darc awards 2018 / Architectural

2018

darc awards / architectural

6 D EC EM B ER 2 0 1 8 / L O N D O N

Welcome...

The 2018 darc awards came to an end last night (6th December) with darc night, a spectacular Christmas party event in the wonderful surroundings of MC Motors in London. Christmas tree light installations, street food, a free bar and a unique presentation format all contributed to a hugely enjoyable and creative evening. darc night marked the conclusion of a record-breaking six month process.

There were over 400 entries (up from 300 last year) including 100 entries in the PLACES (Best Interior Lighting) - High Budget category and over 100 entries in the Product categories. Altogether there were projects from 50 countries submitted and, remarkably, over 7,000 votes (up from 6,000 last year) making the darc awards a truly global, democratic awards programme.

As announced during darc night, we also have some exciting news regarding darc room, our lighting specification exhibition that takes place during London Design Festival. 2019 will see the event partner with London Design Fair in the Old Truman Brewery in Shoreditch. Taking place on 19-22 September, darc room will have its very own hall where we will continue our unique exhibiting concept as well as having educational workshops and live streaming. We’re all very excited about this new development as being part of London Design Fair will enable us to expose lighting design to even more design professionals from outside the lighting fraternity. Something that we always strive to do with our events and media.

A massive congratulations to all our winners tonight but in particular to DHA Designs for their Hintze Hall project at the Natural History Museum in London. Even though this project was in the most highly contested category (PLACES - High Budget), it still received the most votes out of any of the winning projects. A remarkable achievement for a remarkable project.

We look forward to your participation in next year’s darc awards.

Paul James Director, darc awards / darc room

STRUCTURES:

Best Exterior Lighting Scheme Low Budget

WINNER

Coralarium, Maldives Mushroom Lighting was approached in December 2017 by the installation electrical company Welford Lamplighters, on behalf of the installation artist Jason DeCaires Taylor, to design a lighting scheme for his latest project, the Coralarium at Fairmont Maldives, Sirru Fen Fushi.

The budget was very tight and required the lighting of submerged and semi submerged sculptures within a stainless steel structure.

The lighting was designed to not only light the sculptures but also to light the enclosure so that it was visible from the shore at night, as the sun set behind it, and also light the water so that night diving would be possible.

Mushroom Lighting chose 24 of the new Gantom Storm DMX RGBW 4.8 watt IP67 floods for above the water and eight TecLumen Mini Sub Color TKX RGBW 15 watt IP68 Spots with 120-degree beam for beneath the waves. The Gantoms were supplied in a custom aluminium finish to blend in with the stainless steel, and the TecLumens were finished in Stainless Steel.

A total of eight programmes are installed into a Chromateq controller, with a “Lightshow” on the hour. This includes various themes,

such as fire and ice, when the waves take on the appearance of flames, and the structure turns ice blue, as well as highlighting various elements of the structure.

The program runs over approximately twelve minutes, and then settles into a static scene, the whole cycle repeating every hour. A time switch built into the control system keeps the cycle repeating.

Numerous challenges were overcome that are not the norm, such as monsoon rain and the entire working area frequently underwater. The underwater element has provided an amazing environment for fish, and the scuba divers are taken on a journey through the Coralarium, experiencing night diving at its finest.

Project: Coralarium Location: Sirru Fen Fushi, Maldives Lighting Design: Mushroom Lighting, UK Client: Jason DeCaires Taylor Artist: Jason DeCaires Taylor, UK Main Lighting Suppliers: MLT Gantom, Teclumen, Chromateq

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: Seoul, South Korea Lighting Design: EONSLD, South Korea Client: KEB Hana Bank Architect: The System Lab, South Korea Main Lighting Suppliers: Luci, iLED, YoungKong

Location: Norderney, Germany Lighting Design: OC|Lichtplanung, Diepholz, Germany Client: Stadt Norderney Architect: Frank-Dieter Stucken, Germany Main Lighting Suppliers: We-ef, iGuzzini, Insta

FOURTH PLACE:

FIFTH PLACE:

Location: Sydney, Australia Lighting Design: Steensen Varming, Australia Client: City of Sydney Interior Design: Peter Stutchbury Architecture, Australia Architect: Peter Stutchbury Architecture, Australia Main Lighting Suppliers: Austube, Digilin, Eagle Lighting, Erco, Jadecross, Klik Systems, Light Culture, LPA Lighting, Lite Source and Controls, Lumascape, Tzannes, Versalux, Yorkshire Lighting, Zumtobel

Location: Middelburg, Netherlands Lighting Design: New Urban View, Netherlands Client: City Council of Middelburg Main Lighting Suppliers: CLS, Osram

KEB Hana Bank Place 1, South Korea

Joynton Avenue Creative Centre, Australia

The Cape, Germany

Medieval City Hall, Netherlands

STRUCTURES:

Best Exterior Lighting Scheme High Budget

WINNER

Agemar Headquarters, Greece They called it the most impressive building of 2018 in Athens, but for Eleftheria Deko Lighting Design, the process of designing the lighting of the Agemar Headquarters in Athens was an impressive journey.

