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[feb/mar] Front cover: Hanjie Wanda Plaza, Wuhan, China © Edmon Leong

040 Interview Olivia Collette talks to Anne Bureau of Wonderfulight. Pic: Marc Vernier

DETAILS 022 Editorial Comment Paul James questions the lack of legacy of Festivals of Light. 024 Headlines The latest industry news. 026 Letters Lighting design correspondence. 028 Eye Opener Graced With Light, San Francisco, USA. 030 Drawing Board Proposed projects in Cambodia, the USA and the UK. 032 Spotlight A selection of brand new projects from the UK, France, Sweden and Canada. 036 Snapshot An introduction to the work of Oslo based lighting design practice ZENISK. 038 Lighting Talk An illuminating chat with designer Petra Blaisse of Inside Outside. 170 Inspirations Light Collective introduces the inspiration behind Austrian lighting designer Paul Ehlert.

FESTIVALS OF LIGHT 090 Johan Moritz The lighting designer for Malmö argues that Festivals of Light have lost touch with legacy. 092 Helen Marriage An interview with the director of Artichoke, organiser of the Derry and Durham Lumieres. 094 Durham Lumiere Paul James is impressed with Durham’s third festival from Artichoke. 100 Derry-Londonderry Lumiere Rob Leeming visits Artichoke’s inaugural Lumiere in Northern Ireland. 104 Fête des Lumières, Lyon Paul James attends the original Festival. 106 Amsterdam Light Festival A creative winter warmer in the Netherlands. 108 Tallinn Light Biennale, Estonia Pete Brewis endures sub-zero temperatures. 112 Garden of Light, Bournemouth Michael Grubb plants some Light Pods. 114 Day.One, Mexico City Light Collective’s daylight festival concept. 116 Dark Source Stories The latest installment from Kerem Asfuroglu.

TECHNOLOGY 118 Case Studies A selection of manufacturers’ projects from around the world. 146 The IALD Column The IALD’s first column explains their newly designed headquarters by Schuler Shook. 148 Auroralia Awards, Lyon Judge James reports from LUCI and Schréder’s annual sustainable urban lighting awards initiative. 150 ALAN Conference, Berlin Dr. Karolina M. Zielinska – Dabkowska gives an overview of the light pollution conference. 152 David Morgan David Morgan discovers Stanley Electric’s ultra-narrow beam projector. 154 Exterior Lighting Focus The latest outdoor lighting products, from projectors to street lighting. 160 Product Guide Brand new lighting products for 2014. 168 Event Calendar Your global show and conference guide.

Photo: Mariusz Nasieniewski art&image

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048 Retail Lighting Kevin Grant, director of LIGHTALLIANCE explains the principles behind BRE’s ‘The Essential Guide to Retail Lighting’.


052 Hanjie Wanda Plaza, Wuhan Collaboration between UNStudio, ag Licht and BIAD Zheng JianWei Lighting Studio ensures this luxurious shopping mall in Wuhan City sparkles. 062 QELA, Doha, Qatar dpa and UXUS design a pearl of a scheme for Qatar Luxury Group’s latest venture.

PROJECTS 082 Hammersmith Apollo, London A lighting refurbishment worthy of the stage from James Morse Lighting Design.


070 Space Shuttle Atlantis Exhibit, Kennedy Space Center, Florida Paula Martinez-Nobles, Fisher Marantz Stone’s Project Manager, explains the narrative for the Space Shuttle Atlantis Exhibit project. 077 Denim Studio, Selfridges, London PJC Light Studio develope a scheme that supports the interior design and is respectful to the restored features. Pic: Adrian Haddad

Pic: David Clare, First Light Photography

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[editorial] Paul James, editor, writes: Two incidents happened during my visit to Lumiere, Durham’s successful Festival of Light, that left me scratching my head. The first, whilst watching the breathtaking Elephantastic projection, occurred when I posted a picture of the installation on Twitter. I soon received a response from a lighting designer stating that the same installation was at Lyon’s Lumiere three years earlier. There is, of course, no problem with this as 99.9% of the people visiting Durham were blissfully unaware that what they are seeing had made a previous appearance elsewhere, but it does illustrate the point that there is clearly a ‘circuit’ where artists tout their wares for different events, recycling versions of their art. The second was witnessing an argument between a Durham local and a member of the Lumiere’s security staff who was preventing him from entering the city centre as he didn’t have a ticket (overcrowding issues during the previous event in 2011 had led to this radical solution). The local was a bombastic old sod. An ex-miner and political activist (judging by the badges on his jacket), he was fiercely proud of his city and he was not amused. “This is our city and we are being prevented from entering it in the name of art!” An extreme example of course, but still a salient point that the Light Festival is now a thriving industry and the rolling in of the circus is certainly not to everyone’s benefit. Indeed, at the Lyon Light Festival Forum (yes, there is a conference dedicated to the subject), Eduardo Hübscher, Artistic Director of the Jerusalem Festival of Light admitted that many of the locals who lived in the Old City were opposed to the event because of the disruption it caused, to the point that many left their homes for the week-long duration of the festival. Is ‘Festival of Light’ even the right term anymore? They are often erroneously called ‘Lighting Festivals‘ but in truth, have very little to do with lighting, in the design sense anyway. Light Art is more of an appropriate term. Maybe even Light Entertainment if you excuse the pun. Helen Marriage of Artichoke (page 92), organisers of both the Derry and Durham Lumieres, is adamant that the installations that she curates constitute art and not pure entertainment. Johan Moritz (page 90), lighting designer for the Swedish city of Malmö is not so sure, arguing that Festivals of Light should include more lighting design rather than light art and that permanent installations should be part of a legacy that would make up for all the disruption caused - something that cities like Malmö, Tallinn (page 108), Durham (page 94), Derry (page 100) and Alingsås are keen to do. In Lyon I saw too many examples of temporary video mapping and projection on to buildings. Crowd pleasers, yes, but are they really pushing the boundaries of what can be achieved with light and what do they bring to the legacy debate? It was good to see that one of the installations, at the CroisseRousse Tunnel, is to be permanent but I really think a lot more could be done with legacy in what many consider to be Europe’s foremost light festival event. But do you know what? Despite my seemingly negative diatribe, I actually thoroughly enjoy visiting these events! I love the sense of community they bring (despite the above misgivings) and the fact that they show light, in whatever form, to a wider audience. I will always remember seeing Ross Ashton’s projection on to York Minster, the magnificent cathedral, during the ‘Illuminating York’ festival in 2010. The scrum of people taking pictures and phoning their friends urging them to come down and see the awesome sight for themselves was a joy to behold. But the crowds soon dispersed and the city soon returned to normal again. If Festivals of Light can include more legacy projects then these windows to the world of lighting design could be very valuable indeed.



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news headlines

For the latest news stories, head online:

Robe launches Asia Pacific operation

PLDA “officially insolvent” Professional Lighting Designers’ Association seeking insolvency in effort to prevent loss of further funds.

Parent company of Anolis opens new office in Singapore as part of medium term expansion strategy.

Read the full story online...

Read the full story online... 1

Stewart Langdown joins Mackwell Ex WILA director joins lighting technology solutions specialists’ senior management team as Business Development Director. Read the full story online... 2


New European President for Havells Sylvania Christian Schraft tapped for position after 20 years with Osram and Siteco in a variety of senior management roles. Read the full story online... 4


IALD Enlighten Europe 2014 to take place in Berlin

acdc opens US division acdc | Corp, the newly created North American division of acdc, headed up by Veit Mueller, former President of Selux Corp.

IALD announces location of Enlighten Europe, November 9-11, as Barbara Horton begins presidency. Read the full story online...

Read the full story online...

Tridonic acquires sole ownership of South African sales subsidiary Power Technologies (Pty) Ltd to be 100% owned by Austrian manufacturer. Read the full story online... 7 In pictures

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1 PLDA applies for voluntary insolvency following resignation of board members and loss of Circle of Sponsors money 2 Stuart Langdown, Mackwell’s new Business

Development Director 3 Left to right: Harry von den Stemmen (sales director, Robe Lighting); Edwwerth Lai (sales director, Robe Asia Pacific); Dhora Shukor (office manager, Robe Asia Pacific), John Saunders (director, Anolis); Josef Valchar (CEO, Robe Lighting) and Desmond Kwan (technical operations director, Robe Asia Pacific). 4 IALD going from strength to strength. 5 Christian Schraft, Havells Sylvania European President. 6 acdc | Corp is now open for business. 7 Tridonic’s South African sales company is based in Johannesburg.

Droop series aim to use to search the high potential of led light in pendant light fixture design which are the demands of exposed ceiling trends that are very common in contemporary interior design. It offers the flexibility to adjust the height of light source in the space, answering the different needs of individual offices, work stations, stores, restaurants, foyers..etc.

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glimpse to the darkness



[letters] Correspondence from the lighting design community. A BAN TOO FAR Since 2007 when our federal government first announced the incandescent light bulb ban, I’ve been speaking in defense of Thomas Edison’s tried and true bulb for home use. While there are many reasons to abolish the light bulb ban, my primary concerns are, and always have been, the health, well-being and freedom of choice for millions of American households. Our home is our castle. Light shines within our castle making our lives safe and sound. It is unconscionable that our government trespasses on our castles by banning the incandescent bulb without ensuring similar quality of illumination and consumer cost. What’s more, our government provides no plan to upgrade the millions of fixtures and lighting controls in existing residences to safely and effectively utilise the new light sources being forced upon us. How will this process occur and how will citizens pay for upgrading their homes? Hundreds of concerned and health conscious people regularly reach out to me as a lighting professional and ask why is all this happening? And I, in turn, ask how can our great government turn its back on the essential fabric of America? I suspect our government officials do this in the same manner they exempt themselves from Obama care and insider trading. Unfortunately for American citizens, to date our government has prioritised corporate and personal profits far ahead of citizens’ quality of life. As consumers complain about the bulb ban over the past several years, the big three

lamp manufacturers respond that the government’s new energy efficiency regulations eliminated their production of the incandescent lamp. No surprise they neglect to point out that they themselves were the biggest lobbyists for those regulations. It’s simple… there is no profit in a $0.75 light bulb. Adding fuel to this flame are the uninformed green/ environmental advocates that ignore harmful effects warnings of CFLs, the leading alternative to incandescents. In 2014, the incandescent bulb will be relegated to the dustbin of history unless consumers continue to really pressure their legislators to repeal the ban. While we’re faced with numerous big political issues today, lighting might be comparatively viewed as small. But, don’t ignore it. This ban has major consequences for our daily quality of life. Sadly, there is no help from professional lighting societies and advocates that have chosen to relinquish to the government their traditional role of establishing lighting standards. And, there is no help from misinformed government consumer protection groups that are protecting the ill-conceived US government mandate. There are lingering unanswered issues plus new concerns about alternative lighting including a long list of home use problems for CFLs and insignificant energy savings. The use of new lighting products may make important lighting and energy savings contributions in commercial and institutional projects where such products

are professionally maintained and do not pose hazards for building occupants. This is significantly different from home lighting needs for millions of American households. I look back at my lighting design experience of more than 3,000 projects over 60 years, and there is no way I can, in good conscience, specify today’s CFLs, LEDs, and other alternatives for the majority of American homes. Residential lighting is a tiny fraction of overall energy consumption with limited potential for energy savings. There are far better ways to save energy and reduce the world’s carbon footprint. The same questions I asked several years ago remain unanswered. Why ban the incandescent lamp in American households when alternative lighting sources are not adequate relative to energy savings, cost savings, safety, and impacts on quality of life? Where are our leaders – the federal government, consumer advocates, and lighting industry professionals? Manufacturers must produce proven, cost efficient home lighting alternatives, and our leaders should hold them responsible to do so. It’s time to help millions of citizens protect their lives and castles. Please repeal the ban of the incandescent lamp. Howard M. Brandston, (FIES, Hon. FCIBSE & FSLL, FIALD, PLDA) USA

contract for these services had been signed by the architect and lighting designer. The project architect said, “We like some of the catalog sheets they showed us and that the lighting is included in their fee.” No further explanation has been received from the architectural firm to date regarding this issue. What I do understand is that lighting designers are about 2% of the total budget for most projects. We charge hourly fees and supply specific information garnered over the years through evaluation, calculations on real installations. We do

not receive fees for specifying a particular manufacturer nor do we receive a commission on sales from suppliers. All of which is spelled out in contract if anyone cares to read it. In closing I would like to thank mondo*arc for publishing past projects and look forward to submitting new independent projects as they come available. James Long, USA

The full version of this letter is available online comment/guest_articles/

FOR WHAT IT’S WORTH After 30 years in and around the lighting manufacturing and design I’ve decided not to pursue any architectural lighting projects. The abuses are wide and varied with expectations of free consultation after projects have been completed. Clients, architects and interior designers who add scope but do not want to be charged additional fees have little understanding of the process. There seems to be an attitude that what lighting designers do is easily replaceable. One of my projects was given to a landscape architect without provocation even though a

See one of James Long’s ongoing independent projects in Drawing Board on page 30.



eye opener ‘Graced With Light’, San Francisco, USA Minimal lighting but the effect is stunning! The ‘Graced With Light’ music-inspired installation at Grace Cathedral, San Francisco, consists of about 1,100 strands of ribbon, each 86 feet in length in shades of blue, green and red that cascade from the cathedral’s attic. All simply lit with conventional pre-installed lighting. The piece is the creation of New York installation artist and the cathedral’s 2013 artist in residence, Anne Patterson. The installation was the result of months of prep work that Patterson did from her art studio in Manhattan. She constructed a scale model with embroidery floss and then hung ribbons in the hallway outside her studio to help determine the density and colour pattern. Music is incorporated into the artwork with a series of performances by musicians. The theatrical lighting for the performances was designed by Mark Hueske and the rental company Holzmueller. “Mark is a talented innovative lighting designer. His lighting vision complimented my design and direction and helped to create a beautiful performance. He is a wonderfully collaborative designer and he brought many creative ideas to the project.”

