glish a r e es s ent ial.

Yo u will h av e at leas t 6 y ear s ex per ienc e i n p r o d u c i n g a nd de live r ing light ing pac k ages ac r os s a l l d e s i g n stag es, leading des ign wor k s hops , m oc k - u p s , s i t e me etin gs and c ons t r uc t ion s uper v is ion. Yo u w i l l a l s o b e re sp on s ible f or t he s m oot h r unning o f p r o j e c t s b y d ay-to-d ay liais on wit h ar c hit ec t s , int er i o r d e s i g n e r s a nd man ufac t ur er s .

Apply to job@vi sual ener gy. or g

Senior Lighting Designers, Lighting Designers & Graduate Lighting Designer/Interns We are looking for creative and technically knowledgeable Lighting Designers to join our studio. Excellent written and spoken English is essential. Candidates should have a creative portfolio of work. IT skills must include Microsoft Office, AutoCAD, InDesign, Photoshop, DIALux. Knowledge of BIM/Revit would be beneficial. Applicants should be able to hand sketch and show a desire for creativity and be able to contribute creatively and technically to projects. Only applicants with professional independent lighting design experience will be considered. The candidate must be able to present a lighting portfolio of work that demonstrates both creative/technical knowledge.

Office Manager, PA, Legal Assistant We are looking for a dynamic office manager to run our growing studio and keep everything in order. Coordinate meetings, diaries, liaise with suppliers and contractors for samples and quotations and be able to use Word, Excel, FreeAgent and some legal qualities to look at contracts would

We are hiring...

LAPD is an award-winning, independent and free-thinking firm of lighting design consultants, with an extensive portfolio spanning multiple disciplines. We create unique lighting design solutions and provide innovative product designs for an international clientele.

We have vacancies for all levels of lighting designer within the team at our beautiful offices located close to Welwyn Garden City.

We need enthusiastic candidates with experience in InDesign, AutoCAD, Dialux and Photoshop. Visual and verbal communication of ideas is essential.

For more information on the above roles please email: glenn.campion@lapd.co.uk

be beneficial. Excellent written and spoken English/Spanish is essential.

Please email your application letter and CV along with a portfolio of examples of completed projects where you have had a significant contribution to: info@studio29lighting.com

LAPD lighting design

The Mill Race Lemsford Village Hertfordshire AL8 7TW 01707 290 010 lapd.uk

Event DIARY

Event Diary Industry events where you’ll find arc in the months ahead LIGHTFAIR INTERNATIONAL 19-23 May Philadelphia, USA

INTERLIGHT MOSCOW 10-13 September Moscow, Russia

LIGHTSHOW WEST 25-26 September Los Angeles, USA

www.lightfair.com

www.interlight-moscow.ru.messefrankfurt.com

www.lightshowwest.com

CLERKENWELL DESIGN WEEK 21-23 May London, UK

BIEL 11-14 September Buenos Aires, Argentina

IALD ENLIGHTEN AMERICAS 3-5 October Albuquerque, USA

www.clerkenwelldesignweek.com

www.biel-light-building.ar

www.iald.org

GILE 9-12 June Guangzhou, China

ISTANBULLIGHT 18-21 September Istanbul, Turkey

LIGHT MIDDLE EAST 15-17 October Dubai, UAE

www.guangzhou-international-lighting-

www.istanbullight.com

www.lightme.net

LED EXPO THAILAND 27-29 June Bangkok, Thailand

[D]ARC ROOM 19-22 September London, UK

PLDC 23-26 October Rotterdam, Netherlands

www.ledexpothailand.com

www.darcroom.com

www.pld-c.com

INTERLUMI 25-27 July Panama City, Panama

TRENDS IN LIGHTING 24-26 September Bregenz, Austria

HONG KONG INT’L LIGHTING FAIR 27-30 October Hong Kong, China

www.inter-lumi.com

www.forum-trends.lighting

www.hktdc.com/fair/hklightingfairae-en

exhibition.hk.messefrankfurt.com

144

www.arc-magazine.com

powered by As Awarded by The Chicago Athenaeum: Museum of Architecture and Design

As Awarded by

As Awarded by

Dawn Morning light

Visit us at LIGHTFAIR International Philadelphia, Pennsylvania Convention Center, 21. â&#x20AC;&#x201C; 23. 5. 2019 Hall D, Stand #2749

www.intra-lighting.com

powered

THE BACK PAGE BUCKET LIST

#09 pamboukian light design

Curated by

“I have always loved the desert. One sits down on a desert sand dune, sees nothing, hears nothing. Yet through the silence something throbs, and gleams...”

Antoine de Saint-Exupéry, The Little Prince

What: Unspoilt beauty.

Where: Sossusvlei in the Namib-Naukluft National Park, Namibia. A large salt and clay pan characterised by its red dunes that are some of the tallest and oldest in the world. It is a perfect example of Namibia’s unspoilt beauty.

How: The clear, unpolluted air lends itself to breath-taking displays of natural light, reflecting off a kaleidoscope of colours in the desert sand. Be sure to keep an eye on the horizon to see the light change during different times of the day. The valley is far from any human settlement and has virtually no light pollution at night, making the skies among the darkest on earth. The milky way is clearly visible with Magellanic Clouds adding bursts of light.

When: All year round, however in Autumn (March-May) the cool air offers a clearer sky, allowing beautiful views day and night.

Why: The place pulsates with pure vibration... it’s difficult to explain - a “must-do” experience.

Picture © Mikko Ristamäki - instagram @imikegraphics

146

www.arc-magazine.com

www.ppald.com

LINK LINK

HIT YOUR TARGET WITH OPTICAL PRECISION

For more information about XOOLUXâ&#x201E;¢ NANO IP65 please scan the QR-Code or visit our website www.led-linear.com