LIGHTING IN ARCHITECTURE
108 FEB/MAR 2019
Curtain Raiser #108 FEB/MAR 2019
18 Degrees revitalise Southampton’s Mayflower Theatre
HUMAN CENTRIC LIGHTING • FESTIVALS OF LIGHT • PRECISION LIGHTING ATTO REVIEWED GILLARD GROUP • JORGE L. HERNANDEZ • EUROLUCE PREVIEW
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Bingo. Bingoâ€™s recognition in one of the most renowned design competitions worldwide has made us at Lival very happy. For over 70 years we have been inventing and manufacturing high-quality lighting solutions, always relying on our strong heritage in Finnish design.
Watch our video at www.lival.com
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LED system. Designed and manufactured in the UK, Infinitas® Micro is sophisticated and minimal in its design, precision extruded, and is available in Surface, Suspended or Recessed in both Bezel and Bezel free formats. As part of the Infinitas® range, creating continuous lines of uninterrupted uniform lighting, the flexibility of Infinitas® is further enhanced by Direct and Indirect lighting variations and completely illuminated corners available in a range of degree angles, offering diversity in architectural lighting design. 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 email@example.com or Download Now at www.hacel.co.uk/downloads
Cleveland House – Bath TM Anolis ArcLineTM Outdoor 20MC RGBNW non-optical linear luminaires were used above the public footpath the Grade Listed tunnel. The chosen luminaires had to be sympathetic to the tunnels heritage which is why Enlightened Lighting were the designers and installer, selected the ArcLine range for their low profile, non-intrusive footprint and performance that would not only make the tunnel safer but enhance the tunnels atmosphere.
CLEVELAND HOUSE, BATH TM 384 Rackmount, Powered and controlled remotely by the ArcPowerTM TM TM and a single ArcPower 36 allowed for easy installation of the low voltage cable infrastructure adhering to the strict restrictions of planning.
+420 571 571 751 751 500, 500, Fax: Fax: +420 +420 571 571 626 626 337, 337, Email: Email: firstname.lastname@example.org email@example.com HQ & Factory: Anolis, Hážovice 2090, 756 61 Rožnov pod Radhoštem, Czech Republic, Tel.: +420 Tel.: 1-844-426-6547, 1-844-426-6547, E-mail: E-mail: firstname.lastname@example.org email@example.com North America: Anolis Lighting, 3410 Davie Road, Suite 402, Davie, Florida 33314, USA, Tel.: 8RF, Northampton, Northampton, United United Kingdom, Kingdom, Tel.: Tel.: 01604 01604 741000, 741000, E-mail: E-mail: firstname.lastname@example.org email@example.com UK: Anolis UK, 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, NN3 8RF, Villepinte, Tel.: Tel.: +33 +33 11 48 48 63 63 84 84 81, 81, Fax: Fax: +33 +33 11 48 48 63 63 84 84 87, 87, E-mail: E-mail: firstname.lastname@example.org email@example.com France: Anolis France, ZI Paris Nord 2, Bâtiment Euler, 33, rue des Vanesses, 93420 Villepinte, 89 9993 9993 9090, 9090, Fax: Fax: +49 +49 89 89 9993 9993 9091, 9091, E-mail: E-mail: firstname.lastname@example.org email@example.com Germany: Anolis Deutschland Gmbh, Carl-Zeiss-Ring 2185737, Ismaning, Germany, Tel.: +49 89 S-536202, Singapore, Singapore, Tel.: Tel.: +65 +65 6280 6280 8558, 8558, E-mail: E-mail: firstname.lastname@example.org email@example.com Asia and Pacific: Anolis Asia Pacific, 12 New Industrial Road, #02-05 Morningstar Centre, S-536202, 391 898, 898, Dubai, Dubai, UAE, UAE, Tel.: Tel.: +971 +971 44 885 885 3223, 3223, E-mail: E-mail: firstname.lastname@example.org email@example.com Middle East: Anolis Middle East, Al Asmawi Building DIP, Office Nbr 507 5th floor, Po Box: 391
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Leading Lighting Solutions
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.
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Your design Pharos controls Pharos Architectural Controls provides advanced lighting control solutions for architecture, themed entertainment and other specialist industries. Since 2004, Pharos and our partners have been privileged to work with outstanding designers, architects, integrators and installers on a diverse range of projects, running day and night across the globe. Whatever your design – from simple to complex, a few fixtures to an entire city, coloured dynamic pixels to high quality white light, human-centric to video mapping – Pharos controls it. Proudly designed and built in the UK, with unrivalled reliability, remote management and technical support, our award winning products provide the power, flexibility and scalability to turn your design vision into reality.
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Bradford City Hall |
Pharos products control Lava Tunnel Iceland – award winner for the Best Landscape Lighting Scheme – Darc Awards 2018
Photography by © LITE Ltd
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040 Gillard Group The Melbourne-based Gillard Group, established by Jenni Gillard, tell us more about their Lighting as a Service model.
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Editorial Comment Headlines Eye Opener Spotlight Snapshot Briefing Dark Source Stories David Morgan Product Review Book Reviews Euroluce Preview Case Studies Event Diary Bucket List
038 Women in Lighting Light Collective and lighting designer Katia Kolovea have launched a new project that celebrates the leading women in the lighting industry.
072 Jorge L. Hernandez Following his exhibit at the Venice Biennale last year, the Miamibased architect discusses the integral role that lighting plays within architecture, both physically and spiritually.
081 Human Centric Lighting In a special feature, we continue the discussion on Human Centric Lighting, with a professional paper from leading expert Asst. Prof. Dr. Karolina Zielinska-Dabwoska, alongside a number of examples from lighting designers that utilise the concept.
122 Festivals of Light In the first of a two-part feature, we take a closer look at some of the festivals of light that have illuminated the dark winter months.
144 St. Peter’s Basilica Osram has unveiled the new lighting scheme for the Vatican City’s stunning St. Peter’s Basilica.
146 Milan Duomo Four years after renovating the interior lighting of Milan’s Duomo, Erco returned to the Italian city to illuminate the cathedral’s marble façade.
Light planning by / 8’18’’ Project by / AWP Jardins de l’Arche, Paris, France
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050 Scottish Parliament Debating Chamber, UK Kevan Shaw, Founder of KSLD, talks us through the Codega Award-winning lighting scheme for the Scottish Parliament Debating Chamber.
060 Mayflower Theatre, UK 18 Degrees recently completed the lighting design for the renovation of Southampton’s Mayflower Theatre.
088 Casino Düsseldorf, Germany Licht Kunst Licht has created a lighting scheme that fills the basement of a Düsseldorf office with ‘artificial daylighting’, thanks to a remarkable panoramic ‘window’.
096 Liquid Light, Norway We learn more about ÅF Lighting’s new Liquid Light concept, with the Scandinavian design firm citing a couple of recent projects that have utilised this approach.
104 Oodi Central Library, Finland The Oodi Central Library in Helsinki features a vast, open plan layout that, thanks to the work of ALA Architects, perfectly blends natural and artificial lighting.
Front cover: Mayflower Theatre, UK Photography: Tom Lee, courtesy of 18 Degrees
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Everybody’s talking... In this issue, we dial in on the hot topic that’s sparked numerous debates: Human Centric Lighting... At last year’s [d]arc room, we facilitated a panel discussion about
Human Centric Lighting (HCL) chaired by leading expert Asst. Prof.
Dr. Karolina Zielinska-Dabkowska. Featuring Mark Ridler, Director of Lighting at BDP; Rebecca Weir, Creative Director at Light iQ; Stephen Lisk, President of CIBSE; and Iain Carlile, President of SLL, the
debate was lively and proved that there were many more questions than answers. So much so that we have reprised the discussion in
this issue with a professional paper from Zielinska-Dabkowska and input from lighting designers about the subject, including practical examples of where HCL is used in their schemes.
HCL is often claimed to be the next development stage in the
evolution of lighting design, yet the concept seems to have been
around forever. Indeed, when we announced the HCL discussion on
Twitter, some bright spark commented that this was old news and we shouldn’t have been giving it any further thought.
Last year, according to market research company ElectroniCast,
the global consumption value of modules/devices in HCL reached $617.6 million, and is forecast to increase 38% in 2019 to $850.9
million. Unsurprisingly, the critic was someone who worked for
a manufacturer who made lighting products that claimed to have
solved the HCL conundrum, a very lucrative market. Unsurprisingly, they are wrong.
It has become increasingly obvious how complex it is to imitate
natural light, and that far more research is required to identify what is needed to apply artificial light safely. Indeed, Dr Russell Foster
who identified the eye’s third photosensitive cells whose function is unrelated to vision, recently stated: “We can’t develop humancentric lighting until we know what impact light has upon human biology across the day and night cycle.”
Lighting designers, and especially lighting suppliers, need to take note. There is a long way to go.
Talking of debate at [d]arc room, we are delighted to announce
that, this year, [d]arc room will have its very own hall at London
Design Fair during London Design Festival in September. Attracting 30,000 visitors, the event will aim to showcase 75 architectural and decorative lighting companies to the design community. Please contact us if you’d like to be involved. www.darcroom.com
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Paul James Editor
darc room @ London Design Fair
19-22 September 2019 The Old Truman Brewery • Shoreditch • London www.darcroom.com • www.londondesignfair.co.uk
Headlines Asfuroglu launches Dark Source design studio (UK) – Following his departure from Speirs+Major, internationally acclaimed lighting designer Kerem Asfuroglu sets up Dark Source, an independent lighting design & visual arts studio based in London.
Schuler Shook appoints three New Partners (USA) – Emily Klingensmith, Giulio Pedota and Joshua Grossman appointed as partners at Chicago’s Schuler Shook.
Planlux opens London branch (UK) – The new Planlux UK office is the first satellite location for the Turkish lighting designers.
[d]arc media support Light Collective and Women In Lighting. (UK) - [d]arc media has become the official media partner for the new Women In Lighting project, established by Light Collective with the aid of Katia Kolovea fronting the social media. www.womeninlighting.com
Ecosense acquires Lumium Lighting (USA) – The LED technology company expands its presence in the architectural linear lighting market with the acquisition of Lumium.
Keith Bradshaw of Speirs + Major to headline Trends in Lighting Forum & Show 2019 (Austria) – The event will return to Bregenz on 24-26 September.
Surface Design Awards winners announced (UK) – The Surface Design Awards hail the best and most impressive use of materials in, and on, architectural projects from around the world.
Full lineup of speakers unveiled for Light Space Design (Australia) – The Light Space Design summit, held in Melbourne on 27 March, will feature keynote speeches from NDYLight, Mint Lighting, Ramus Illumination, Arup and Michael Grubb Studios.
Lightswitch merges with Orangelite (USA) – The merger of Lightswitch and Orangelite sees the companies expand on their client base across the US and the rest of the world.
iGuzzini partners with HERstory (UAE) - iGuzzini partners with HERstory, an exhibition directed by Prof. Rafia Ghubash, supported by the Women’s Museum in Dubai and in collaboration with the School of Design, Politecnico Milano. Read more at www.arc-magazine.com
Europeans want better workplace lighting, survey shows (Austria) – A survey, conducted as part of the Repro-light project, found that 56% of workers want better workplace lighting.
Versatile light for modern work Jilly downlights for track
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place lighting. Jilly combines the lighting technology of a highly eﬃcient lens system with anti-dazzle louvres. Visual comfort and luminous eﬃcacy thus both achieve a high level. This combination allows large luminaire spacing for economical lighting concepts. Jilly is simply mounted and opti-
mally aligned with the track adapter. The colour of the housing and anti-dazzle louvre can also be individually matched to the interior. www.erco.com/jilly-t
Light is the fourth dimension of architecture
Constellation of Stargazing Tea Ceremony Houses Bisei-Okayama and Awajiiland, Japan Moriyuki Ochiai Architects has created an installation of illuminated tearooms with lighting by Color Kinetics Japan in the town of Bisei, an area known as a sanctuary for stargazing. The site was chosen for its views over the surrounding dramatic landscape of hills and mountains, and its proximity to nature and the clear night sky. Named after the two rivers running through it, Bisei is translated as beautiful stars in English. The Okayama prefecture the town is located in is known for being the birthplace of Eisai, a Japanese Buddhist priest that is credited with introducing green tea to Japan. The tearoom structures are clustered like a small galaxy and function as places to meet. The open arrangement of the constructions forms a stage to host a variety of events throughout the year, both indoors and outdoors, from the Astronomy
Club and the Tea Ceremony Club, as well as a performance stage for concerts and plays. The tearoom structure was developed as a microcosm called an enclosure, and was designed as a space that visitors could perceive live changes to its natural surroundings. The polygon openings allow for the spectating of natural light, rain and the starry night. Mirrors were placed on the exterior walls to reflect the constantly changing environment, for example the nearby water in rice paddies, and change the perception of the structures throughout the day. â€œIn alignment with its heritage, the constellation of tearooms is also in harmony with the surrounding undulating terrain, thus creating a landscape in which the indoor and outdoor expand seamlessly, like the flow of a river under the Milky Way.â€? www.moriyukiochiai.com
Pic: Fumio Araki
Vedanta UK For its latest, highly-ambitious lighting project, Nulty worked in close partnership with office fit-out specialists Modus and interior designer DaeWha Kang, on the new London headquarters of Vedanta, a global mining and metal company. This is a flexible executive space in Mayfair, where the boardroom, offices, meeting rooms and hall of mirrors transforms into a large open-plan events space. The 860sqm multipurpose project is characterised by its chameleon-like design features throughout, where the lighting plays a key role in affecting the metamorphosis of the space. In the reception area, the lighting, provided by Flos and Optelma, is composed of a combination of indirect and low-glare spotlights creating pools of light on the attractive white marble floor. The eye is then drawn toward a large sliding door, a light portal framing the monolithic sliding door’s perimeter. The door opens up into a multipurpose space, which has
the look and feel of a celestial otherworld. The main iteration of this space takes the form of a hallway of mirrors with six working areas and the chairman’s office extending off from it. A series of seven large elliptical lights, referred to as ‘moons’, are recessed into the sweeping, three-dimensional Corian ceiling, emphasising the ethereal quality of the light filtering in. Produced by Nulty Bespoke, the moons serve a wide variety of functions, providing five dynamic white effects for day-to-day use, and a multitude of colourchanging effects when the area opens up as an events space. There are 68 individually controllable pixels within its thermally formed, dome-shaped, matt acrylic diffuser. The perimeter of the fixture is surrounded by a ring of eighteen small Brick in the Wall downlights, extending its versatility further by projecting pools of light, designed to replicate shafts of daylight.
At the end of the hallway, banquette seating with integral linear uplights from Osram, Optelma and Linea Light illuminate the walls and window reveals. Throughout the floor are tiny DGA uplights with internal faceted crystals creating a particularly radiant effect, designed to be employed during evening events. The clever interplay between low and high-level lighting, creates a dynamic atmosphere throughout. There is one larger version of the elliptical fixture in the chairman’s office, referred to as a ‘sun’, measuring 1800mm in diameter and surrounded by 30 individual spotlights. The innovation of the space is illustrated best when the mirrored walls and meeting room partitions disappear, moving on a series of tracks into the ceiling. The walls are stored in pockets to the side, transforming the various rooms into a single, large open-plan events space with all fifteen moons and the sun revealed. Separate from this dramatic events space is a boardroom featuring a rectangular architectural feature in the ceiling, housing acoustic fabric panels punctuated by small downlights. One of the meeting rooms serves a dual purpose as a bedroom, with a Murphy-style bed appearing from within a feature joinery wall. The lighting within the wall transforms the space from a bright working space into a warm, domestic feeling bedroom at the touch of a button. All lighting functions are run by a bespoke DMX control system ensuring a smooth and quick transition. The technical interface controlling the lighting has been designed to be highly user-friendly. Lighting requirements can be adjusted by scene selections as well as traditional dimming or separated into more specific functions via wireless tablets. By designing the controls to mimic the elaborate flexible wall systems, the controls remain easy to use no matter which of the many spacial configurations are deployed. Lighting plays a crucial role in the emotional state of visitors to the space, as algorithms and motion sensors allow light to track users’ movements, providing a type of ethereal companion in this thoughtfully designed project. www.nultylighting.co.uk
SPOTLIGHT Pics: © James Brittain & Speirs + Major
CF Toronto Eaton Centre Bridge Canada The lighting design for the CF Toronto Eaton Centre Bridge, created by Speirs + Major, focuses on the dual aspects of creating a powerful after dark identity, while also creating a memorable experience of the journey between the two architecturally contrasting buildings it links. Walking onto the bridge, designed by Wilkinson Eyre Architects, pedestrians are enveloped in a warm glow. LED Linear lighting integrated into the deck enhances the torque and twist of the bridge’s surfaces and joins lines in a simple and apparently effortless reveal of the unique geometry. As the proportion of glazing increases near the modern Eaton Centre, the glow from the soft frit to the glass helps to soften and balance the effect of this transition from the opaque (heritage) to the transparent (modern). A very soft line of light to the deck encourages movement through the space without competing with the architectural forms. The exterior overhanging the sidewalk is a backlit soffit, an important visual aspect in the streetscape. This glows homogenously to create a positive experience for pedestrians below. The lighting equipment is housed in an innovative independent mounting system
that sits unobtrusively beneath the bridge decking, simplifying access for maintenance. This system, which was engineered by MBII, contains a pulley arrangement so that the light tape housed within a custom formed tube can be rolled in and out from the side of the bridge. Although technically challenging, the light has a beautiful simplicity that contributes to the character of the city, clear wayfinding and functional light levels. The project was characterised by a high level of design team collaboration between Speirs + Major, Wilkinson Eyre and executive architects Zeidler on the choice of surface textures, along with innovative siting details that help to conceal the sources of light. The result preserves the clean lines of the architecture and contributes a genuine sense of magic to the pedestrian experience. The public response to the bridge design has been exceptional, generating a tremendous amount of buzz on architectural blogs and social media since it’s opening. Many reviewers and social commentators specifically mention the dramatic and positive effect of the lighting effects on their experience of the bridge. www.speirsandmajor.com
Pics: Beto Riginik
Arcos Brazil Arcos is a cocktail bar located in the foundations of the historic Municipal Theatre of Sao Paulo. The main architectural feature, the vaulted arches (arcos, in Portuguese), lends the space its name. Originally the space served as part of the natural ventilation system of the theatre. However, with the introduction of air conditioning the ventilation shafts were obstructed, and the space became obsolete. In the 1980s it was refurbished to be used as an events room, which was seldom used, but in 2015 a public tender was issued with a view to giving the space a new lease of life. Facundo Guerra and MM18 Arquitetura’s vision for a cocktail bar with live classical music featuring performers from the Municipal and State Orchestras was the winning bid. London-based design firm There’s Light worked on the lighting design, alongside local practice Studio 220v. The architecture consists of a series of columns, arches and vaulted ceilings, varying in direction and ceiling heights. Moreover, the building is protected for its architecture, historical and cultural significance by the Municipal, State and Federal Governments.
This unusual space, particularly for a Brazilian city that only thrived from late 1880s, creates a certain confusion for users. Therefore, it was key for the lighting to provide a sense of bearing and orientation to the space. Being completely underground, thus void of any natural light, another aspect of the lighting design was ensuring the space felt inviting. Additionally, as a basis for listed building consent, all modifications to the space needed to be easily demountable, and made to be an obvious addition, rather than discreetly fading into the historical architecture. This naturally posed a challenge for all installations and insertions to be carefully considered for the two key spaces – the main bar and the events room. Countless mock-ups and tests were conducted on site over a three-year long project programme. Due to the lack of any external light spills, and being underground, the correct balance of light levels and colour temperatures between the various lighting effects proposed, became imperative for the success of the scheme. In the main bar, there are two main lighting features, the backlit tables at 3000K for a crisper feel, inspired by the Overlook Hotel
bar of Stanley Kubrick’s The Shining, and the uplights to the arches at 2700K, warmed even further with the use of filters. LED tapes and profiles from Brillia illuminated these features. Cocktails and food are served in translucent materials, which glow beautifully when placed on the tables. For the events room, a lounge environment was envisaged, with domestic furniture and a more intimate ambience, thus the lighting proposal changes focus from the arches to the perimeter. In order to achieve this intent, the lighting design team developed a bespoke reinterpretation of wall-mounted candelabras with sober orthogonal proportions. Two variations were designed with two and three arms, made in aluminium and powder coated in matte black. With an intentionally dim light at the tip of the arms, in reference to candle light, at 2000K, these candelabras are dotted around the perimeter and columns. Both spaces are controlled by an automation system that provides numerous scenes and ultimately saving energy. www.thereslight.com www.studio220v.com/br
Nomen est omen
SUPERSYSTEM integral collection Multi-functional LED lighting tool Design by EOOS
MS LIGHTING DESIGN Owned and operated by Marcus Steffen, MS Lighting Design is a growing London-based studio. Working across all sectors, with a specialism in residential projects, MS Lighting Design takes pride in close collaboration with clients to ensure lighting is tailored to each individual project. Old Pye Street London, UK This small one-bedroom flat was a challenging site to work with. The ceilings were low and solid, and MS Lighting Design had to make it feel light and airy. The client requested a boutique hotel feel and really wanted to do something different with the space, much to the delight of the designers. Due to the solid ceiling throughout most of the flat, it was decided to work with surface mounted lighting, while minimising any drops due to the low height. Linear LED strips, concealed by pelmets, were included in the design, providing soft washes of light into the space when dimmed, but can be turned up to give bright light when required. Integrated lighting into the furniture and specific decorative table and floor lamps helped provide the task lighting for the space. The bathroom was the one area with a suspended ceiling, so a wash of light was created along one wall, while keeping all light fittings as discreet as possible to provide a sense of serenity and peace for a home in the bustling city.
Clubrooms Birmingham Airport, UK No1 Lounges are a collection of premium airport lounges across the UK’s busiest airports. The top-tier lounges, the ‘Clubrooms’, were developed in 2017 to offer the ultimate departure experience, and in 2018, they were redesigned. Starting with the Birmingham airport Clubroom, MS Lighting Design was appointed to create a scheme that would highlight the features in the space. The brief was to reduce the number of downlights in order to achieve the right lighting levels, which were too high before. There were many technical constraints to overcome, such as a suspended, perforated ceiling which needed to be accessible, with air flowing to comply with fire regulations. A custom fixing was created for the egg crate spotlight, which was designed to reduce visibility and allow positioning in any location. The custom solution also allowed the light to be adjusted within the space. The lighting was integrated and hidden as much as possible, allowing it to subtly wash light onto surfaces, while being controlled to maintain the atmosphere. Custom-designed joinery houses the lighting. A scene setting system has been used to automate the whole space, ensuring the lighting correctly illuminates the lounge at any time of day, as well as adjusting for the time of year.
High-end Residential Clapham, UK Situated in South-West London, this high-end residential project was a complete refurbishment of an existing house with the addition of a basement area. The client offered design flexibility, with a loose brief of creating a mix of traditional and contemporary in the existing house, with a more modern feel in the extension and basement area, with cleaner lines and iconic style pieces. The lighting was completely tailored to the interior design, enhancing the architectural elements, such as the skylights and door openings, and the decorative elements including the curtains and the fireplace. The aim was to offer discreet lighting â€“ concealing the fittings as much as possible, complementing the design aesthetic, rather than becoming a distraction from it. Where feasible, concealed LED strips were used, alongside plastered-in downlights and low-level lights and channels, carefully positioning all fittings to ensure the right areas of the interiors were illuminated. Whilst functional, the lighting also creates mood and atmosphere when required, such as when entertaining guests, so the design encompassed both high and low-level lighting positioned in the rooms. The AV supplier incorporated a Rako lighting control system, which enables scenes to be set to ensure the client always experiences the best lighting possible.
High-end Residential Southfields, UK At this luxurious property in Southfields, South West London, the project was a renovation of a ground floor and garden area as part of an existing dwelling. The client had a specific brief to produce a lighting scheme that would complement the incorporation of both traditional elements and raw architecture, such as exposed brick. Taking this, the design aimed to conceal as many of the light fittings as possible, using plastered-in fittings or incorporating them into the joinery. Where wall lights and pendants were added, an exhaustive review process was carried out with the client to find precisely the right items to complement the materials they were to be
MS Lighting Design mounted on or next to, ensuring the desired lighting effect. Some specifics from the project include the beautiful entrance hall with patterned tiles, where the lighting has been kept simple, using decorative fittings and a few discrete plasteredin downlights. In the formal living room with a feature fireplace, this is complemented with two decorative wall lights and a matching pendant to frame the fireplace and highlight the patterned wallpaper. The attention to detail and diversity in the lighting design throughout the property ensured the brief was met.