Pics: Fiestaban Photography




[drawing board] The latest exciting works in progress from the world’s most imaginative designers.

MAGIC MANSION ‘La Mansion’ is an old French colonial building built in the 1920s as the Phnompenh residence of a wealthy Cambodian. Since being built it has been used variously as a private residence, a military possession, a government property, and, most recently, has been abandoned. The building is admired for its dilapidated architectural beauty and its outstanding historical and urban interest that has miraculously survived for over 100 years. ‘La Mansion’ was recently acquired by the Foreign Correspondents’ Club of Cambodia (FCC) who decided to reinvent the building as an event venue for art and music. FCC are keeping the building in a ruined state, using lighting as a key element to transform the space into a performance venue. ASA Studios studied the building and developed an interesting red and warm white lighting scheme that reflects the contrast of rich history with contemporary art. The interior lighting is randomly set to provide the atmosphere of either a neglected space or a contemporary light art installation.

Several art and music events have been planned to take place at ‘La Mansion’, including the upcoming ‘Our City Festival 2014’, a renowned platform for hundreds of performances, activities and exhibitions.


SURF’S UP The first view of Surf Silo’s exterior is partially covered in a cloud like mist obliterating the form, creating a mystery of its purpose. Inside, Surf Silo’s interior space is installed with a matrix of LEDs that rise from bottom to top projecting continuous waves in a vertical ‘pipeline’, surrounding the visitor in 360° centrifuge of

constant motion with an interactive display to slow down or speed up the action. Enhanced with gradient patterns of lighting and sound effects, the Silo is a singular sensory experience. Sites are being evaluated in northern New York State with a scheduled completion of Spring 2015.

Images © BDP

MAJESTIC MANCHESTER Since 2010 BDP have been working closely with Manchester City Council to transform Manchester’s Central Library and Town Hall Extension. The scope for the lighting design was to bring life to areas of great significance within the grade II* listed buildings as well as more contemporary lighting schemes to other areas. The lighting designs have been developed in close collaboration with two external architectural practices as well as English Heritage and closely co-ordinated with all environmental services. The lighting designs will enable the council to deliver the services to the public more efficiently and encourage visitors to the buildings.

BDP adopted a hierarchal approach to energy efficiency and carbon reduction on this project which included the use of high efficiency light fittings utilising LED lamps where practical. Where possible the existing heritage luminaires were refurbished to incorporate high efficiency lamps and control gear and in some areas the replicas of the original luminaire designs were produced to bring rooms back to their original state. Lighting proposals for listed areas within the Town Hall Extension building include the Council Chamber, Members Corridor and Rates Hall. The integration of lighting with the architecture was of great importance

and ‘lighting without light fittings’ was required. The lighting proposals for the listed areas on the Central Library, including Shakespeare Hall and the main Reading Room, were seen as of great significance and the aim was to restore them back to their original setting. As part of the Reading Room design, a subtle diffused uplighting element was introduced to improve the lit feel of the room and enhance the large domed ceiling which forms the core of the library. The building will open to the public in Spring this year.




LITTLE MIRACLES dpa Lighting Consultants was approached in August 2013 by the BBC DIY SOS Big Build team to assist them with the speciality lighting for a new play centre in Peterborough for the Little Miracles charity, as part of a special edition of the programme for this year’s Children in Need. The Little Miracles charity helps children with additional needs and life limiting conditions, so dpa was very happy to be involved in such a rewarding project. The concept was to take an existing local plot, which had been generously donated to the charity by Peterborough Council, and turn it into a more attractive, functional and stimulating environment for the children. The existing building was not fit for purpose, so this was knocked down and a new building was constructed in its place, together with a transformation of the surrounding landscape.

As with any project, many different consultants, contractors and specialists were required in order to deliver the final building, all of which kindly donated their time and expertise to make the building a reality. dpa’s brief was to work closely with the BBC DIY SOS team to create stimulating zones using low energy light sources, specifically LED, as the charity needed to minimise future maintenance and running costs. They sought to introduce visually interesting lighting elements throughout the centre, such as the colour changing lighting within the Sensory Room, linked to musical control pads operated by the children. The project was restricted to a very tight timescale; initial concept to handover was completed in four weeks, with nine days on-site to complete the build, which was achieved with great effort from all involved. dpa had tremendous help from

a number of lighting manufacturers, all of whom generously donated not only their equipment but also their time, support and advice. LIGHTING SUPPLIERS iGuzzini UK Insta UK Light Projects Lightgraphix Lucent Lighting Philips Lighting UK Rako Lighting Controls Storm Lighting Solutions (RZB Lighting) DAL UK KKDC UK Encapsulite


SWINGS BOTH WAYS ‘Fluidity’, by Aether & Hemera, is an interactive installation that visualises the ‘gender experiences’ of the Northern Design Festival’s audience, transforming the Central Library in Newcastle into a colourful and dynamic environment. A series of QR codes are displayed at different Festival locations, allowing users with a smart phone to quickly interact with the artwork; the engagement revolves around individual’s gender perceptions expressed on a chromatic scale in association with each particular moment in time, using a colourful gradient to tag experiences between the polar labels of ‘Feminine’ and ‘Masculine’ and all the grades in between. Departing from the binary logic of gender representation, it is hoped to open up new opportunities for discussion around gender identity, engaging with people and inviting them to question pre-assumptions. The tensegrity structure of ‘Fluidity’ aims to express the complex dynamics of gender perception and identity; components in compression inside a net of continuous tension create a fluid and stable structure, embedded with bespoken LED lights. The project results from the collaboration between Aether & Hemera and Dr. Kevin Hilton, Reader in Designing for Transformational Experiences at Northumbria University.

Pics: J.Thompson

SHOP TIL YOU DROP Gilbert Moity has designed an interactive light installation called Dynamic Colours at the Rivetoile shopping centre in Strasbourg. Four shopping blocks are connected by three passages, 30 metres long. Moity used light to merge the passages so that the shopping centre became a whole element. Custom made RGB LEDs were installed in the ceiling of the passages. Video cameras capture movement from the shoppers below triggering a dynamic light show based on density of movement. Moity commented, “These passages experience constant movement as shoppers cross them for the sole purpose of joining another block. The light will follow them back and forth, constantly being in motion.”





‘Welcome Home’ is a permanent art installation created by the artist Aleksandra Stratimirovic and her team. The light work, commissioned by the Stockholmshem, lives in symbiosis with the architecture and landscape. The installation, which opened in December 2013, is integrated in the thirteen metre high staircase, which is located in the new residential area in the Stockholms suburb Årstadal. 30 Aldabra LED bars, cast into the steps, transforms the stairs into a ‘rag carpet’ of light. The work stretches through the area as an unrolled carpet of light visible from the other side of the Årsta Bay. The animation consists of several thousand steps, constantly changing form, colours and intensity at a barely perceptible pace.

© 2013 Vincent Bautes /

RECEIVED SIGNALS Lighting architect Ludovic Lefévère of UDO Design was commissioned to create a new visual identity with a dual leitmotiv for Montreal’s Cabaret Underworld - to build a special link between the building’s inside and outside by designing signage leading to the entrance, and fulfill the visual requirements of Quartier des spectacles. The owner of this openly underground concert venue faced a problem specific to the location: illuminate a path to the cabaret’s entrance, located on a side street a short walk from the main street, while preserving the alternative image of this legendary

Montreal venue. Lefévère devoted his talent to designing a scheme that would be impressive enough to draw the eye all the way to the door of this intimate space. Here lies the strength of ‘Received Signals’, a one-of-a-kind accomplishment that combines function with aesthetics, an urban environment with a bold lighting scheme, while achieving the effect that the managers wanted. With this project, the artist seeks to “create lighting scenarios that change depending on the use of the space, as well

as develop a relationship and interaction between the users and the lighting environment”. The light is filtered through an arrangement of perforated plates, which reflect it in the immediate area. During the evening, the lighting evolves in intensity and colours. The reflection of the light off the plates, which themselves filter projected light, evokes a three-dimensional effect where depth perception changes according to the angle of sight.

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Passion. Power. Performance.



[snapshot] An introduction to the work of the Oslo based architectural lighting design practice ZENISK.

STAVANGER FORUM, STAVANGER, NORWAY CLIENT: STAVANGER MUNICIPALITY LANDSCAPE ARCHITECT: ASPLAN VIAK, RAMBØLL Stavanger Forum is a large development that aims to promote the city as a host for national and international sporting events, a venue for culture, exhibitions and conferences. The lighting scheme was implemented in three phases and attention was given to the plazas in between the large buildings, the gathering points and parks as well as the 800m green promenade on the south side to create specific atmospheres for the defined character areas. The recipe of combining custom solutions for the façade lighting of each building, integrating light in landscape elements and the use of a feature pole resulted in a strong and attractive night time space, that enhances Stavanger Forum’s night time identity with a contemporary touch.

BADEHUSGATEN 37, STAVANGER, NORWAY CLIENT: NORWEGIAN PROPERTY INTERIOR DESIGNER: IARK One of the property developer’s prime office buildings, located at Badehusgaten 37, the building streches vertically over nine stories overlooking beautiful central Stavanger. ZENISK together with interior architect IARK designed a new entrance, reception and canteen area. The lighting has been integrated into the architecture and enhances the reception colour scheme and geometry creating a synergy between the indoor space and the great landscape that is seen from the glass façade. The canteen is divided into spaces of different character, while lighting scenes help improve the mood and functionality of these areas throughout the day.


PORSGRUNN MASTERPLAN, PORSGRUNN, NORWAY CLIENT: PORSGRUNN MUNICIPALITY ARCHITECT: DYRVIK ARKITEKTUR (CULTURE HOUSE), GRINDAKER (LANDSCAPE) The masterplan for the project was finished in 2012 together with the design and realisation of the new cultural district, the two main parks and river promenade. The lighting masterplan strategy took into account the future aspirations of the city of Porgrunn and responded to some of the town’s current demands, such as creating a connection between residents and the river by creating inviting spaces and a new city texture. Taking advantage of the city’s beautiful natural landscape, ZENISK developed a respectful lighting masterplan, which consists of low level façade illumination that reflects beautifully in the calm river water, while enhancing the green public areas. The smaller roads run perpendicular to the water and have been given a higher illumination level. When considered together the lighting scheme has created a distinct and inviting atmosphere.