Taking into consideration that it is a building of 30,000sqm, all rounded in shape with only a few squared areas, the challenge for both the indoor and outdoor lighting was great.

The headquarters consist of two buildings that are connected with bridges, while one of them is covered with a vertical garden.

In the front and by the public road, there are two major water features that Eleftheria Deko Lighting Design left unlit intentionally, so that they act as mirrors to reflect the building, recalling the reflection of a ship in the calm harbour’s water. The landscape lighting is discreet and minimal, so the eye-catching subject remains the building.

The light fixtures are unseen from the street/ ground level. From the neighbouring buildings and from a higher view, the look at night reminds that of a lit ship.

The building is awarded with the LEED Platinum certification. Façade lighting had to comply with

the requirements for LEED but at the same time had to be impressive as well as discrete.

For this project, lighting designers used custommade LED fixtures by Linea Light. The uplight fixtures were recessed in the marble apron on the floors, with an innovative construction detail in order to drain water, light only the exact area of the above ceiling and avoid light pollution.

This task was highly demanding because each floor is different from the other, and the surface that had to be lit is differentiated in width from floor to floor and also from side to side.

Another issue that had to be considered was the glare factor for the employees to be comfortable working inside, even when the façade lights are on. This added an extra factor of difficulty, which was resolved by positioning the fixtures at such a distance from the window, that only when the employees were very close, could they see the light.

The entrance is emphatic by architecture itself. Eleftheria Deko Lighting Design wanted to stress it with lighting without having the fixtures seen. They created a nest over the main revolving door and lit the ceiling from there.

As they used LED technology, the power

consumption remained very low, which gave them an extra LEED point. Another aspect that was introduced in this project was that of dynamic lighting. Although there are five scenes programmed for different events or occasions, there is one that is called “dynamic scene”, which is a sequence of cross fading, in a very slow pace, the lighting of the façade, from the ground floor to the sixth and vice versa. This is so slow that it is almost unnoticeable, and gives a sense that the building breathes in and out.

Project: Agemar Headquarters Location: Athens, Greece Lighting Design: Eleftheria Deko Lighting Design, Greece Client: Anangel Maritime Group of Companies Interior Design: Sparch Architects, Greece Architect: Sparch Architects, Greece Main Lighting Suppliers: Linea Light Group

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: Melbourne, Australia Lighting Design: Electrolight, Australia Client: Transurban Main Lighting Suppliers: IBL, Light Project

Location: Antwerp, Belgium Lighting Design: Susanna Antico Lighting Design Studio, Italy Client: City of Antwerp Additional Design: Eandis (Project Management and Engineering), Belgium; Maes & Verstraeten (Installation), Belgium Main Lighting Suppliers: We-ef, SchrĂŠder, Griven, Willy Meyer + Sohn

FOURTH PLACE:

FIFTH PLACE:

Location: London, UK Lighting Design: Lighting Design International, UK Client: Starwood Capital Group/Principal Hotels Interior Design: Tara Bernerd & Partners, UK Architect: EPR, UK Main Lighting Suppliers: LightGraphix, acdc, EcoSense UK, Architainment Lighting

Location: Rotterdam, Netherlands Lighting Design: ACTLD, Belgium Client: City of Rotterdam Architect: UNStudio, Netherlands Main Lighting Suppliers: Sill

Sound Tube, Australia

The Principal London, UK

Antwerp Cathedral, Belgium

Erasmus Bridge, Netherlands

PLACES:

Best Interior Lighting Scheme Low Budget

WINNER

Ambience, Australia The workspace for Ambience was a playful yet carefully considered use of natural light, shadow and colour mixed with artificial light.

The concept weaved Ambience’s light-hearted branding and tone throughout and was based on creating ‘a workspace where people want to work’.

The creative execution was centred around optical prisms, which can break light into its constituent spectral colours. This phenomenon was creatively executed through the use of lighting, colour and angular lines that visually connect walls, floors and ceilings.

It is designed to give varied visual stimulation at different times of the day, from mesmerising natural sunlight, to mind-bending prism effects and arresting backlit colour gradients, with colours becoming denser and shadows more dynamic – depending on time. In fact, the workspace literally changes colour and light at every minute of the day.

This layered and compelling design is perceived differently from every direction, allowing visual connections throughout and altering perceptions of depth and range.

Working hand-in-hand with the dichroic film

is the huge lighting feature; a custom-design backlit double layered acoustic panel in the ceiling. This was created to provide moodcalming and smooth illumination for staff, and to not clutter or confine the space with messy suspended fixtures. And it creates a trackstopping and awe-inspiring moment whenever visitors or staff enter the space for the first time.

The project is almost like a playground or labyrinth with charms and illuminated surprises around every corner. There are more intimate zones scattered throughout, defined by bright pastel colours and glazed panels with a dichroic window film.

Detail and decication was king. All downlights were custom painted to live harmoniously in their allocated colour zone and linear LED extrusion was painstakingly assessed to be placed for greatest effect and interaction with dichroic and seating arrangements.