Based in London, UK, MS Lighting Design was founded by award-winning lighting designer Marcus Steffen. Working closely with clients, MS Lighting Design tailors lighting to each individual project, using it to bring out each clientâ€™s passion and make it a feature. Rather than seeing light as just one part of a project, MS Lighting Design believes that light is an integral piece that enables all the other parts of the project to work. MS Lighting Designâ€™s extensive experience in lighting means that it can create beautiful design and provide the technical support to back it up. Working across all sectors, the firm specialises in residential lighting, with founder Marcus Steffen authoring Residential Lighting Design, a book that introduces the tools of the lighting designer and explains how to produce a lighting design for a home. www.mslightingdesign.com
John Martin After announcing his retirement following a 50-year career, in which he spent the last ten years working as Public Policy Consultant for the IALD, arc spoke with John Martin on his career highlights, and the increased profile of the lighting industry over the last decade. How did you get into lighting? I am not a lighting professional by training or experience. Starting in 2008, I served as a public policy consultant to the IALD. The skills required for that role included an appreciation of the importance of lighting design and an understanding of lighting technology, but it was actually better for me not to be a practicing lighting professional. That way, I did not bring my professional slant to any of the controversies or policy discussions in which the organisation was involved. Can you give us a brief overview of your career to date? Since I have just officially retired after 50+ years as a working professional, it’s difficult to be brief. The short list of my professions includes: teaching, legislative aide, education lobbyist, electrical contractor, corporate training director, and my work for IALD. You were IALD’s Public Policy Consultant until the end of last year what did this role involve? As IALD’s Public Policy Consultant, I worked on several fronts to support lighting design and lighting designers. While the role evolved considerably over my tenure, the key elements remained constant: establish relationships with other organisations, work with governments and government officials at all levels, monitor governments for actions that could affect either lighting design or the business of lighting design, seek opportunities to raise awareness of the importance of lighting design, and communicate the impact of laws and regulatory proposals to IALD members. How has the lighting industry changed and developed during your time with the IALD? Three changes stand out over the past ten years: the rise of new technology (solid-state lighting); the consolidation and changing markets for manufacturers; and the growing public awareness of the impact of light and lighting on human health, productivity and comfort. At IALD Enlighten Europe last November, you spoke of the ‘terrific progress’ made in raising awareness not only of the IALD but of lighting regulations around the world. How has the IALD been working to raise such awareness? During the past ten years, the IALD has increased its visible involvement in policy issues in many ways: building relationships with other designand construction-related organisations around the world, from the ILD and SLL to the IES in North America and Australia, Lighting Europe in the EU, as well as architectural societies, entertainment lighting associations such as PLASA or PEARLE and interior design associations; placing IALD volunteers on energy-code-writing groups wherever possible; and working with government officials in the EU, USA, Australia and elsewhere to raise the profile of the IALD and architectural lighting design in general. IALD’s ‘secret sauce’ has been our volunteers, members of the IALD who articulate the value of their profession, and who are able to analyse regulatory and legislative proposals to determine their impact on the practice of lighting design.
What will this increased awareness mean for the lighting industry as a whole? What impact has it had so far? I hope that the increased awareness of lighting design helps the lighting industry become more visible (pardon the pun) to other design professions and to regulatory bodies. At the same time, we are entering a period in which light and lighting are more in the public consciousness than ever before; the combination of technological change (SSL) and increasing awareness of the importance of light in human health mean that lighting-related policy issues are no longer confined to energy efficiency, which has been the case for the past 40+ years. The growing issue of legal conflicts related to light pollution and the different ways in which these are tackled from a regulatory standpoint globally, is also showing the relevance of good lighting design. To date, the impact is that IALD has gained an official role as a “spokes-organisation” in places as diverse as Australia, the EU, and the U.S. State of California. In addition, IALD is playing a consulting role for organisations such as the International Well Building Institute (IWBI), authors of the WELL rating system. Congratulations on your retirement! How do you plan on spending your retirement? Professionally, I continue to be involved with the California Energy Alliance, an assembly of disparate organisations - from manufacturers to design professionals to labour unions - that are working together to improve California’s state-level energy regulation, which is widely seen as a leading indicator of how similar regulations will evolve in other U.S. States and at the national level. Personally, grandchildren and travel are already keeping me busy! What would you say has been the highlight of your career to date? I feel very privileged to have had the opportunity to work with IALD members from around the world over the past decade - they are uniformly interesting people, often insightful business owners, and imaginative thinkers. I have worked with IALD members from at least a dozen countries, which has itself been an education for me! Finally, what do you think the future holds for the lighting industry? Larger manufacturers will continue to consolidate and seek new revenue models, which in turn will put continuing pressure on independent lighting designers. In many arenas, “lighting as a service” will become a dominant business model. Smaller manufacturers and lighting designers may well make common cause to provide their own variations on the “lighting as a service” model. The policy importance of lighting in buildings will no longer be about the energy used for lighting. Increasing awareness of the power and importance of light may lead to an increasing demand for better lighting from building occupants and the public at large. The continuing debate will be, “Just what is ‘better lighting’?” As the cliché goes, ‘stay tuned for developments’! www.iald.org
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
women in lighting
Dear Women In Lighting...
Light Collective and lighting designer Katia Kolovea launch a celebratory project that looks into the leading women in the lighting industry.
omen In Lighting is a project
interviews will form part of the website
their portfolios. As the initiative progresses
Sharon Stammers and Martin
Dubai, the EILD event in Uruguay and the US
with coverage of all aspects of women in
established by Light Collective’s Lupton that will set out to create
an inspirational digital platform for women
working in lighting to promote their passion and achievements, narrate their career path and goals, celebrate their work and elevate their profile in the lighting community. Starting with lighting designers, the
scope will expand to include women in all
aspects of lighting - education, journalism, manufacturing, art and research.
A website and social media campaign
launched on International Women’s Day
(8th March), will begin with interviews with
female lighting designers completed by Light Collective.
The team has interviewed women in Sweden, Holland, Spain and the UK. Some of these
launch and others will be added from Italy,
as the project progresses. They hope to add
more participants to their ever-growing list of female ambassadors to the project, that already boasts an amazing 50 women.
The project launch is being supported by
formalighting. Light Collective approached formalighting with this project as it is a
company with a strong, inspirational woman in a lead role - Sharon Maghnagi. Also
supporting the initiative is Katia Kolovea
(Archifos) from Urban Electric as the head of the social media campaign.
Both arc and darc magazine are excited to participate as media partners for the new venture. arc magazine will be featuring a
piece in connection to Women In Lighting
in each issue, celebrating the designers and
and expands, the magazine will continue
the industry, from educators, journalists, manufacturers, artists and researchers.
“We started this project to try and make a difference. Although women make up at
least 50% of the lighting design profession, you only have to look at the number of
women speaking at major conferences,
acting as judges in awards, being asked as keynotes and serving on editorial boards to realise that the profile of women is
significantly lower than men. We want to
change this,” explained Martin Lupton of Light Collective.
Photographer: Peter Bennetts Studio
222 Exhibition Street, Melbourne KKDC Product: MoMo Architect: Gray Puksand Lighting Designer: Glowing Structures
(L-R) Jenni Gillard, Founder and CEO of Gillard Group, Mark Lloyd, second partner and technology thoughtleader, Mike Goodman, third partner and corporate manager and accountant .
New Global Services Jenni Gillard and the Gillard Group have developed ‘Lighting as a Service’, a concept designed to help the industry prosper from the uptake of LED, avoid pitfalls and contribute to positive global environmental outcomes.
he Gillard Group is an internationally recognised architectural lighting design firm based in
Brisbane, Australia. Established in 2005 by Jenni Gillard, the firm provides day and night lighting solutions that combine art and science.
Alongside this, Gillard Group pioneered and
launched ‘Lighting as a Service’ (LaaS) in 2015.
LaaS uses design, business cases and technology to deliver sustained value, with a focus on optimising the volume of LED luminaires and
reducing energy consumption (carbon footprint) and fixture wastage on the environment.
Gillard is a multi-award-winning architectural lighting designer and lighting consultant (CLD, IALD and IES). She also fills her time as a
lighting judge, contemporary artist and art dealer, and was a former art gallery manager and university lecturer. Since founding Gillard Group, she has become a pioneering woman in the Australian lighting design community.
Gillard was the first woman to graduate in a degree wholly devoted
to lighting; graduate with a Masters in Lighting; qualify as a Certified Lighting Designer (second person in Australia and seventh in the
world); start, build, lead and grow an independent lighting design studio and become a full member of the International Association of Lighting Designers (eighth person in Australia).
The firm’s first lighting project was to relight the interior of the State
of Queensland’s oldest continuous-use church – Ann St Presbyterian.
Above External view of the Spectrum Apartments in the suburb Lutwyche, Brisbane, Australia. Multicoloured neon waterfalls illuminate the front of the apartment blocks, giving it a striking roadside appeal.
The team went on to light the then world’s
firm is also working on St Mary’s church, which
Aquarium, Resorts World Sentosa, Singapore.
Australia and is overseeing different stages of
one of the world’s most complex lighting design
housing asset (Thornhill).
commercial stress,” explained Gillard.
the end of 2016, comprises 60 apartments and
designing took two years. Our use of LED on this
neon-lit waterfalls of rainbow colours. The Gillard
In 2012, the company expanded, introducing
residential project, which went on to win UDIA’s
a technology thought-leader and Hall of Fame
and a LUX Designer Award in 2018 for Best Multi
(ACS). Foreseeing the impact of digital LED on
“The journey continues to be fulfilling. We are
solutions to service the new paradigm.
aim to make functional beauty and loyal clients.
the Chief Information Officer for Department
everything in-between,” explained Gillard.
Queensland, where he managed a global network
continued to focus on the implications of digital-
State. He is also responsible for the organisation
which LED would be much more than low-energy
Australia. As Vice President of ACS, he won the
Gillard and Lloyd’s 2012 research paper, 2015-
Congress 2010 and managed Young IT and ACS
build and refine services for a new future based on
largest oceanarium, the 43-marine habitat S.E.A
dominates the regional centre of Warwick,
“Illuminating such a large-scale marine habitat is
several projects, including a college and a public
undertakings. Failure leads to loss of sea-life and
The Spectrum Apartments, commissioned at
“Research, sourcing, testing, modelling and
commercial spaces and features four three-storey,
scale in this environment was a world first.”
Group completed the lighting scheme for this
Mark Lloyd as a new business partner. Lloyd is
Affordable Housing award for excellence in 2017
member of the Australian Computer Society
Residential Design (Lighting).
the lighting industry, he designed and invested in
winning more awards than years of operation and
Before entering the world of lighting, Lloyd was
We do affordable housing to the glamour end and
Premier and Cabinet, amongst other agencies in
Amid architectural lighting projects, the group
and the biggest ICT outsourcing service in the
friendly LED and the unfolding Internet of Light, in
of numerous ICT-based events and societies in
and long-life illumination. Predictions made in
rights for Australia to host the World Computer
2024, continue to materialise, and together they
The Gillard Group recently completed lighting
designs for 24,000sqm of the Brisbane Convention and Exhibition Centre, and the head office for an international retail chain. It also commissioned lighting for the foyer of the Ovolo Hotel. The
ubiquitous smart LED. Driving this investment was the realisation of the risks and benefits faced by clients and the environment.
“LED saturation builds a global Internet of Light and photons have too many advantages over
electrons. Despite some challenges, as the Internet
The all-new Vode ulo. For wherever work takes you. A surefire way to get stuff done is to break big tasks into smaller pieces. Thatâ€™s the idea behind ulo, a light with an ingenious system of mounts and anchors that lets you attach it to tables, walls, shelves â€” wherever you need it. Color temperature and brightness are adjusted with a wave of your hand. All this plus 456 lumens of output, 2700-5000K CCT and 94 CRI have the industry abuzz.
of Everything unfolds, all roads lead to light –
LED luminaires herald a paradigm shift in lighting
interconnected smart LED will be a dominant
possibilities, the Gillard Group established LaaS.
services, especially the Internet,” she explained.
explained Gillard. “LaaS requires significant
Gillard Group chose an alternate path that allowed
nothing is faster or provides more spectrum,” As a working solution to this shift in LED
“From 2013-2015, we built our LaaS offer,”
thought and production of many artefacts. We also knew LaaS would be adopted by manufacturing,
and will underpin the Internet of Things. Soon,
gateway to connecting physical spaces with digital In order to help their growing LaaS community, the the community to make informed decisions and retain their purchasing autonomy.
technology, energy and telecommunications
“Our clients can choose any product or energy
The results are spectacular. One client, for example,
suppliers also have large overheads, and some
from energy and bulb-turnover savings alone. Under
companies. These suppliers would leverage their “Most solutions, however, will be proprietary. Many
supplier and buy and consume only what they need. will save around $100,000 per annum for ten years
may gouge clients’ savings generated by energy
our LaaS, more value is retained by the client,” she
non-lamp replaceable luminaires, which have
As a package, Gillard’s LaaS includes lighting design,
reductions from LED implementation. Others fit downstream consequences for many clients.
For many LaaS suppliers, lighting is not their core
wholesale product pricing, economies of purchasing scale, asset management, product maintenance,
business and some clients may receive sub-optimal
warranty management, a capital rollover
that LaaS hinges on sustaining trust and value.
Gillard described its benefits and how the service is
lighting designs,” she added. Gillard’s take-away is “Globally, conventional lamps are being banned or phased out. LED is the future of artificial
illumination – conversion is inevitable. LED is a
totally different lamp type. LED is complex, low-
energy, digital-friendly and requires management to optimise ROI and maintain compliance. Smart
programme and expert support services and advice. implemented: “Our LaaS deals with variable quality
LED, maximises energy savings and reduces volumes of luminaires. We position the client to make
informed decisions about their lighting assets and
relevant new light-based technologies and services into the future. Moreover, we are working with
This Page The Ovolo Hotel in Brisbane portrays bold modern colours in the entrance lobby, with lighting used to illuminate unique sculptures and wall art, while also creating an inviting and chic atmosphere. Next Page The S.E.A. Aquarium, Resorts World Sentosa, Singapore. At the time, it was the world’s largest oceanarium, viewing panel and aquarium. Illuminating such a largescale marine habitat was one of the world’s most complex lighting design undertakings at the time. Failure would have lead to loss of sea-life and commercial stress.
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Custom made Conversion to LED technology
â€œSmart LED luminaires herald a paradigm shift in lighting and will underpin the Internet of Things. â€? Jenni Gillard, The Gillard Group
clients, accountants and technologists to develop
sees their product independence as a source of
“We harvest and mine data, analyse it, distill it
Federal Government research and development
clients manage their lighting investments,” she
The cloud-based MinMin Light System is designed
“Our LaaS provides long term surety and direction,
Inspiration behind its name originates from
compliance risk and aesthetic improvements
light phenomenon, where people have claimed
Reflecting on client outcomes, Lloyd commented:
because they can see the future state of their LED
Bryan Wain designed and built the core system
“The greatest obstacle to our LaaS is Australia’s
into managed assets and generates, for example,
minimum LED standards relative to the northern
projections and benefits realisation analysis.
“According to Statista, global LED saturation will
proposition, Mike Goodman became the newest
traditional lamps, rising energy costs and new
Goodman is a strategic thinker, corporate
The team also partnered with 1ICT, a progressive
Gillard Group will be ready to help many more
enhance MinMin through 2019. Satish Naidu,
technologies and avoid surprises from accelerating
beautifully constructed and we are delighted to
“We will also look for partners to grow our LaaS
a Service,” concluded Gillard.
our MinMin Light System to deliver even greater
strength in turbulent times.
“MinMin is so advanced it qualified for generous
and provide it in an interactive format to help
support,” she added.
to be offered as Software as a Service (SaaS).
progressive reductions in energy costs and
Queensland Aboriginal folklore about the MinMin
commensurate with the client’s means.”
to witness fast moving coloured light balls in the
“The solutions’ package empowers our clients
Gillard, Lloyd and Chief Technology Officer
lighting investments now.”
of MinMin. The system turns a light portfolio
slow uptake of LED and commitment to
a forward replacement schedule, cash flow
hemisphere,” noted Goodman.
In 2017, to strengthen the Group’s LaaS value-
reach 61% by 2020. Eventually the phase-out of
member and third Principal of the Gillard Group.
smart light-based services will force change,” he
management expert and accountant.
When that change accelerates in Australia, the
fast-growing tech company. 1ICt will further
businesses secure value from LED and related
CEO of 1ICT added: “The MinMin Light System is
accelerate and support its development into the
business offshore and sell MinMin via Software as
Managing large installed LED portfolios is a driving
force behind MinMin’s conception, and Gillard
Left The Mitchell Fine Art Gallery, Brisbane. The Gillard Group were asked to create a lighing scheme suitable for the gallery space ready for its grand opening in August 2015. Right Board meeting with The Gillard Group. (L-R): Mark Lloyd, Satish Naidu, Jenni Gillard, Mike Goodman, Anthony Given.
Featured lights: Mashiko 400 LED
â€“ 9-14 April 2019 Hall 13 Stand G22/26 Milan Fairgrounds Rho, Milan
The Great Debate KSLDâ€™s work on the Scottish Parliament Debating Chamber has earned the Scottish firm a lot of plaudits. We spoke with Kevan Shaw, founder of KSLD, to learn more about the new lighting scheme.
PROJECT DETAILS Scottish Parliament Debating Chamber, Edinburgh, UK Client: Scottish Parliament Corporate Body Lighting Design: KSLD, UK Architect: Lee Boyd, UK Photography: David Barbour (unless stated otherwise)
Pic: Scottish Parliamentary Corporate Body
Above The new lighting scheme, developed by KSLD, provides soft but high levels of light in the Scottish Parliament Debating Chamber, while the custommade fixtures help to showcase Enric Miralles’ original architecture.
n the heart of the Scottish Parliament
(KSLD) was brought in to replace the previous
Debating Chamber. Located directly
based designers’ aspiration for the project was to
building in Holyrood, Edinburgh is the
lighting and create a new scheme. The Edinburgh-
above the Main Hall, it is purpose-
“create a lighting design solution as rare in
built to meet the needs of the Parliament, the
concept as the architecture itself, while achieving
The modern space, finished in oak, sycamore and
Miralles’ vision for the new Scottish Parliament.
without being broadcast continuously, the
structure. Made from reinforced steel and oak
parliamentary business. Such demands, combined
by 112 unique stainless steel nodes or connecting
meant that the previous lighting arrangement was
no need for supporting columns in the 1,200sqm
KSLD, explained: “The idea in the original scheme
A huge window, made up of 1,000sqm of laminated
but there were limitations in this because of the
chamber. Each panel has a sycamore veneer layer,
speaking looked like cardboard cut-outs because
of glass, and features distinctive cut-out shapes
“It was also a pain to maintain; you couldn’t get to
people and as such, give a human scale to the
lamps, they were only getting a year out of them
Despite being a relatively recent building - it was
“The way the lighting worked was pretty poor as
existing lighting in the Debating Chamber was
there were real problems with sunlight coming in,
of metal halide lamps, was now obsolete.
and making the cameras go doolally.”
public and the media.
all possible innovations to support parliamentary
glass, provides an impressive centrepiece for Enric
Because Scottish Parliamentarians cannot sit
The chamber is dominated by an impressive roof
chamber is effectively a TV studio during
laminated beams, the roof beams are held in place
with the architectural features within the chamber,
joints, made in Aberdeen. This means that there is
not fit for purpose as Kevan Shaw, founder of
was to use three-point lighting across all the seats,
glass panels, spans across the west wall of the
balcony in the back; people at the back who were
sandwiched in horizontal strips between two layers
they were front lit against a dark background.
that were intended by the architect to signify
the fittings, and because they were metal halide
before they lost output.
officially inaugurated in October 2004 - the
well. Because of the large, west-facing window,
reaching the end of its life and, because of the use
casting shadows everywhere, blinding everyone
As a result of this, Kevan Shaw Lighting Design
KSLD’s brief, therefore, was to review the former
“[Mike Stoane Lighting] went above and beyond the call of duty, under some very trying conditions, especially the time-frame.” Kevan Shaw
Above The Mike Stoane Lightingdeveloped fixtures reflect the plan-form of the chamber itself, therefore locking the pendants into the architecture. The light guide extractors within the stepped acrylic ‘wings’ are designed to replicate a recurring graphic silhouette that features throughout the architectural language of the chamber, with each intending to represent the number of sitting MSPs.
metal-halide lighting and daylight ingress to
height, they achieve the required lighting
the Scottish Parliament (MSPs) and the
the new fixtures means that, where previously only
cameras also meant that the lighting had to be
illuminates the whole volume of the space.
of the demands of the space, the only window to
architecture of the chamber through light guide
- a period of just six weeks.
‘leaves’. These extractors appear as abstracted
three options: install LEDs into the existing
MSPs, and are derived from the recurring graphic
in place, or create an entirely new scheme. After a
architectural language of the chamber.
in which KSLD mapped out exactly how sunlight
Stoane Lighting, and Shaw was delighted at the
that a radical concept would better suit the
to ensure the highest quality in the bespoke
Miralles’ original architecture, rather than an LED
“We have worked with Mike Stoane Lighting since
A key facet of this “radical” concept was the
and they went above and beyond the call of duty,
luminaires, created in collaboration with Mike
time-frame,” he said.
of light, suitable for broadcasting, while
things that came up in the construction of the
structure previously obscured by hundreds of
in the acrylic finish, as they were all engineered in
The leaf-like shape of the bespoke fittings not only
to be one thing after another that caused these
outside, but it also reflects the plan-form of the
at me, were being caught by Mike Stoane - they
architecture. The leaf motif gives the fixtures an
whereas a lot of manufacturers don’t do that.”
float across the ceiling of the chamber, as if caught
robustness, factoring in a redundancy, should any
random configuration of the fixtures within the
proceedings. “Each fitting has two strips each side,
improve glare and uniformity for the Members of
distribution. The additional uplighting provided by
broadcasting team. The introduction of new HDTV
the parliamentarians were lit, the new scheme now
upgraded to fulfil broadcasting standards. Because
The fittings are further connected to the
complete the work was during the summer recess
extractors within the stepped acrylic wings of the
This meant that Shaw and his team were faced with
figures, each representing the number of sitting
fixtures, replace point for point what was already
silhouette that features elsewhere in the
series of site trials and time-lapse daylight studies,
KSLD has a long history of working with Mike
passed through the chamber, Shaw determined
lengths to which the Scottish manufacturers went
parliamentarians, the broadcasting team and
they started, so we know them all very, very well,
introduction of custom-made suspended
under some very trying conditions, especially the
Stoane Lighting, that cast soft but high light levels
“This was a super picky project, and there were
simultaneously celebrating the architectural
fixtures such as blemishes in anodising, blemishes
pieces, that weren’t acceptable. And there seemed
connects the interior of the chamber to the nature
quality issues, but these issues, instead of landing
chamber itself, therefore locking it into the
were telling me about it and they were sorting it,
additional, distributive sense, as they appear to
The fittings were also created with a degree of
on a passing breeze. However, despite the apparent
aspect of them fail during parliamentary
complex ceiling structure, in both layout and
four strips in total, and each line has a power
Pic: Scottish Parliamentary Corporate Body
Previous Page Additional backlighting in the form of spotlights and linear fittings from the likes of LightGraphix, Alpha LED and Lightnet were carefully installed into the existing timberwork, helping to remove the “cardboard cut-out” appearance of backbenchers on the HDTV cameras. Above While the leaf-like bespoke fittings, developed in collaboration with Mike Stoane Lighting, appear to float across the ceiling of the chamber, their apparently random configuration within the ceiling structure achieves the necessary lighting distribution for broadcasting standards. Right The recurring motif present on the light extractors is visible on the louvres installed in the large, 1,000sqm window. These louvres help to reduce unwanted glare, while still allowing daylight to enter the chamber.
supply, control gear and an LED strip. There
detailed examination of thermal
the point where tour guides now actually talk
redundancy in place,” Shaw explained.
operating states through DALI dimming
the shape of it, the story of the
them, it’s actually very difficult to tell.
use, allowed KSLD to calculate the LED and
Indeed the chamber has also garnered a lot
the fitting, it’s not visually apparent. So if
were aiming for.
getting shortlisted for the 2018 [d]arc
sections in the course of a week, then over
designed and installed a series of louvres on
prize at the Codega Awards. However, Shaw
not sitting, they can get up to fix it.”
acrylic, these simple, fixed louvres are the
instead saying that he prefers a different sort
spotlights and linear fittings from Mike
Shaw and his team created a digital mock-up
“It’s nice to get awards and external
LightGraphix carefully installed into the
of the way that sunlight interacts with the
“cardboard cut-out” appearance of the
reduces the problematic additional glare,
how much they love the new lighting. Most
Control-wise, KSLD replaced the original
they don’t like it, but to get to the point
as Shaw elaborated: “The original scheme
corporate body, a committee of employees
your face scheme, it’s quite a major thing.
in the ceiling, and we repurposed these to
Architects, who have a continuing role in
story of the chamber, that to me is more
because in six weeks, we couldn’t rewire the
work that has to go on within the building,
Further redundancy measures were
in creating the new scheme - after an
“Everything is programmed so that if the
results have been greatly received by all
failing to off, everything fails to on, so every
“We had the parliamentarians, represented
been thought through, to prevent failure
department, the events team - when there’s
walkthrough tours - and we had the tourism
within the chamber was paramount, and
exceptionally well accepted by everybody, to
are four of these in each fitting, so there’s a
performance and pre-programmed timed
about the light fittings; they tell the story of
“Essentially, it means that if you lose one of
control, on the basis of planned patterns of
Although you’ve taken 25% of the light out of
fitting life of 25 years - a target that they
of attention on the industry award circuit,
they lost a section, or even a couple of
Further to the new lighting scheme, KSLD
awards / architectural, and winning first
the weekend when the parliamentarians are
the window. Constructed of sand-etched
remained humble about the awards success,
Additional backlighting was also added, with
end result of extensive tests and trials where
Stoane Lighting, Alpha LED, Lightnet and
of the chamber and, using a time-lapse study
recognition, they’re not the most important
existing timberwork, removing the
space, were able to create a system that
“I actually got an email from an MSP saying
while still allowing natural light to enter the
of the time, people notice lighting because
scheme with Lutron-controlled DALI lines,
While KSLD worked with the parliamentary
where people notice what’s not a really in
was just switched. We had all the power lines
and parliamentarians, and Lee Boyd
And the fact that it’s become part of the
become DALI lines with minimal re-wiring,
managing the architectural issues and the
valuable than getting awards.”
the lighting designers were given a free rein
implemented into the DALI controls as well.
extensive consultation process, but the
system fails, if the wiring fails, instead of
involved, as Shaw elucidated.