BOOK AND BLUES HOUSE, NOTODDEN, NORWAY ARCHITECTURE: ARKITEKTKONTORET BØRVE OG BORCHSENIUS AS & ASKIM/LANTTO ARKITEKTER AS LANDSCAPE: DRONNINGA LANDSKAP AS Hidden deep inside the windy Southern fjord of the Telemark region, Notodden is an industrial city and the Norwegian centre of the Blues. With this in mind, ZENISK based its concept on the city’s simple yet soulful identity, finding a balance between the cold and warm elements of Notodden’s distinct style, creating the right harmony for a strong lighting concept. The municipality wanted a look inspired by the city’s industrial and musical heritage, presented in a simple and sustainable way. With this in mind ZENISK searched for ways to go beyond the standard concepts of sustainability. The recycling of local materials became an inspiration after the municipality agreed to donate recently replaced telephone timber poles. These are now used as lighting poles for the external public areas. Lit by T5 fluorescent dimmable sources, the translucent box that comprises a significant portion of the structure, sets the tone for the lighting scheme. Creating a soft and warm contrast to the sharp and dark timber facade, the box glows a true blue, the colour of the town’s favourite sound.

Børve og Borchsenius

Camilla Jensen

ZENISK, STAGE & ARCHITECTURAL LIGHTING DESIGN, OSLO • OWNER: Kristin Bredal • HEAD OFFICE: Oslo, Norway • ESTABLISHED: 2008 • EMPLOYS: 4 • CURRENT PROJECTS IN NORWAY: Sandnes Masterplan, Total Operation Center Stavanger, Løren Metro Station, Sami Museum in Neiden, Bryne Sculpture Park, Tana Bridge, Facade mapping for Gloger Festival in Kongsberg, Two productions for the Norwegian Opera and Ballett

“All our concepts are project specific and always highly influenced by nature and its strong lighting characteristics in the Nordic region. We love to work above the Arctic Circle and create not only unique experiences, but strive to enhance life quality by improving visual comfort and stimulating social interaction where there is no direct sunlight for many months every year.”



[lighting talk]

This issue we talk to interior and landscape designer Petra Blaisse of Inside Outside.

COULD YOU TELL ME... … how important lighting is to your designs? Essential. All our work has to do with time - so with the change of natural light through the day and the seasons. Our work is about catching, reflecting, filtering, dimming or excluding daylight. Simultaneously, electric (or what I call synthetic) light is a major part of all our designs, as the surfaces we clad or create in the interiors; the objects we position in exhibitions; and the gardens or public spaces we create outside need to be lit strategically as soon as daylight is not available, not permitted or insufficient. A good example here is the Rietveld Pavilion [1] of the Venice Biennale in 2012. We replaced the skylight windows with clear glass and strategically placed large mirrors on the rooftop to reflect and bring in the natural light into the pavilion. … why spending time thinking about and working with light is important to you? Everything is defined by light. Our state of being is connected to light. Mostly all that is living depends on light. Colour is light. We see nothing without it (unless one cannot see). Our sense of time exists through light. So thinking about light and working with light is like breathing. … about the role lighting plays in the life of a city? Of course you know it makes the city into what it is. It paints the city. It is necessary for safety and direction, and is a commercial and communication tool. Everyone knows that red light stands for STOP or Sex and that flickering light means Alarm or a Feast. Depending on colour, size, intensity, rhythm and location, we know almost instinctively what it means. There could be less of it, in my opinion – with all this light transmitted into the air we miss out on the universe, the moon and stars (and all else flying around) above us. GIardini di Porta Nuova [2] , a large public garden in the centre of Milan is a good example where we are forced to light every square metre of the paths upto a certain amount of flux deemed necessary for safety. In urban landscape where there is usually very little green we want to accentuate the green with light and not the hardscape such as pavements. In the Almere Swamp Garden [3] project, a low lit underground parking lot, the interplay of light and mist creates a mysterious effect. … about the best and the worst illuminated places you have visited? I dislike restaurants where the light falls straight onto the visitor from above, instead of on the table and food. I prefer museums when there is at least some daylight in an exhibition space. I love the Whitney Museum in Manhattan because of its large window and the horizontal light that flows into the entire space because of it. The Stedelijk Museum here in Amsterdam and its former New Wing (by Sandberg) used to have lots of daylight – large windows, not always covered with white cloth - before its renovation and before regulations got hysterical all over the world. Thank heavens the Hermitage in St Petersburg still has daylight (mixed with tube light!) in many of its rooms….with curtains! Beautiful double-layered windows through which one looks out over the snow-clad square and colourful buildings outside. A Malevich floating in front of a lively city square and wide sky is quite different from one hanging quietly on a white museum wall; obviously. I just think the connection with the outside, with natural light and ‘things happening’ around an object or space is important. That you can breathe, escape. Of course an enclosed, silent and mystical

room with hardly any light is also beautiful. With exhibitions especially, we like to choreograph the movement of the visitor; to lead him through a series of different environments, from one experience to the next. The right choice of light is essential to achieve this. All of it I like if well done. All of it can be devastating if not understood. In the exhibition ‘Snapshot’ [4] that we designed for the Van Gogh Museum in Amsterdam, light and perspective were the main focus as it was the use of an early camera by seven painters. The spaces of the Van Gogh Museum are optically enlarged and reduced. Light simulates daylight and creates intimate corners as well as ‘outside’ spaces. … about the importance of shadows and the balance of darkness and light in your work? It’s very important. The right direction and intensity of a light source can emphasise the materiality, three-dimensionality and colour intensity of an object or plane, thanks to the play of light and shadow. Such as in the Tapestry wall [5] in Stedelijk Museum in Amsterdam. Shadow and light create mystery and surprise: one moment it is there, the next it is gone! In the theatre darkness and light is an obvious tool. We use this technique in our landscape designs….if safety regulations allow a soft play of light and dark. In landscape gardens [6] in Doha, Qatar we only low light the edge of the pavements and the plants are all lit up with small spotlights creating a soft play of light and dark. In almost all other contexts, we see to it that daylight can enter a space in one way or another (slits, cuts, holes, tiny perforations or wide open planes); or that light can flow outward from within during the night. The play of light and shadow, the shift of direction and the changes in the intensity of light throughout the day mark the time and cause a variety of effects, moods and experiences – as everyone knows. Our work in theatres and auditoriums differs from that in concert halls, museums or very transparent private houses; and again from that in landscaping, naturally. So we always search for the right balance - or for a lack of balance; because we want to introduce change, to trigger surprise, to introduce mystery and illusion. To suggest something that isn’t really there. To accentuate or erase something that is there. To transform reality into something else, where heavy becomes weightless; massive becomes transparent; colourful becomes colourless. A wall opens up; a thin fleece changes into a wall; an elegant figurine turns into a frightening Dracula; a poppy curtain into a deep dark forest; a dark corner in the garden into a sunny playground. This is what light and darkness can do, time and again.


Pic: R Hart

Pic: Luuk Kramer

Pic: Luuk Kramer

Portrait pic: Jรถrgen Ringstrand




IT’S A WONDERFUL LIGHT Olivia Collette talks to French lighting designer Anne Bureau of Wonderfulight about her love of lighting and art.

Photograph: Marc Vernier




Photograph: Jean-Marc Charles

Entirely lit using LED fixtures, the Puilaurens Castle’s lighting combines static white and blue lighting to contrasts the castle’s smooth surface and the surrounding hill’s jagged edges. Inset, Ann Bureau’s watercolour mock-up of the scheme.

Anne Bureau has a difficult time settling on an answer when I ask her who her lighting idol is. “An idol is perfect, but nobody’s perfect,” she says. She mentions esteemed lighting designer Roger Narboni, her one-time employer and mentor, who she admires because he constantly questions himself, despite being a respected leader in his field. She then considers James Turrell and Olafur Eliasson, and though they’re visual artists, they’ve worked with light in ways that Bureau finds breathtaking. It takes a good 24 hours before Bureau decides on a final answer: Claude Monet and William Turner, both painters. Sensing my befuddlement, she explains: “They paint light. All of their work is about perceiving things in relation to light. If I have idols, they’d be it.” My benign, somewhat clichéd question is supposed to infer who she models herself after in her own field. It may even flatter

whomever she namedrops. But for her, lighting design is broader than the discussions it can get boxed into, so the answer I’m expecting is a terribly moot point. Seeing the bigger picture is part of the reason she went off-brief when she lit the historic Dordogne River quays in Argentat, France, in 2004. “They wanted something dynamic and colour-changing,” Bureau recalls, “but for me, it didn’t make sense to have that kind of scheme with those houses lining the docks.” Instead, Bureau tapped into Argentat’s own history. Located in the middle of France, the riverside town was part of a trade route coming from the west coast, near Bordeaux, and its docks welcomed myriad wooden barges. “We designed lampposts that looked like the lanterns those bargemen may have used, as though they’d forgotten them on the docks,” says Bureau. “The project is two-fold: there’s the lighting on the quay,

and there’s its reflection in the water.” Bureau sporadically lit up some of the houses’ rooftops rather than their façades, making it less intrusive for residents. She also gave the town the dynamic lighting it wanted, but only on the bridge, and the changes are slow and gradual. “The lighting is very soft,” she tells me. “It was all done very respectfully.” So much so that it earned her the 2005 Grand Prix des Lumière de la Ville in the Heritage category. Art has been something of a leitmotif throughout Bureau’s 20-year career. It’s even part of her design process, since she paints her mock-ups in watercolour. “I find watercolour works best for showing lighting effects,” she says. “Before, I’d use pencils. But for some time now, I’ve been using watercolour. It can darken better, or draw parallels between water and light. It better demonstrates what I want to do.” The influence of art started at a young age, just as she’d begun her studies in industri-



Photograph: Hervé Abbadie

Photograph: Citröen communication and Jérôme Lejeune

Photograph: Gabriel Kowalski

Top Home to Claude Monet’s Nymphéas paintings, the Musée de l’Orangerie (architect: Brochet Lajus Pueyo) needed to be relit without damaging the artwork. To do this, a sheer cloth was placed over the oval rooms and halogen and fluorescent sources were directed towards the slanted ceiling that leads up to the skylight. Above left DS World Paris (interior architect: WIPdesign) is a space that combines retail, history and displays with dynamic lighting. Above right The “Bruxelles” Conference Room At Fiap Jean Monnet In Paris (interior architect: Gabriel Kowalski). Light sources are installed within the floating ceiling, but nothing is visible on the ceiling surface. Indirect light from the floating ceiling lights the room.

al design at Les Ateliers: École Nationale Supérieure de Création Industrielle in Paris. During this time, she met light artist Yann Kersalé when she interned in his studio for six months. “I didn’t know that kind of work existed,” she remembers. “I told myself that this was what I wanted to do, and I wasn’t even eighteen years old.” Bureau also worked with Narboni both during and after studies. At first, she designed luminaires, many of them destined for Italo Rosa’s revamp of the Cours des 50-Otages in Nantes, an 800-metre strip with many pedestrian and bike paths. She then became a lighting designer and project manager under Narboni. Afterwards, lighting designer Georges Berne hired her. “Up to then, I’d mostly worked on exterior projects,” she says. “With Georges, I learned a lot about interior lighting. This period taught me much about fieldwork.” In 1995, two years after graduating, Bureau

started her own firm in Bordeaux, not far from where she grew up. In 2011, she co-founded Wonderfulight with long-time business partner Nicolas Marquette. Art then came full circle when, in 1998, Bureau started working on the Musée de l’Orangerie in Paris, which just happens to be the permanent home of eight of Monet’s water lily paintings, known as the ‘Nymphéas’. The Nymphéas came to the museum in the 1920s and were displayed in two oval rooms with overhead natural illumination streaming in from the museum’s skylight. The works were originally painted in a similarly lit environment. A floor was built above the rooms in the 1950s to accommodate the extensive Walter Guillaume collection, and torn down in the 1990s to reintroduce the previous lighting conditions to the oval rooms. “By that point, we couldn’t use natural light because it was discovered that it deterio-

rates paintings,” Bureau recalls. “When it comes to art conservation, what matters is the amount of exposure over the course of a year, regardless of whether the lumens come from the sun or from artificial light.” To calibrate that exposure, a sheer cloth covers the ceiling to filter the natural light, and installed above it are fluorescent and halogen fixtures providing indirect light, their beams aimed at the slanted walls that lead up to the glass ceiling. This provides a comfortable balance of natural and artificial light, while preventing damage to the pieces. The stunning project has earned Bureau many nods from her peers, including a blurb in Malcolm Innes’s book, Lighting for Interior Design. Ever the perfectionist, Bureau admits, “I’d really like to update this project. The design still works, but it needs a retrofit. We’d obviously replace the halogens with LED fixtures. But in 2003, when we finished



Successful new product developments emerge from a sense for materials and shapes in combination with high attention to handicrafted details.