The result is a bold, highly visually stimulating and vivacious workspace that inspires and impresses throughout the working day. It’s audacious nature is one that has met with wonder from staff, clients and visitors alike.

Project: Ambience Location: Bundoora, Australia Lighting Design: Ambience, Australia Client: Ambience Architect: Studio Y, Australia Main Lighting Suppliers: Ambience, Symphony, Neko, Jan Flook Lighting

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: Venice, Italy Lighting Design: artec3 Studio, Spain Client: Institut Ramon Llul Architect: RCR Arquitectes, Spain Main Lighting Suppliers: Lamp, Lutron

Location: Holon, Israel Lighting Design: Orly Avron Alkabes, Israel Interior Design: Pitsou Kedem & Baranowitz Goldberg Architects, Israel Architect: Pitsou Kedem & Baranowitz Goldberg Architects, Israel Main Lighting Suppliers: Macrolux, Asaf Weinbroom Photography: Amit Geron

FOURTH PLACE:

FIFTH PLACE:

Location: Istanbul, Turkey Lighting Design: ONOFF Lighting Design & Consultancy, Turkey Client: Arkas Holding, Lucien Arkas Architect: Niko Filidis, Turkey Main Lighting Suppliers: Selecon, Soraa, Kunter

Location: Frankfurt, Germany Lighting Design: Light Design Engineering Belzner Holmes, Germany Client: Fraport Interior Design: Katharina Woll, Germany Architect: Architekten von Tรถrne, Germany Main Lighting Suppliers: Steng Licht

Dream & Nature, Italy

Post-Impressionism Tophane-i Amire, Turkey

Pitaro Showroom, Israel

Raum Der Stille, Germany

PLACES:

Best Interior Lighting Scheme High Budget

WINNER

Hintze Hall, Natural History Museum, UK Hintze Hall is the largest public gallery in the Natural History Museum in London, and was described as a ‘cathedral of nature’ when the museum opened in 1881. The museum’s plan was to completely renovate the space in a project that lasted four years, redeveloping the displays over three floors, creating a new visitor entrance space and most controversially of all, replacing ‘Dippy’, the cast of a Diplodocus fossil, with the skeleton of a Blue Whale, eventually named ‘Hope’.

DHA’s scheme replaced a collection of overlapping lighting solutions that had accumulated over the years across the floors of the central hall, using a variety of light sources, with a unified scheme that was entirely solid-state, simultaneously reducing energy costs and maintenance requirements, whilst revealing the complex and beautiful architecture. The scheme also had to include the exhibition lighting across the floors, and to design the lighting for a number of display cases, some of which were designed to be seen from tens of metres away. In all of this, the lighting primarily had to reveal the astonishing grandeur of Waterhouse’s architectural scheme

and the astonishing depth of the museum’s core collection of natural history via cased and uncased objects – which included a preserved Marlin in many gallons of silicon fluid, alongside the full-sized whale.

Finally, the scheme also had to develop a complex control system that allows the lighting to be used for the many events that are staged in the space throughout the year, as the hall is one of the most popular spaces to hire in London, whilst enabling it to be instantly reset to return it to its use as a public gallery the following morning by the daytime staff who would not be event experts.

The solution was to locate the lighting in a number of positions across the hall, concealing all of the locations from view as much as was possible, while still placing them in accessible locations to allow for planned maintenance.

Fixtures were chosen from a variety of manufacturers, all of whom could demonstrate technically able fixtures with a small visual impact, all of which could be custom-coloured to work with the unusual terracotta stone colours and required a minimum of control equipment to lessen the impact of wiring.

The scheme significantly reduced the energy load of the gallery, has virtually removed all maintenance requirements and has taken away a great deal of the visual ‘clutter’ of the older collection of unrelated lighting systems. The new control system subtly adjusts the lighting across the linked spaces during the museum’s day depending on external lighting and time triggers, reducing the staff requirement to manually set lighting systems, while allowing events staff to set quickly for a cinema show or a full-scale event during the evening. The new space has been highly praised, described as a ‘glorious renaissance’ for the museum.

Project: Hintze Hall Location: London, UK Lighting Design: DHA Designs, UK Client: Natural History Museum Interior Design: Casson Mann, UK Main Lighting Suppliers: Lucifer Lighting, Lightworks, Precision Lighting, Light Projects, Dynalite, Lumenpulse

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: London, UK Lighting Design: Speirs + Major, UK Interior Design: Jonathan Tuckey Design, UK Architect: Wilkinson Eyre Architects, UK Main Lighting Suppliers: Mike Stoane Lighting, Architainment, Optelma, acdc

Location: Sweden Lighting Design: DesignPlusLight, UK Client: Private Architect: Margen Wigow Architects, Sweden Main Lighting Suppliers: UFO Lighting, iGuzzini, LightGraphix, Architectural FX, Flos

FOURTH PLACE:

FIFTH PLACE:

Location: Seattle, USA Lighting Design: WSP USA Buildings, USA Client: Amazon Interior Design: NBBJ, USA Additional Design: WSP USA Buildings, USA Main Lighting Suppliers: Ephesus, Architectural Lighting Works, BK Lighting, Bega