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The need for scene setting or dimming
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PROJECT DETAILS Mayflower Theatre, Southampton, UK Client: Mayflower Theatre Lighting Design: 18 Degrees, UK Architect: Foster Wilson Architects, UK Theatre Consultants: Charcoalblue, UK Photography: Tom Lee
The World’s A Stage As part of a new £7.5million refurbishment, 18 Degrees has created a lighting scheme that celebrates the beautiful architecture of Southampton’s Mayflower Theatre, while creating a comfortable environment for theatregoers.
he Mayflower Theatre in
environment for theatregoers.
theatre by capacity in the UK outside
Knowlton, Director at 18 Degrees, said: “The
Southampton, the third largest
of London, last year marked its 90th
clear that under the original lighting he couldn’t
The renovation project, taking place in a twelve-
auditorium being taken to a martini red, there was
week window starting in June 2018, was extensive, with the theatre seeing a completely new colour
a concern that the low lighting levels would become even lower.
“The overarching project goal was to improve the
move from its previous green colour scheme to a
design was much unchanged since its installation,
heritage of the building.
significant energy. In some areas patrons were
regal red and gold, intended to represent the
audience experience. The theatre’s 1920s lighting leaving the auditorium dimly lit and consuming
The restoration also saw most of the auditorium
finding their seats and reading programmes in just
orchestra pit was moved to below the stage area,
“We set out to create a well lit environment where
seating refurbished or replaced, while the
and accessibility into and around the theatre has also been improved.
read his programme. With the colour of the
scheme introduced throughout. The radical
transformation has seen the Grade II listed theatre
Mayflower Theatre CEO Michael Ockwell was very
anniversary with a new, £7.5million refurbishment.
Previous Page The Grade II Listed Mayflower Theatre in Southampton celebrated its 90th anniversary with a new, £7.5million refurbishment. The lighting design by 18 Degrees was intended to complement the theatre’s new look, while creating a comfortable environment for theatregoers. Above General lighting for the theatre was provided by more than 200 Lucifer Lighting downlights, carefully integrated into the historic fabric of the building, that create a soft, even illumination to the space and increasing illuminance during general, day-to-day use.
Speaking on the initial design brief, Christopher
navigation and accessibility was improved and architecture celebrated.”
London-based lighting design practice 18 Degrees
Layered into this were enhancements to the
as, following consultation with architects Foster
ease wayfinding, and lighting some of the
was appointed as lighting designer for the project
Wilson and theatre consultant Charcoalblue - both companies that 18 Degrees had previously worked with - lighting was identified as a key element
within the refurbishment. Not only to bring the theatre forward in terms of technological
advancements, but also to complement the new interior look and feel, creating a comfortable
circulation lighting used within performances to architectural details within the space that hadn’t ever been lit before. This included elements such
as the dome and sun rises, with the new lighting, provided here by Universal Fibre Optics and
Lumino respectively, revealing the gold leaf, and providing texture to the auditorium’s rich new colour palette.
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Previous Page The transition from backstage to the auditorium itself shows how the rich new colour palette has created a warm, welcoming environment for patrons. Above The refurbishment saw the introduction of a newly-designed orchestra pit. Split into two mechanical lifts, the front four rows of seating can be raised or lowered depending on need. Due to the pit’s close proximity to the stage, beam control was critical, so 18 Degrees designed a series of apertures to project narrow beam LED theatre lanterns, in the form of ETC’s Source 4 fixtures, to illuminate and zone the area accurately. Below An integral aspect of the new lighting scheme was to improve visibility and accessibility for theatregoers, even in low-light conditions, while celebrating the theatre’s beautiful architecture. Linear lighting from LEDFlex was embedded into handrails and arm rests to allow for improved visibility when accessing the walkways.
To create the new environment and pay tribute to the heritage and
architecture of the theatre, 18 Degrees’ design approach was to provide layers of light that would present the auditorium beautifully, yet have subtle
variations in function. This was realised through general, comfort, decorative and accent lighting - a response to the performative nature of the space.
General illumination was provided by the installation of more than 200 new
Lucifer Lighting downlights. Carefully integrated into the historic fabric of the building, after gaining permission from English Heritage, who oversaw the restoration works, this light created a soft, even illumination to the space,
improving distribution and increasing the illuminance during general, day to day use. This means that heritage lighting now only needs to be used for
performances. Dimming, distribution and illuminance levels were all carefully plotted, along with extensive onsite testing for performance and colour rendering.
All heritage lighting within the venue was retained - a key component of the design plans - as 18 Degrees decided to refurbish and repair the fixtures,
replacing the old halogen lamps with Global Design Solutions LEDs. The use of LED lighting throughout provides increased functionality, while ensuring a
more conscious approach environmentally for the venue, leading to a longer term, more efficient lighting solution.
For these heritage fixtures, the original 1930s cabling was concealed within
the architectural fabric of the building. Accessing this would mean breaking into the Grade II listed building, so instead 18 Degrees continued to use this wiring with new LED lamps and drivers especially designed for this application.
New comfort lighting, in the form of nearly 300 new LEDFlex linear lights
integrated into the end of row arm rests and handrails, provides low levels of light during the performance to allow for improved visibility when accessing the walkways. Totally concealed, these linear lights only offer illumination
into the aisles, while the low level of light ensures that patrons are not lit or distracted while watching a show.
The final component of the new lighting scheme was the newly designed
orchestra pit. Split into two mechanical lifts, concealed seats within the pit can be raised or lowered to provide an additional four rows of seating, if needed. Due to the pit’s close proximity to the stage, beam control was
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critical, as Knowlton explained: “As the lighting
performance mode, a touch screen and wall
design a series of apertures to project narrow
control the lights for day-to-day operation.
the area accurately.”
people asking who would ever use all those
scenarios in the auditorium meant the need for a
we had found an ever-growing number of
that the lighting could be controlled individually
the theatrical experience.”
18 Degrees designed and commissioned a control
Degrees had to carry out a series of tests to ensure
controlled, either via touchscreens and buttons,
“The lighting control on this project represented
colour is really about relative contrast, so even
elaborated. “Previously lighting was controlled
work, it’s not until you see it for real that you can
small number of addresses would be used to call
“In an auditorium, light levels are often very low,
change the appearance of colours. It was
specialised drivers, taking the original DMX
and paint finishes under the lighting conditions
individually controlled, which is both a benefit
meant the whole team spent a lot of time looking
like Mayflower, giving an incoming company that
impractical, so a solution was developed with ETC
relationship with Foster Wilson also helped to
with only a small number of DMX addresses when
to work with, developing a palette of materials
was located eighteen metres overhead, it led us to
stations around the auditorium are used to
beam LED theatre lanterns to illuminate and zone
“At the start of the process, there were a lot of
Controlling the many new lighting fixtures and
addresses and what for? By the end of the project,
new state-of-the-art control system to ensure
opportunities to use the house lights as part of
or in groups. Working with Charcoalblue and ETC,
Because of the vibrant new colour scheme, 18
system where every light can be individually
that the new lighting complemented the deep red
or via the lighting control desk.
Knowlton continued: “People often forget that
a huge paradigm shift for the theatre,” Knowlton
when the theory is telling you something should
from a number of dimmers controlled via DMX. A
tell if it works.
up elements such as decorative fixtures or
and dimming between 0-30% can dramatically
“The new all-LED system required many more
therefore decided that we would test all materials
addresses to 365. This allows every light to be
that we would have in the theatre. This process
and a challenge. For a receiving house theatre
at samples in a dark room with the selected
many DMX addresses to control would be highly
The lighting design firm’s close, collaborative
where the Paradigm Control System can operate
yield positive results. “Foster Wilson were great
accessed via DMX. When the theatre is not in
and finishes that were tested under the exact
Top Right The LEDFlex integrated linear lights provide a low level of light, ensuring minimal distraction during a show. Top Left Heritage lighting within the venue was refurbished and repaired, with the old halogen lamps replaced with Global Design Solutions LEDs, increasing functionality, while ensuring a more conscious environmental approach. Above Right Essential to the new lighting scheme was the highlighting of architectural details within the space that were previously unlit, such as the sun rises. The new lighting from Lumino reveals the gold leaf, and provides texture to the auditorium’s rich new colour palette. Above Left 18 Degrees’ design approach for the Mayflower was to provide layers of light that present the auditorium beautifully, yet have subtle variations in function, from general and comfort lighting, to accent and decorative lighting, in response to the performative nature of the venue.
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lighting conditions in the theatre with the new
allowing each show to sit comfortably within.
finishes under the correct lighting, so there were
a response to the architectural form rather than
the first time,” Knowlton said.
However, while Knowlton is pleased with the new
understand each other’s practice, it’s so
from those working at the theatre that he’ll
lighting to ensure that we all agreed on the
no surprises when the lights were switched on for “When you work with collaborators that rewarding, and I think the results show how successful this can be.”
“The lighting supports the space and its function: an imposition on an old building.”
lighting scheme, he said that it was the reaction remember. “There was a beautiful moment
where we got control of the lights for the first
Indeed the end result shows the remarkable
time and could really show off what we had
design perfectly complementing the deep,
“The BBC had been in earlier in the day to film
fresh, yet with a warm, comforting sense of
curtain was lowered. All of the staff who had not
success of the renovation, with the new lighting luxurious new red colour scheme. The space feels
done,” he said.
their restoration documentary and the stage
heritage, while the beautiful architectural
been allowed into the building site for twelve
Knowlton is equally pleased with the final
black stage when the curtain was raised and they
elements are wonderfully celebrated.
product, on both a practical and aesthetical level: “The lighting design functions really well. We
weeks were ushered onto the monochromatic
got a first glimpse of the new colour scheme and lighting. For some it was quite emotional - a
have reduced the energy consumption on a
testament to the way the theatre is run by
providing higher light levels that are more
“Mayflower Theatre and the people who bring it
day-to-day basis, while at the same time equally distributed.
“In such a large space it would be easy to flatten the space with so much light. However, the
integration of lighting into seating and features prevent that from happening, allowing the
building to have an identity of its own, while
Above Working with Charcoalblue and ETC, 18 Degrees designed and commissioned a state-of-the-art control system where every light can be individually controlled, either via touchscreens and buttons, or via the lighting control desk.
passionate members of a huge team.
to life made it very hard not to fall in love with
this project. The Mayflower plays a huge part in local community life, and to have even a small role in regenerating the space has been an honour.”
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Balancing Act Dividing his time between teaching and his architectural practice, Miami-based Jorge L. Hernandez speaks to arc about his exhibit at the Venice Biennale, focusing on the integral role that lighting plays within architecture, both physically and spiritually.
hile the architecture headlines are regularly
dominated by the latest designs for the newest, ultra-modern, up-to-date buildings, there are some in the industry that prefer to pay tribute to the great works of the past.
One such architect is Jorge L. Hernandez.
Based out of Miami, USA, Hernandez is both
a professor and practitioner of architecture, balancing his time
between his eponymous architecture firm, opened 32 years ago, and teaching at the University of Miami.
“I’ve always had one foot in the classroom and one foot on the
sidewalk, so to speak,” said Hernandez when asked of his dual career paths. “I often get asked ‘which one would you keep, and which one
would you give up, if you had to?’ And I always answer the same way,
which is you don’t know what you don’t know - I don’t know another reality.”
Born in Havana, Cuba in 1956, Hernandez emigrated to Miami in
1962, and completed his Bachelor of Architecture from the University of Miami in 1980. He then went on to the University of Virginia,
where he studied design and architectural history and completed his Master of Architecture. Following graduation, Hernandez was asked
by the Dean of the University of Virginia to stay on and teach, which he did for two years, before moving back home to join the faculty at
the University of Miami as a professor of Architecture - where he still teaches to this day.
Owing to his multiple commitments, Hernandez’s architectural practice remains relatively small at ten people. As such, a lot
of his work is done collaboratively, as he explained: “On larger
projects, I’m brought in to do the conceptual work, then stay on in a supportive role to ensure that the design is faithfully executed. I
don’t want a firm of 120 people. I want to still be able to go in and out of the classroom.”
Pics: Carlos Domenech unless stated otherwise
Previous Page Jorge L. Hernandez speaks to the media during his exhibit at the 2018 Venice Biennale, where he and close friend and long time collaborator Carlos Domenech were selected to exhibit as part of ECC’s Time Space Existence exhibition. Above Left Over the last 30 years, the majority of Hernandez’s portfolio has been residential projects, such as the Scharlin residence in Hernandez’s hometown of Miami. Above Right Alongside his residential work, one of Hernandez’s main passions is in heritage work, both as an advocate and an architect. This has seen him work on the renovation of the Fewell Gallery: an historic municipal building in Coral Gables, Florida, that was transformed into a museum.
Despite the firm’s small size, it hasn’t limited
he has a ‘signature style’ - a term that he isn’t
on, although he concedes that over the course of
a range of projects from different eras has had a
been residential projects. That said, he has been
work as well.
the design of a new courthouse in Williamsburg,
We seem preoccupied in labelling architecture
churches and synagogues, ensembles of large urban
been understood. When you work in heritage,
municipal building into a museum.
expressions,” he explained. “In the face of
main passions - heritage work. Something he has
see a commonality in the dedication to detail, the
been very involved in heritage work across the years,
across the ages as a function of problem solving by
opened other doors,” he explained.
“We can learn from this, even though we might
academic work and the professional work by
delving deeper, studying works of heritage, peeling
I’ve travelled with my students to many places, for
the buildings of the past are always informative
that were affected by Hurricane Sandy. The twelve
architecture to time and its passage has very much
form a framework around which the city of Santiago
This approach means that for Hernandez,
Monument Fund Watch, and we’re now working on a
something that will last, rather than about
“Heritage work is rich by nature, and by definition
appearance repeated with each project. “It’s more
students learn by the application of knowledge.
fit, where one decision now will have a ramification
at the boundary between academic work and
“I call it proactive stewardship: our actions now are
Because much of Hernandez’s work is based on
that a building can be looked after with minimal
the type of project that Hernandez has worked
particularly fond of - however, working on such
the last 30 years, the majority of his portfolio has
profound impact on Hernandez himself, and on his
able to develop a diversity of projects, including
“I dislike the word ‘style’ in its current usage.
Virginia, a number of religious structures, including
before the perspective garnered by time has
buildings in Miami, and the renovation of an historic
you’re exposed to many different architectural
This renovation ties into one of Hernandez’s
excellence, regardless of what period, you start to
implemented across both aspects of his career. “I’ve
logic of construction and innovation, which happens
as an advocate and architect; and that work has
“I’m very interested in cross-pollinating the
not be in the same place and time. If we keep
exposing the students to heritage stewardship.
off layers and getting at the core of its idea, then
example to Santiago de Cuba, to work on churches
and alive. I’d like to think that relationship of
colonial churches and their corresponding plazas
influenced my work.”
was built. We nominated these to the World
architecture is more about context, and building
300-year-old synagogue in Curaçao.
implementing a particular signature aesthetic or
cross-disciplinary. In engaging real world exercises,
about a comprehensive notion of sustainability and
When appropriate, I try to position the student
well into the future.
a form of stewardship because you’re taking care
heritage projects, it’s hard to determine whether
investment for a long time.”
Top Left The role of lighting and natural light has always been prevalent in Hernandez’s work, something he ascribes to his childhood in Cuba. Hernadez believes that light is “a constant in architecture” that can be used “as a chisel” to “hollow out the voids of a great edifice with laser sharp penetration”, as shown in this beautiful blend of light and shadow in the Hidalgo residence, in Pinecrest, Florida. Top Right The S. Levin Residence in Miami, Florida. Above Left A model of the James City County Courthouse in Williamsburg, Virginia. Because of the requirement to fill the courthouse with natural light, without using of windows, Hernandez incorporated three shared light wells into the roof, that evenly distribute a soft, filtered natural light across five courtrooms. Above Right The Stein Residence in Key Biscayne, Florida.
Hernandez’s assertion that we can always continue
year students or graduate students, is that their
further element that fuses his professional work
of studio teaching, of architectural education, is
an architect should be humbled before a building
through problems together, you work in dialogue,
care so yet another century can be added to its life.”
them, and really wonderful for me.”
instil in his students, as he elaborated: “It’s really
overriding ‘signature style’, the role of lighting,
fundamentals, which is another way of saying to
prevalent. Hernandez ascribes this to his childhood
project, so that what you start with can be sustained
tower, built by his grandfather and two great uncles,
“I’m interested in the ethical concerns that govern
“In my memory, the light was always crystalline
can guide the students’ development. At the same
tropics, it’s hard to avoid an awareness of the quality
“I try to guide them to that space of understanding
thinking about light in architecture, and it’s one
points. So by the time they’re at graduate level
“I think of light as a chisel that can hollow out the
voices more clearly, develop their own ideas and
constructing the beautiful voids of architectural
collective search for answers.”
character or context, regardless of which inflection
source of joy for Hernandez, not only in shaping
It ties us to a place, in the grand scheme of things.
is doing at the time of year, of day; when I look at
about entering the classroom, whether with first
handled and manoeuvred.”
to learn from architecture, no matter its age, is a
minds are supple and open. And I believe the nature
with his teaching. He believes that “if nothing else,
not strictly a hierarchal model at all. So if you think
that dates back 100, 200 or more years and needs
the experience is a collaboration, which is good for
However, it’s not the only message that he tries to
Throughout Hernandez’s work, while there is no
important to reduce everything to the point of
and in particular the use of natural light, remains
get to the radical essence, the origin, the idea of a
in Cuba, and the large, Bauhaus-esque residential
in which his family lived.
the act of building today, and how those concerns
there, and having lived most of my life in the
time I always try to find their voice and encourage it.
and power of light. Very early on in my work I started
common principles as seen from individual vantage
theme that will continue to be important.
coursework, I’m coaching them to hear their own
voids of a great edifice with laser sharp penetration,
become more aware of their individuality in the
space. Light is a feature that, regardless of style or
This interaction with younger minds is a great
the occasion calls for, is a constant in architecture.
their future but also to provide new perspectives for
When I travel now, I’m very aware of what the light
“People ask me how I split my time. The good thing
buildings I’m always analysing how natural light is
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Left The St. Marie Del Carmen church in Santiago de Cuba, part of Hernandez’s restoration work in the Cuban city following Hurricane Sandy. Above Hernandez and Domenech’s exhibit at the Venice Biennale was divided into three ‘chapters’: City of Shadows, which featured a selection of Domenech’s work; Architecture is Made of Light, created by Hernandez; and a collaborative chapter entitled Light Box, that looked at the work Hernandez carried out, alongside Domenech and the University of Miami, regarding the recuperation of the colonial churches in Santiago de Cuba.
Hernandez’s approach to light was evident for all to see at the
sacred space. In that case, the association is obvious, and rich, and
time collaborator, photographer Carlos Domenech, was selected to
There are times though when it is not as clear, like in the case
2018 Venice Biennale, where he, alongside close friend and long
exhibit as a part of ECC’s Time Space Existence exhibition. Although
each chosen separately, the pair decided to collaborate on one joint space. Divided into three ‘chapters’, the first featured a selection
of Domenech’s work entitled City of Shadows, the second, created by Hernandez, was called Architecture is Made of Light, while the
final ‘chapter’, Light Box, was more collaborative, featuring the
you have a wealth of material to play with.”
of the Williamsburg courthouse, a commission secured from an international competition entry. Hernandez explained: “There
was an interesting requirement in the program brief that stated a
preference for natural light in the courtrooms, but discouraged the
use of windows for security reasons. It seemed like the Riddle of the Sphinx.
heritage piece that Hernandez, Domenech and the University of
“Solving that problem is what gave rise to the architectural solution
churches in Santiago de Cuba following Hurricane Sandy.
into five courtrooms distributed on two separate levels. Inside the
installation was divided into three separate sections, as he explained:
Since creating the installation at the Venice Biennale, Hernandez
also corporally, sensually, by the wondrous incorporation of light in
commission can promote a novel handling of light”.
“The second idea looked at light being the intellectual agent of
the purpose, place and meaning of each commission.”
it hollows out space, which is the centre point of architectural
design, as a “chisel” that opens up a space, is something that
The third section focused on the spiritual concept of light, as evident
“This is among the ethical concerns, the question we must continue
communities have built, we realise that stewardship is a form of
heritage and the heritage of nature’s resources? And I think the
he continued. “When restoring an old building, you decipher the
architecture participates in our natural resources. As architects, we
community’s values, discover the patron’s intent, participate in the
that brings with it, those are occasions for elevated thinking.
involves care which connects to others across time and space, that is
it has also included concerns with efficiency, and the use of surface,
This spiritual dimension of light is an area that Hernandez feels
tradition and all without necessarily predicting the absence of joy in
that can be harnessed and celebrated, particularly in sacred work,
“That’s the big picture, that’s what we have to figure out as
“Whether you’re talking about a mosque, a church, a synagogue, a
Miami worked on together regarding the recuperation of the colonial
of bringing an unseen source of top light via three shared light wells
The narrative for Hernandez’s Architecture is Made of Light
courtrooms, the soft, filtered light became an allegory for justice.”
“The first engaged the physical aspects of light, not just visually, but
revealed that he is now much more aware of “seeing how every
all sensory ways that architecture participates in.
“The question is how to appropriately fit the handling of light with
architecture, which leads to the ‘light as a chisel’ analogy, in that
This approach, of considering light as an integral part of architectural
Hernandez believes should be shared amongst his fellow architects.
in works of heritage. “In being mindful of places that human
to ask. How do we build by equitably sharing our inherent cultural
engaging in a very intimate relationship with others across time,”
search for the answer is true not just for light, but in all ways where
designer’s thoughts, restore the craftsmen’s skill, understand the
have a responsibility when interacting with the Earth, and everything
history of the generations of occupants, and more. Heritage work
“In my work, very directly it’s been my tripartite study of light, but
its spiritual dimension.”
winds and local weather patterns, recycling, frugality, abundance,
is more apparent in some projects than others, and is something
architecture. The list is endless.
“because of the metaphor of light and divinity, regardless of faith”.
architects, and more than architects, as communities.”
temple, there has always been this analogy of light and divinity in
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human centric lighting
Human Centric Lighting The New X Factor? Following a workshop held at last year’s [d]arc room, Asst. Prof. Dr. Karolina M.Zielinska-Dabkowska IALD, IES, CIE, MSLL, RIBA, reflects on the known and unknown aspects of Human Centric Lighting (HCL).
Figure 1 The Human Centric Lighting workshop at [d]arc room, featuring (L-R): Mark Ridler (Director of Lighting at BDP), Stephen Lisk (President of CIBSE), Rebecca Weir (Creative Director at Light.iQ), Iain Carlile (President of the SLL) and Dr. Karolina Zielinska-Dabkowska (chair of the event, a practicing lighting designer, researcher and educator) Pic: Sarah Cullen
e live in challenging times, and one could
industry and their best practice?
in lighting with LED technology taking over
humans to obtain approval, and it might take ten to fifteen years
even claim we’re experiencing a revolution
the world. Part of this rapid change involves a concept called Human Centric Lighting
(HCL). At last year’s Light+Building, it was the buzzword, with nearly every second
manufacturer’s stand claiming they had figured out the special
formula necessary to create perfect HCL illumination. But how can
such claims be legitimate when we know so little about the full and
complex impact of artificial lighting on human biology, let alone how to responsibly apply this new approach?