This harmony, caught and implemented in the clear design of glowing rings, is the vision for our product series CIRCOLO and ANELLO.

EuroShop 16.2.-20.2. 2014, D端sseldorf Hall 11, Stand No. E 05

light + building 30.3.-4.4. 2014, Frankfurt Hall 1.2, Stand No. H 51




HIGHLIGHTS Projects that you would like to change: The lighting of Mont-St-Michel. What was done was quality work. I wouldn’t redo it because it’s poorly done. I want to redo it because I’d love to work on this site. Projects you admire: One beautiful project that uses a lot of natural light is the Las Capuchinas Sacramentarias convent in Tlalpan, Mexico City, by Luis Barragàn. It’s such a tiny space but it has an absolutely phenomenal ambiance. Even if you’re not a believer, there’s a grandeur and spirituality that emanates from the space with its play on volume and light. Some of the strongest things I’ve seen were James Turrell’s Heavy Water installation and Olafur Eliasson’s Weather Project at the Tate Modern.

Photograph: Pierre Bourdis / Xavier Testelin

Projects you dislike: Projects where technique is used for no reason. It’s there to show off, but it doesn’t serve the architecture or the space. Lighting Hero: Claude Monet and William Turner. They paint light. All of their work is about perceiving things in relation to light. If I have idols, they’d be it. Notable projects: A few projects stand out. In chronological order, I’d say the Dordogne River quays in Argentat in 2004, the Musée de l’Orangerie in 2006, the Pôle international de la Préhistoire in 2010, and the Puilaurens Castle in 2012.

Photograph: Cyrille Weiner

Most memorable project: My favourite project is always the next one. Even if I’m satisfied with a project, I’m a perfectionist. So my favourite project is the next one because it’s the one I’ll do even better.

Top The Dordogne Quays in Argentat. Bureau lit the rooftops of the houses lining the river so the lighting wouldn’t be too intrusive for residents. Middle Bureau’s mock-up watercolour of the Franklin Quay and Place Saint-Sauveur at the Port of SaintGoustan in Auray, due for completion late this year. Above Pole International de la Préhistoire in Les Eyzies-De-Tayac-Sireuil (architect: W-Architectures) features comfortable yet imperceptible lighting.

the study, it wasn’t possible yet.” That doesn’t mean Bureau is entirely sold on LED. “I think the hegemony of LED is kind of a shame,” she explains. “LEDs have advanced enormously, and they allow you to do things that you couldn’t with other technologies. But some sources, like incandescents, have almost disappeared. They’re an endangered species.” Still, she points out that the Puilaurens Castle was entirely lit using LED; the result is spectacular, and a touch dramatic. It emphasises the castle’s smooth façade and the contrasting jagged texture of the rocky mountain it’s on. In lighting the hill, Bureau also avoided the “floating castle” effect. “We wanted to do something lunar and mysterious, so we used cold tints,” she says. LEDs allowed her to combine static

blue and white, and to turn lights on or off immediately. “Unlike metal halide, LEDs don’t take fifteen minutes to go on or off,” she adds. “They’re also much easier to dim than discharge lamps.” Ultimately, Bureau prefers being free to use the sources she thinks are best, which, in the case of the Pôle international de la Préhistoire, meant a mixture of traditional and LED fixtures. The challenge was to make the lighting as subtle as possible and to avoid clutter. For example, the recessed fixtures along the stairs barely look like they’re lit, and they’re installed in a linear formation. The footbridge connecting the parking lot to the building was lit using thin LED strips installed vertically between glass panels. “It punctuates the path elegantly,” says

Current projects: For interiors, we’ve just finished the DS World Paris car showroom. Right now, we’re also working on the Glass Museum and Studio in Sars-Poteries, with W Architecture; the upcoming Vincent Van Gogh Foundation in Arles, with Fluor Architecture; the regional auditorium of Haute-Normandie in Rouen with King Kong architects; and the fitness centre in Mornac with Atelier Ferret Architectes. For exteriors, we’re bidding on the House of Lights at Place Royale in Brussels. We’re also working on different public space projects in Najac, Lormont and Luz-Saint-Sauveur.

Bureau. “At the same time, it allows us to achieve the required level of 20 lux on the ground.” The photos of the footbridge conceal the project’s complexities, like the intricate cabling. All you see is the minimalist, contemporary result, and that’s what Bureau is after. “For us, technique is at the service of simplicity and discretion, or for some projects, a certain kind of poetry,” Bureau remarks. “If people don’t notice the lighting, it’s a good thing. If they don’t know where it’s coming from but they feel comfortable in a space, that’s a big part of it.” The rest is like an impression left by Monet’s brush strokes.

LED Modules



To support the advancements of technology and techniques applicable to the retail sector, the British Research Establishment (BRE) has produced ‘The Essential Guide to Retail Lighting’, which was launched at their ‘Achieving effective and energy efficient retail lighting’ event. Kevin Grant, director of LIGHTALLIANCE and BRE event speaker, explains...


Pics courtesy of Morrison & Spottiswood; lighting - Happold Lighting

The retail sector is one of the largest consumers of lighting equipment. The ‘Essential Guide to Retail Lighting’ explains how to use modern lighting techniques and equipment, and more efficient light sources, to provide significant reductions in energy use, whilst achieving enhanced quality and improved visual appeal. It covers key elements such as best practice electric lighting, daylighting and lighting controls, all tailored to suit the requirements of retail sector. Creative lighting treatments can really enhance the retail experience by creating stimulating environments and memorable places where people want to spend time… and money. Light can be a powerful tool to the retailer. We can use light to attract and influence the movement of people, encouraging customers to visit a shop, spend time inside,

introduce them to the merchandise and increase the chance they will spend money whilst there. Humans are attracted to light. Research tracking human behaviours has proven that changing the way we light our shops can influence how we behave. To illustrate this most retail situations can be arranged as a series of sequential experiences. Exterior lighting Well-conceived retail boulevards, façade lighting treatments or illuminated shop front displays can draw customers from afar. The main retail frontage provides opportunities to capture impulse purchases, and to showcase the brand and key products available. Window displays can attract, engage and convert the customers attention into sales. High contrast, dynamic or interactive elements can further enhance the custom-

ers desire to explore, and repeat custom promotes increased revenue. The arrival experience The main entrance and the visible elements beyond create the arrival experience, an opportunity to form a favourable first impression and an introduction to the brand. Lighting can be used to create or enhance features and focal points, creating visual interest and forming spectacles that can capture passers-by and encourage them deeper into the store. The ‘shop floor’ retail experience The arrangement of each retail offer should be tailored to suit the desired retail experience. Creating environments where customers will be comfortable and encouraged to browse. Lighting can be used to provide information – helping customers to know where to pay,


how to move from one place to another and how to make a quick escape once they have made their purchase. Lighting treatments can be applied to subtly or dramatically highlight these very important elements. Many different lighting techniques can be applied to emphasise key products. Merchandise and set-piece displays Products can be highlighted by varying the colour, intensity or direction of light to create notable contrasts that attracts our attention. By using a combination of different lighting types – such as accent, display, fill and decorative lighting layers, some really positive retail spaces can be created. Lighting can be used to create desire by providing contrast and highlighting prominent displays to reinforce a particular product or collection of complimentary products. Scenes can be created to lead people from one area or display to another, creating features and focal points, lighting the threshold and then something beyond to lead people through and create a journey, or visitor experience to showcase a particular season, range or collection of items. The placement, focus and lit appearance of items can make some appear more desirable than others – providing a balance of accent and contrast to guide customers towards more of the offers or higher value items. By using light sources with excellent colour rendering properties and through careful selection of the colour temperatures used, we can enhance the natural colour tones of merchandise. Allowing the customer to explore the products, colours, textures and materials in their most favourable forms. Fortunately, most responsible retailers are no longer making their displays brighter and brighter, by continually increasing the quantity of light in order to attract the customers attention. This has been influenced by the more onerous energy use legislations and also by rising energy prices which are driving the retail sector towards more efficient light sources. Retailers are now finding more sophisticated ways to bring attention to their products that don’t require lots of energy in order to get the customers’ attention. Changing rooms and waiting areas Lighting in these areas should be flattering to the human form, providing excellent colour rendition, avoiding strong shadows or colours, to help create a positive experience that can positively influence the customers decision to purchase. Sales counter / service desk Lighting treatments can provide a visual distraction for waiting customers, promote impulse

purchases and must deliver good quality task lighting for the local staff. Lighting controls This is also very important to the retail environment as modern control systems can be technologically advanced but very simple to use. With a degree of automation, controls can be programmed to vary the lighting scenes to ensure that the appearance is appropriate for the time of day, application and desired effect. The retailer should be able to engage several different layers of light, independently or collectively, and vary the colour/intensity/ direction of light to suit the time of day, season or available daylight. The lighting could also be varied to suit occupancy, proximity to a certain display piece or control zone - such that a dynamic feature or sequence is engaged. Dynamic elements can be programmed to change instantly or over a defined period of time. Flexibility is recommended, so lighting can be tailored to suit retail trends, seasonal displays and pop-up events. A simple interface should be provided to allow the retailer to adapt their lighting to suit each new collection or display. Different parts of the shopping experience can be divided into different control zones, such that each can be tailored exactly to suit the desired appearance at any time, ensuring that the local lit effect is appropriate and not over stimulating. A selected palette of lighting equipment and common lighting control system can assist with brand identity, allowing the retailers to provide consistency in appearance across several stores. Creating programmable lighting which can be optimised and used to showcase products across all stores. LIGHTING EQUIPMENT To create a high quality retail experience equipment should be carefully selected to showcase the retail venue, the merchandise and to prevent unwanted visual effects or distractions. The functionality, location, orientation, scale, appearance and visibility of any luminaires should be appropriate to the task and physical location. Luminaires should be positioned and aimed to avoid unflattering shadows or glare, that could detract from the retail experience. Traditionally retail lighting consisted of halogen, fluorescent and metal halide lamp luminaires. LED lighting systems have also been used for many years in retail, but mainly for decorative and accent lighting. However, with the continuing improvements in quality, output and system lifetime, LED technology has now evolved to such

Pics courtesy of Morrison & Spottiswood; lighting - Happold Lighting

Opposite The lighting at the Hugo Boss concession in Harrods T5 creates desire by providing contrast and highlighting prominent displays; the façade at Princes Square, Glasgow creates the wow factor helping to draw customers in; controls can be programmed to vary the lighting scenes to ensure that the appearance is appropriate for the time of day, application and desired effect. Above Dynamic lighting at Princes Square creates a feeling of excitement for the customer as they enter the shopping centre increasing the likelihood of spending more.


ANALYSIS / RETAIL LIGHTING Pics courtesy of Scott Tallon Walker; lighting - Happold Lighting

Pic courtesy of Morrison & Spottiswood

Using different layers of light, such as in The Point Village Mall in Dublin (above left) and Princes Square Mall (above right), varies the intensity of the scene to suit the time of day, season or available daylight. Lighting can also be used to create or enhance features and focal points, creating visual interest and forming spectacles that can capture passers-by and encourage them deeper into the store.

a degree that it is becoming the light source of choice for many retail lighting applications. BENEFITS Many of the benefits of LED technology for the retail sector are widely known. • Lifespan - Potential for very long system life (when properly designed to manage heat/current and used as intended). • Lower power consumption than many conventional sources for equivalent light distribution/output. • Instant ON, no warm up time required when initially powered up. • Potential for high system efficacies, and energy savings when properly designed and specified. • Can be provided in a variety of shapes, sizes and form factor (and can allow more compact luminaires, illuminated surfaces or complex geometric forms not easily created using traditional lighting technologies). • Wide range of optical systems and beam distributions can be provided (from conventional light distribution types to completely bespoke). • Easy to colour mix, colour change and vary the colour temperature of light (without the need for filters or moving parts). • Can be used in cold environments with little detrimental effect on light output. • Less maintenance needed than with many conventional lighting systems. • Flexibility to change lighting levels provided (with appropriate control/dimming). • No ultraviolet/infrared or heat within the light beam so can be used in many areas where heat/UV could be detrimental.