Location: Seoul, South Korea Lighting Design: Arup, Germany Client: Amorepacific Corporation Interior Design: David Chipperfield Architects - Gesellschaft von Architekten, Germany; KESSON, South Korea Architect: David Chipperfield Architects - Gesellschaft von Architekten, Germany Additional Design: HAEAHN Architecture, South Korea Main Lighting Suppliers: Viabizzuno, Erco, Traxon, Selux, Wästberg, Bega

Gasholders London, UK

Amazon in the Regrade - Spheres, USA

European Spa, Sweden

Amorepacific Headquarters, South Korea

SPACES:

Best Landscape Lighting Scheme Low Budget

WINNER

Black Prince Road, UK Lambeth London Borough Council decided to regenerate Black Prince Road, replacing its legacy lighting with LED luminaires. Michael Grubb Studio was appointed to provide the creative vision and design capability for new lighting of the bridge overlooking the road.

Housing almost 30,000 people and home to the International Maritime Organisation, Lambeth is a district in Central London with a rich, everchanging history. In the 14th century Edward of Woodstock – known as Edward, the Black Prince – lived in Lambeth. The eldest son of Edward III of England, his presence has caused much of the freehold land of Lambeth to remain under Royal ownership to this day, with one area named after him: Black Prince Road.

Michael Grubb Studio’s chosen design was a depiction of the crystallisation of ruby, in reference to the Black Prince’s Ruby – one of

the oldest parts of the Crown Jewels of the United Kingdom. The Black Prince’s Ruby belonged to Edward of Woodstock in the 1300s and has been worn by royalty ever since.

After Michael Grubb Studio had developed the concept and brief, Schréder UK supported the implementation of this unique design. Samples were produced and used in an experimentation phase, which looked at the different materials and light sources that would create the desired effect.

The installation features a 52-metre custom red LED strip. The lighting reflected off a hammered aluminium panel onto a polycarbonate protector with vinyl custom graphics applied. 27 of the LED handrail modules were built into the base of the strip to provide the desired lighting levels needed on the road, chosen for their small size and photometric performance.

Project: Black Prince Road Location: London, UK Lighting Design: Michael Grubb Studio, UK Client: London Borough of Lambeth Main Lighting Suppliers: Urbis Schreder

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: Bergamo Old Town, Italy Lighting Design: ASlight, Greece/UK Client: Bergamo City and Gardenia Magazine Architect: Sarah Eberle Landscape Architect, UK Additional Design: David Harber, UK Main Lighting Suppliers: Flexa Lighting Photography: Matteo Carassale, Italy

Location: Iserlohn, Germany Lighting Design: World of Lights, Germany Client: Dechenhรถhle Iserlohn Main Lighting Suppliers: World of Lights

FOURTH PLACE:

FIFTH PLACE:

Location: Karaj, Iran Lighting Design: RGE Lighting Design, Iran Client: Odil Zare Main Lighting Suppliers: Griven, Highlight

Location: Moscow, Russia Lighting Design: Heliocity, Russia Client: Garage Museum of Contemporary Art, Gorky Park Architect: AFA, Russia Main Lighting Suppliers: IntiLED

Mirrored Landscapes, Italy

Dreamy Garden, Iran

Hรถhlenlichter Dechenhรถhle, Germany

Mega-Swings, Russia

SPACES:

Best Landscape Lighting Scheme High Budget

WINNER

The Lava Tunnel, Iceland These magnificent tunnels are the result of massive eruptions 5,000 years ago. Dimensions of the tunnel create an impressive room space, while a decorative collage of colours shows its unique character, proclaiming the story of its mineral origins. Near the entrance of the tunnel the ceiling has caved in, creating three beautiful columns of light inside the tunnel.

The total length is an impressive 1360-metres, making it one of the most expansive lava tunnels in Iceland.

The environment in the tunnel is difficult for lighting and electrical equipment. From the entrance and to the middle part of the path, the temperature is the same as outside.

Where the openings are in the ceiling, it rains and snows inside the tunnel. This part of the tunnel can be treacherous when temperatures fall below freezing, as ice can cover the path.

In the wintertime, this part looks like scenery from some fantasy with ice stalactites and stalagmites carefully lit up. Deeper in the tunnel the temperature holds even at around 5°C. With the help of lighting, the magnificent colour palette in nature gives the guests an unforgettable experience with almost no visible

lighting equipment or cables interfering with the experience.

From the very beginning, the aim of the lighting design was to maximise the guests experience, develop a strong interaction between contrasts, light and shadow to intensify the natural colours, as well as emphasising the geological highlights of the tunnel, pointed out in collaboration with a geologist. Building up the experience from the entrance to a peak 400-metres inside the tunnel, guests experience complete darkness and total silence for one minute. As only exceptionally sound from water drops breaks the silence.

After a minute, the lighting goes on in steps and illuminates the highlights one by one, while the guide explains the geology of the lighted spots.

For every location that is lit up, there was chosen suitable light fixture both in lumen output and beam angle. Aimed, focused and the colours adjusted for the most natural outcome for each location.