Many experts in this area of research are aware that their knowledge is still fragmented, that they don’t have the whole picture and thus, are unable to draw final conclusions that can guide the design and
implementation of responsible LED lighting. This includes Dr Russell Foster from Oxford University: the neuroscientist who, with his
team in 1991, identified the eye’s third photosensitive cells, called intrinsically photosensitive retinal ganglion cells (ipRGSc) whose function, unlike that of rods and cones, is unrelated to vision. He
recently stated: “We can’t develop human-centric lighting until we
know what impact light has upon human biology across the day and night cycle.” Also according to Dr. George Brainard, a well-known
researcher in the field, “light works as if it’s a drug, except it’s not
a drug at all,” so if this is the case, why don’t we follow the medical
All modern medication requires various testing on animals and
or more to complete all three phases of clinical trials before the
licensing stage, whereas, with lighting, we have omitted this stage. Rather than apply the precautionary principle, we allow ourselves and our clients to be unwitting guinea pigs without knowing or
even anticipating the long-term consequences. Are we as lighting designers practicing medicine without a licence?
There are several reasons why our understanding of the impact of
light on the human body is so limited. Firstly, the discovery of new
photoreceptors is relatively new; less than two decades, and there is insufficient interdisciplinary research in this area.
Secondly, we’ve grossly underestimated the powerful influence of light on biology and therefore incorrectly assumed lighting plays a minor role in health and wellbeing. Now we know the opposite is true, we need to be more resourceful in our research because
medical ethics prevents direct study on humans (unlike other animal subjects, researchers cannot, for example, induce rod and cone loss to investigate the ganglion cells in humans, neither genetically
nor with chemicals). We do know from numerous research on test
animals and the information obtained, that artificial light at night can have serious negative effects, including alterations to the
circadian clock, patterns of behaviour, or biochemistry, as well as an increase in various diseases.
human centric lighting
What’s become obvious in recognising the limits of our understanding about this topic, is just
how complex it is to mimic natural light, and that far more research is required to identify what’s needed to apply artificial lighting safely and effectively. This is why the Human Centric Lighting
workshop, held during [d]arc room on 19th September 2018, took place – to initiate the important
discussion between UK-based lighting practitioners, representatives of established lighting bodies, lighting industry partners and the general public.
The panel featured Mark Ridler (Director of Lighting at BDP); Rebecca Weir (Creative Director at
Light IQ); Stephen Lisk (former President of SLL and current President of CIBSE) and Iain Carlile
(Associate at dpa lighting consultants and President of the SLL) and also included myself as chair of this discussion, a practicing lighting designer, researcher and educator (see Fig.1).
If one had attended this event and expected a clear and obvious solution, they might have left
disappointed, as the focus was on the known and the unknown aspects of HCL. As indicated by
the sheer number of participants, including John Lincoln of LightAware (a registered UK charity
dedicated to supporting light-sensitive people), as well as numerous comments from the audience, it was obvious this subject is a serious challenge for many.
To further complicate matters, lighting practitioners, responsible for designing artificial lighting are overwhelmed with recently developed metrics such as: circadian action factor, melanopic sensitivity, melatonin suppression index, circadian light, etc., and they need clear guidance
on which ones to use and why (see Fig.2). In Europe numerous associations with various task
groups including SLL, CIBSE, and CIE are working around the clock on appropriate guidelines and standards; and overseas, IES is doing the same. But without proper, repeated long-term research involving humans of different ages, sex and sensitivity towards LED artificial lighting, all the proposed metrics might be just guesswork.
Figure 2 The above diagram indicates the potential complexity of artificial light on humans, involving many interconnected factors that create a cascade effect. © Shutterstock
The Definitions Human Centric Lighting (HCL) is defined by LightingEurope as a type of lighting that “supports
the health, wellbeing and performance of humans by combining visual, biological and emotional benefits of light”. This is achieved by dimming and a change in Correlated Colour Temperature
(CCT) of a smart light source (most likely an LED), to mimic the appropriate levels of irradiance
and spectrum of sunlight throughout the day. But how can this be achieved to a satisfactory degree when daylight constantly changes?
If we look closely at the whole HCL concept, gaps in our comprehension become obvious. How
can we confidently claim to replicate daylight/sunlight and therefore provide its many benefits
without taking into consideration all of its known components including: light intensity, timing,
duration, spectral power distribution, irradiance, the angle where light comes from, and perhaps
also even the variation of light due to different seasons? We also need to be aware that just like with the discovery of ipRGSc in the human eye, there may also be important aspects of our biology and factors regarding the properties of sunlight that we haven’t yet considered or even know exist.
LED lighting technology has been designed to reduce energy consumption, and therefore minimise global warming, but there are certain inherent shortcomings with this technology as well as a
great deal of misunderstanding about the unique characteristics of light produced by LEDs, that directly conflicts with the core principle of HCL. For example, the most energy efficient LED
lighting produces blue-rich white light. While the CCT of a 6000K LED may appear similar to the
bright light of midday, the actual spectral power distribution (SPD) is noticeably different to natural
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human centric lighting
sunlight as it lacks infrared wavelengths and also has a trough
and obligation to ensure the lighting provided by professionals is
different, so it cannot be compared. Even with LEDs that emit less
an important ethical issue that cannot be ignored”.
in red wavelengths of light. Therefore, its biological effects are
blue wavelengths of light and appear warmer to the human eye (for
instance 2400K), important parts of the spectrum present in natural sunlight are still missing. It’s short-sighted to focus on changing
the CCT of luminaires, especially when it’s a limited and insufficient metric. We should pay attention to the spectral power distribution (SPD) of a light source as this provides information about its light spectrum. As mentioned before, certain parts of the spectrum
safe and effective because designing healthy lighting “is becoming There is hope. CIBSE’s environmental team and SLL in the UK, are
currently working together on guidelines and memorandums related
to HCL. For example, Technical Memorandum TM-40: “Health Issues in Building Services” is currently under review. There is also an
RLRCL Report that describes an initial Literature Review on Circadian Lighting, which was updated with new research in 2018.
present in natural sunlight that benefit our biology, are absent with LED technology. We also need to consider that due to the ‘rebound effect’ humanity is now using far more energy to illuminate our
surroundings than we did before the advent of LED technology (as
Table 1. Impact of artificial light on humans from modern light sources such as LEDs, based on available scientific research © K.M. Zielinska-Dabkowska What we already know
What we need to learn
we need to accept that the less lighting we use at night the better,
There is a new non visual photoreceptor type in the human eye named intrinsically photosensitive retinal ganglion cells (ipRGCs) unrelated to vision, which have a different function to rods and cones
The exact number and location of new photoreceptor type in the human eye
appropriate SPD, is evenly distributed, and dimmable.
Light that reaches the human eye has visual and non-visual effects - with the latter influencing our biological clock
How ipRGCs communicate to rods and cones and why?
Light has an impact on physiology of humans
The long term impact/effects of different lighting conditions
the human circadian system”. The word circadian comes from
We’re aware of irradiance and that this new receptor is sensitive to it, but our knowledge is still fragmented
The dose (how much is enough or too much in terms of light irradiance)?
‘day’. Circadian rhythm is approximately a 24-hour cycle in the
physiological processes of living organisms that involves exposure
We’re also aware of the light spectrum, and that this new receptor is sensitive to specific parts of it, but our knowledge is still fragmented
Which light frequencies should be avoided (having potentially deleterious effects) and which ones should be present due to their positive effects
the only sources of light being the moon, stars and planets. The
Exposure to light has an affect on people
The impact based on age (young children, adults, elderly)
Exposure to light has an affect on people
Impact on Chronotype. (People are different ‘chronotypes’ - ‘larks’ or ‘owls’ - and lighting affects each group differently. One third of the world population has a different circadian rhythm)
Exposure to light has a significantly adverse affect on some people (approximately 1% of the population experiences hypersensitivity)
Impact based on specific light spectrum frequency. Which light frequencies should be avoided (due to potentially deleterious effects) and which ones should be present due to their positive effects
Exposure to bright light containing the blue part of the spectrum at the beginning of the day can have a stimulating impact on the body clock, and can promote alertness
The exact wavelength of spectrum, timing and duration
Exposure to light with the blue part of the spectrum in the early evening can stimulate wakefulness and disrupt sleeping patterns during the night
The exact wavelength of spectrum, timing and duration
Approved metrics and tools are required
What are the best tools and metrics to apply
this form of lighting is now cheaper, we use more of it, and we also
light up areas that were not lit up before). If we are to embrace HCL, that it’s well positioned, and that the light it emits has the most
An alternative term often used to HCL is Circadian Light or Circadian Lighting, as “spectrally weighted retinal irradiance that stimulates the Latin circa, meaning ‘around’ or ‘nearly’, and diēm, meaning
to light during the day and darkness throughout the night, with very term ‘circadian light’ is an oxymoron, and more accurate
terminology is needed to describe what we are doing or should be doing with artificial lighting.
Based on the above, I would like to propose a new term: Research Informed Human Light (RIHL) which more accurately describes benign light for humans in interior spaces, applied by lighting
professionals based on solid knowledge and research. This type of
lighting follows the natural patterns and properties of day and night. During the day, natural light via windows and skylights should be provided and only supplemented with artificial light where there is insufficient daylight available. Such light is of a continuous
spectrum, brighter compared to natural early evening light, tuned to what is outside and from above. In the early evening, the rule should be warm white lighting with a colour temperature below
3000K, and as little blue light in the spectrum as possible. Ideally,
at night, artificial lighting should be kept to a bare minimum with a recommendation of light with a spectrum greater than 600nm (amber, red colour). All forms of this lighting at night should be
indirect, preferably positioned at a low level, flicker-free and also dimmable.
The challenges for lighting designers As our clients follow multimedia and become more knowledgeable about the impact of natural and artificial light on their health,
wellbeing and productivity; they want to apply this new knowledge, supported by technological advancements in LEDs, in their
projects. They are given promises by lamp, luminaire and control manufacturers, based on claims that HCL can solve all sorts of
problems (without understanding the complexity involved), and often they want to achieve circadian credit from WELL Building
Standard (a performance-based system for measuring, certifying,
and monitoring features of the built environment that impact human health and wellbeing, through air, water, nourishment, light, fitness, comfort, and mind).
This means discrepancies result between the client’s expectations and what professional practicing lighting designers can actually
deliver based on scientific knowledge. We have a moral responsibility
Conclusion: What are the next steps and action plans for the future? The lighting community needs to acknowledge health and wellbeing as a major principle in engineering and the design of light and
lighting systems – Primum non nocere (ang. first, to do no harm).
Additionally, we must recognise that the effect of lighting on human health based on current research is not fully understood, and accept
too, that its complexity requires further discussion and the necessary means to better understand it, necessitating financial support to
conduct such independent research, the application of appropriate research tools and development of methodologies used.
It’s imperative we come together to define what is required in terms of design related questions (too many researchers and scientists from academia conduct research studies without being aware of what’s needed by lighting professionals). As LED technology is constantly evolving, relevant questions need to be framed in a
practical fashion in the form of applied research. Respected Model for Applied Research Collaboration (MARC) (see Fig. 3) between Lighting Professionals (1), Professional Associations (2), the
Lighting Industry (3) and Academia (4) need to be established.
S E E U S AT L I G H T FA I R B O O T H - 1 4 2 5
2/27/19 3:16 PM
human centric lighting
resource for future research developments of MARC.
– To collate peer reviewed documents using current interdisciplinary, independent research, so lighting professionals have something
to refer to that backs up their decisions, and informs clients of the latest research.
– To connect the lighting industry with academia to create access to funding, and also provide academia with questions that needs to be answered.
Proposed actions to be taken by academia: – Scientists and researchers from different fields of academia need to be involved in research to allow complex understanding of different interrelated aspects of light and lighting.
– Peer reviewed research must be generated. European Commission will only change their polices if there is evidence that proves or disproves certain research theories/hypotheses.
Figure 3 The Model for Applied Research Collaboration (MARC) based on four key partners in the Lighting Community © K.M. Zielinska-Dabkowska
Proposed actions to be taken by the lighting community: – To prioritise research in different areas and identify the most
Proposed actions to be taken by the lighting industry: – To create a pool of various LED lamp manufacturers that have a
joined approach to research (commercial advantage) with a shared
outcome, as this provides more resources for lighting professionals and academia.
A Nobel Prize should be awarded to those who discover the key to
forms of artificial lighting.
incandescent illumination provided as close to a perfect form of
– To accept and acknowledge that natural light is superior to all – To encourage sharing and promote events such as Light
Symposium Wismar, Stockholm (lightsymposium.de), and
educational platforms/Consortia such as LLRC (www.LLRC.edu.
com) etc, and use them as vehicles to network and spread the latest available knowledge for best lighting practice.
– To establish how research funding can be matched with academia and the lighting industry.
Proposed actions to be taken by lighting professionals
healthy artificial lighting. One day soon, we may realise/admit that light as we’ve come – and that perhaps we made a grave error in
banning it, in our rush to save energy and embrace LED technology
with its many shortcomings. For now, we must ensure the necessary research is undertaken to develop recommended practices to
support our responsibilities as lighting designers and to focus on making LED lighting safer and healthier.
For a full list of references, visit www.arc-magazine.com/human-
– To prioritise research in different areas and identify the most urgent issues.
– To be involved in/oversee professional, independent,
interdisciplinary research that will enable the design community to answer clients’ needs.
– To educate the public and build on growing public awareness of this
Asst. Prof. Dr. Karolina M.Zielinska-Dabkowska
– To understand the influence of culture on lighting preferences and what kind of impact it might have on overall health and wellbeing.
For example, Asian people often prefer bright, cooler light at night compared to Europeans.
– To seek collaboration with RIBA, as architects have the most profound impact on daylight design in buildings.
– To ensure healthy lighting is prioritised on the agenda of Governmental bodies.
– To find people who can translate the needs of lighting professionals into a series of academic questions that can then be collated to produce documents a layman understands and finds useful.
Proposed actions to be taken by the professional associations – Professional associations such as IALD, CIBSE, SLL, IES, CIE should be involved in identifying what questions need to be collated from their professional members, as these will become an important
Karolina is a chartered RIBA architect and award-winning practicing lighting designer. She is also an Assistant Professor at the Faculty of Architecture, Gdansk University of Technology, Poland, and co-founder of GUT LightLab, where she conducts research on various aspects of light and lighting in the built environment. She is actively engaged in the work of international organisations such as the International Association of Lighting Designers (IALD), the Illuminating Engineering Society (IES), and International Dark-Sky Association (IDA), providing guidelines and sharing best practice for nighttime illumination in the built and natural environment. She has participated in a number of international conferences, and has written articles for national and international publications.
Artificial Al Fresco Lighting designers at Licht Kunst Licht have created a unique way to bring a touch of the outdoors to a basement cafeteria, harnessing the power of “artificial daylighting”.
PROJECT DETAILS Casino Düsseldorf, Düsseldorf, Germany Client: Confidential Lighting Design: Licht Kunst Licht, Germany Architect: ttsp hwp seidel, Germany Photography: Johannes Roloff, Licht Kunst Licht
human centric lighting
human centric lighting
Previous Page A custom-made grid-like structure embedded with Soraa spot lights provides even illumination to the main seating zone of the new-look cafeteria Top The main focal point for visitors is the free-flow area, with the all black, ‘spaceship-like’ food counter. Lighting here is variable, and is controlled in sync with the panorama window wall, intended to create an atmosphere similar to daylight. Above XAL’s Tula Nano pendant lights provide focused illumination to the smaller tables alongside the panorama window.
ew people would suggest a basement
world. Given the canteen’s basement location,
for a cafeteria. However, Licht
the project lighting designers, Licht Kunst Licht.
without daylight as an ideal location
this task proved difficult for the architects, and for
Kunst Licht, alongside Frankfurt-
Isabel Sternkopf, lighting designer and project
based architectural firm ttsp hwp seidel, has
manager from Licht Kunst Licht, explained:
daylighting” system that transports employees of
architect and client gave us an initial briefing
in Düsseldorf to the banks of the Rhine.
but in the course of the project it turned out
basement was typical for the time of its
by the local district government. As a result
of the building, designed by HPP Architekten in
generating this subsequent daylight input.”
the windowless canteen had become visibly
the German lighting design firm demonstrated
technology, illumination and functionality, the
be established, the daylight intake would be
which affected the overall quality of the space.
and a view to the exterior would be imperceptible.
This renovation saw the architecture and
there is no possibility to provide sufficient
kitchen optimised; the crooked and inefficiently
a discussion with the local district government
were fundamentally simplified, and free
daylighting concept adds more value to the
established. As a result, the amount of seats
Sternkopf and her team argued that the added
An essential design task in the renovation of the
through artificial light that simulates natural
daylight component and a reference to the outside
dynamic changes in light colour, light direction and
created a biologically effective “artificial
“After getting involved in this project, the
a multinational banking and financial company
that was focused on artificial lighting only,
The canteen in the financial corporation’s
that an additional daylight entry was required
construction. Yet while the red granite façade
our lighting design suddenly focused on
the 1970s, still emanates a timeless elegance,
However, comprehensive studies undertaken by
outdated. Coupled with the inadequate
that, with the small window openings that could
space had a distinct lack of daylight and flair,
minimal, and the positive effects of natural light
A renovation was therefore badly needed.
“We performed calculations and realised that
lighting of the staff restaurant and associated
daylight,” Sternkopf continued. “So we started
used dining area and kitchen plan layouts
and tried to convince them that an artificial
flowing, interlocking functional areas were
users than small basement windows.”
could be increased from 150 to 200.
value for the user could only be established
465sqm space was the introduction of an additional
light with daytime-related and annual variations,
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intensity, while simultaneously supporting
Illuminated by iGuzzini’s Linealuce
harmful to the users,” she said. “We did a
As a result, Licht Kunst Licht developed
behind the glazing, the lighting starts at
find out how the artificial lighting could
the circadian rhythm of the occupant.
the idea of a 22-metre-long, floor-toceiling artificial panorama window.
Extending across the entire canteen rear wall, it compensates for the
lack of daylight by establishing a
mimicked relation with the exterior.
Displaying images from artist Stephan
Kaluza’s series The Rhine Project, in which he followed the entire 1,233 kilometres of the river Rhine, documenting his voyage
with a series of camera shots taken every
few minutes, the window was intended to
show a view of the Rhine that one might see
from a room at ground level. The photograph is printed on a folded plasterboard, which is applied to an existing concrete wall. A
floor-to-ceiling glazed window is located in front of the photograph, protecting it
from dust and damage, while enhancing
the impression of a window to the outside.
Compact fixtures concealed in the ceiling a warm 2,700K in the morning, gradually changing to a cool 6,000K around noon,
before returning to the warmer hues in the evening. Similar floor-mounted RGBWLED profiles, mounted behind the glass wall, allow for an upward grazing light
effect on the backdrop, emphasising and intensifying the texture. These fixtures create light colours in orange hues for the scenes during sunrise and sunset.
However, while the panorama window is
an impressive, innovative solution to the
lack of natural daylight, Sternkopf had to
work to convince the district government that the window had no harmful effects
on the health of the employees. “We had to prepare countless presentations and meetings, and at the end we needed to
provide a medical certificate that confirms that our artificial lighting concept was not
lot of technical and scientific research to appear as natural as possible, and we
had an expert of occupational health and
safety, as well as an occupational physician consultant involved in the project.”
Further to the introduction of more natural light, the architects wanted the new-look space to feel “more like a restaurant than a canteen,” according to ttsp hwp seidel
architect and project manager Tanja Nopens, and the new lighting scheme was designed
to support and respect this impression. “An intelligent lighting control system allowed us to create differentiated lighting scenes to avoid the homogenous and uniform
lighting atmosphere often experienced in canteens,” Sternkopf explained.
Functionally, the space is organised into four ‘zones’, each with distinct
lighting approaches, ceiling heights and furniture. The largest area, with long
human centric lighting
“Together with the architect we have developed a concept that makes the room appear spacious, friendly and inviting.” Isabel Sternkopf, Licht Kunst Licht
wooden benches under an open white
spots embedded into a custom-designed,
larger groups to eat and exchange ideas.
High Contrast provides vibrant accent
ceiling, is the central meeting point for The wooden furniture designed for the project creates punctual warm accents that contrast with the black seating.
The focal point for visitors is the free-
flow area with the food counter. Designed entirely in black, its ‘spaceship-like’
counters extend to the kitchen partition
wall. Towards the exterior wall is a narrow zone with a group of four-person tables,
which is surrounded by building columns
and a lower ceiling, making it suitable for
quiet and more confidential conversations. The illumination for these different zones is, as intended, more akin to a restaurant
than a canteen: warm and inviting. Some of the seating areas are accentuated by
pendant luminaires, courtesy of XAL and Artek, while the large flex-use seating zones at the centre of the dining room
are more evenly illuminated with Soraa
grid-like structure. iGuzzini’s Laser Blade illumination above the buffet stations,
complemented by the Italian manufacturer’s discreet Pinhole Adjustable Round recessed luminaires in the circulation areas.
The colour temperature of the circulation
Above The cafeteria is dominated by a 22-metre-long, floor-to-ceiling panorama window depicting the nearby Rhine river. Illuminated by iGuzzini’s Linealuce Compact fixtures, the window compensates for the lack of natural light by creating an “artificial daylight”. Intended to simulate natural light with daytime-related and annual variations, dynamic changes in light colour, direction and intensity, the lighting for this window simultaneously supports the circadian rhythms of the occupant.
lighting and the illumination of the adjacent open kitchen area is also variable, and
is controlled in sync with the panorama
window wall. All luminaires are programmed to create an atmosphere similar to daylight, with gentle light transitions intended
to create the impression that occupants are in a room illuminated primarily
with daylight and only supplemental electrical light. “Together with the
architect we have developed a concept that makes the room appear spacious,
friendly and inviting,” Sternkopf said.
While the project may have presented some difficulties to Sternkopf and her team, she
human centric lighting
“An intelligent lighting control system allowed us to create differentiated lighting scenes to avoid the homogenous and uniform lighting atmosphere often experienced in canteens.” Isabel Sternkopf
Above The panorama window compensates for the lack of daylight by establishing a mimicked relation with the exterior, starting at a warm 2,700K in the morning, gradually changing to a cool 6,000K around noon, before returning to the warmer hues in the evening. Floor mounted RGBW-LED profiles allow for an upward grazing light effect on the backdrop, emphasising and intensifying the texture. These fixtures create light colours in orange hues for the scenes during sunrise and sunset.
feels that any problems that they encountered only helped lead them to the end result. “Sometimes I still wonder what twists the project
has taken over time,” she said. “In the end, we can even be grateful that the district government demanded the entry of daylight,
and allowed it to be interpreted through the artificial panorama window, as it enabled us to pursue this innovative approach. “There is no study or hormone examination yet, but there is
feedback from the client that the occupancy rate of the canteen has increased significantly. Of course, this is not only due to the lighting, but the client also mentioned that the seats at
the window are always occupied first, which is an indication of the successful implementation of the concept.”
Since completion, Sternkopf and Licht Kunst Licht have received
a lot of positive feedback, with Sternkopf going on to present the
lighting specified Artek Bell A330S iGuzzini Laser Adjustable Round iGuzzini Laser Blade High Contrast iGuzzini Linealuce Compact iGuzzini Pinhole Adjustable Round iGuzzini Underscore 15 Soraa spots XAL Sasso Up 150 XAL Tula Nano
project, and particularly its use of ‘artificial daylighting’, at last November’s IALD Enlighten Europe conference in Barcelona.
“Many people were surprised by the result, and that we put so much effort into the project,” she said of her presentation. “A lot of them were very interested in the topic of human centric lighting, especially because it is still relatively rare to work on such projects. Even though this was
only a small project, it shows what added value a human centric lighting concept could generate for users.” www.lichtkunstlicht.com
T M L umi nusPe r f e c t Whi t e
S pe c t r a l l yt une dt ode l i v e rt hev i s ua l e ďŹ€e c tofha l og e nbyďŹ l l i ngt hec y a ng a ppr e s e nti nmos t whi t eL E Dsf ort hebe a uf ul c ol ory oue x pe c t .
T M P e r f e c t Whi t e s pe c t r a l l yt une ds our c e s a r ee s s e na l c ompone nt sofhuma nc e nt r i c l i g h nga nda r ei de a l s our c e sf orr e t a i l a nd mus e uma ppl i c aons .
Pics: Mir.no and SnĂ¸hetta
human centric lighting
Bringing the Outdoors In ÅF Lighting has created Liquid Light, a unique approach to lighting design that orientates itself to human needs where natural light is lacking.
he demands of today’s technological and fast
“Liquid Light is contextually designed with respect for human
keeps up and remains as fluid as the
solutions for the users,” described the firm.
paced society requires a lighting scheme that environment it is situated in.