• Lower heat output can result in less cooling being required in areas that contain high volumes of light fixtures. • Mercury-free. • Potential for real lifecycle cost savings against conventional lighting systems. • Higher resistance to shock or vibration, than luminaires containing conventional lamps. • LEDs can be switched ON and OFF frequently (or dimmed, where possible) without reducing their life. ISSUES TO BE ADDRESSED In order to take advantage of the many benefits LED systems can offer, it is very important to ensure that the limitations are observed and properly addressed. • Large variation in quality - lots of low quality equipment and components in the marketplace so careful product selection and specification is important. • Different types of LED system are available AC LED, DC LED, OLED, voltage driven, current driven, and each of these have benefits and limitations. • Inconsistent or misleading labelling or product information can make it difficult to compare systems performance. • Not all LED lighting systems have replaceable light sources, and so some need to be replaced entirely upon failure, or as further LED development makes their replacement viable. • Can be more expensive than conventional lighting systems in terms of capital cost. • Sharp cut-off with optics created by some LED systems can sometimes be too harsh (compared to conventional lamp

based luminaires, for some applications, if not considered as part of a holistic design approach). • Reduced performance in higher temperatures. (One of the most critical elements to consider with LED lighting systems - it is important to regulate the junction temperature and operate this within the specified tolerances.) • Retrofit solutions not suited to all luminaire types (risk of overheating in enclosed luminaires, risk of reduced light output with some existing optic arrangements, potential for increased glare or undesired optical. characteristics with certain luminaire types). • Most LED lighting systems need DC power to operate and some will require external control gear. • Not all LED products are dimmable. • Compatibility issues with some dimming systems (very important to match compatibility of the LED/Driver and Control systems). With clear guidance and access to the correct information, these issues can be identified, checked and effectively addressed. The Institution of Engineering and Technology (IET) has also produced a new publication in February 2014. IET: Code of Practice for the Application of LED Lighting Systems. The purpose of this document is to give comfort and assurance to Clients, Maintenance teams, Designers, Specifies and Installers, so that they can successfully implement LED lighting systems with confidence.

see your brand in a new light. Stage products and sell more with personalised lighting solutions. For more information or light planning advice, please contact: UK

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Photographs: Š Edmon Leong

LUXURY LIGHTING UNStudio combines both contemporary and classical elements in the design of Hanjie Wanda Plaza, a luxurious shopping mall in Wuhan City, China. A lighting design collaboration with ag Licht and BIAD Zheng JianWei Lighting Studio ensures the architecture dazzles.




The lighting design for the interior of the plaza was a collaborative process between UNStudio, German lighting design practice ag Licht and local lighting supplier BUME.


Hanjie Wanda Plaza is a new luxury shopping mall located in the Wuhan Central Culture Centre, one of the most important areas of Wuhan City in China. Following a competition in 2011, with design entries from national and international architects, UNStudio’s overall design was selected as the winning entry for the façade and interior of the mall, which houses international luxury brand stores, world-class boutiques, catering outlets and cinemas. In UNStudio’s design, the concept of luxury is incorporated through the craftsmanship of noble, yet simple materials and combines both contemporary and traditional design elements in one concept. The architects worked closley with German lighting design practice ag Licht, who was brought on board at an early stage to act as the content provider for the façade lighting (together with control specialists, LightLife) and as the lighting consultant. In this capacity, ag Licht aided local lighting design firm BIAD Zheng JianWei Lighting Studio with the façade lighting scheme and lighting supplier Shengzen BUME for the interior lighting. ag Licht, in close cooperation with UNStudio, produced sketches, lighting fixture proposals and detail solutions as a base for further development through BIAD and BUME. The subsequent sampling and mockups were all prepared by the local design firms and then confirmed or altered by ag’s team in China. The lighting scheme for the public spaces plays an active role in guiding customers to enhance their shopping experience. To choreograph such an experience, UNStudio coordinated all the lighting elements specifically addressing different needs. Entrances and atriums are implemented with celebratory lighting whereas shop front corridors were filled with calm steady lighting. For Ben van Berkel, Co-Founder and Principal Architect at UNStudio, lighting was an integral aspect of the project: “Reflection, light and pattern are used throughout the Hanjie Wanda Square to create an almost fantastical world. New microcosms and experiences are created for the shopper, similar perhaps to the world of theatre, whereby the retail complex becomes almost a stage or a place of performance and offers a variety of different impressions and experiences to the visitor.” Visitor flows are guided from the main routes towards the façades and entrances of the building. From the three main entrances, visitor flows are thereafter guided to two interior atria. The concept of ‘synergy of flows’ is key to all of the design components; the fluid articulation of the building envelope, the programming of the dynamic façade lighting




ag Licht, LightLife and BIAD Zheng JianWei Lighting Studio collaborated with UNStudio to create a stunning façade of over 40,000 stainless steel spheres.

The plaza features a unique façade that is furnished with over 40,000 hand-crafted spheres made of stainless steel, positioned in relation to each other. ag Licht was brought on board by UNStudio to deliver the digital content. ag Licht, in turn, turned to Cologne-based LightLife to work on the control concept whilst Local Design Institute (LDI) BIAD Zheng JianWei Lighting Studio was responsible for the overall lighting design of the façade. The façade lighting is an integral part of the architectural identity of the building. The light effects from the spheres are designed to enhance the volume both day and night with ten different types of spheres creating dynamic patterns. The spheres are grouped in wave petterns, each with a different distance to the back wall, supporting the shimmering effects and creating a dynamic effect, even with static colours. The lighting system is fully integrated into the spheres creating a medial light curtain with two layers. The backlit alabaster inlay creates a sharp direct pixel and LEDs on the backside of the spheres project a soft pixel on the back wall. The

and the interior pattern language that guides customers from the central atria to the upper levels and throughout the building via linking corridors. For both the large scale façade and the vast interior spaces, daylight and artificial lighting cast light and shadow depending on the moment of the day and, in a playful manner, material reflections are integrated as one of the layers of the interior finishes. In this way several different zones of lighting effects guide the visitor from the animated kaleidoscopic façade, through the

two layers can be controlled separately and create astonishing effects depending on the viewing angle. In combination with the reflections of the surrounding light, the two layers create a lively 3D medial platform, named ‘DEEP’. Enabled by an e:cue control system, the façade gives the impression that the spheres are cascading like water or folding like a silk scarf in the wind. Specially designed to easily output video content on LED media installations, 65 pieces of e:cue Video Micro Converter were selected to control and project nearly 80,000 pixels of media content over the massive façade measuring more than 29,000m. In addition, the Patchelor tool in the e:cue Lighting Application Suite allows the content designer to use a background picture for easy pixel mapping. The versatile software simplifies patching large matrix and fixture setup. The intelligent e:cue control system is able to integrate with a third party video server, making real-time video processing possible and enabling dual-layer video alignment and calibration of colour reproduction.

main entrances with the custom designed chandeliers towards the two central void spaces combining daylight and effect lighting at the vertical funnel structure. In areas where the product is displayed in the foreground, the lighting effects are subdued and centre stage is given to the brands. The interior concept is developed around the North and South atria, creating two different, yet integrated atmospheres. The atria become the centre of the dynamic duality of the two Hanjie Wanda Square identities: Contemporary and Traditional.

FAÇADE FACTS .............................................................................. Amount of spheres: 42,333 pcs Spheres with indirect lighting only: 9,700 pcs Total amount of RGB-SMD-LEDs: 310,0000 pcs Total power consumption (RGB @ 100%): 792kW Av. power consumption: 792kW x 0,4 = 317kW Surface: 2 x 18,000m² (front and back layer) DMX-cable (light control data cable): 160km Power cable: 50km Fibre optic cable: 5km

CONTROL SYSTEM: 1 x Coolux Server LT 1 x Coolux Manager 1 x Coolux Backup system 68 x e:cue VMC (Video-DMC converter) 42,333 x 6 channel-LED driver

Variations in geometry, materials and details define these differing characters. With two main entrances, the North atrium is recognised as a main venue hall, and the South atrium as a more intimate venue hall. The North atrium is characterised by warm golden and bronze materials reflecting a cultural, traditional identity. In the South atrium, silver and grey nuances with reflective textures indicates the city identity and its urban rhythm. Both atria are crowned by skylights with a funnel structure that connects the roof and the




ground floor. The funnel structures, that also house the lifts, are each clad with 2,600 glass panels and are digitally printed with an intricate pattern. ag Licht carried out numerous tests on the glass with different kinds of printing and very different lighting approaches. They eventually settled on a steel structure to incorporate small LED uplights to illuminate the main lines of the steel structure whilst also glowing on the glass printed surface. “In principle we chose lighting fixtures available in the local market considering operating and maintenance issues,” reveals van Berkel. “However, when the products did not satisfy the design needed we custom designed fixtures appropriate to the circumstances.” Lighting in all public interior spaces creates a continuous, yet ever-changing, flow of

JAPANESE Hanjie Wanda Squareは、 中国武漢市の 最重要地区の1つであるWuhan Central Culture Centre(武漢中央文化センター) に ある新しい高級ショッピングプラザです。 2 0 1 1 年に開 催されたコンペティションの 結果、国内外の建築家が寄せた設計プラ ンの中から、UNStudio の全体的デザイン が、Hanjie Wanda Squiareの正面と内装 部分の勝者として選ばれました。 このショッピ ングプラザには、国際的著名ブランド、世界ク ラスのブティック、外食アウトレットや映画館 が入居しています。 内装と正面の照明デザインでは、 ドイツの照 明デザイン事務所 a・g Licht が地元のデ ザインチームのサポートに当たりました。正 面部分の照明システムは、BIAD Zheng Jianwei Lighting Studioが担当し、 内装部 分は、BUME とUNStudio とが密接にコラ

moments. This membrane of glowing surface stretches through atriums, corridors, seating and lobbies. As a soft interior architecture component it provides a constant background. At times it can also emerge to the foreground to accentuate special interior moments such as atrium and vertical connections. The façade was designed to transform the building to a full blown multi-media display during the night. Stainless steel spheres are integrated with the lighting fixtures to create the façade modules. At the entrances, the spheres swarm to the main doors to pave a highlighted way for customers. Further downlights were hidden in the soffit to provide high capacity lighting volume. The design of the façade was a collaborative process. UNStudio first sketched models and then, through populating the facade surfaces with different modules, they test-

ボしました。 UNStudio の Ben van Berkel は 「Hanjie Wanda Square の全体を通じて反射、光、 パターンを効果的に配することで、幻想世界 さながらの空間が出来上がりました。 この新 ショッピングプラザでは、劇場世界のような 小宇宙と経験が楽しめます。 リテールコンプ レックスが、舞台やパフォーマンス空間とな り、訪問客に様々な印象と経験を届けるので す」 と解説しています。

CHINESE 汉街万达广场(Hanjie Wanda Square)位于 中国武汉最重要地区之一的武汉中心文化 区,是一个新的奢华购物广场。 2011年,一场有国内与国际建筑师参与的 设计方案竞标后,万达集团选定UNStudio 的总体设计为胜方,用于汉街万达广场立 面与室内装修。购物广场包含国际品牌 店、世界级精品店、餐饮和影院。

ed what could be the most optimum distribution and scaling for the façade elements. Different metallic colours were tested in combination with the stainless steel spheres and how hot spots and reflections of the lighting fixtures could be avoided as much as possible. “We tried to achieve a seamless integration of light and material,” recalls van Berkel. “The craftsmanship of the spheres and the making of the façade elements were essential as the finish quality would highlight every unevenness and bump even more. The original idea of the backlit alabaster as part of the spheres had to be replaced by a print version of natural stone in combination with glass. Once we started to gain knowledge on the media content we further streamlined the design of the fixtures. High display resolution RGB LEDs were retained while the fixtures were economically optimised.”