At the end stop, the most difficult task was to find spots to mount the lights because the platform is very wide and takes most of floor area, and the walls slopes in over the platform.

Lights where placed under the platform and

on rock sills, high up on the walls, with a good help from rock climbers and placed out of line of sight.

The pathway lighting was designed to fit the environment. Low light bollards of steel were constructed so the material rusts in line with the bridges and platforms in the tunnel. With a high focus on lighting the paths without stealing any attention from the attractions and to prevent glare.

Most of the work was on the location; finding the right places, testing equipment and final design during the installation phase and programming of the control system.

Project: The Lava Tunnel Location: Reykjavik, Iceland Lighting Design: EFLA, Iceland Client: The Lava Tunnel Main Lighting Suppliers: Anolis, Pharos, Osram

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: London, UK Lighting Design: Nulty, UK Client: LCR Architect: Corstorphine-Wright, UK Main Lighting Suppliers: Commercial Lighting (Meyer), Kemps Architectural, Linea Light Group

Location: Halifax, UK Lighting Design: BuroHappold, UK Client: The Piece Hall Trust Architect: LDN Architects LLP, UK; Gillespies, UK Main Lighting Suppliers: Commercial Lighting (Meyer), Bega, LEC Lyon, We-ef, LED Linear, iGuzzini

FOURTH PLACE:

FIFTH PLACE:

Location: Kfour, Lebanon Lighting Design: Hilights, Lebanon Client: Sara Trad Interior Design: Maria Oussemimi, Lebanon Architect: Dagher Hanna & Partners, Lebanon Main Lighting Suppliers: Lumiere Group

Location: Nîmes, France Lighting Design: ON, agence de conception lumière, France Client: Nîmes Métropole Main Lighting Suppliers: Bega, Comatelec, Fred&Fred, iGuzzini, Philips, Technilum Photography: Didier Boy de la Tour

Leake Street, UK

Beit Trad, Lebanon

The Piece Hall, UK

Trambus, High Quality Service Bus, France

ART:

Best Light Art Scheme Low Budget

WINNER Aperture, UK

Aperture is a serene and immersive visual experience created for the ninth annual Clerkenwell Design Week in collaboration with Jestico + Whiles.

The form of the sculpture takes inspiration from the George Eastman Kodak factory, which was located in Clerkenwell at the end of the 19th century, and uses Porcelanosa Group’s next generation material, Krion.

A study on aperture and light, the immersive sculpture experiments with light, form and perspective, and is comprised of 64 fins of the solid material. With lighting design by Visual

Energy, these fins were dynamically lit using Lumenpulse fixtures, creating a unique visual experience.

Dynamic, coloured light travels along the underside of the form, illuminating the soft internal curves. This creates a mesmerising shift in perspective and the sculpture takes on an organic life.

Aperture signified the first time that Jestico + Whiles have participated in Clerkenwell Design Week since the firm moved to its new offices in the area in 2017.

Project: Aperture Location: London, UK Lighting Design: Visual Energy, UK Client: Jestico + Whiles Architect: Jestico + Whiles, UK Main Lighting Suppliers: Lumenpulse Photography: Aurelien Thomas

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: London, UK Lighting Design: Jason Bruges Studio, UK Client: Natural History Museum Architect: Nissen Richards Studio, UK

Location: London, UK Lighting Design: ITHACA Studio, UK Client: Culture Creative Main Lighting Suppliers: ITHACA Studio, Universal Fibre Optics

FOURTH PLACE:

FIFTH PLACE:

Location: Sydney, Australia Lighting Design: Beam Collective Client: Destination NSW - Vivid Sydney Main Lighting Suppliers: 3S Lighting, Xicato

Location: Berlin, Germany Lighting Design: Hans Leser, Germany Client: Bikini Berlin Concept Shopping Mall

Life in the Dark, UK

Under My Umbrella, Australia

Duet, UK

Light Catching Shadows, Germany

ART:

Best Light Art Scheme High Budget

WINNER

Skalar, Germany Skalar is a large-scale audiovisual installation by light artist Christopher Bauder and musician Kangding Ray that explores the complex impact of light and sound on human emotions.

This artistic venture was first hosted by CTM Festival at Kraftwerk in Berlin in 2018.

Skalar is a central piece within Bauder’s body of work, a large-scale interpretation of light and darkness as endless cycles of day and night that define our perception of time and influence our emotions. The installation is a gigantic collaborative piece and a result of enormous teamwork. Bauder’s endless fascination with light allows him to treat this intangible means as a solid material, sculpture and shape it to architectural dimensions, evoking abstract emotional associations of the viewers. Although Bauder’s artwork applies complex technology, first and foremost, it discusses fundamental human feelings and universal beauty, clear and comprehensible to audiences of all ages and backgrounds. The concept of Skalar is based on Robert Plutchik’s psycho-evolutionary theory of emotion that considers eight primary emotions — anger, fear, sadness, disgust, surprise, anticipation, trust, and joy. Bauder chose to

provoke these emotions by a combination of motion, light, and sound.