Liquid Light, created by ÅF Lighting, is a design concept that brings light to life, by creating a visual environment with its own identity and unique expression.
ÅF Lighting is making it its mission to take part in designing
the cities of the future and make them more environmentally friendly, efficient and navigable.
The concept of Liquid Light originated during collaboration with architectural firm Snøhetta and the construction of Powerhouse.
Located in Trondheim, Norway, Powerhouse is the world’s
northernmost energy-positive building, where Liquid Light has ensured sustainability and an inspiring visual
environment. The building is designed to be an office building that produces more energy than it consumes; the
construction is designed so that the excess energy produced
during the building’s operational time will exceed the energy used to produce the building materials, operation and eventual demolition.
needs and energy efficiency, ensuring unique lighting
“The concept is inspired by natural light and based on the
philosophy that the lighting should respond and adapt to the changes that are physically happening throughout the day.
“The absolute main challenge in the Powerhouse project was to reach the high energy goals without compromising the
quality of lighting. Some energy goals were conflicting with
each other, so we encouraged the client to deviate from these constricting criterias and instead ensure a good working
environment where those who want can choose to use a desk lamp, as well as ensure an overall low power consumption used for the functional lighting,” explained Thea Collett, Architect and Senior Lighting Designer at ÅF Lighting.
“Further challenged by the demands of keeping a low energy consumption, the idea of having the light triggered by real time data, such as people moving around in the building,
prompted the development of the lighting concept Liquid Light.”
Morten Jensen, Country Manager of Norway for ÅF Lighting, explained the decisions behind the colour temperature
human centric lighting
Previous Page An aerial view of the Under restaurant, showing its semi-submersion under the North Sea. Left The team at ÅF Lighting. L-R: Geir Sire, Gry Frellumstad, Benjamin Reinhoff, Thea Collett, Morten Jensen Next Page An interior rendering of the Under restaurant, showing the huge window that looks into the deep, where visitors can experience a unique dining experience whilst viewing the live marine environment within arm’s reach. The lighting fixtures are discreetly set into the textured ceiling so as not to distract from the main attraction. Throughout the restaurant space, the team used fixtures from Evolys, Fagerhult, iGuzzini and Osram.
choices for the space: “We are not trying to
integrated into the environment due to long
lighting scheme that adapts to the
example, if the weather outside is rough and
demands and provides visual comfort
warmth and calm lighting into the building.
need or set the mood for a particular space
with the outside environment. It adds a
Powerhouse was fitted out with multiple
lighting harmonises with their tasks or
copy nature, but rather adapt to it. For
cold, the lighting could adapt by bringing
The lighting changes organically in parallel
natural element to the lighting installations and the architecture with the intention of
dimmer curves and positively affect the
Each zone can be shaped to any personal
that facilitates meetings or workspace.
predefined sensors that determined the time of day, week or year and controlled the
architecture, meets the highest energy through both technical and visual design “We know that people feel positive when the location in a workspace. Liquid Light is
designed to adapt and follow each person as
connecting people to their surroundings.”
they move around in the building. Sensors
with nature and the outdoors, and its
of Liquid Light,” explained Collett.
seamlessly changes and adapts accordingly,
is a current point of interest in the lighting
to use, how the control system should be
“We recently completed an inspection to see
Associating the living and working space
impacts on our physical and mental health,
“As the project developed, so did the concept “We constantly adapted what kind of sensors
trigger movements and the lighting which creates a sense of wellbeing.
industry, and recognised through ÅF
programmed and what real time data should
the nearly finished result, with all the
“When we include natural elements in
decided that the concept should be
the most striking elements to see was the
architectural design, we instinctively reconnect with nature,” they said.
be triggering the light levels. When it was
implemented, all other technical decisions needed to adapt to this.
different lighting principles mounted. One of great impact of the different colour temperatures working together.
The variability of this lighting approach
“One of the main challenges in the early
“In all working areas we used 4000K in the
concepts that are individually customised for
visually comfortable luminaire that could
the cores (toilets, kitchens, stairs, lifts, etc.)
allows ÅF Lighting to create schemes and the end user, without the need for any involvement from the individual.
Sensors are used to detect movement throughout a space, and lighting is
programmed to react accordingly. The changes in movement are seamlessly
stages was to find an energy efficient,
adapt to the architecture and maintain general lighting.
“The design of the luminaire was a
collaboration between Evolys, Snøhetta and ÅF Lighting,” continued Collett. “This
multidisciplinary process ensured a general
E-16 fixture. A main architectonic element is running all the way through the building. “These are covered in wooden slats and
in-between some of the slats we used linear LED products with a very warm light (2400K).
“Seeing the effects of the warm wooden
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cores, both from indoors and outdoors,
largest contributors to disease by the year
cloud formations, bird migration, human
illuminate vertical surfaces as a key feature
natural environment is one of the proposed
curves. It is a combination of conventional
exceeded all our expectations. We often
in our designs. This ensures the impression
of a bright area and allows us to dim or even skip lighting in areas such as corridors. The functional neutral lighting combined with
the warm wooden verticals created just the atmosphere we were aiming for.”
Energy-positive constructions are
encouraged globally and are playing a
significant role in hopeful solutions to global warming. Snøhetta’s new architectural
concept aims to set the standard for future
commercial buildings to follow suit in being environmentally conscious in their construction.
The World Health Organisation predicts that stress-related illnesses would be one of the
2020. The use of lighting to create a more solutions to creating a better living and
working space. It is thought that by bringing elements of the natural world into the built environment - known as biophilic design - stress levels and other ailments are reduced and productivity increased.
Incorporating biophilic design into their
projects, the Liquid Light concept will play a crucial role in creating the natural
environment effect with artificial lighting.
“Liquid Light is designed by using real time
data harvested from traditional and natural sources like windmills or through
temperature sensors, such as seasonal
changes, or direct and indirect sunlight, as
well as unconventional data sources, such as
movement and automatically generated sine parameters and real-time data that
determines these organic light scenarios,” explained ÅF Lighting.
Following on from Liquid Light’s conception, ÅF Lighting joined up with Snøhetta once more, this time to create an underwater
dining experience at Under. The restaurant, due to open in March 2019, is located on the
coastline of the Norwegian village, Båly. The concrete rectangular structure is semi-
submerged five-metres under the North Sea and provides diners with a one-off underwater eating experience.
Due to the uniqueness of the project, it was
important that the designers and client were transparent with their plans throughout the
human centric lighting PROJECT
undertook extensive research, before
together in order to deliver a holistic design
impacts on marine life and the effects
submerged restaurant, we can attract fish
“All of the designers were forced to work that added value to the building and the
business the project will show and serve,” explained Jensen.
“From day one, the design group has been a part of the client’s vision. All the designers
were part of an advisory group that acted as ambassadors and gave the client input on professional skills.
“The project demanded full transparency in
the design and engineering, therefore all the members had to have a good understanding and knowledge about each others’
approaches and were kept informed of any technical issues throughout the whole construction period.”
Both teams at ÅF Lighting and Snøhetta
embarking on the project, into the human artificial lighting and architectural creations had on it.
“Research shows that light has a significant impact on the ocean’s ecosystem and,
together with marine biologists, ÅF Lighting tested different lighting solutions and
measured the effects on local marine life.
Thus, the lighting concept at Under extends beyond the interiors into the water to
measure the effects of light according to luminous emittance and spectral
distribution,” explained ÅF Lighting.
The aim was for the lighting to attract
various species that would be visible from
inside the restaurant for the guests to see, but without harming the natural
“By adding light to the area around the
and observe the marine life at night. The
light sources and amount of light will affect the marine species, depending on the light source,” explained Jensen.
“The underwater stage lighting was a
challenge to position correctly due to the fact
the ground is continuously changing through tides and currents,” elaborated Collett.
“The initial lighting fixtures are now in place
and positioned under the water but there will need to be a scuba diver with lighting design skills that can maintain the luminaires over time.”
As well as functioning as a restaurant, the building’s other purpose is as a research centre for marine life.
human centric lighting
“We know that people feel positive when the lighting harmonises with their tasks or location in a workspace. Liquid Light is designed to adapt and follow each person as they move around the building.” Thea Collett, ÅF Lighting
Powerhouse, designed by Snøhetta, is an example of the potential future of architectural design that incorporates environmental considerations in terms of energy consumption. Using the Liquid Light concept by ÅF Lighting, the building is the northernmost energy positive building that creates a natural working environment to boost productivity and relieve stress symptoms. Throughout this project, the team used a selection of fixtures from Delatlight, Fagerhult, Fiberoptisk, iGuzzini and Wibre.
The coarse concrete surface of the building is
finely tuned to the surroundings inside the
mussels to cling to it, resulting in an increase in
nature around, with an aim of creating a visual
specially chosen to encourage marine life such as biodiversity.
The structure of the building played an important factor in the lighting design, as it was key for the designers to illuminate the space but discreetly
disguise the fixtures, so as not to distract from the overall completed look.
“The whole building is mostly covered by seawater and leaning into the sea,” described Jensen.
“The ceiling is curved for acoustic purposes, so there was a special need for a tailor-made
solutions for each luminaire. We ended up with more than 400 fixtures positioned exactly with
vertical output and into a grid formation with no space for flexibility, which brought with it some challenges in the detailing.”
“Our main challenges were to maintain a natural
light and to create a safe atmosphere at the bottom of the ocean for the visitors,” added Jensen.
“Due to the minimal amounts of daylight below
the sea and with a natural reference to the theme
of the restaurant, we envisioned that the lighting would float into the room where it is needed. It is
restaurant and designed in harmony with the ecosystem.”
“By use of LEDs in a matrix located in the ceiling,
the light sources are small with good glare control, which makes them almost invisible. Technically, Liquid Light consists of data harvested from
different sensors, and for instance in Under, infrared sensors detect heat, while acoustic
detectors respond to sound frequencies in the room. The data is then interpreted and
transformed into light scenarios constantly
changing and adapting to its milieu and the people using the space,” reflected ÅF Lighting.
“Liquid Light is designed to bring the wild outdoors into our civilised world. Just like air quality,
thermal comfort and acoustics, lighting is a precondition for people to live and work
comfortably in a healthy building. With Liquid Light, we embrace the challenges of designing human centred lighting.” www.afconsult.com www.snohetta.com
The Gift of Literature Oodi, the new central library for Helsinki, stands centrally in the cultural district of the city as a gift for Finlandâ€™s 100th anniversary of independence. Created by ALA Architects, the firm also designed the lighting scheme alongside Rejlers Finland.
PROJECT DETAILS Oodi Central Library, Helsinki, Finland Client: City of Helsinki Lighting Design: ALA Architects, Finland Architect: ALA Architects, Finland Photography: Tuomas Uusheimo
human centric lighting
ocated opposite the Finnish
are all available to the people of Helsinki.
“Our multidisciplinary team started the
Helsinki’s new central library,
three-storey open plan structure, created
construction started on 1st September
parliament, the site for Oodi, was chosen specifically
because literature and education are
regarded to be as important to Finnish
society as politics is. The United Nations named Finland the world’s most literate nation in 2016, as well as being among the most enthusiastic users of public
libraries; the country’s population borrows an average of 68 million books a year.
As part of the Helmet network (Helsinki
Metropolitan Area Libraries), the Oodi offers far more than just book loans. Creative
spaces with glass walled rooms for visual
projection artists, media suites, children’s
areas, a cinema, recording studios, areas for hosting exhibitions and even 3D printers
Oodi, translated as ‘ode’ in English, is a
by ALA Architects, a Finnish design firm that won the opportunity to design the
new public building in an annonymous
competition open to international designers. Niklas Malhberg, architect and Oodi project team leader at ALA Architects, described the firm’s initial involvement: “In 2012, we entered the first phase of the open
international and anonymous architectural
competition between the 5th January – 16th April. At the end of 2012, the second phase of the architectural competition began on 21st November, where six candidates (out of the original 544) were selected by the
jury. The winner was announced in 2013, and it was our project, titled Käännös.
process to execute the building in 2014; 2015 and was completed in 2018.
The project was presented in the Mind-
Building exhibition at the Finnish Pavilion in the Venice Biennale 2018 before
opening its doors on 5th December.”
The building is divided into distinct levels
that are split into different active spaces. The ground floor is an extension of the exterior Kansalaistori square, drawing visitors in
to an open and clean space. The first floor is home to a host of workable spaces and the top floor is nicknamed book heaven.
The book heaven is a bright and airy floor
that is filled with natural daylight through the floor-to-ceiling glass windows and
skylights that perforate the undulating roof.
human centric lighting
With the changing role of a library for
to create a scheme fitting for their design,
designed a modern and energy efficient
the normal lighting levels for libraries.
current and future generations, ALA
building that utilised local building materials to sustain local climate conditions. A
sweeping curved canopy is clad with 33mmthick Finnish spruce planks that extend the façade into the exterior square, creating shelter for public events in front of the
library. The upper surface of the canopy, located adjacent to the café, provides an
outdoor roof space that allows visitors to gather and view the square and the city.
Lighting was an important aspect of the build, as it had to fit with the natural
aesthetic of the building, but also act as a
functional tool for readers and workers alike. With no initial lighting brief offered by the
client, the team at ALA had artistic freedom
as long as it was energy efficient and met The team collaborated with Rejlers
Finland, an electrical design company, to implement a lighting scheme according to the appropriate lighting levels, good
serviceability and measured lighting control. “We utilised the in-house expertise we’ve gathered through several public projects.
The electrical designer specified the lighting and did the necessary calculations. All in all, we had plenty of freedom to design the lighting,” explained Mahlberg.
Previous Page The exterior of the Oodi Central Library stands boldly in the Kansalaistori square. The building is mostly lit from the inside, allowing it to glow warmly in the cold Finnish winter, when the library was first opened. Bega fixtures were used to illuminate the entrace way. Left The top floor of the library is know as book heaven and is flooded with ample daylight from the surrounding floor-to-ceiling glass windows and numerous skylights in the undulating roof. Lighting schemes are programmed to adapt to the seasonal daylight to ensure enough lighting is provided to the workplaces and social areas of the building. Top Wooden angled pillars create features in the through-way that is illuminated with hanging pendants, creating an even distribution of light. Above The entrance to the library welcomes visitors through a large glass wall, that transitions outside and inside seamlessly. Regent and Bega fixtures illuminate the entranceway, both in the exterior and interior.
With the functions of each floor
varying, it was important that the lighting adapted to each need.
A variety of fixtures were used, from Regent, Planlicht, iGuzzini, Finlight, GDS and
human centric lighting
“Lighting brings clarity, warmth and readability to the spaces and helps one to orientate through the building.” Niklas Mahlberg, ALA Architects
Left The exterior of Oodi is clad with Finnish spruce wood panels and is mostly lit from the inside out, creating a warming glow during the cold winter climate in Finland. Next Page The top floor of the library appears to be floating on the wooden base of the building. The vast amount of glass allows ample daylight into the space, whilst the lighting scheme adapts to the changing seasons and daylight levels outside.
Erco for the larger main spaces, multipurpose hall and children’s
illuminance demanded,” explained Mahlberg. “In some areas,
the second floor studios. Bega and LTS fixtures were used for the
areas, such as circulation routes and bookshelves. The fixed furniture
multipurpose area on the third floor, whilst Zumtobel was used for staircases and exterior lighting, whilst LED Linear illuminated the
escalators. Erco luminaires were placed as indirect lights for the third floor pillars as well as in the cinema room, alongside Osram LEDs.
Mahlberg described the functions for each of the levels and how the lighting adapted to these needs: “The design divides the functions of the library into three distinct levels: an active ground floor, a
peaceful upper floor, and an enclosed in-between volume containing
dimmer lighting was sufficient to emphasise other more important is equipped with lamps for personal work, and these lamps are effectively part of the furniture.”
Most of the lighting scheme is controlled and dimmable with DALI and operated with KNX building control.
In the workspaces and reading rooms, the lighting was
important to the users needs. The glass façades and skylights
in the book heaven provide ample daylight in the public areas,
the more specific functions. The lighting scheme had to be in sync
reducing the use of artificial lighting. However, during different
specific lighting solution. As we had control over the lighting design
Oodi is an integral part of its architecture, adapting to the
with the architectural concept and therefore every space had a
and also had a continuous presence on the building site during the
realisation period, we could easily follow up on any issues, and when necessary, propose solutions that supported our original concept.” In the most part, the lighting fixtures were subtle and blended into
the architecture seamlessly, disappearing into the background. Some exceptions appeared, for example in the bathrooms, where pendants were suspended from the ceiling to create another layer of light in the space.
“There were fixed requirements for lux levels depending on the function of each space and the light fixtures had to fulfil the
seasons and weather conditions, the lighting throughout different times of day and seasonal lighting conditions.
“There were some new concepts to be implemented in this
particular project. The overall design concept was based on the idea that the building itself would not be illuminated. Instead,
the functions inside were made visible through the glass façades using light. This was a new concept and we had to develop
a lighting control programme that would support this idea.
Since the building is standing in the very centre of the city, it
can never be completely dark. Outside opening hours it is only
dimly lit up and thus avoiding looking deserted, it participates in
MAXIMA LED large-area luminaires for indoor use. For innovative and creative design options in many different areas of architecture. Uniform light distribution over large areas. Diameters of 1000 mm or 1300 mm. DALI controllable and available with fixed or variable colour temperature (tunable white). BEGA Lighting UK Ltd · Suite 9 · Milton Heath House · Westcott Road Dorking · Surrey · RH4 3NB · UK · Tel. No. +44 (0) 1306 882 098 email@example.com · www.bega.com
Das gute Licht. Making grand statements.
human centric lighting
activating the city space around it,” described Mahlberg. “In the cinema hall for the first time we used fibre optic
lighting combined with LED lights to achieve the design intent with continuous light dot lines on the walls and
the ceiling marking every seating row. This worked out
fine in the end, even though we had our doubts regarding the possible difference of the quality of light from these
different light sources. This is also the first project where white neon light tubes were used in the signage.
“One element was the colour of the light, normally
4000K is used as a standard but sometimes it gives a
rather pale and dull atmosphere, especially with wood involved. So, we did some testing and found out that
3000K or 3500K worked better in some circumstances.”
There were some custom made solutions throughout the
building made to accommodate the lighting fixtures, such as the bookshelves that were modified so the lighting fixtures could contribute to the overall lighting of the book heaven.
A hanging bubble made of ETFE (Ethylene
Tetra Fluoro Ethylene, a plastic construction
material) hangs in the southern entrance way and acts like a lantern guiding visitors in.
“Lighting brings clarity, warmth and readability to the
spaces and helps one to orientate through the building. The final result is fantastic and works very well with our initial ideas. There are still some adjustments to
be made in the lighting control, but we are very happy with the overall finish,” reflected Mahlberg. www.ala.fi
lighting specified Bega Compact Downlight Bega LED Compact Bega Exterior Downlight Caritti LED Projector Ensto PIR sensor luminaire Ensto General lighting, ball lamp Erco Skim Downlight Erco Parscan for track Fagerhult Closs LED Suora Fagerhult Multilume Flat Delta Fagerhult SIMES Finlight FL-LX-CGK GDS Arc System Glamox C80-SR Series Glamox Eminent Series Glamox A40-W Series Glamox C63 Series Glamox D70-R Series GreenLED Eco R II GreenLED Eco R II Plus Hoffmeister lo.nely 2 iGuzzini iSign
iGuzzini Laser Blade LED Linear Xoominairetm LED Linear Kalypso Hydra LED Linear Varioled Flex Skylla LED Linear Luna Hydra LED nauhan Keittiökalusteen LEDnauhan liitäntä LIGHTTEC LED light Indicator LTS PLL 27.1025.RGBW.1 DALI DT8 LTS Lichtkanal MEAN WELL ALI-PWM SIGNAL CONVERTOR Osram LINEARlight FLEX ShortPitch Planlicht Slett pendant DALI microprism Regent Kronos LED Regent Easy-S LED Wästerveg W171 alma s WILA Tentec Zono Zumtobel LINARIA Zumtobel MICROS S-C
Kinetik adds motion to interior spaces www.unibox.co.uk
0161 655 2100
Post Renovation A new lighting solution by Christian Ploderer, in cooperation with Zumtobel, sees tradition and modernity sit in perfect harmony at the new headquarters of the Austrian Post Office in Vienna.
n the middle of one of the most
with artificial light, where light colours are
in the densely built-up city centre
simply seem to disappear into the architecture.
vibrant districts of Vienna, nestled around the Rochus Market, stands the
exquisite new Post am Rochus â€“ a skilful blend of
new construction and listed building that cleverly fuses tradition and modernity.
Architects from Schenker Salvi Weber, alongside feld72, combined old and new to come up with a design that blends beautifully into the densely built-up area around the Rochusplatz Square,
right in the middle of Viennaâ€™s third district. The
listed building from the 1920s has been seamlessly integrated into the new construction using
floor-to-ceiling glazing and striking grid-like
openings, while the old and new parts have been
physically connected by a multi-storey atrium-like architectural link.
This new ensemble is further emphasised by
the light. Working closely with architects from
Schenker Salvi Weber and feld72, lighting planner and designer Christian Ploderer has crafted a
multi-layered lighting design for every area. The inclusion of Zumtobel in the project has enabled
the realisation of a holistic lighting concept from one source â€“ a concept where daylight combines
carefully differentiated and where luminaires
A skylight is supported by gentle artificial light to illuminate the elongated 35-metre-high atrium, which acts as an interface that connects all the office floors to the old building. No luminaires
disrupt the join between old and new, as modern
light lines installed in the landings give the space a high-quality feel. Panos Evolution downlights
from Zumtobel with a neutral white light colour
are barely visible in the concrete ceilings above the connecting stairway, letting their light show users the way.
Panos Evolution luminaires sunk by the lighting designer into concrete elements around the
entrance to the shopping centre use their light
to direct people inside, where fittings from the
same family are mounted in the louvered ceiling.
The building complex is additionally flooded with daylight from two large skylights, while light
lines in the escalator area have been irregularly positioned to add a modern lighting mood by forming a kind of barcode arrangement.
The architects have realised a generous interior design approach on the floors of the post office
human centric lighting
headquarters, including open communication
the complementary light colours blend seamlessly
1,100 employees. The lounge, which also houses
and at the same time offering task-specific
zones and clearly defined retreat areas for the
a stamp museum, is lit by the Intro modular LED
lighting system, enabling individual spotlights to
be mounted in the acoustic ceiling to provide good
general lighting. This installation is complemented by ceiling-recessed Slotlight Infinity light lines that give the corridors and spaces a feel-good atmosphere, providing clear orientation for
visitors and delivering a contemporary lighting contrast.
Round Ondaria wide-area LED luminaires in the conference rooms, combined with additional corner-mounted Diamo spotlights, deliver a
different kind of light. Despite their surface area, the extreme flatness of Ondaria means that the
fittings take up minimal space, which in turn helps generate an open and interactive atmosphere.
When it comes to visual comfort, Mirel Evolution
pendant luminaires mounted above the computer workstations guarantee the best standards. As a special feature of the lighting concept, these
solutions have been specified with two different
light colours: 4,000K direct light and 3,500 indirect
into the room architecture, supporting orientation lighting for office work. All of the luminaires can be controlled and dimmed via DALI.
The integration of the existing protected building into the new construction has helped the Post
am Rochus project complete the former urbanplanning gaps of the famous site. The result is a building that merges flawlessly into the
metropolitan context of Vienna in every sense,
becoming an essential part of both the cityscape and urban life around the Rochusmarkt. And
this coming together of tradition and modernity is continued with the award-winning interior
architecture. Old and new are skilfully merged in an approach based on functionality, aesthetics
and wellbeing. The lighting designs by Christian
Ploderer clearly play a decisive role in this process. His ideas fit perfectly into the interior design,
achieving a sweeping concept that shows the way, emphasises the functionality of the spaces and creates a truly pleasant atmosphere. www.zumtobel.com
light. The puristic design of Mirel Evolution and
human centric lighting
Reach For The Sky In its quest to create an immersive, unique new exhibition space for Businesswise Solutions, Cornershop Design called on Unibox to create a dynamic, realistic ‘skylight’.
usinesswise Solutions has
the space required. Seven individual 2sqm
The effect in the Kinetik RGB lightbox
agency Cornershop Design
length of the area, with the programmable
controlled RGB LED modules, which
partnered with creative
and manufacturing specialists
Unibox to deliver a new, immersive exhibition space.
Offering energy buying and management
solutions that help large energy users reduce
their costs, with large-scale clients including the likes of the Lowry Hotel and Harrogate Spring Water, Businesswise Solutions felt its headquarters were in need of a new
exhibition area that reflected its positioning and client base.
This led to Cornershop Design being
instructed on the creation of a new interior concept, designed to engage clients and
employees using an array of display and lighting techniques.