德国照明设计公司ag Licht应邀参与支持 本地设计团队的室内与立面照明设计工 作。BIAD Zheng Jianwei Lighting Studio 完成了立面方案。BUME与UNStudio密切 合作打造室内方案。 UNStudio的Ben van Berkel解释道:“汉 街万达广场通用了反射、照明和图案装 饰,旨在营造一个近乎奇幻的世界。为购 物者打造了新的微观世界和体验,或近乎 戏剧般的世界,借此,零售综合设施变得 差不多像个舞台或表演场地,为顾客提供 一系列不同的印象和体验。”

FRANÇAIS Le Hanjie Wanda Square est un nouveau centre commercial de luxe situé dans le Wuhan Central Culture Centre, un des quartiers les plus importants de la ville de Wuhan en Chine. La conception générale de UNStudio fut sélectionnée par Wanda pour la création de la façade et de l’intérieur du Hanjie Wanda Square,

à la suite d’une compétition organisée en 2011, à laquelle ont participé des architectes internationaux et nationaux. Le centre commercial est composé de magasins de marques de mode internationales, des boutiques de renommées mondiales, des restaurants et des cinémas. L’agence de conception de luminaire allemande, ag Licht, a été engagée pour soutenir les équipes de conception locales pour l’éclairage intérieur et la façade. BIAD Zheng Jianwei Lighting Studio a construit la façade. BUME et UNStudio ont travaillé de concert sur l’intérieur. Ben van Berkel de UNStudio a déclaré, “la réflexion, la lumière et les modèles sont utilisés partout dans le Hanjie Wanda Square pour créer un monde presque fantastique. De nouveaux microcosmes et expériences, presque similaires au monde du théâtre, sont crées pour le consommateur, dans lesquels le complexe devient une scène de spectacle ou un endroit pour se mettre en scène et propose une gamme d’impressions et d’expérience différentes au visiteur”.

Allegro – energy efficient Bright, focused, and efficient



A retail mall is a demanding space, asking for a high level of maintenance and long lasting material qualities. It was a challenge for UNStudio to guide the execution of the project in such way that quality wasn’t compromised due to the restricted time schedule available for the construction. Working with the client’s conventional venders had its benefits as well as challenges for UNStudio in that they secured timely solutions but the designs were often sent back and forth in order to achieve the unprecedented look the architects were looking for. “As architects,” comments van Berkel, “we

DEUTSCH Hanjie Wanda Square ist ein neues Luxus-Einkaufszentrum im zentralen Kulturzentrum von Wuhan, einer der wichtigsten Bereiche der Stadt Wuhan in China. In Folge einer Ausschreibung im Jahre 2011 mit Design-Entwürfen nationaler und internationaler Architekten wurde das komplette Design von UNStudio durch Wanda als Sieger für die Fassade und die Innengestaltung des Hanjie Wanda Square ausgewählt. Im Einkaufszentrum befinden sich internationale Markenläden, erstklassige Boutiquen, Gastronomiebetriebe und Kinos. Das deutsche Lichtplanungsbüro ag Licht wurde zur Unterstützung des lokalen Designteams für das Beleuchtungsdesign des Innenbereichs und der Fassade engagiert. BIAD Zheng Jianwei Lighting Studio stellte das Konzept für die Fassade fertig. BUME und UNStudio arbeiteten eng für das Innenkonzept zusammen. Ben van Berkel von UNStudio kommentierte: „Spiegelungen, Licht und Muster wurden im gesamten Hanjie Wanda Square eingesetzt, um eine beinahe fantas-

are extremely proud that the client’s tough time schedule between the competition and the opening could be handled due to a hands-on integrated design approach, where design phases and construction phases would simultaneously influence each other instead of subsequently following one another. The lighting was not an additional phase to the overall design of the architecture and interior. It was, in fact, a very successful and important integration within the overall scheme.” /

tische Welt zu kreieren. Neue Mikrokosmen und Erfahrungen werden für die Shopper kreiert, vielleicht ähnlich der Theaterwelt, wobei der Einzelhandelskomplex beinahe zu einer Bühne oder einen Performancebereich wird und dem Besucher zahlreiche unterschiedliche Eindrücke und Erfahrungen bietet.”

ITALIANO La Piazza Hanjie Wanda è un nuovo centro per acquisti di lusso situato nel Centro della Cultura Centrale Wuhan, una delle più importanti aree della città di Wuhan, in Cina. A seguito di un concorso tenutosi nel 2011, che ha visto partecipare con i propri progetti architetti provenienti dal panorama nazionale ed internazionale, la Wanda ha selezionato fra tutti la progettazione generale della UNStudio per la realizzazione degli esterni e degli interni della Piazza Hanjie Wanda. Il centro acquisti ospita negozi di marche internazionali, boutiques di livello mondiale, forniture di ristorazione all’ingrosso e sale cinematografiche. Lo studio tedesco di progettazione agLicht è stato incaricato di coadiuvare la locale squadra di pro-

The concept of ‘synergy of flows’ - reflection, light and pattern - is used throughout Hanjie Wanda Plaza to create a fantastical world of fluid movement.

PROJECT DETAILS Hanjie Wanda Square, Wuhan, China Client: Wuhan Wanda East Lake Real State Co., Ltd Architecture and Interior Design: UNStudio Lighting Design: UNStudio Lighting Design Consultants: ag Licht, LightLife, BIAD Zheng JianWei Lighting Studio Lighting Supply: Shenzhen BUME

gettazione per ciò che riguarda sia la progettazione dell’illuminazione degli interni che quella degli esterni. Lo Studio d’illuminazione BIAD Zheng Jianwei ha completato l’organizzazione della facciata mentre la BUME e la UNStudio hanno lavorato in collaborazione per quella degli interni. Ben Van Berkel della UNStudio ha così commentato: “ Riflesso, luce e tessitura sono stati utilizzati ovunque nella Piazza Hanjie Wanda per la creazione di un mondo pressoché fantastico. Per i clienti sono stati creati nuovi microcosmi ed esperienze probabilmente simili al mondo del teatro e tali da rendere questo complesso di distribuzione simile ad un palcoscenico o ad un luogo di rappresentazione scenica in grado di offrire al visitatore una grande varietà di emozioni e di esperienze.”

ESPAÑOL Hanjie Wanda Plaza es un nuevo centro comercial de lujo ubicado en el Centro Cultural Central de Wuhan, una de las zonas más importantes de la ciudad de Wuhan, en China.

Tras un certamen en 2011, con participaciones de arquitectos nacionales e internacionales, el diseño general de UNStudio fue seleccionado por Wanda como la opción ganadora para la fachada y el interior de Hanjie Wanda Plaza. El centro comercial alberga tiendas de marcas internacionales, boutiques de primera clase, tiendas de comida preparada y cines. El bufete de diseño de iluminación alemán, ag Licht, fue contratado para apoyar a los equipos de diseño locales para el diseño de la iluminación interior y de la fachada. El estudio de iluminación BIAD Zheng Jianwei completó el proyecto de la fachada. BUME y UNStudio trabajaron estrechamente en el proyecto interior. Ben van Berkel, de UNStudio, comentó: “Utilizamos reflejos, luces y patrones por todo el Hanjie Wanda Plaza para crear un mundo casi fantástico. Se crean nuevos microcosmos y experiencias para el comprador, quizá similares al mundo teatral, a través de los que el complejo de tiendas se convierte casi en un escenario o en un lugar de actuaciones y ofrece una variedad de impresiones y experiencias diferentes para el visitante”.



THE ART OF RETAIL As the flagship of a new luxury brand, the QELA store, located on Doha’s Pearl islands, had an important role to play in establishing a high-end, artisan identity onto the global stage. dpa lighting design helped create a space that is part retail destination, part art gallery.


All photography: Adrian Haddad



As examples of national brand building go, few countries can match the speed and success of Qatar. Over the last fifteen years, the profile of this 11,500km² adjunct to the Arabian Peninsular has rocketed on the global stage, garnering the cautious respect of both international political and business communities. This rapid rise is in part the result of a familiar process of cultural importing and adopting, be it big name architecture, world class art collections or major sporting events - notably, FIFA’s eyebrow-raising decision to make Qatar the 2022 Football World Cup hosts. But perhaps the most impressive part of the Qatar project has been in the country’s ability to establish itself as an exporter of Arabian culture. The state-funded Al-Jazeera news network and Qatar Airways have already reached out to a global audience and now, with the launch of luxury brand QELA, high end fashion has gained a major new name. Owned by the Qatar Luxury Group, QELA is set to open a series of boutiques across the world offering finely crafted leather goods, shoes, jewellery and made-to-measure women’s couture – all characterised by classic lines and understated Arab influences. The first of these stores opened in September 2013 on The Pearl - the man-made archipelago just off the Qatari coastline. Strategic design consultancy Uxus was tasked with creating the boutique – a de facto flagship store that would establish QELA as a global retail presence. As Uxus chief executive Oliver John Palmer explains, this presented an exciting challenge. “QELA was our first project in the Gulf region, which we consider to be one of the most dynamic hubs for retail design,” he says. “The project was also unique in terms of starting our work at the very inception of the brand, allowing us to design the retail experience in close parallel with the creation of the first collections – which is extremely rare in the world of couture and luxury. This presented a chance to design a completely bespoke customer experience with a one-of-a-kind service model.” The boutique-cum-gallery is split across two levels connected by a sleek, freestanding staircase and topped by a domed ceiling whose design reflects the architecture of the region. dpa lighting design worked with Uxus to deliver a lighting scheme that blended seamlessly into the architecture of the building and enabled staff to present luxury items at their best. For the front-of-house areas, the brief was to design a lighting solution that provided a luxurious layered lighting appearance to accentuate the high-quality finishes,

architectural interiors and features, and displays. Merchandise had to stand out from the ambient effect with highly controlled accent lighting. The client proved very forward thinking and encouraged innovation in all aspects of the design – including the very latest in lighting technology. All lighting had to be very flexible, controllable, and high colour rendering, with luminaires integrated into the interior wherever possible, as dpa’s Gary Campbell explains: “The client brief included a number of criteria including state-of-the art light equipment in terms of sources, flexibility attachments and lenses, control, flexibility, and energy efficiency,” says Campbell. “QELA is part art gallery and part high-end fashion boutique. The gallery

displays change every few weeks with new exhibitions and the merchandise displays also change from time to time. Therefore a lighting design was required that provided full flexibility and ease of use by the store manager, brand visual merchandising team and gallery curator.” The boutique comprises a number of distinct spaces: a ground floor art gallery space and merchandise displays, first floor merchandise displays including high end jewellery, a VIP Salon, and fitting rooms. With the exception of the jewellery display cases and decorative fittings, all lighting is LED based and dimmable, allowing not just flexibility, but also significant energy saving qualities to the scheme.


Left and below The ground floor of QELA includes a central area with displays lit from first floor ceiling level. Even at this distance the display podiums and mannequins are well lit, pulling them forward from the scene. Floor standing screens include linear uplight detail integrated to the base. Bottom left The front entrance deliberately obstructs direct views into the boutique, creating a more private feel. The entrances are located on either side of the full height video screen. LED grazes the timber wall panels and LED display lighting illuminate the niches.



“The boutique is on two floors, each with ceilings at 3.8m, but there is also a central atrium that is lit from the first floor ceiling, requiring a throw of nine or ten metres into the centre floor area,” says Campbell. “There are very few LED sources that can practically illuminate products from that height without looking ugly. But it also had to work from a lighting effect point view and the RCL fittings delivered what we need in terms of power intensity and the availability of narrow beams.” The all-LED lighting by RCL includes 187 Director DR7 and 146 Director DR8 remote-controlled spotlights. Trimless Director DR7s provide much of the store’s general lighting; these are fully recessed fittings

JAPANESE Qatar Luxury Group の手掛けるブランド QELAの第一号店が、一連のファッションブ ティック開店計画の先陣を切って、 カタール のきらびやかな人口島「パール・カタール」 に オープンしました。同ブランドは、丹念な造り の革製品、靴、宝飾品、女性用オートクチュー ルを取扱っています。 QELA はカタール発の 最初の国際ブランドの先駆者であり、 クラッシ ックなラインにアラブ・テイストを若干取り入 れたデザインを特徴とします。 すべてのLED照明を担当した英国の dpa lighting は、 先端的な照明機器を採用。 こ の機器は、簡単な携帯リモコンと、Remote Controlled Lighting (RCL)が制作した特 殊なiPadアプリ ([iDirect」) を使ってショップ フロアから操作可能です。 ほかのすべての一 般、建築、 リテール用ディスプレイ照明は、Lutron社のシーン別調光システムをベースに

with a clever design that means no physical components protrude below the ceiling line. Elsewhere, the recently re-engineered and upgraded Director DR8 is used to spotlight many of the pieces on display. Luminaires are focused and adjusted using handheld remote controllers or RCL’s iDirect control system via iPad, which gives the store free rein for creative lighting effects, and in highlighting not only the designer clothes and luxury goods but also the works of art that adorn the boutique’s walls. All other general, architectural, and retail display lighting is controlled through a Lutron scene set system with directional adjustment with iDirect. A number of scenes are pre-programmed as required, with both

iDirectで方向の調整を加えて制御されます。 数々のシーンは必要に応じてプログラムされ ます。 RCLの iDirect 制御システムと Lutron システムは、相互に連携しており、表現の柔軟 性を高めています。 宝飾品ケースと装飾的装具を除き、店舗内の 照明は全面的に調光可能なLED照明がベ ースとなっており、大幅な省エネに貢献してい ます。一方、店舗裏手の照明は敷居部分を除 き、 概ね蛍光灯が使われています。

Above Free-standing podiums include integrated fibre-optic downlights in the slim polished chrome ring at the top. The fibre optic heads have 90 degree mirrors to redirect the light down from horizontal mounted fibre tail ends. These generate up to 8500 lux on the displays. All fibre optic projectors are metal halide and have both dimmer wheels and white colour tuning wheels for full flexibility.