The massive light installation was enhanced by electronic music from composer Kangding Ray, whose deep exploration of synthesized sound and rhythm resonate with Bauder’s passion for artificial textures in space and music, and reinforce his awe-inspiring artwork. Measuring about 45m in length, 20m in width and 10m in height, the generative luminous structure encompasses a perfectly synchronous interplay of 65 motorised mirrors, 90 moving lights, and a multichannel sound system — elevating creative possibilities to a whole new level.

Skalar was installed at Kraftwerk, Berlin’s former power plant built around the same time as the Berlin Wall. The space allowed the 45,000 visitors of Bauder’s massive light and sound sculpture to immerse themselves into a mystical atmosphere and experiment with their senses — whether wandering around the massive concrete building filled with otherworldly light and music, sitting next to loudspeakers, or lying on the floor under the artificial sun.

From the production side, Skalar is made possible by the technical expertise and support

of three main partners. The art and design studio WHITEvoid managed the project’s production and provided custom software development, Kinetic Lights offered its highperformance precision motor winch systems, and Robe lighting ensured the highest quality in moving light technology: ultra-sharp and homogeneous parallel light beams that can hit accurate positions with repeated precision and perfect colour consistency across 90 devices.

Project: Skalar Location: Berlin, Germany Lighting Design: Christopher Bauder and WHITEvoid, Germany Client: CTM Festival Interior Design: WHITEvoid, Germany Main Lighting Suppliers: Kinetic Lights by WHITEvoid, Robe Photography: Ralph Larmann

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: Parma, Italy Lighting Design: Luca Carapezzi, Italy Client: Teatro Regio Artist: C999, Italy Main Lighting Suppliers: Cobra Service, Clay Paky

Location: Strasbourg, France Lighting Design: ACTLD, Belgium Client: Ville de Strasbourg Photography: Frank Baudy

FOURTH PLACE:

FIFTH PLACE:

Location: Abu Dhabi, UAE Lighting Design: dpa lighting consultants, UK Client: Ministry of Presidential Affairs Artist: Ralph Helmick, USA Main Lighting Suppliers: Lumascape Photography: Alex Jeffries Photography

Location: London, UK Lighting Design: Cameron Design House, UK Additional Design: Geronimo, USA Main Lighting Suppliers: Cameron Design House

The Brilliant Waltz, Italy

The Constellation at the Founder’s Memorial, UAE

La Flèche Dans Les Nuages, France

CDH x Geronimo, UK

EVENT:

Best Creative Lighting Event

WINNER

Lumiere Durham, UK The fifth edition of Lumiere Durham was held over four nights, 16th-19th November 2017.

From its inception in 2009, the audience for Lumiere Durham has grown from 75,000 to 240,000 in 2017, when it generated an economic impact for the county of £7.5m.

Artichoke invites international and UK artists to respond to Durham’s unique architecture and landscape and works to extremely high technical specifications to produce as seamless an audience experience as possible.

Audience favourites of Lumiere 2017 included What Matters by Schuster & Moseley, a glittering installation of thousands of pieces of illuminated coloured glass pieces depicting the birth of light in the universe, hung inside St Oswald’s Church, and Frequencies by Finnish artists Kari Kola, a 360-degree light installation and soundscape along the tree-lined banks of the River Wear.

Methods, by Spanish artist Pablo Valbuena, was an ambitious new commission at Durham Cathedral which used the building for Lumiere in a completely new way. Inspired by the 17th century art of change ringing in which bells are rung in a series of numerical sequences, Valbuena focused on the extraordinary

architecture of the building itself, dividing it into ten segments, each one corresponding to one of ten bells in the bell tower. All the bells were fitted with sensors and the spatial sections of the building were lit up in time to the rhythm of the bells, as they were rung by teams of bellringers. The effect was a remarkable synergy of sound and visual time-based patterns onto both the interior and exterior of the cathedral.

Artichoke makes a point of engaging and developing local artists in Lumiere through its BRILLIANT scheme, which invites anyone either living in or from the North East, to submit their idea for a lightwork to the competition. In 2017, winners included Know Thyself, an illuminated throbbing red heart by Finola Finn informed by her studies of medieval emotions and installed in the tiny Count’s House by the river, and Sagacity by Aidan Moesby, an interactive installation inspired by the Periodic Table of the Elements, which took the emotional temperature of Lumiere by inviting the audience to tweet their emotions and see the corresponding word illuminate on the screen.

Local people and communities have become central to the story of the festival, both as

inspiration and as context for many of the installations. Lumiere 2017 delivered the greatest ever community outreach opportunities involving 1,700 people across the county, participating in and contributing to artworks such as The Umbrella Project by Cirque Bijoux, Our Moon by Hannah Fox, and The Common Good by Shared Space & Light.