With lighting key to the project, Cornershop Design partnered with Unibox to realise its vision, due to its experience of integrating lighting into displays.
A central aspect of the ‘experience’ was an animated ceiling display that brought the space to life. Unibox’s patented Kinetik
lightbox provided the dramatic profile that
panels were used to span almost the entire effects synchronised across each lightbox. The lighting effect was designed to adapt
over time, with rolling clouds programmed during the day before changing to the
Northern Lights in the evening, helping to provide context to the area. Further
animations can be easily uploaded if required in the future. By creating a display relative
to the time of day, the new design increases visitor and staff awareness.
Lee Isherwood, Creative Director at
Cornershop, said of the Kinetic installation: “Designing an experience space within a
working office provided a challenge around how the space behaves when there is no presentation or visitors.
“Having the experience on a constant loop was not an option from a staff wellbeing
perspective, so for the downtime experience we focused on how we could use the
technology to make the space a more
human-friendly place to be. Turning the
ceiling screens into virtual skylights was one great way to achieve this.”
is created by a plurality of dynamically are housed in a sleek aluminium frame,
alongside all the control gear and power
supply units. The diffusion fascia is a tension fabric designed specifically for high light transmission.
Alongside this innovative display, several bespoke displays were created, including
an information table that included recessed touch screens that featured the same
vinyl wrapping process found in aerospace manufacturing, for added durability and aesthetic appeal.
David Judge, Head of Experience Design at
Cornershop Design, added: “We’re incredibly happy with the launch of the space, and
more importantly the team at Businesswise Solutions now has a space that reflects its position. Plus, working with the team at
Unibox gave us the freedom to design truly innovative displays that used light to great effect.”
Light, close to the natural sunlight spectrum.
Luminaires under the Spectra brand more naturally and
Commercial LED Commercial LED
Spectra Technology - Sunlike Spectra Technology - Sunlike LEDs LEDs
accurately show the original colour and surface structures of objects. With a perfect colour reproduction (CRI 97), they appear as close as they would under the sunlight. Moreover,
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the luminaires deliver human-centric and healthier lighting, especially when featuring Tunable white function. 400
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human centric lighting
Aesthetically Functional The underground rail station in the Norwegian town of Holmestrand, built inside a mountain, features homogenous, aesthetically pleasing lighting, courtesy of Osram.
uilt inside a mountain, the lighting concept for the new
in decorative applications and illuminated signage.
just as impressive as its location.
extremely homogenous light from behind acrylic covers, meaning
rail station for the Norwegian town of Holmestrand is
Highly efficient BackLED XL Plus modules from Osram
Digital, installed behind shatter-proof opal acrylic, work with
other light sources to create a pleasantly even, glare-free form of illumination for platforms and passageways.
The new Holmestrand rail station is more central than its
predecessor, and is also able to manage more trains and more
people. Architecturally impressive thanks to its location inside a
mountain, the lighting concept accentuates this unusual feature; it
not only economically and functionally illuminates the underground passageways and train platforms, but it also aesthetically
accentuates their special architectural features by using light elements designed for this specific purpose.
Engineers at the Ramboll Group came up with a solution that, at
first glance, seems rather unusual, opting for BackLED XL Plus LED
modules from Osram Digital: a form of lighting that tends to be used
Thanks to their flat-ray technology, the BackLED modules provide only uniformly bright, glare-free panels can be seen, rather than the light sources themselves, despite the larger LED spacing.
In addition to this pleasantly diffuse light, the solution enables
the tunnel-like shape of passageways and train platforms to be
accentuated. This, in turn, creates a modern, positive atmosphere
and a feeling of vastness. The efficiency of the BackLED LED modules is also impressive; with thier long life and five-year guarantee, these modules are even more economical than LED strip lighting.
The aesthetic and functional light surfaces, backlit with BackLED, ideally complement the architectural concept of the Holmestrand
railway station. As an architectural highlight, they help to create a pleasant atmosphere, and a feeling of security in the underground rooms.
Light School During the Surface Design Show, the ILP alongside LED Linear hosted a series of ‘Light Talks’, with topics ranging from human centric and workplace lighting, to ambient media and using light as a ‘brand’. We caught up with some of the speakers to get their thoughts on the industry’s current hot topic. Martina Algana & Philip Copland Nulty Human-centred lighting should be at the heart of all good design. It’s important to understand that it’s not just about circadian lighting. The use of dynamic white fittings isn’t enough on its own to constitute a humancentric scheme. While they may be useful tools, they should only be used as part of the wider design strategy, that considers all of the user’s needs. Although we are very happy to see the uptake of this style of fitting, and are fascinated by the science, it is only one of the many tools that designers can use to ensure lighting schemes are designed for the people using the spaces. Our talk - A Moonlit Walk in the Workplace - looked specifically at workplace lighting, and how best to design for more holistic, humancentred spaces. It discussed the challenges of designing for the constantly changing modern workspace, while considering the evolution of technologies both in lighting and building design. A human-centred workplace in terms of lighting, to us, involves connecting with people on a personal scale. It can’t be a simple boxticking exercise. The design from the start needs to be based around the needs and wants of those who will be using the space. The benefits that human-centred lighting would give to workers would be a pleasant environment to work in, as we spend approximately 93% of our life indoors. Nobody wants to spend eight working hours a day in a bright, uniform, cold space, so an intervention in terms of lighting can help to create a unique space for the users that they actually enjoy and benefit from being in. In addition to this, with full controllability of the luminaires, we have the opportunity to modify the intensity, quality and colour temperature of the light to best work with our biological response, in order to create a truly human-centred approach that will make a standard workplace a more comfortable space to be. However, human-centric lighting is far too often only linked around colour temperature with daylight to maximise our productivity and aid our sleep patterns. While there are undoubtedly benefits to understanding this from a biological perspective, it’s important to also consider the moral questions this raises. Is it right to artificially manipulate people’s surroundings and do we have enough understanding in order to correctly utilise this to its best effect? It’s also vital that this area is led by the science and not overly influenced by manufacturers and suppliers attempting to lead trends in the market. www.nultylighting.co.uk
Brad Koerner Koerner Design There is a poetic aspect of light that nourishes our souls. To quote Richard Kelly, light “stimulates the body and spirit, quickens the appetite, awakens curiosity, sharpens the wit…”. We are not machines with operating manuals and prescriptive engineering conditions that can secure our ‘wellbeing’. We need lighting that both shapes our emotions and responds to our wishes, that drives our understanding and interpretation of the world around us. That is the essence of lighting for our wellbeing. Lighting designers need to transition to experience designers. Design for human experience first, and the technical design of lighting – along with acoustics, ergonomics, UX, digital media, biorhythms and a variety of other specialties – readily follows. www.koernerdesign.com
human centric lighting
Christopher Knowlton 18 Degrees Human Centric Lighting is an ambiguous term, used within lighting without clear definition of it’s meaning, while some use it to mean the application of spectral tuning of lighting to affect the human biological system. We would define good lighting design as responding to the human experience and therefore human centric lighting. As the lighting profession gains greater scientific understanding of the role that light plays on the human circadian system and biology more widely, there is a desire by some to use artificial light in support of these biological processes. If it’s possible to affect positive change on the human body with the application of light, then we must assume it’s possible to generate a negative effect also. Are the current standards in light making people unwell? We might think of these as badly lit spaces. However, currently it’s very hard to apply metrics that accurately describe a well or poorly lit environment successfully. When we look at some of the claims being made by manufacturers we are concerned about the way in which complex science is being distilled into a commodity to sell. Looking to the medical industry, where the introduction of even the most innocuous of drugs takes many years of rigorous study and trials before administration to the general public. We have to question how the science is being used to support the claims of benefit. As a profession, are we applying the same level of rigor to our practice as, say, a pharmaceutical company? We also feel there is a part of the discussion which rarely, if ever, is discussed. This is around the ethical use of this type of lighting. If we were to assume that we could create lighting that promoted and maintained the circadian system. It’s not too much of a stretch to imagine someone wanting to boost productivity with a small change here and there. In a totally dystopian way you could even imagine longer working days and buildings without windows. Perhaps as a design community we should be championing a change of societal and work norms to promote a healthy work life balance rather than trying to fix a problem related to poor building design or working practices. www.18degs.com
Benz Roos Speirs + Major To me, human-centric lighting means designing for the human eye. The more we understand about our eyes in terms of contrast ratios and peripheral vision, the better we can create experiences in light that resonate with people. In essence, lighting design is a composition of various tones of brightness - similar to painting or photography. Our eyes experience luminance levels relative to each other, not as absolutes. Therefore, it is the variation in luminance - or visual contrast ratio - that is much more important than the actual intensity of light. For example, the screen of a phone that appears to be super bright after dark is perceived as very dim when viewed in direct sunlight. The brightness of the screen itself has not changed, but the contrast ratio compared to its surroundings has. I see human-centric lighting design as composing visual experiences with suitable levels of contrast for the type of experience we want to enable. The illuminance value of the key element in a space is the basis for this. In a typical office space, the most important element is the computer screen. The average screen has an approximate illuminance value of 300cd/ m2. Knowing this base value helps to determine appropriate brightnesses for the peripheral surfaces, such as ceiling and wall planes. Reducing the contrast between all these surfaces will help reduce eyestrain and so support productivity. Conversely, in retail spaces, we often aim to increase the visual contrast ratio to create a dynamic composition that draws attention. www.speirsandmajor.com
Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced www.arc-magazine.com
Illuminating Energy In the first of a two-part feature, we look at some of the festivals of light that illuminated the dark winter months. 2018 marked the first year Alingsås Energi took ownership of the Lights in Alingsås festival across September and November.
his year’s Lights in Alingsås festival
a wealth of industry knowledge to the team.
from international designers and visitors
created a historically influenced installation that
brought just as much attention and talent to the Swedish town as in previous years.
Bringing the trail of light back through the city centre, the sites brought new stories and interpretations of the town’s history and local landmarks.
The theme for this year’s event was Energy.
Site one was located at Dyer’s Bridge (Fägeribron), a
bridge in the city centre that crosses a small river that was once the original water supply in the area. The
workshop heads that managed this team were Mieke
van der Velden and Juliette Nielsen. Van der Velden is a Netherlands-based architectural lighting designer who has an impressive career history, working as
a lighting designer for Licht Kunst Licht, Arup and Delta Light among others. She was also a student
at Lights in Alingsås in 2005 and 2018 marked her
first time back to the Swedish town since. Nielsen, also from the Netherlands, is a lighting designer
and owner of Beersnielsen lichtontwerpers, brought
The team of ten students and two workshop heads incorporated both the bridge and the water to create
a relaxing yet eerie atmosphere. The team wanted to draw history into its piece by referring to a fire that destroyed the original bridge in the 1800s. A new
bridge was built during an industrial turn, where the water from the river was used to drive a mill nearby. In following years, the river around the bridge was
used a lot in the textile industry. The bridge’s name derives from this era and translates to ‘dye workers bridge’. This is represented by a giant white canvas
that hung over the water, allowing reflections to be
projected onto the fabric that moved naturally in the wind. Shadows that played on the canvas were also
representative of people from the local community. Colours from the dye would stain the waters, which brought both beauty and pollution to the city.
As a whole, the team wanted to portray various
types of energy, from water, wind, fire and human
Festivals of light
Pics: Patrik Gunnar Helin Far Left Site 4; A collection of 48 candles was created by the team to form the spiritual convergence point in the cemetery. This Page Students from all around the world came together to collaborate and work with professional lighting designers to create 2018’s light installations.
impact, as well as the historical surroundings.
and had a circular red coloured projection that
internationally recognised lighting designer
industry. One challenge the team had to improvise
Site two was headed by Diana Joels, an
from Brazil who was also an ex-Alingsås festival student from the same year as Van der Velden. Located in the centre of the city, this site took
over the Hjelmquivist Garden. As one of the oldest parts of the city, dating back to the 1600s, the
team used a lot of historical context as inspiration for their creation. The team also had to be careful not to cause any damage during installation due to the historic importance of the site.
Taking the layers of history and the original use of
the space of craft shops, iron trade, upholstery and stables, their aim was to use light to reveal these
layers of history and enhance the atmosphere of the past. They didn’t want to add too much, but instead wanted to highlight and add warmth to create an
overall visual harmony that worked with the colour
and textures of the red brick. Along the side path that lead to the exit, one of the walls was blue washed
detailed textures of fabric, referencing the textile with was a factor of urban development. One of
the resident restaurants in the courtyard built an outdoor pavilion during the student’s workshop
week. This resulted in the team having to quickly alter their original design to work in and around
the new pavilion that inhibited the first concept.
Site three took visitors up a tree-lined pedestrian road that lead to an iconic local building, Brunnshuset.
Dario Nunez, a Mexican lighting designer from Verkis Consulting Engineers in Iceland, headed the group.
His most notable achievement to date is winning the 40 under 40 award at the Lighting Design Awards.
The site’s history, current use as a kindergarten and
the nearby elderly home, were the main factors that
shaped the team’s concept. The team wanted visitors to go on a journey through zones. Zone one – the tree lined road where varied intensities of dynamic light
and colour drew you up the pathway. The high and low
Festivals of light
Children’s site. A small mannequin child, dressed in an astronaut costume, sings a nursery rhyme. The night sky is the theme for this installation and includes a varitey of interactive installations.
“These warm lantern lights guide you into the convergence point, the zenith of spiritual energy.” Site four team, Lights in Alingsås
space. Originally from Salem, Massachusetts, Rosen was the President and Creative Director at Available Light. Traveling to Sweden especially to be a workshop head, Rosen was one of the most experienced leaders the festival has hosted;
bringing with him a career that has spanned three decades. The team at site four wanted to create a space to reflect and
remember people who are no longer with us. They led visitors through an intimate path laced with hanging lanterns that
guided you. As you follow the path, the light intensity increased, which was reflective of the increase in spiritual energy. “The
rhythm and pattern of light, produced by pierced metal lanterns serves as a wayfinding guide for visitors to the cemetery; this
subtle light reveals the many monuments in dramatic fashion. Various methods are used to suggest this lantern light pattern ranging from actual lanterns to bespoke shields mounted on existing pathway lighting to miniature theatrical spotlights projecting the familiar pattern. The shifting winds added a
intensities of light represented the ups and downs of the person’s
journey as they moved up the path. The up-lighting of the trees show the growth of the person during their journey. Zone two brought you to the building at the top of the road, which acted as the focal point; the light at the end of the tunnel, so to speak. The wooden columns
were up lit, creating a dramatic effect, and moving water reflections were projected onto the front façade. The water reflections refered to an old well that was thought to have healing powers in the area. Site four took us into the atmospheric cemetery that Steven
Rosen and his team transformed into a spiritual and reflective
kinetic element to this lighting,” described Rosen’s team. A convergence point of candles was created in the centre
of the cemetery and was representative of the heart of the
project. 105 Traxon nodes were used in 48 candles to create the final piece. The use of candles was also in reference to All Hallows Eve (more commonly known as Halloween), the traditional Pagan festival that honours the dead.
“These warm lantern lights guide you into the convergence point,
the zenith of spiritual energy. The musical and spiritual crescendo met in a sculpture of flickering candles at the heart of the circle,
where visitors were immersed in a centre of warm light surrounded
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Festivals of light
The Children’s area spans a series of interactive night sky themed installations, from shadow play on the moon, to singing Twinkle Twinkle Little Star.
by a rich field of cool illumination.
and as cars passed the headlights bounced
house, which is located right next to the
by the visitors, you become embraced by
moving shadows on the surrounding walls.
“The stream, a big scale sculpture,
our versions of the act of placing candles
by movement in time. Light is changing. It
(Halloween),” explained the team.
night, depending on the fact that we have
Together, with candles brought to the site memories of the past. The sculpture is on graves during Allhelhgonaafton
Site five took visitors to the south of the
city, not far from the central railway station,
through the panels, casting coloured
“The installation and place is also affected
is different between early evening and late
different kinds of darkness surrounding us;
but also by the slow changes of the seasons.
and was headed by Johan Röklander,
The leaves of the trees change colours and
festival. Röklander studied lighting design
this place and installation and it will never
has since worked as a lighting designer
tomorrow,” explained Röklander’s team.
the only Swedish leader in this year’s
at Jönköping University of Sweden and
finally fall to the ground. This will change be exactly the same as it was yesterday or
for Jönkoping municipality and the
The final site, number six, took visitors back
position on the Sweco architect team.
Theodoridi, a Greek lighting designer who
WSP group before starting his current His site focused on kinetic energy and was
inspired by movements in time and space. Mesh fabric sails lined the adjacent road, and created rippling light movement in
into the central avenue of Alingsås. Nikoletta is originally from Athens, but has lived in London and now Barcelona, headed the
Telegrafhuset. Her team’s site is named
Panta rhei (Heraclitus) “Everything flows”.
reflections on the road surface. Luminaires
The concept behind this installation focussed
manipulated by wind energy that moves
historic use of hydrokinetic or ocean power
were placed in and around trees and were
the branches and leaves. The final section of movement could be seen on the road
above the pedestrian underpass. Coloured panels were placed parallel to the road,
on the theme of waterpower and humans’
as a source of renewable energy. Using the Gulf Stream as a point of reference, the
team created a sculptural piece out of mesh
fabric that flowed over the façade of the large
river that passes under site one’s bridge. interacts with the façade while its
subtle movement and reflections invoke memories of the sea. It is a transitory,
unexpected intervention in the core of
Alingsås,” described Theodoridi’s team.
“It is in our hands, constantly questioning the impact of our actions to respect
the environment so as to preserve all of nature’s goods in our daily life.”
In addition to the designated six sites,
following on from last year’s successful
children’s piece, another child-orientated installation was created on the trail
after site number four. Based around the night sky, a giant illuminated half moon was an interactive piece that allowed
visitors to create their own shadows on the moon. A sculpture of a small child sang Twinkle Twinkle Little Star in
Swedish as visitors could walk amongst a collection of small floor level perforated domes that represented the night sky. www.lightsinalingsas.se
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Light a Wish by OGE Group
The Medium is the Message Pics: Janus van den Eijnden
The Amsterdam Light Festival once again returned this winter, bringing with it a collection of beautiful artworks and installations to light up the Dutch city.
rom 29 November until 20 January, the seventh
edition of the Amsterdam Light Festival took over the Dutch capital with a series of light installations and artworks made by artists from all over the world.
The 53-day exhibition, which saw 30 installations throughout the historical city centre of Amsterdam, revolved around the theme
The Medium is the Message, the famous statement by Canadian
scientist Marshall McLuhan. The idea behind this statement is
simple: the way we send a message is at least as important as the
message itself. In this instance, light served to convey a message, while the city of Amsterdam was the medium for telling stories.
The rich history, unique architecture and extraordinary inhabitants of Amsterdam make the city as a medium very suitable for
telling remarkable stories. On behalf of the festival, art historian Koen Kleijn went in search of these stories, collecting them
in a ten-part series available to view on the festival website.
In these stories, Kleijn identifies the connection between the
festivals of light Parabolic Lightcloud by amigo & amigo
Starry Night by Ivana Jelić & Pavle Petrović
Waiting by Frank Foole
Mr. J.J. van der Veldebrug by Peter Vink
A.N.N. by Koros Design
Absorbed by Light by Gali May Lucas
city and the festival’s central theme.
Elsewhere, German artist Stefan Reiss combined
highlights included Absorbed by Light, by British
by the famous string theory, which states that
Of the 30 installations at this year’s event,
artist Gali May Lucas. The installation is comprised of three figures sitting next to each other on a
bench, their heads bent down and their faces lit up by smartphone screens. The figures are physically present, but their attention is elsewhere.
Shadows play a leading role in the artwork
Shadow Scapes, created by South African
Marcus Neustetter, on the façade of the
art and physics in his artwork O.T. 976. Inspired
everything in the universe is connected by small vibrating strings, the artwork is composed of
three planes that each consist of dozens of cables,
functioning as a screen for a continuously changing composition; a form that could unfold endlessly. Hungarian Koros Design also combined art and
science through the moving lights in the inflatable installation A.N.N. (Artificial Neural Network),
Scheepvaartmuseum. Here, he recreated various
intended to show a process that is similar to our
silhouette, projecting them onto two sides of
one of the most influential media of our times, as
objects from the museum’s collection as a flat the building. By lighting the silhouettes with
multiple lamps, the shadows create different patterns and imaginary landscapes.
brain activity. These artificial neural networks are they are used for speech recognition, self-driving cars and personalised filters on social media. Other festival highlights included Starry
Festivals of light
Picto Sender Machine by Felipe Prado
Shadow Scapes by Marcus Neustetter
Two Lamps by Jeroen Henneman
Desire by UxU Studio
Night Vision by Tom Biddulph & Barbara Ryan
Night, in which Serbian duo Ivana Jelić and Pavle Petrović
took inspiration from Van Gogh’s painting of the same name to give Amsterdam its starry night sky back. Supported by
OGE Group for their Light a Wish artwork. OGE Group’s work is
characterised by the powerful way in which it arouses emotions, and
Light a Wish is no exception. The artwork pictures the moment you
the Van Gogh Museum, the installation is a statement on
blow fluff off a dandelion and make a wish as it scatters into the air.
skies are becoming less and less visible in urban areas.
above the Herengracht canal, these seeds glow in a way that
the increased light pollution, meaning that such clear night Australian duo amigo & amigo - also known as Renzo B.
Comprised of 20 two-metre-high ‘seeds’ that dangle carefully makes it look as if they are breathing. With Light a Wish, the
Larriviere and Simone Chua - explored the relationship between
artists visualise the good intentions that we quietly release and
Lightcloud. With this installation, the duo sought to picture
dandelion seeds act as carriers of our deepest desires and dreams.
sculptures and light with the technically complex Parabolic human emotions and stimulate visitors to think about the
impact of external impulses on our feelings and instincts. The installation is made up of 1,000 LED lights and 800 metres of rope made out of recycled plastic and discarded bottles.
Dutch visual artist Jeroen Henneman was guest of honour at this year’s festival. Well known for his sculptures that look
like ‘standing drawings’, he designed Two Lamps exclusively
for the festival - two gigantic lamp sculptures that had their own stage between the streetlights in the famous ‘Golden Bend’ along the Herengracht. By day, the lamps formed a
graphic, dark silhouette, and by night a ‘drawn’ line of light.
For the first time at the festival, this year’s event gave visitors the
chance to vote for their favourite artwork, with the winner receiving the Public Choice Award. This was given to Israeli art collective
hope to encounter again in the future. In this way, the illuminated Each year Amsterdam Light Festival aims to bring together
visitors and artists from around the world in the dark winter months, and by exhibiting high-quality and innovative
light art in the public space, the festival strives to involve, inspire and enlighten its visitors and partners.
Preparations are already underway for the eighth edition of
the festival, scheduled to take place from November 2019 to
January 2020. Installations for the next instalment will operate under the theme Disrupt!. Usually seen as inconvenient,
disruptions can also be positive and sometimes essential to trigger the need for change to take place. This is something that organisers will be hoping to see at next year’s festival. www.amsterdamlightfestival.com
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Digital Waves Lightwaves Festival returned to MediaCityUK in Salford Quays for its sixth year. It featured sixteen installations, most of which encouraged audience participation and interaction.
t was the sixth time Quays Culture hosted the
London-based artist. Designed to challenge our pre-conceptions,
Lucy Dusgate acted as the Creative Producer of the
through feeds of data and information shows. This particular piece
Lightwaves event in Salford Quays, and was the last year production.
“This year we had sixteen amazing installations from all over the
world, several of them especially commissioned by us. Visitors and
residents could see the extraordinary world-class exhibition for free
Youth Culture is a towering sculpture of a hooded youth illuminated
encouraged the public to interact with the ultrasound sensors that stimulate the LEDs, which changed the sculpture’s appearance in response to the audience’s stimulation.
Spectrum, located in the main square outside the Lowry Theatre, was
and wander amongst the bars and restaurants of Media City to
a length of circular hoop lights that illuminated when in contact with
kick off Christmas,” reflected Dusgate.
structure, the lights ripple in an echo effect. The result was to
complete a genuinely memorable evening – such a wonderful way to A free mobile app, developed by the makers of the Bee in the City
app, was available to download to help visitors navigate their way around the different sites.
During the opening evening, visitors could take part in an interactive workshop, the Manchester Survivors Choir (a collection of survivors
sound. When triggered with someone’s voice from either end of the highlight how we communicate and decode data with multiple sensors.