堂里使用一个简单的手持式遥控器和Remote Controlled Lighting (RCL)公司专门 制作叫做iDirect的客户端操作照明。所有 其他普通、建筑和零售展示用照明的控制 通过Lutron场景设置系统完成,由iDirect 进行方向校正。按要求制作了若干场景程 序。RCL的iDirect控制系统和Lutron系统 的设计是要进行相互交流以进一步提高灵 活性。除了珠宝盒与装饰性配件之外的所 有一线照明以LED为基础,而且还可以调 光。给方案增添了具有重要意义的节能品 质。入口之外的BOH照明典型地基于日光 灯。

QELA位于卡塔尔人造豪华岛珍珠岛上, 销售精制皮具、鞋、珠宝和定制女时装, 是卡塔尔奢侈品集团(Qatar Luxury Group) 时装精品店系列计划的首店。它是卡塔尔 首个国产全球品牌的发射台,品牌的特色 表现为经典线条和朴素的阿拉伯风格。 英国照明设计公司dpa lighting design打造 的全LED照明使用了先进器材,可在店

QELA, la première boutique de mode du Groupe Qatar Luxury, est située sur l’ile artificielle de luxe de Qatar, “the Pearl”, et propose des articles en cuirs de grande qualité, des chaussures, des bijoux et des vêtements haute couture pour femmes. C’est le tremplin de la


première marque mondiale du Qatar, qui se caractérise par des lignes classiques et des influences arabes sobres. Tous les luminaires LED de l’éclairage dpa utilisent des installations de haute technologie, que le personnel opère à partir de l’atelier à l’aide d’un contrôle à distance portable simple et une application spéciale iPad créée par Remote Controlled Lighting (RCL), appelée iDirect. Tous les autres éclairages généraux, et d’architecture sont contrôlés par un système de mise en place de scène Lutron équipé d’un ajustement directionnel avec iDirect. Un certain nombre de scènes peuvent être programmées. Les systèmes de contrôle iDirect RCL et Lutron sont conçus pour communiquer ensemble pour permettre une plus grande flexibilité. Tous les éclairages sur le devant de la maison, à l’exception des boites à bijoux et l’éclairage décoratif sont composés de LED et réglables. Cela procure des qualités d’économies d’énergie au mécanisme. L’éclairage BOH est en général fluorescent à l’exception des seuils.

Take Control with iDirect Introducing the award-winning lighting control system from Remote Controlled Lighting. Find out more at

Light Plans. Select lights from a reflected ceiling plan. Light Plans allow users to add spotlights to an imported reflected ceiling plan. Fixtures can be positioned precisely and adjusted in scale to suit the layout.

Dimming. Centralised dimming for individual areas. Control the intensity of all spotlights in a single area from one central location. Use the ‘All Areas’ dimmer to adjust dim level across all areas simultaneously.

Gesture Pad. Control spotlights using simple gestures. Individually adjust spotlights in pan, tilt and dim level using simple, intuitive gestures. Use multi-gestures for fine tuning or apply ‘Axis Lock’ for even greater accuracy.



The VIP fitting rooms employ various lighting elements. The mirrors have integrated full height lighting, while pinhole spotlights above the mirror pick out fabric textures and jewellery. A white colour tuning ceiling feature provides general lighting to the customer and this can provide a cool white daylight effect and a warm white evening effect through soft dimming. Perimeter covelighting from EcoSense provides a soft ambience and highlights feature walls and curtains.

the RCL iDirect control system and the Lutron system designed to communicate with each other, so providing further flexibility. RCL fixtures use high power CREE modules to cater for the high ceilings, with various beam angles utilised. Other LED light sources included the GE Punch modules for the same reasons. Elsewhere Xicato Artist modules are used for normal ceiling heights. General architectural lighting includes integrated perimeter cove lighting to wash feature wall panels and curtains, and concealed uplighting to the feature dome ceiling in the atrium. For the jewellery displays, custom designed podiums and wall cases were developed. The glass podiums contain a very slim profile at the top, housing Sub-Zero Lighting fibre-optic end fittings with 90 degree mirrors. For the wall units, again top lighting and low level uplighting is provided by fibre-optics with linear LED to wash the back panel. Light sources are 250 watts metal halide with white colour tuning and

DEUTSCH QELA, die erste einer Reihe von Modeboutiquen, die von der Qatar Luxury Group geplant sind, befindet sich auf der Pearl, der künstlichen Luxusinsel von Katar, und bietet fein gearbeitete Lederwaren, Schuhe, Schmuckwaren und maßgeschneiderte Damenbekleidung. Dies ist der Start für Katars erste einheimische internationale Marke, die sich durch klassische Linien und dezente arabische Einflüsse auszeichnet. Die nur mit LED realisierte Beleuchtung durch das britische Unternehmen Dpa Lighting Design verwendet hochmoderne Beleuchtungskörper, die durch das Personal von der Shop-Etage aus gesteuert werden, indem eine einfache, tragbare Fernbedienung und eine spezielle iPad-App namens iDirect, die durch Remote Controlled Lighting (RCL) kreiert worden ist, benutzt werden. Die gesamte restliche allgemeine und architektonische Beleuchtung sowie die der Verkaufsräume wird über ein Lutron Szenografie-System mit richtungsweisender Einstellung mit iDirect gesteuert. Zahlreiche Szenarien sind bedarfsgerecht programmiert. Sowohl das RCL iDirect Steuersystem wie auch

dimmer wheels. Typical illuminance values at the base surface are 8500 lux horizontal and 3500 lux vertical. Though warm white is used throughout the store, a separately controlled, cool white spotlight is used above the jewellery consultation desk, so deliver maximum impact for the silver and diamonds pieces being viewed. In the fitting rooms there are ceiling features over the mirrors with colour tuning white light, narrow beam pinhole accent lights from Lucent to pick out fabric textures, and with integrated mirror lighting. This is supplemented with perimeter cove lighting to wash curtains and decorative feature lighting. With the successful launch of QELA in Doha, the Qatar Luxury Group now plans to expand the brand into Europe and has already announced Paris as the next boutique location.

das Lutron-System sind so konzipiert, dass sie für mehr Flexibilität miteinander kommunizieren können. Die Beleuchtung der gesamten Häuserfassade mit Ausnahme der Schmuckkästchen und der dekorativen Beschläge ist auf LED-Basis und dimmbar. Dies verschafft diesem Projekt erhebliche energiesparende Eigenschaften. BOH-Beleuchtung ist normalerweise auf Leuchtstoff-Basis, mit Ausnahme in den Grenzbereichen.

ITALIANO QELA, la prima di una serie di negozi di moda pianificati dal Gruppo Qatar Lusso, è posizionata su la Pearl, la prima isola del lusso costruita dall’uomo in Qatar ed offre prodotti di pelle finemente realizzati, gioielli e alta moda da donna, su misura. E’ il trampolino di lancio per la prima firma originaria del Qatar diffusa a livello mondiale, caratterizzata da linee classiche e dal sobrio influsso di sapore arabeggiante. L’illuminazione, totalmente realizzata con LED dalla dpa progettazione di illuminazione con base nel Regno Unito, presenta installazioni d’avanguardia che vengono azionate dal personale direttamente dal negozio per mezzo di un semplice telecomando manuale

PROJECT DETAILS QELA, The Pearl, Doha, Qatar Client: Qatar Luxury Group Interior Architects: UXUS Design Lighting Design: dpa lighting design

LIGHTING SPECIFIED RCL - track mounted and ceiling recessed downlights with high power LED light source Lucent Lighting - ceiling recessed pinhole downlights Ecosense – linear wall / curtain graze, coffer uplighting, and stretched ceiling backlighting Lumino – miniature LED striplight Cube Lighting – ceiling recessed miniature downlights and floor recessed uplights acdc – Small vitrine downlighting Altman – framing projectors Sub-Zero Lighting – fibre-optics to jewellery podiums and vitrines Lutron – lighting control system RCL - iDirect control system via iPad for RCL luminaires

ed una speciale applicazione iPad creata dalla RCL (Illuminazione Telecomandata), denominata iDirect. Tutto il restante supporto generale di illuminazione, quello architettonico e la distribuzione luce dei particolari sono controllati per mezzo di un sistema scenografico Lutron con variazione direzionale realizzata per mezzo di iDirect. Un certo numero di scenari sono programmati, come da richiesta. Sia il sistema di controllo RCL iDirect che quello Lutron sono progettati per comunicare fra loro allo scopo di acquisire ulteriore flessibilità. Tutte le illuminazioni degli spazi d’ingresso, tranne le vetrine delle gioiellerie e le installazioni decorative sono realizzate a base di LED e sono realizzati a luminosità attenuabile. Ciò fornisce al progetto notevoli qualità legate al risparmio energetico. L’illuminazione BOH è generalmente basata sulla fluorescenza tranne che in corrispondenza degli ingressi.

ESPAÑOL QELA, la primera de una serie de boutiques de moda planificadas por Qatar Luxury Group, se encuentra en La Perla, la isla artificial de lujo de Catar, y ofrece artículos de cuero creados con elegancia, zapatos,

joyas y moda femenina hecha a medida. Es el punto de partida para la primera marca mundial originaria de Catar, caracterizada por líneas clásicas y sencillas influencias árabes. La iluminación basada totalmente en LEDs de la empresa dpa lighting design con sede en Reino Unido utiliza dispositivos de vanguardia, operados por el personal de la tienda mediante un sencillo control remoto de mano y una app especial para iPad creada por Remote Controlled Lighting (RCL), llamada iDirect. El resto de iluminación general, arquitectónica y de los mostradores de la tienda se controla a través de un sistema de ajuste escénico de Lutron con ajustes direccionales mediante iDirect. Se pueden programar una serie de escenas según sea necesario. Tanto el sistema de control iDirect de RCL como el sistema Lutron están diseñados para comunicarse entre ellos para una mayor flexibilidad. Toda la iluminación frontal, excepto las cajas de joyería y los accesorios decorativos, se basa en LEDs y es regulable. Esto proporciona al proyecto unas cualidades de ahorro energético importantes. La iluminación BOH se basa normalmente en fluorescentes, excepto en las entradas.



Photograph: Ben Cooper

Suspending the space shuttle Atlantis 30 feet in the air, the museum’s new exhibit benefits from clever lighting design from Fisher Marantz Stone to reveal the orbiter as it would appear in space.


OUT OF THIS WORLD What do you do when you are offered a once in a lifetime project? Grab it with both hands, of course. Paula Martinez-Nobles, Fisher Marantz Stone’s Project Manager, explains the white knuckle ride that was the Space Shuttle Atlantis Exhibit project.



Photograph: Ben Cooper

Lumenpulse Lumenbeam fixtures crossfade from a deep blue to an amber burst, back to white as part of the ‘Orbiter Reveal’ when the guests see Atlantis for the first time. .