Event: Lumiere Durham 2017 Location: Durham, UK Organiser: Artichoke Main Partners: Artists included Shared Space & Light, Aidan Moesby, Hannah Fox, Luminarie de Cagna, Pablo Valbuena, Kari Kola, Finola Finn, Adam Frelin, Shuster & Moseley, Cirque Bijou Main Sponsors: Durham County Council, Arts Council England, Wellcome, Durham University, Garfield Weston Foundation, Bloomberg Philanthropies Photography: Matthew Andrews

www.darcawards.com/architectural

SECOND PLACE:

THIRD PLACE:

Location: London, UK Organiser: Artichoke Main Partners: Miguel Chevalier, Daan Roosegarde, Daniel Iregui, Lateral Office & CS Design, Rhys Coren, Vertigo Main Sponsors: Mayor of London, King’s Cross, London & Partners, The West End, Bloomberg Philanthropies, Unusual, QED Productions

Location: London, UK Organiser: Canary Wharf Group Main Partners: dpa lighting consultants, Little Sun, Eness, Julius Popp, Venividimultiplex and Fosfor Design, Laurent Font, Ottotto, Tom Dekyvere, Kasjo Studio, Lichtbank, Amberlights, Martin Richman, Jonas Vorwerk, Philipp Artus, Marcus Lyall, Ben Rousseau, Joachim Slugocki, Jessica Lloyd-Jones, Kinetech Design, Maja Petric, Martens Visser, Manos Kalamenios, Cutecircuit, Lichtfaktor, Robert Montgomery, Malgosia Benham, Fenella Osborne, Collectif Coin, Parer Studio, Tine Bench

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Location: Amsterdam, Netherlands Organiser: Imagination Main Partners: Jaguar Main Sponsors: Jaguar

Location: Sao Paulo, Brazil Organiser: AsBAI, Brazilian Association of Lighting Architects, LEDforum Main Sponsors: Lemca, Lightsource, Lumicenter, Lumini, Ômega Light, Osvaldo Matos, Philips, Steluti Engenharia

Lumiere London, UK

Jaguar - The Pace Series 1, Netherlands

Winter Lights at Canary Wharf, UKt

Ecology of Light Workshop, Brazil

KIT:

Best Architectural Lighting Products Exterior Luminaires

WINNER

3D LED Flex 100 IP66 - Radiant Architectural Lighting The Radiant 3D LED Flex 100 system IP66 has been developed for use in a wide variety of exterior architectural lighting projects requiring cove lighting and wall wash lighting, where the building surfaces are non-linear with curved profiles, including columns, domes and curved faรงades.

The patented articulated joint system allows the individual modules to be bent and twisted in three dimensions to follow complex building contours while maintaining a 25mm spacing between LEDs, thus ensuring continuous lit effects without shadows or dark areas.

Each LED heat sink module can operate up to 10 Watts providing a light output of more than 8,000 lumens per metre.

A variety of TIR lens and reflector options allow the output to be controlled to create precise lighting effects on large-scale architectural projects.

Integral Radiant-designed LV DC to DC constant current drivers allow long runs to be powered from a single remote power supply.

The Radiant digital thermal control feedback system ensures that the LEDs work at an optimal temperature even in high ambient

conditions in locations such as the Middle East.

Either low iron UV block glass covers or hard coated UV stable polycarbonate windows can be specified depending on the application area.

For projects with high levels of sunlight and/or sand abrasion, the glass windows should be used and for areas subject to vandalism the polycarbonate windows are more suitable.

The system is available in custom lengths based on a 100mm module up to two metres.

Satin black, satin white or any RAL paint colour finish can be specified.

The system incorporates a separate dimming channel and a wide range of dimming options are available including 1-10V, DMX and DALI. The 3D LED Flex range is modular and the various components can be assembled together in different combinations to meet project requirements.

A wide range of LED light engine, reflector and lens options are available, including RGB, RGBW, and dynamic white LED. System components including the antiglare snoots and mounting brackets can be customised to meet each project requirement.

www.darcawards.com/architectural

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Brick Light - Simes

Flexi-Light - Vexica Technology

Concrete Dunbar - Astro Lighting

Coral Power Pedestal Keha4

Blade - acdc

X-Effects LED Projector Rosco

LinearLight Flex RGB-W System - Osram

Lang - Neri

Archiline - Linea Light Group

KIT:

Best Architectural Lighting Products Interior Luminaires

WINNER

Atto - Precision Lighting Despite its miniature size, Atto combines Precision Lighting’s signature attention to design, detail and materials with a number of features typically only found on much larger fixtures to produce a beautiful, reliable, userfocused and highly efficient range of display luminaires.

Atto’s minimalist design fits perfectly into Precision Lighting’s cohesive design language that runs throughout its product portfolio. Its tiny size and careful detailing allow it to sit unobtrusively in the most sensitive of display environments.

Precision Lighting uses only the highest quality materials and machine from aerospace grade 6063-T6 aluminium and high-grade brass that not only produce beautiful surface finishes but have superior thermal properties, increasing the efficiency of the light engine and the lifespan of the product.

Precision Lighting is obsessed with the finer details of design, and Atto is no exception, miniaturising all the features typically found in the larger luminaires of its portfolio without compromising on aesthetics, quality and usability. Tool-less site changeable optics,

fully lockable bearing aided 360-degree rotation and 180-degree constant torque tilt, tool-less site adjustable stem lengths, interchangeable snoots, accessory holders and lenses, and a huge range of standard and custom finishes combined with a variety of both surface and recessed mounting options have produced an incredibly versatile display luminaire.