Moving further towards Media City, an interactive outdoor wall was created by Kimatica Studio. This unique digital experience, named
Relax and Release, broke the boundaries between fantasy and reality,
from the Manchester Arena attack at the Ariana Grande concert in
allowing visitors to create magical, fluid light projections as they
Manchester-based artist James Medd collaborated with a team from
2017) performed outside the Lowry Theatre and tours of the sites In total, there were sixteen light art installations completing the
moved in front of the wall.
creative industry specialist Eagle Labs to produce Illumin, an
programme, with most of them encouraging an aspect of interaction
interactive installation on the water’s edge. Taking inspiration from
Youth Culture debuted by Stanza, an internationally recognised
of buoy-like lanterns on the water that illuminated in a pattern of
local artists and community groups, the installation was comprised
festivals of light
light in response to audience interaction through an
Winner of a [d]arc award in 2017, Heart Beat by GNI
app the user could download. The software prompted
Projects also returned to Lightwaves for a second year.
particular rhythm. This was added to a collection of
positioning of steel rods, this piece portrayed a heart
the user to tap on their phone or tablet with a
consistently growing rhythms that were gathered by
each participant over the course of the festival. These
rhythms were then replayed through light in the buoy lanterns, changing in colours dependent on the rhythm input.
Perspective interplay through seemingly sporadic
rate line from the side view and a love heart symbol
from end-view. Visitors could hold hands and touch a pad on either side to illuminate the rod structure in a bold red.
Colour Curiosity, created by Megan Fell, is an
Tapping into a very current and popular form of
interactive piece of up-cycled drawers that when
psychedelic experience using a virtual reality headset
technology, William Latham created an immersive
that took visitors into his cyber world. A professor at
opened, presented a different sound and coloured Located inside the University of Salford was Aura, a
Goldsmiths University, London, Latham was an early
digital light installation by Ronan Devlin that reacted
The Red Squirrel returned to MediaCityUK for another
facial recognition, the structure captured and
pioneer of computer generated arts.
year at the Lightwaves festival. Originally from Quay’s Culture’s Unnatural Borders, commissioned by Sober
Industries, the giant red squirrel becomes illuminated at nightfall with light projections, bringing the 3D animal to life.
Cathedral of Mirrors by Mads Christensen also
returned to Salford Quays. Twelve mirrored columns
at twelve-feet high reflected light during the day, and at night a collection of internal LEDs reacted to human movement, creating patterns across a spectrum of colours.
Also working with reflective surfaces was Gillian Hobson’s Mirror Stage. The large cube structure
reflected light around it, as well as intricate projection
Far Left Youth Culture stands tall above visitors and changes colour depending on the audience’s interaction with the digital signals surrounding the sculpture. Above The giant Red Squirrel displays light projections that bring the piece to life and highlights the animal’s endangered status. Top Right A close up of Heart Beat, the award-winning installation that encouraged friends, families and lovers to join together to illuminate the love heart symbol. Above Right Spectrum, located outside the Lowry Theatre highlights the effects of sound and light playing with each other. Visitors can shout down one end of the tunnel and watch the light echo its way down to the other end.
to spectators’ emotions. Using a live camera feed with transformed biometric data into varied colour
gradients that were representative of the crowd’s collective emotional state.
Light Lab presented seven artists’ work, including
pieces by Aether + Hemera, Mick Stephenson, Debi Keable, Fixed Grinn Collective, Chris Paul Daniels, Dave Lynch and David Ogle.
Also making a returning appearance were
installations from the Blackpool Illuminations.
In MediaCityUK, the pieces brought over included the popular Dr Who Daleks and Tardis alongside a bespoke Manchester bee lightbox. www.quaysculture.com
displays, all creating a visually playful scene.
Festivals of light
Dreams by Morten Søndergård (pic: Palle Vedel)
Eternal Sundown by Mads Vegas (pic: Alastair Wiper)
Labyrinth of Light by Benjamin Noir (pic: Kim Matthai Leland)
You Are Still Here by Anita Jørgensen (pic: Torben Pedersen)
Danish Delights Back for its second year, the Copenhagen Light Festival returned to the Danish capital this February, filling the city with a myriad of impressive installations and light art pieces.
ollowing the success of its inaugural event in 2018, Copenhagen Light Festival returned to the Danish capital in February of this year. Taking place from 1-24 February, the
festival aimed to attract a versatile audience with a wide array of installations; from spectacular and massive
light pieces that illuminated the sky and the harbour,
to smaller, more poetic light installations that put the
seasons viewable along the train tracks near Copenhagen Central Station, on the façade of the DGI-byen building. Elsewhere, Windows of Light, which has been visible in
one of the windows of the Nikolaj Church since August,
was given a new expression during the festival, drawing in
spectators with a gorgeous combination of light and video. Internationally recognised poet Morten Søndergaard, in preparation for his piece Dreams, collected the
bridges and buildings of the city in a new light.
dream-narratives from hundreds of different people.
rooftops as a reminder of the ongoing celebration.
waterfront at Islands Brygge; illuminated and enhanced
During the festival, a green laser beam crossed the city’s Of the more than 40 installations on show, highlights included Mads Vegas’ Eternal Sundown, situated on
Kalvebod Bølge by Copenhagen Marriott Hotel, and
Elementa, a light work inspired by Denmark’s changing
These dreams then floated on ten monoliths on the
by colour and movement, the monoliths appeared as gleaming objects, emerging from the ground.
Elsewhere, Copenhagen Light Festival presented a
number of well-versed light-art names, including Anita
Festivals of light
The Ice is Melting on the Pøules by Martin Ersted (pic: Kim Matthai Leland)
Synthetic Icicles by Chaos Engine (pic: Malene Nelting)
The Orb by Camilla Brix Andersen (pic: Palle Vedel)
Pyramid by Next Cph
Jørgensen, whose illuminative, white neon message You
up-cycled installation entitled The Orb. Comprised
facing Copenhagen Harbour. Speaking of her installation,
cans, the installation was located under Langebro,
Are Still Here was installed on the Foreign Ministry gable,
Jørgensen said: “You Are Still Here is for the individual
human being, a poetic monument to contemplation.” Martin Ersted, the man behind the green laser beam,
also encouraged contemplation with a simultaneously
humorous, thoughtful and sombre contribution in the
shape of a giant light installation on the Nordatlantens Brygge embassy building that takes its name from a legendary quote from former Foreign Minister Villy Søvndal: “The ice is melting at the Pøules”.
Under the roof of Amager Musiktorv, visitors could
experience a work that combined sound and light in Chaos Engine’s Synthetic Icicles. Inspired by the environmental
changes in the Arctic, the work welcomed guests with the roar of the endangered walrus. Luminous icicles shaped
like walrus teeth then hauled visitors into a dream world of vibrant and captivating light shifts, where futuristic imitated walrus calls formed a sound curtain.
Lighting designer Camilla Brix Andersen created an
Chromatic Fields by Jakob Kvist (pic: Kim Matthai Leland)
of twelve bicycle wheels and several bulged metal
near Islands Brygge, and used luminous heart strokes to throw intriguing, playful, dancing patterns on the
asphalt and ceiling, transforming the otherwise dim and unsafe place into a great experience for passersby.
Main event sponsor Louis Poulsen hosted interactive artwork Chromatic Fields, created by Jakob Kvist, at its newly-opened Kuglegården showroom.
Copenhagen Light Festival collaborated with a large
network of artists and designers, alongside local culture and commerce, with partners including Louis Poulsen, Signify, Copenhagen Municipality, Tivoli, North Atlantic Brygge, BC Hospitality Group and Copenhagen City Commerce. www.copenhagenlightfestival.org
festivals of light
Northern Lights GlasGLOW is the first light festival to appear in the Scottish city and received a staggering 75,000 visitors over the sixteen days it was open to the public.
lasGLOW debuted in 2018 as the
Groupe LAPS and a Disney-like finale from
West End resident Oli Norman. With
the lawn with thousands of dancing lights.
creative output of itison CEO and
a £500,000 investment, Norman’s
aim was to created a new outdoor experience for
the residents of Glasgow. The team behind itison Drive in Movies joined forces with the creative
minds from some of the country’s best sound and light events to completely transform Glasgow’s
Botanic Gardens into a world of light and fantasy. The event ran for sixteen nights from 27
October 2018 and welcomed more than 75,000 visitors that walked the immersive light and
sound journey through the Botanic Gardens.
The installations took inspiration from current film and TV trends, wanting to incorporate the essence of Stranger Things, Game of Thrones
and Spielberg-esque 1980s nostalgia.
Some of the installations included a Dragon
farm, an Avatar-style takeover of the Kibble
Palace, a spider circus from French designers
Brighton-based designers Ithaca, who covered itison has announced the event will return with GlasGLOW2 in October this year.
“We are overwhelmed by the demand for the first ever GlasGLOW and we’re even more
excited for year two. Like The Godfather II, The
Dark Knight and Home Alone 2: Lost in New
York – the sequel is going to be even better than the original with a bigger budget, even more
awesome special effects and loads of amazing things to see and do,” commented Norman. “We’ve had loads of brilliant feedback
from folk who loved the event and lots of feedback of things we can do better too –
we’re taking it all on board and super sizing GlasGLOW2 to make it an even richer and
more enjoyable experience for everyone.” www.itison.com/glasglow
Top Left A moon balloon floats above the festival’s illuminated sign, adding to the sci-fi atmosphere of the event. Top Right The lawns outside of the Botanic Gardens are filled with thousands of lights as part of the Disney-inspired installation of dancing lights. Above Right The glass Botanic Garden buildings are illuminated in a myriad of red, orange and blue hues, helping to create the magical and 1980s retro ambience to the space.
Photography by Nacása & Partners
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Making Light History AGB Events create an array of lighting events across Australia, celebrating the countryâ€™s cultural history in public buildings and the great outback.
GB Events, established by Anthony Bastic twelve years ago, is the main driving force behind multiple lighting events across Australia.
Its most recent venture Beauty, Rich and Rare took place
in the National Library of Australia in Canberra - the title of the
exhibition takes its name from the lyrics of the Australian national
anthem. Held from September 2018-February 2019, the event was an immersive sound and light experience that showcased the flora and fauna that is unique to the continent.
Celebrating the sites and wonders witnessed by Joseph Banks, the
botanist, scientist and illustrator that travelled on the Endeavour,
the exhibition provided an immersive experience for visitors across a 20-metre wide, 2.5-metre high screen.
The free event space was commissioned by the National Library of Australia, created by AGB Events and supported by Panasonic
technology. Following its completion at the end of February, the
Festivals of light
exhibition continues with a national and international
has seen in past editions the Sydney Opera House
Bastic began his career as an events co-ordinator,
by Destination NSW, has brought a wealth of
programmer and Creative Director for many largescale public events, including the Millennium New
Year’s Eve celebrations, the Sydney 2000 Olympics, victory parades for the Lord Mayor’s Office, the
illuminated in spectacular video mapping, is funded attention and created thousands of jobs for the local area. In 2017, an estimated 2.3 million visitors
descended on Sydney to view the installations and take part in the free Light Tour.
Sydney Opera House and Rugby World Cup festivities.
Parrtjima – A Festival in Light was the first indigenous
the view to conceptualise events that touched
Events Company (NTMEC) enrolled AGB Events to
“I started AGB Events around twelve years ago with people’s lives and had an informative/educational/ entertaining component,” reflected Bastic.
“My background is in creating and producing largescale public events and I am passionate about this field. I had also worked for a time in a corporate
events agency that churned out what I considered to be meaningless events one after the other. This
experience gave me the impetus to start my own company on my own terms.
“It has been extremely hard at times but the reward when literally millions of people are able to
experience something that you played a part in
conceptualising and producing, is absolutely 100% rewarding.”
The team at AGB Events are also known for several
light festival of its kind. Northern Territory Major
create and produce the event, which brought together the creative content and stories from Alice Springs
artistic and cultural communities. The free to attend
festival is located in the outback of Alice Springs and
illuminates some of the natural beauty of the Central Australian Desert at Desert Park, displays of
Indigenous artworks and the illumination of two kilometres of the MacDonnell Ranges.
AGB Events explained the origin of the festival’s
name: “In Central and Eastern Arrente, apateme
means ‘to have trouble understanding something’,
and pwarrtyeme means ‘to shine’. By combining the
two, the word Parrtjima suggests shedding both light and understanding on a subject.”
The Lights of Christmas is a celebration that brings
events across Australia including Vivid Sydney,
Sydney-siders and tourists to the St Mary’s Cathedral
hosted its ninth edition by illuminating the 75-metre
Paartjima – A Festival in Light, and The Lights of
Vivid Sydney is a winter-based festival that brings together known and emerging light artists from
around the world to the city to illuminate 23 nights during the winter season. The festival has been
running for ten years and bases its concept around the idea of being a Smart Light Festival. The event, which
This Page Treasures Illuminated at the Australian Museum. (Pic: Rohan Venn Photography) Top Left Beauty Rich and Rare at the National Library of Australia. (Pic: The National Library of Australia) Opposite Page: Top Right The Lights of Christmas at Sydney- St Mary’s Cathedral. (Pic: James D. Morgan) Bottom Left Beauty Rich and Rare at the National Library of Australia. (Pic: The National Library of Australia) Bottom Right Parrtjima- A Festival in Light in Desert Park, Alice Springs. (Pic: James Horan)
Square in Sydney every December. In 2018, the event façade of the cathedral with projections of religious imagery. The forecourt was also illuminated in a
sound and light show, free to the public, and displayed storytelling themes of Christmas for visitors. www.agb.events
festivals of light
Far Left Flowing Light by OCUBO and the Academia De Patins. A skateboarder becomes fully interactive with the half-pipe light projections. Left Of Dreams and Life by Robert Sochaki. Spectators gather around the illuminated video mapping and light projections that fill the space with colour and patterns. Above Colours and Forms by OCUBO, The BLKBRDS and JUKEBOX crew. Light, colour and patterns cover the façades of the Citadel of Cascais as hundreds of visitors watch. Pics: OCUBO/Lumina Festival da Luz Cascais
Luminous Lumina In its seventh year, Lumina Light Festival returned to the Portuguese coastal town of Cascais. The annual event draws in thousands of spectators, and its latest edition added an extra interactive layer to the event.
he international event showcases light art, video
mapping, multimedia and interactive projects in both urban and natural environments.
The first two years of the festival were held in Sintra, a
small town not far from Cascais. In 2013, the festival migrated to
Cascais, where it has remained each year since. The free event draws in around 400,000 visitors to the area each year and has become popular with locals and visitors alike.
CEO, artistic director and co-founder of Portuguese lighting design
studio OCUBO, Nuno Maya explained: “Targeting the general public, Lumina is a free, open and plural event, created for a wide audience
AV Stumpfl was involved with Colours and Forms by OCUBO, the BLKBRDS and JUKEBOX crew, and the Citadel of Cascais and Of
Dreams and Life by Robert Sochacki in the prominent Casa das
Histórias Paula Rego.
AV Stumpfl is an Austrian company that designs and manufactures a range of high-performance mobile and installation projection screens, multi-display and show control systems.
“AV Stumpfl products are the best in the market for video mapping synchronisation with DMX light. This had been responsible for the success of one of the greatest multimedia works of the light path,
Colours and Forms, a 360˚ installation with video mapping, dancers
and to be enjoyed by every member of the family, taking them on a
and live music,” claimed Maya.
With the investment of the Municipality of Cascais, embassies,
Innovation and Creation Technologies) and an array of technical
sensory journey full of light, sounds and movement.
institutes, brands and other companies, Lumina is a unique event
that gives Cascais its own special identity. It reflects the support and commitment of the municipality that we can offer a diverse cultural event to the citizens of the region.”
Each year sees a clear artistic and curatorial approach. 2018’s festival
took on a theme of interactivity, multimedia and performance-based installations. The event saw seventeen pieces, of which seven were light installations, eight mapping / projection related works, an interactive light piece and a performance light installation.
Each year the festival works closely with the ETIC (School of
partners, such as shipping company MSC, car manufacturer Renault, Portuguese train company CP, Airstar, Futurdata and AV Stumpfl.
“Cascais provides a beautiful backdrop for the festival and leads the
audience on a beautiful luminous path, not only to discover artworks showcased at the festival but also routes that people don’t take
everyday, including interesting corners of the city that they see in a
new way. That said, Lumina can of course adapt from towns to cities and is always willing to illuminate new places,” explained Maya. www.lumina.pt
Pics: Archivio Fotografico Fabbrica di San Pietro
Divine Light After previously lighting the Sistine Chapel, Rafael’s Rooms and St. Peter’s Square, Osram returned to the Vatican City to unveil the new lighting scheme for St. Peter’s Basilica.
fter nearly eighteen months of planning, this January Osram unveiled a new LED lighting system in the
Vatican City’s St. Peter’s Basilica, one of the largest and most important Catholic churches in the world.
Welcoming around 27,000 visitors per day, the Basilica now shines
in a brilliant new light, with the new lighting concept for the project tailor-made by Osram to highlight all of the treasures that had previously remained hidden in poor light.
Osram installed 780 special luminaires equipped with 100,000 LEDs
throughout the church, and with the introduction of new intelligent
lighting control, the lighting for the church - which covers an area of 22,000sqm, can be quickly and easily adapted to predefined lighting scenarios. With the new LED lighting, for example, the mosaics in the domes of the side aisles can now be seen down to the smallest
detail, while numerous works of art that had previously disappeared in semi-darkness now shine in a light never before experienced within the Basilica.
As well as emphasising the artwork within the sacred building, such as the mosaics covering more than 10,000sqm, the new lighting enables visitors to read without straining their eyes. Further to
this, the domes in the small side aisles, among other things, were previously almost unlit; now, the new lighting concept sets the
stage for them in the best possible way. Details that had never been visible before in the 500-year history of the church - details that
even art experts were unaware of - are now visible without disturbing reflections.
The new lighting system in St. Peter’s Basilica is the latest in a series of collaborations between Osram and the Vatican, with the German
manufacturer previously illuminating the Sistine Chapel, Raphael’s
Rooms and St. Peter’s Square.
been cast on this important location - thanks to
inauguration ceremony, in which Osram CEO
“The Basilica’s new lighting system fits in
Bertello, President of the Governorate of the
prayer and celebration - particularly when the
Comastri, Archpriest of the Vatican Pope’s Basilica
Comastri. “At the same time, this ‘intelligent’
To unveil the new lighting, Osram held a special Olaf Berlien was joined by S.E. Cardinal Giuseppe Vatican City State, and S.E. Cardinal Angelo of St. Peter.
Speaking at the ceremony, Berlien said: “Osram
the new illumination.”
perfectly with the requirements for worship,
Holy Father is in attendance,” continued Cardinal illumination has also allowed us to achieve another purpose: to be able to admire the architectural
and the Vatican have a great and longstanding
beauty of the Basilica.”
outstanding projects. Illuminating a building of
the architecture of the church, was digitally
a very special expertise, close cooperation and
it could be implemented without complex test
relationship, demonstrated through many
this size and outstanding reputation requires
The new illumination, optimally integrated into simulated prior to installation, meaning that
coordination of all parties, detailed planning, high
installations inside St. Peter’s Basilica. The
course, a lot of experience and passion. Only if all
and efficient photometric distribution, has
quality products, cutting edge technology and of
these aspects come together can you make lighting such as this that evokes such strong emotions.
new LED lighting, with high spectral quality significantly reduced glare, while the newly created brightness enables television broadcasts from
“You need a lot of experience and passion to create
St. Peter’s Basilica in VHD 4K and UHD 8K quality
and to the Vatican, as well as Osram, I want to
also allows for specific lighting scenarios to be
illumination like we can see in St. Peter’s Basilica,
thank everyone involved for their passion, for their hard work and for their willingness to create this light experience.”
Cardinal Bertello added: “This project provides a significant service, both to art lovers and to
those who come on pilgrimage to this symbol of
Catholicism. We are pleased that a special light has
Far Left The altar of St. Peter’s Basilica forms a dramatic centrepiece to the church. The new lighting within the Basilica features intelligent control, allowing for easily adaptable predefined lighting scenarios. Top Right Cappella della Pieta. Top Left The central cupola of the Basilica; the new lighting within the church reveals details in the artwork that had remained hidden in semi-darkness for the past 500 years. Middle Left Cappella Clementina. Bottom Left Cappella di San Michele Arcangelo. Bottom Right The new illumination, optimally integrated into the architecture of the church, is comprised of 780 special luminaires equipped with 100,000 LEDs, providing an even distribution throughout the 22,000sqm Basilica.
without any flickering. The digital control system selected, created or modified.
All the installation work was carried out by the
Vatican City’s Technical Directorate, which, among other things, made important recommendations on the project, in close cooperation with the
Cathedral Construction Works of St. Peter’s. www.osram.com
Pics: Archivio Fotografico Fabbrica di San Pietro
House of the Holy Four years after renovating the interior lighting of Milan’s Duomo, Erco has illuminated the cathedral’s stunning marble exterior.
ollowing its impressive work on the interior lighting in
Standing proudly as the third largest Gothic cathedral in the
the beautiful Duomo cathedral in January of this year.
five centuries of construction. Yet to this day its restoration and
2015, Erco returned to Milan to illuminate the exterior of The entire exterior lighting of the world’s largest marble
building has now been upgraded to high-performance, durable Erco LED projectors.
Designed by Pietro Palladino and Cinzia Ferrara, of Ferrara Palladino
Lightscape, the project was commissioned by the Veneranda Fabbrica del Duomo di Milano cathedral workshop, the historic organisation concerned with all operational aspects of the cathedral.
Using the ‘Erco individual’ service, series products were transformed into individual lighting tools, adapted to the local requirements. More than 400 Lightscan spotlights with specially increased
luminous flux illuminate the cathedral’s remarkable façade. Compact Gecko spotlights were also used to accentuate the Gothic verticals, pinnacles and tower spires.
The custom-produced Erco individual versions of Lightscan and
Gecko feature high lumen packages, a higher safety class, special
mounting brackets and a housing colour precisely matched to the pink-grey marble of the Duomo façade.
world, the Duomo di Milano was completed in 1858 after nearly
maintenance remains a constant focus of the Veneranda Fabbrica del Duomo di Milano.
The new exterior lighting scheme comes four years after Ferrara Palladino teamed up with Erco to illuminate the church’s monumental interior for EXPO 2015.
Through the use of the German manufacturer’s LED lighting tools,
a complex lighting solution was implemented inside the cathedral, that reduced the operating costs for maintenance and energy on a
permanent basis - a key issue for the Veneranda Fabbrica in view of its formidable responsibilities working with limited resources.
The old lighting system had consisted of 175 floodlights, each with 400W metal halide lamps, which had been mounted to the base of the vault at a height of up to 33-metres for a uniform illumination of the interior. Although the most economical solution in its day,
the technology had, by today’s standards, become out-dated, and
the system lacked aesthetic appeal. However, the low maintenance
and energy efficiency of current LEDs, combined with the precision
and light quality of Erco’s LED lenses, gave lighting designers a new scope for design.
The new lighting concept uses LED luminaires from the Parscan range, solving a variety of different lighting tasks with suitably nuanced power outputs and light distributions.
Whereas the old system used a cool light colour resembling daylight, the new lighting with neutral white LEDs in 4000K creates a more
pleasant ambience that renders the surrounding surfaces in the most natural colour.
The lighting concept forms a consistent hierarchy of perception by
using brightness contrasts in the space: discreet horizontal ambient
Far Left Drone footage captured the new exterior lighting scheme of Milan’s Duomo in all its glory. Top Right Erco’s compact Gecko spotlights were used to accentuate the Gothic verticals, pinnacles and tower spires. Top Left Using Erco’s Lightscan and Gecko spotlights, Ferrara Palladino Lightscape effectively illuminated the cathedral’s marble exterior. Middle Right The custom-produced ‘Erco individual’ fixtures feature high lumen packages, a higher safety class, special mounting brackets and a housing colour precisely matched to the Duomo’s marble façade. Bottom Left The new exterior illumination comes four years after Erco worked with Ferrara Palladino on the Duomo’s interior lighting. Bottom Right The lighting project was commissioned by the Veneranda Fabbrica del Duomo di Milano, the historic organisation concerned with all operational aspects of the cathedral.
lighting combines with brighter illumination for the vaulted ceilings, thereby reinforcing the sense of height and lightness as principal characteristics of Gothic architecture.
Defined light accents direct the attention of the visitor onto the
altars, pulpits and column capitals so richly adorned with sculptures. The result gives worshippers and tourists alike a tangible experience of the vast dimensions and artistic quality of the sacred space. www.erco.com
Small Yet Precise Hot off the heels of its success at the 2018 [d]arc awards, David Morgan puts Precision Lighting’s tiny Atto range under the microscope.
hen the author of a successful book series
on how to gain entry to medical and dental schools founds an architectural lighting
company, which goes on to create a series of
award-winning and innovative products, it is clear there is an interesting story to be told.
While Joe Ruston spent some of his career in
education, he has always had a passion for engineering and product
development. His degree in Engineering from Cambridge University was followed by an MSc in Guided Weapons Systems, and he then went to work as a Weapons Engineer in the Royal Navy.
In 2000, Joe and his son Alex founded Precision Lighting, as a UK spin off from an older US-based lighting company, Translite, in which Joe had an interest. Translite was sold to Lightolier at around the same time that Precision Lighting was born.