Atto offers multiple mounting and installation methods to suit any display lighting scenario.

Precision Lighting’s new Minipoint system was developed specifically for Atto and allows users to quickly and simply plug and unplug luminaires as often as they like.

Precision Lighting selects LEDs for their efficiency, output, colour temperature and high CRI. Atto produces 102lm from just 1W and delivers it through a range of four interchangeable TIR optics carefully selected for their minimal losses and excellent beam quality. Atto offers beams of narrow 16-degree through to wide 90-degree.

All these features combine to ensure flexibility at specification and after installation. Atto can change with the display, eliminating the

need to replace fixtures unnecessarily, and is a truly adaptable, beautifully designed, highly innovative, efficient and user-friendly display luminaire.

www.darcawards.com/architectural

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Centura - Radiant Architectural Lighting

Constellation Sonnemann

Altea - Astro Lighting

Ato - Kreon

Favo - Sattler Lighting

Cobra - formalighting

Arc Adjustable Luminaire Soraa

Protozoa - Mike Stoane Lighting

Ikar - LED Luks

KIT:

Best Architectural Lighting Products Technology

WINNER

Bluetooth Lighting Controls - Xicato Xicato has applied its best-in-class approach in producing the industry’s most consistent, beautiful light to engineer and deliver best-inclass lighting controls. Working closely with lighting designers around the world, Xicato has focused on ensuring its lighting controls provide the functionality, flexibility and management tools that lighting designers require, without the headaches of complex interfaces, needless wires, extra costs, and weeks or months of installation cycles. Xicato’s Bluetooth Controls play nicely with DALI and 0-10V systems, and work with virtually any luminaires. Now there is a powerful solution that simplifies how lighting controls are installed, commissioned, and managed.

Xicato’s Bluetooth Controls solution is easy to manage and control, reducing complexity and cost while accelerating commissioning.

It improves site-wide reliability, and can work without wires and expensive hubs. Based on open standards, it is also completely scalable.

From large modern office buildings to small offices and historic sites undergoing refurb, Xicato’s attention to quality and reliability is realised in all aspects of the technology. It’s now possible to exactly specify what is needed on a case-by-case basis, quickly achieve optimal results and savings, and always be assured that Xicato’s industry benchmark for quality is provided to clients.

www.darcawards.com/architectural

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Dynamic Beam Shaping LensVector

SunLike - Seoul Semiconductor

PerfectWhite COB LEDs Luminus Devices

Pure CRI 99 - Atea Lighting

CITILED Vivid Series Citizen Electronics

Tri-K - Technolite

Hikari SQ - Lightly Technologies

Lighting Control Solution Silvair

Moda Glowdim - Moda Light

DARC AWARD: Best of the Best

WINNER

Hintze Hall, Natural History Museum, UK Hintze Hall is the largest public gallery in the Natural History Museum in London, and was described as a ‘cathedral of nature’ when the museum opened in 1881. The museum’s plan was to completely renovate the space in a project that lasted four years, redeveloping the displays over three floors, creating a new visitor entrance space and most controversially of all, replacing ‘Dippy’, the cast of a Diplodocus fossil, with the skeleton of a Blue Whale, eventually named ‘Hope’.

DHA’s scheme replaced a collection of overlapping lighting solutions that had accumulated over the years across the floors of the central hall, using a variety of light sources, with a unified scheme that was entirely solid-state, simultaneously reducing energy costs and maintenance requirements, whilst revealing the complex and beautiful architecture. The scheme also had to include the exhibition lighting across the floors, and to design the lighting for a number of display

cases, some of which were designed to be seen from tens of metres away. In all of this, the lighting primarily had to reveal the astonishing grandeur of Waterhouse’s architectural scheme and the astonishing depth of the museum’s core collection of natural history via cased and uncased objects – which included a preserved Marlin in many gallons of silicon fluid, alongside the full-sized whale.

Finally, the scheme also had to develop a complex control system that allows the lighting to be used for the many events that are staged in the space throughout the year, as the hall is one of the most popular spaces to hire in London, whilst enabling it to be instantly reset to return it to its use as a public gallery the following morning by the daytime staff who would not be event experts.

The solution was to locate the lighting in a number of positions across the hall, concealing all of the locations from view as much as was possible, while still placing them in accessible

locations to allow for planned maintenance.

Fixtures were chosen from a variety of manufacturers, all of whom could demonstrate technically able fixtures with a small visual impact, all of which could be custom-coloured to work with the unusual terracotta stone colours and required a minimum of control equipment to lessen the impact of wiring.

The scheme significantly reduced the energy load of the gallery, has virtually removed all maintenance requirements and has taken away a great deal of the visual ‘clutter’ of the older collection of unrelated lighting systems. The new control system subtly adjusts the lighting across the linked spaces during the museum’s day depending on external lighting and time triggers, reducing the staff requirement to manually set lighting systems, while allowing events staff to set quickly for a cinema show or a full-scale event during the evening. The new space has been highly praised, described as a ‘glorious renaissance’ for the museum.

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