Based in London, Precision Lighting currently shares facilities and staff with sister company Remote Controlled Lighting (RCL). RCL
grew out of a custom product request to Precision Lighting in 2001
for remote controllable motorised lighting systems, and since then, the company has seen steady growth from two to 35 employees, all working on projects across the globe.
Precision’s focus has always been on manufacturing high quality display lighting systems for museums, galleries and retail
applications. The range includes a remarkably wide variety of
spotlights including some older types for MR16 halogen lamps, as well as many based on LED light engines. All the Precision
Lighting spotlights are NC machined from aerospace grade 6063T6 aluminium, which is particularly suitable for anodizing with a
consistent flawless finish. The sophisticated product design in the spotlight range is impressive, with full 360˚ rotation and rotation
locks for all movements. It’s fair to say, the name Precision is most definitely fitting for the product quality and attention to detail. One of Precision Lighting’s most recent developments is the
introduction of its Atto range, which won the KIT - Interior award in David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: email@example.com Web: www.dmadesign.co.uk
the 2018 [d]arc awards. The Atto range was developed as a response to requests from lighting designers to make the existing Precision Lighting Pico range, originally introduced in 2011, even smaller.
Designers waited seven long years before the Precision team were
ready to launch the Atto range, but it seems it was worth the wait.
Precision’s Research and Development team aimed to keep the
miniature recessed downlight and a tiny adjustable recessed eyeball.
favoured but to a more compact profile. The team successfully
cover to conceal the fixing screws, an adjustable height rod type
features, usability and quality of the Pico range that designers
minimalised all the best features, including lockability, bearing aided rotation and constant torque tilt mechanism and combined them
with a thermally efficient LED and optical package to produce the Atto.
The 12mm diameter of the Atto is defined by the size of the lenses
used. Precision appear to have used a modified version of the Ledil Lisa 2 range of lenses, which although tiny, produce high quality
distributions and lit effects. The lenses are changeable on site by
unscrewing the spotlight front, although some care would be needed to avoid damaging the single Osram Oslon LEDs, used in the Atto range.
Osram’s Oslon LEDs achieve a CRI greater than 90 even for the more complex R values, R9 (reds) and R13 (skintone), which is ideal for high quality display and museum lighting applications. The light
engine incorporating the LEDs is tiny, with power being transferred to the LED through vias in the FR4 PCB. The adjustment feel is
smooth with just enough friction, and the locking movement is easily achieved with tiny grub screws requiring a 1mm Allen key.
Precision’s Atto collection features a variety of spotlights, an ultra-
The spotlight options include surface mount with a neatly detailed for display cases and a new miniature jack system, Minipoint, that
enables the spotlights to be easily changed and repositioned on site. Atto offers a beam range of 16˚-90˚, ensuring there is a suitable
solution for every miniature accent lighting scenario, and finishes
include matte black, satin white, anodized silver, satin and polished brass and oil rubbed bronze for whatever finished look the designer requires. These options, combined with the features, aim to ensure flexibility at specification and post installation.
Already this miniature range has been used in a variety of notable projects including Harrods and Fortnum and Mason. Hundreds of
Atto luminaires have also been used in a jewellery lighting project in the Forbidden City in Beijing.
Precision Lighting has created one of the smallest display lighting
ranges available without compromising the quality of the lit effect,
adjustability or mechanical detailing with its Atto range. Already well received in the lighting design market, this deserves real commercial success.
Light Reading We take a closer look at a couple of the latest books to hit the shelves for the lighting design community, including the new SLL Lighting Handbook. SLL Lighting Handbook 2018 SLL A major drive has been underway across the lighting profession to update the existing SLL Lighting Handbook. This work has involved more than sixty people with some twenty-five chapter editors and nearly forty reviewers and technical auditors. These are mostly members of the Society of Light and Lighting (SLL), drawn from over forty companies involved in lighting, including manufacturers, consultants and universities from across the UK and overseas. Leading the effort has been Paul Ruffles, ex-Chair of the SLL Technical and Publications Committee and Honorary Fellow of the Society of Light and Lighting. Widely established as a first stop for anyone seeking information on lighting, the previous edition of the SLL Handbook was published in 2009. Chapters on vision and light that were featured have now been removed, and will be included within the brand new SLL Code for Lighting, due to be published later in 2019. Additionally, the sections that looked towards the future have been removed, as time has shown that trends often move faster than predicted. The remaining chapters have been reviewed, updated and rewritten, with the addition of thirteen brand new chapters and four appendices, making the SLL Handbook one of the most comprehensive guides to interior and exterior lighting in the world.
focusing on integration with other building services, electrical supplies
New chapters summarise specific applications of light detailed in the
and the important final commissioning of the lighting systems, in line with
individual SLL Lighting Guides such as LG13: Places of Worship; LG14:
Commissioning Code L: Lighting (2018).
Control of Electric Lighting; and LG15: Lighting for Transport Buildings,
The SLL Handbook is aimed at those already working within the lighting
amongst others. Moreover, the Handbook will also look at areas not yet
industry and those in related fields who would benefit from a better
covered including historic buildings, exterior architecture and lighting for
understanding of the application of lighting, including electrical engineers,
contractors, facilities managers and many more. The guidance is both
There is also a new chapter on general building areas. Those important,
practical and accessible to a wide variety of people, providing an overview
but often neglected common spaces within buildings - corridors, toilets,
of the fundamentals, technology and the application of light for different
entrance halls, along with back of house areas such as locker rooms and
spaces and occupant requirements.
The brand new SLL Lighting Handbook is now available for purchase from
In order to assist the increasing number of lighting designers coming into
the SLL website.
the industry from non-engineering backgrounds, there are also chapters
The Art of Architectural Daylighting Mary Guzowski The Art of Architectural Daylighting, by Mary Guzowski and published by Laurence King, is a survey of twelve buildings that reveal the potential of daylighting to create beautifully illuminated spaces. During the past decade there has been a tremendous growth in daylighting analysis methods, allowing designers to meet ever-higher standards. But in relying too heavily on these methods, there is a risk of reducing daylighting design to a quantitative exercise, overlooking the qualitative, aesthetic and experiential aspects of design. The Art of Architectural Daylighting reveals how architects have bridged the poetic and practical potential of daylighting to create exquisitely illuminated spaces. In this book, twelve buildings are examined using photographs, drawings and plans. Each case study also includes technical analysis diagrams, created using specialist software and not seen anywhere else. Featured architects include Renzo Piano, David Chipperfield and Steven Holl. The Art of Architectural Daylighting is available to order at the Laurence King website. www.laurenceking.com
h 75 mm
Ø 120 mm
10 W - 19 W 20° - 86° optics
4W-8W 12° - 58° optics
12 W - 24 W 9° - 72° optics
Omnia UN drive over
12 W 3.5° optics
Finest Italian Design
We take a look at some of the products and designs that will be on show at Euroluce and Furisalone 2019.
Senzafine A.A.G Stucchi Senzafine is A.A.G. Stucchi system with all that you need to make an endless light line possible inside Multisystem tracks. The system is provided with various lengths, that match perfectly one to other, thus avoiding any visible junction of light. The different available opticts opal/ microprismatic/UGR<19/lenses together with the various colour temperatures guarantee a wide choice and the maximum freedom in your lighting projects. www.aagstucchi.it
Concrete Kos Astro A simple round or square geometric shape, Astroâ€™s Kos downlight has a beautiful polished concrete finish. The Concrete Kos is individually cast by reinforcing raw concrete with weatherproofing additives, producing a robust and authentic product with natural imperfections and its own unique finish. Kos is perfect for blending into any architectural setting and can be ceiling mounted in both interior and exterior spaces thanks to its IP65 rating. www.astrolighting.com
Matrix Augenti A linear recessed fixture, the Matrix is equipped with secondary optics for different light distributions, which is useful for raising the lighting of faĂ§ades. It has architectonical or frosted glass elements for a diffused distribution that, together with the glare control, make it suitable for pedestrian paths. Available in LED with fixed or dimmable output (Dali, 1-10V, Push) or in tunable White/RGBW for DMXRDM. www.augentilighting.it
Ink System Linea Light Group The Ink System is made up of several versatile items, united by the same concept. The elastic and thin cable, in the stretched version, houses a high performance stripLED and acts as a conductor on which it is possible to hook different devices: light profiles with diffused emission or UGR <19 thanks to special darklight cells, adjustable spotlights and pendant lamps. The range includes wall/ceiling paths, modular modules-channels with various junctions and endings that house the conductor cable and transform it into an elegant graphic sign. www.linealight.com
200Cent Brick In The Wall The 200Cent LED spot is now also available in a 26x26mm square version, which makes it as small as a two-euro coin, hence the name 200Cent. Despite its small size, it remains powerful, running at up to 750 lumens. The colour consistency is perfect (two-step MacAdam), and the colour rendering (CRI 92) is also outstanding. The 200Cent is an optimal crossing of outstanding technology and minimalistic design. www.brickinthewall.eu
Cosmos Lenses Khatod The low profile Cosmos lenses for COB LEDs with LES range from six to 22mm, and come in three sizes: 50, 70, and 90mm. They offer a full range of beam angles and meet MR16, PAR30, AR111 requirements. The frosted finish of the narrow beams makes the light flux smooth, diffused and very homogeneous. Perfect for luminaires in different kinds of environments, living spaces and any interior rooms, the lenses are easy to install, either using their holder or alone by exploiting the mechanical parts of the lighting fixture. www.khatod.com
Omnia Nexo Luce Nexo Luce’s Omnia series features powerful uplights, downlights and projectors, which are able to supply up to 24W. It has a sleek body starting from 10.8cm in diameter and 7.5cm in depth. The COB version of Omnia hosts a new generation of Bridgelux LED and reaches 160lm/w with a variation of narrow, medium, wide and asymmetric optical systems. The other option of the product hosts CREE Power LEDs PCB with either three or nine units. The light beam angle ranges from 3.5-86˚. The 3.5˚ lens is able to produce an ultra-narrow beam that can reach up to 50 meters high. www.nexoluce.com
Intono L&L Luce&Light Intono is the new wall-mounted outdoor fixture that comes in four different sizes and single or double beam. The body is a minimalist cylinder that connects to the wall by a sinuous double curve. The neutral and adhering surface allows it to be painted in the same finish as the supporting wall. It can also communicate with smart speaker devices over Wi-Fi using ZigBee protocol, and can change lighting scenarios according to the music. Rated IP65 and IK08, LED or COB light source, wattage ranges from 2W to 20W, CRI 80 and CRI>90, colour temperature 2700K, 3000K and 4000K. www.lucelight.it
Skyline Highlights Nexo Luce’s flexible lighting solutions have highlighted the four façades of the Grand Millennium Business Bay Hotel in Dubai with a dramatic, yet subtle new lighting scheme.
he Business Bay area of Dubai is becoming a new
The preference was given to downlights rather than uplights with the
rapidly growing infrastructure, smart urban planning
showering effect. The static scene gives the hotel a strong identity. A
commercial and residential hub in the UAE, with its
and innovative design. One of the latest additions to the
glittering skyline of the district is the 251-room Grand Millennium
Business Bay hotel, prominent by its sleek, modern architecture and dramatic, yet subtle lighting scheme.
The project’s lighting design was developed and implemented by Nexo Luce, known for its well-coordinated and flexible lighting
solutions. The Italian company’s international team of designers and engineers has been working on this project from the initial concept and studies to the supply of the overall lighting products.
Nexo Luce provided both exterior and interior lighting for the project. The exterior lighting covered the hotel’s four façades, highlighting its architectural details as well as the landscape, public pathways,
pool decks and car park ramp. The interior lighting covered technical and decorative lighting including public spaces, lobby, F&B outlets,
ballroom, meeting rooms, gym and spa, back-of-house areas, suites, guestrooms corridors, and bar areas.
During the day, natural light penetrates into the building through
the windows, while at night the 100-metre-high hotel turns into a
gleaming point of light. To highlight the exterior façade during the
night, Nexo Luce created a lighting work of art with its harmonious white and cyan colour sequence, blending with the local bay
environment and impressively underlining the character of the building.
aim to meet green building objectives whilst producing an artistic
large role in the façade lighting of the project was given to OVO 18UN; a product designed by Nexo Luce that creates a powerful lighting
beam, equipped with an ultra-narrow optic of 3.5˚ and the ability to reach up to 59 lux at 80-metres.
The façade linear lighting in cyan distinguished the central spine
of the building. The pergolas positioned at the guest balconies on the upper levels were lit in a way to provide the necessary visual connection between the architectural features. At the hotel’s
entrance the concept was realised through recessed linear lighting
that ‘draws’ the structural lines of the attached canopies. The cyan
pin lights with elliptical lenses were evenly distributed on each side of the façade, playing the role of a bridge between the entrance and the spine of the building.
Among the other external spaces, the ramp leading to the hotel car
park is enhanced with ground linear lights, creating a continuous line effect to delimit the pathway.
In total, the external lighting plan includes more than 500 light
fixtures. While the internal spaces contain more than 2,000 technical luminaires that range from architectural to technical products used to either provide the general lighting, accentuate main functional spaces, or give more prominence to the decorative lighting compositions.
Italian Fine Living Panzeriâ€™s lighting fixtures have brought a North Italian villa to life, with its linear fixtures and pendants that emphasise the modern, sleek interior design.
anzeri lighting has been used
One of the roomâ€™s main walls is covered in a modern
private villa located outside Alba, in the
provided by the Manhattan fixtures, providing an
throughout the interior design of a
province of Cueno in northern Italy.
The client, Guelfo Costruzioni, is both the owner and designer of the property, which is located close to his design studio.
Costruzioni specifically requested lighting designer
Emilio Ferro to design a scenic effect that enhanced the interior both during the day and the evening. Their goal was to clearly define the spaces and to highlight the interior design finishes.
The Panzeri lighting fixtures used are all dimmable
to allow for a personalised lighting scheme. Overall, the lighting is a mix of direct and indirect light. The
corridorâ€™s lower ornately decorated ceiling provides continuity from the entrance and holds ceiling lamps designed by One.
tapestry and features two bright slits of light indirect light source.
Marking the corner between the two walls in the
entrance space are Brooklyn fixtures that provide a direct light source. Arranged above the TV area are
three suspended lamps designed by Viisi that draw the large space in, creating a more intimate
atmosphere. The Viisi pendants also provide a
combination of both indirect and direct lighting in the room.
In front of the side wall is a set of To-be lamps, in darker tones, which are suspended at a calibrated height from the inclined ceiling to give a symmetrical look. www.panzeri.it
Sydney Lyric Theatre, Australia Lighting design by Schuler Shook
3D LED Flex 25 System IP20 Double-spaced modules, each with 4 x high power LEDs with lenses
www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | firstname.lastname@example.org | All products designed by Arc ad Feb 2019.indd 2
ADVERTISERS INDEX A.A.G. STUCCHI............................................ 87
Global Design Solutions............................. 63
Acclaim Lighting.......................................... 69
Guangzhou Lightfair................................. 137
Nordic Light............................................... 163
Hacel Lighting............................................. 4-5
Architectural Area Lighting........................ 85
Huda Lighting.............................................. 13
Pharos Architectural Controls................... 14
PJC Light Studio......................................... 158
Illumination Physics.................................... 16
Precision Lighting...................................... 143
Augenti Lighting.......................................... 15
Khatod Optoelectronic............................. 155
Pritchard Themis....................................... 158
Brick In The Wall.......................................... 37
L&L Luce&Light........................................... 19
Roxo Lighting............................................... 75
Collingwood Lighting................................ 131
LED Linear.................................................. 164
Colors LED.................................................... 17
LED Luks..................................................... 115
Seoul Semiconductor............................... 117
Studio Due................................................. 125
Lightfair International.............................. 139
TM Lighting................................................ 159
dpa lighting consultants........................... 159
Lighting by Plum....................................... 158
Lighting Fair Japan...................................... 80
Expo Lighting America.............................. 134
Linea Light Group....................................... 31
Waldmann Lighting..................................... 83
Foster + Partners...................................... 159
Fuhua Electronic......................................... 10
Nexo Luce.................................................. 151
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
38 Bocking Street London E8 3FP
Junior / Intermediate Lighting Designer We are looking for a lighting designer to join our small and busy London office. PJC Light Studio is a multiple award winning lighting design practice based in central London working on a portfolio of prestigious lifestyle projects worldwide including hospitality, high end retail, residential, art galleries, exterior buildings and landscapes. Ideal candidates will have at least 2 years’ experience in architectural lighting design and be proficient in AutoCAD and MS Office - a knowledge of Dialux and Photoshop would be an advantage and a lighting qualification is preferred but not essential. You will be motivated and enthusiastic with the ability to think logically, thrive under pressure and manage a busy workload under supervision. A passion for lighting design, attention to detail and a positive character are qualities that are highly valued. If you are interested to apply please send your CV and any portfolio work to email@example.com
Dog Fanciers May Apply This is Innes. One of the more recent additions to the Pritchard Themis team. Not so hot on the technical side as she lacks opposable thumbs but she sure knows how to growl at lighting reps. We are looking for Senior and Junior Lighting Designers to join our East London team. Senior Designer applicants must have at lease five years’ experience across a broad range of project types with the appropriate computer design skills; They must be able to manage and inspire others and show a willingness to collaborate with fellow workers to create great lighting schemes. Junior Designers do not need specific lighting experience but will have had some CAD training as a minimum requirement. Applicants must be eligible to work in the U.K. and have a strong command of both written and spoken English. Candidates should send a covering email, a copy of their C.V. and any portfolio work they think relevant to support their application. It should be addressed to: Peter Pritchard at firstname.lastname@example.org
Lighting Designer We are looking for a talented, self-motivated and creative Lighting Designer to join our studio in London. A proactive, client facing, front end role, Candidates will have minimum 1-2 years’ experience in the Lighting industry looking to join a design studio that specialises in High end residential, Leisure, Hospitality and Commercial projects, both in the UK and internationally. The role requires an enthusiastic approach to being part of a design team delivering lighting design projects at each stage: from concept through to implementation. Responsibilities would include (but are not limited to): Prepare sketch proposals and mock ups, produce Autocad Layouts, Specifications and schedules, liaise with the design team and suppliers, attend site visits and project management skills. This is an opportunity to contribute creatively, grow and develop within the practice. Applicants need to have excellent communication skills, proficient in a range of IT packages: Autocad, Photoshop, Indesign, Microsoft Office We are committed to equal opportunities. Applicants must be eligible to work in the UK. To join our dynamic and growing team please send your CV and portfolio of skills to Julie Drake at: email@example.com
We are looking for a Middleweight to Senior Lighting designer to join our dynamic growing team. The candidate will need to be a fully rounded lighting designer, passionate about residential lighting design. They will need to be able to carry out a lighting design through from initial client contact through to completion on site. Previous lighting design experience in the ‘residential’ lighting market is essential. Skills to include, Microsoft Office or equivalent, AutoCAD, InDesign, Photoshop, Dialux, Sketch up. The successful candidate will need to be able to work as part of a team to produce concepts through to detailed design, including AutoCAD plans, lighting specifications, schedules of loadings and costs, hand sketches, in depth understanding of lighting products and control equipment in the UK market. Communication skills will need to be strong as there will be an expectation to communicate with clients, various design team members as well as on site build teams. Candidates will need to present a portfolio of projects showing creativity and technical expertise. A driving licence and car will be required as our office is in Ley Hill, near Chesham (end of the London Tube Met line). Please e-mail your application letter and CV along with examples of projects to firstname.lastname@example.org
dpa lighting consultants has the following positions for suitably talented candidates Senior Lighting Designers - Oxfordshire and London Studios We are looking for creative and technically knowledgeable Senior Lighting Designers to join our studio in Clifton, Oxfordshire and our London Studio. Excellent written and spoken English is essential. Candidates should have a wide portfolio of work including hospitality projects (interior and exterior). IT skills not essential. Duties and responsibilities would include, working within a team environment to produce concept and detailed design packages, including AutoCAD plans and site meetings in the UK and overseas, supervising the work of lighting designers within the studio and contributing creatively and technically to projects, including research where appropriate. Only applicants with professional independent lighting design experience will be considered. The candidate must be able to present a portfolio of work that demonstrates both creative/technical knowledge and skills associated to lighting design. Remuneration will be commensurate with experience and includes bonus opportunities. Please note that our Oxfordshire Studio is in the rural hamlet of
Lighting Designers & Graduate Designers - Oxfordshire and London Studios We are currently looking for Designers to join our studio in Clifton, Oxfordshire and our London Studio. The role will involve being part of a design team and Practice. We are looking for both graduate level candidates and candidates with some lighting experience/knowledge. Applicants should have AutoCAD and Photoshop skills. An understanding of InDesign, Visualisation programmes and other lighting related packages such as DIALux and BIM/Revit would also be advantageous but not essential. Excellent written and spoken English is essential. Remuneration will be commensurate with experience and includes bonus opportunities. Please note that our Oxfordshire Studio is in the rural hamlet of
For further details about dpa, please refer to our website: www.dpalighting.com
Elizabeth Grundy: email@example.com.
MIDDLE - SENIOR LEVEL PRODUCT DESIGN ENGINEER Foster + Partners have an exciting permanent opportunity at their London campus for an experienced creative Senior Lighting Designer. You would be working with our industry leading team of lighting designers and technologists alongside our multidisciplinary teams of architects and engineers on high profile projects in the UK and overseas. This role gives you the opportunity to devise innovative, integrated and sustainable lighting design to complement cutting edge architecture. You will be delivering projects which challenge your creative skills and demand an enthusiastic approach to lighting design from concept stage to completion. To apply either e-mail your CV to Alex Brookes at firstname.lastname@example.org or apply via the Foster + Partners’ website where you can also read a full job description www.fosterandpartnerscareers.com/vacancy. asp?VID=1085
TM Lighting is the UK’s leading art lighting manufacturer producing a range of award-winning products for the international art market. We have an exciting opportunity for a Product Designer with strong engineering and lighting knowledge and 3-5 years of relevant experience, to form an integral role within our growing design team at our London HQ. TM Lighting is the UK’s leading art lighting manufacturer producing a range of award-winning products for the international art and design market. You will be responsible for working on a range of core products and custom designs for high-end specialist projects across the globe, within a young, dynamic, fast-paced company. Skills and experience: • Extensive experience in product design
• Broad knowledge of modelling software
• Good knowledge of fabrication processes
• Experience in product rendering
• Thorough knowledge of tolerances and finishing • Understanding of electronics, LED, drivers and dimming fundamentals
• Ability to read and amend architectural lighting layouts beneficial • Demonstrate good graphic understanding throughPhotoshop/Illustrator • Experience of site work, installation and client liaison desirable
Salary negotiable, dependent on experience. To request the full job description and to apply, please email a copy of your CV and portfolio to: email@example.com TM Lighting, 7 Cubitt Street, London, WC1X 0LN www.tmlighting.com
Event Diary Industry events where youâ€™ll find arc in the months ahead EXPO LIGHTING AMERICA 5-7 March Mexico City, Mexico
EUROLUCE 9-14 April 2019 Milan, Italy
INTERLUMI 25-27 July Panama City, Panama
LIGHTING FAIR 5-8 March Tokyo, Japan
LIGHTFAIR INTERNATIONAL 19-23 May Philadelphia, USA
ISTANBULLIGHT 18-21 September Istanbul, Turkey
LEDUCATION 12-13 March New York, USA
CLERKENWELL DESIGN WEEK 21-23 May London, UK
[D]ARC ROOM 19-22 September London, UK
LIGHT 13-15 March Warsaw, Poland
GILE 9-12 June Guangzhou, China
TRENDS IN LIGHTING 24-26 September Bregenz, Austria
LIGHT SPACE DESIGN 27 March Melbourne, Australia
LED EXPO THAILAND 27-29 June Bangkok, Thailand
LIGHTSHOW WEST 25-26 September Los Angeles, USA
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
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#08 WSP Finland / Annukka Larsen
“There is a crack in everything, that’s how the light gets in.” Leonard Cohen
What: Sleeping under the Northern Lights. Where: Northern Lights, also known as Aurora Borealis is a phenomenon visible in the night sky near the Earth’s magnetic poles. Finland and other Nordic countries are great places to go hunting for the light show. Booking a glass igloo for the night will make the observation more comfortable. How: It all begins with an explosion in the sun. As a result of that the solar wind blows particles to Earth. These charged particles become trapped in Earth’s magnetic field and get transformed into this visible phenomenon. Green is the most common light colour to see, and sometimes blue, purple and red colours also occur. When: March and September are the best times for viewing the natural light show. Check the aurora activity forecast and try to avoid the time of the full moon. Snow and light pollution will diminish the experience. Why: When nature offers you a light show comparable to the net capacity of dozens of nuclear stations, it is a moment of magic. Picture © Juuso Hämäläinen
arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market, arc...
Published on Mar 5, 2019
arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market, arc...