“Our longtime client, Emily Howard of PGAV, called me one afternoon offering to tell me about a one-of-a-kind project if I signed a pretty serious nondisclosure agreement,” recalls Chrles Stone, President of Fisher Marantz Stone. “We did - and for the next two years there was a 1:72 scale model of a space shuttle hidden under a square of black velvet in our studio.” One might argue that the means and methods used in our lighting design and the architects’ design were secrets or innova-

JAPANESE ケネディ宇宙センターは、Lumenpulse 社 のLED照明器具を使って、完全なフライトモ ードでスペースシャトルを展示する最初の博 物館となりました。同博物館が新たに展示す る、空中30フィートの高さから吊り下げられ たスペースシャトル「アトランティス」 には、先 鋭的な照明技術を用いて、宇宙空間に現れ る探査機を浮かび上がらせています。 照明デザインを手掛けた Fisher Marantz Stone は、博物館の照明テーマである 「宇宙 空間という非日常的な照明環境の再現」 を、 様々な色温度と色相のLumenpulse 社製 照明器具を250個用いて実現しました。 NASAにとってLED技術は既に馴染みのあ るもので、調光可能なダイナミックホワイト技 術を宇宙飛行士の睡眠リズムを整えるため に利用しています。実際、 ケネディ宇宙センタ

tive. However, as the project developed, we came to understand that the real secret was simply the theatrical and technical artifice of revealing the spacecraft to visitors. Gathered around a large foam core model of the project with the designers from PGAV, Jim Moorkamp (the late, great president of PGAV) showed us how the shuttle would be rotated in such a way that it would appear to be flying, a view that only a handful of astronauts would have had the chance to see. This was the “Aha!” moment

ーは、 このシャトルを照らすためにLEDの採 用を迫られました。 「このプロジェクトには形状因子と柔軟性が 不可欠であり、 この点でLumenpulse の照 明は満点と言えた。特に、 ワット数とルーメン がいずれも高い際に光の分散度を狭くでき るところがポイントとなった」 とFisher Marantz Stoneのプロジェクトマネージャーで ある Paula Martinez-Noblesは語ります。

- and our most important secret. The concept for the Atlantis Exhibit experience was to educate and inspire the next generation of space exploration. In order to do that, the team had an obligation to have Atlantis look as good as she did in space; mid-flight, tipped 43.21 degrees-port side, and radiant against the darkness of space. We set out to feature her figure across nearly 360 degree views from surrounding ramps and mezzanines. Guests can walk below her, as close as seven feet from her


menpulse牌灯具,可以进行色温和色度变 化以营造太空与众不同的光照条件。 美国国家航空航天局已经相当熟悉LED技 术:可调、动态白光技术用于调节宇航员 的睡眠模式。实际上,当涉及航天飞机照 明时,肯尼迪航天中心力求LED的使用。 “形状因素和灵活性是本项目的关 键,Lumenpulse固定附件完全拟合,特别 是因为他们在高电压、高流明包方面提供 了更严格的配送选项。”Fisher Marantz Stone公司项目经理Paula Martinez-Nobles 解释道。

使用Lumenpulse制定的LED照明方案,肯 尼迪航天中心成为了首家用全飞行模式展 示太空梭的博物馆。太空梭阿特兰蒂斯号 (Atlantis)空悬离地30英尺,博物馆的新展 品使用了先进照明技术,以展示人造卫星 在太空的飞行姿态。 博物馆的照明方案由照明设计公司Fisher Marantz Stone设计,使用了250多个Lu-

le Kennedy Space Center est devenu le premier musée à présenter une navette spatiale en mode de vol, grâce à une solution d’éclairage LED de Lumenpulse. Avec la navette spatiale Atlantis qui est suspendue à 9 mètres du sol, la nouvelle expo-


sition du musée utilise des techniques d’éclairage avancées pour révéler l’orbite tel qu’il apparaitrait dans l’espace. Conçu par l’agence de conception de luminaire Fisher Marantz Stone, le projet d’éclairage du musée utilise plus de 250 luminaires de Lumenpulse, qui peuvent varier en température de couleur et de teinte pour recréer les conditions inhabituelles d’éclairage de l’espace. La NASA connait bien la technologie LED : une technologie réglable et dynamique est utilisée pour réguler les habitudes de sommeil des astronautes. En fait, le Kennedy Space Center était très enclin à utiliser le LED pour illuminer la navette. La flexibilité et la forme ont été essentielles à ce projet, et les luminaires Lumenpulse convenaient parfaitement, surtout parce qu’ils proposaient des options de distribution de wattage et un lumen élevé”. a déclaré Paula Martinez-Nobles, Chef de projet chez Fisher Marantz Stone.


wing, and stand above her looking down into the open payload bay and docking station. We had to consider every vantage point, every curve, and each of the materials that covered the body of the shuttle. The additional 60+ exhibits that accompany Atlantis on the floor provide an equally important picture of the 30 year story of the Space Shuttle program and required equal attention. A DMX network and basic pipe system across six catwalks above the shuttle were

DEUTSCH Das Kennedy Space Center benutzt eine LED-Beleuchtungslösung von Lumenpulse und ist das erste Museum, das eine Raumfähre im Vollflugmodus zeigt. Die Raumfähre Atlantis hängt circa 9 Meter hoch in der Luft. Dieses neue Ausstellungsstück des Museum verwendet moderne Beleuchtungstechniken, um die Raumsonde so zu zeigen, als wäre sie im Weltall. Das Beleuchtungskonzept des Museums wurde durch das Designunternehmen Fisher Marantz Stone entworfen und verwendet mehr als 250 Lumenpulse Beleuchtungskörper, die nach Farbtemperatur und Farbschattierung variiert werden können, um die ungewöhnlichen Beleuchtungskonditionen im Weltraum nachzuempfinden. Die NASA kennt sich bereits mit der LED-Technologie gut aus: Steuerbare, dynamische White Technology wird für die Regulierung der Schlafverhaltens der Astronauten verwendet. In der Tat hat das Kennedy Space Center auf die Verwendung von LED gedrängt, als es um die Beleuchtung der Raumfähre ging.

designed to provide physical and show control flexibility for the facility. The exhibit fixtures on the catwalks – all LED – were positioned asymmetrically across the catwalk grid to favour the rotation of the shuttle’s port side and nose. The advisory team from DNC and NASA wanted the lighting to embody the latest technical advances; translation: as much LED as possible. We tested fixtures from all corners of the manufacturing universe to find the right mix of durability, form factor, and performance. Finding

„Der Formfaktor und die Flexibilität waren für dieses Projekt von wesentlicher Bedeutung und die Beleuchtungskörper von Lumenpulse waren die perfekte Lösung, insbesondere weil sie schwierigere Verteilungsoptionen bei hoher Wattzahl, hohe Lumenpakete bieten,” so Paula Martinez-Nobles, Projektmanager bei Fisher Marantz Stone.

ITALIANO Con l’utilizzazione di una illuminazione Led della Lumenpulse, il Centro Spaziale Kennedy è diventato il primo Museo ad aver esposto una navetta spaziale in modalità di volo completa. Per mezzo della sospensione a quasi 9 metri di altezza della navicella spaziale Atlantis, la nuova installazione del Museo usa tecniche di illuminazione all’avanguardia, rendendo la visione della navicella spaziale così come questa sarebbe nello spazio. Progettata dall’azienda Fisher Marantz Stone, attiva nel settore dell’illuminazione, la struttura di illuminazione del Museo utilizza più di 250 attrezzature Lumenpulse le quali possono essere diversificate per qualità e tonalità del colore, allo scopo di ricreare le

LED theatrical fixtures that met the more architectural needs of long-term robustness was one of the technical challenges of the project. Modified dynamic white, 140 watt and 50 watt LED spotlights (Lumenpulse Lumenbeam Extra Large and Large) in 40, 20, 10 and 6 degree distributions were built to provide the overall lighting for the shuttle and supplementary exhibits on the ground and third level floors. Twelve custom colour, blue and amber 140W fixtures (again, Lumenpulse Lumenbeam

particolari e inusuali condizioni cromatiche proprie dello spazio. La NASA possiede già una notevole familiarità con la tecnologia LED: una tecnologia orientabile, dinamica, a incandescenza utilizzata per regolare gli schemi del ritmo sonno-veglia degli astronauti. In realtà è stato proprio il Centro Spaziale Kennedy che nella fase di scelta dell’illuminazione della navicella ha raccomandato l’uso dei LED. “Gli elementi della forma e della flessibilità erano di notevole rilevanza per questo progetto, e le installazioni della Lumenpulse erano una soluzione perfetta, soprattutto per la loro capacità di offrire opzioni di distribuzione maggiormente calzanti, ad un voltaggio più elevato e ad alta luminosità” ha affermato Paula Martinez-Nobles, responsabile di progetto alla Fisher Marantz Stone.

ESPAÑOL El Kennedy Space Center se ha convertido en el primer museo que muestra una lanzadera especial en su modo de vuelo total utilizando una solución de iluminación LED de Lumenpulse. Suspendiendo la lanza-

dera espacial Atlantis a 9 metros de altura, la nueva exhibición del museo utiliza avanzadas técnicas de iluminación para mostrar la nave en órbita tal y como se vería en el espacio. Diseñado por la agencia de diseño de iluminación Fisher Marantz Stone, el proyecto de iluminación del museo utiliza más de 250 dispositivos Lumenpulse, que pueden variar la temperatura y la tonalidad del color para recrear las inusuales condiciones de iluminación del espacio exterior. La NASA ya está bien familiarizada con la tecnología LED: la tecnología ajustable de blancos dinámicos se utiliza para regular los patrones de sueño de los astronautas. De hecho, el Kennedy Space Center presionó para utilizar los LEDs cuando llegó el momento de iluminar la lanzadera. “Los factores de forma y flexibilidad eran fundamentales en este proyecto, y los dispositivos Lumenpulse cumplían los requisitos a la perfección, especialmente porque ofrecían unas opciones de distribución más ajustadas en paquetes de alta potencia eléctrica y alto lumen”, dijo Paula Martínez-Nobles, Directora del proyecto en Fisher Marantz Stone.



PROJECT DETAILS The Space Shuttle Atlantis Exhibit, Kennedy Space Center Client: Delaware North Parks & Resorts / NASA’s Kennedy Space Center Architects: PGAV Destinations Lighting Design: Fisher Marantz Stone (Team: Charles Stone, President; Zack Zanolli, Design Principal; Paula MartinezNobles, Project Manager)

Top A tight array of narrow beam spotlights graze the belly of the shuttle, highlighting the burn marks from the heat endured during re-entry. Top right A 1:72 scale foam model of the shuttle is lit with different colours to mimic the imagery of the ‘Indigo Arc’; Paula Martinez-Nobles with the model.

Extra Large) enhanced the dramatic effect known as the ‘Orbiter Reveal’ – when the guests see Atlantis for the first time – in person. At this moment you are in the PreShow theatre, you don’t know she is right behind the projection screen, at eyelevel. A theatrical lap dissolve transitions you out of the show, and suddenly she appears from behind the scrim. A 20ft tall x 100ft long LED screen behind the shuttle displays imagery of the ‘Indigo Arc’ – the instance in outer space when the sun appears to rise and illuminates the Earth’s atmosphere, rendering an indigo arc followed by a burst of amber before the sun fully appears. The colour changing LED fixtures crossfade from a deep blue to an amber burst, back to white within a three minute cue. The shuttle’s belly is a visual journal of her past missions. The reusable insulation tiles,

which are drastically different in shades of black and light gray, burn marks from the heat endured during re-entry, create a pattern similar to fish scales on the Orbiter’s belly. A tight array of 50 x 25 watt, 6 degree narrow beam spotlights (9” o.c.) graze the belly of Atlantis highlighting the re-entry scars. The Space Shuttle Atlantis Exhibit opened in July of 2013, and it truly was a project for the ages. The Space Shuttle program accomplished much in its 30 years. To capture it all in a 90,000 square foot facility is impossible; however this exhibit, and the experience that PGAV takes you through, is as close as anyone can come here on Earth. Where else can you stand nose to nose with an Orbiter in mid-flight?

LIGHTING SPECIFIED Catwalk Lumenpulse Lumenbeam Large / Extra Large (2700K, 4000K, 5000K, Custom Blue, Blue, Amber LED), Philips Sportlite TDX Mechanical Wall (Orbiter) Lumenpulse Lumenbeam Medium (2700K, 4000K, 5000K LED) Hubble Lumenpulse LumenCove First Level Exhibits Lumenpulse Lumenbeam Medium (4000K LED), Lighting Services Inc lumelex LX2024 Entry / Re-entry ramps Lumenpulse LumenFacade Interior, Cole Lighting C1392 Series, Elliptipar Style 206 Retail Philips Lightolier Calculite LED 6”, Lighting Services Inc MHLN303 Series, Jesco Sleek Plus Circulation Philips Lightolier Calculite LED 4 1/2” Site Architectural Area Lighting Diretto Bathrooms Philips Lightolier Central Trough System Throughout Lighting Services Inc Surface Track 3200 Theatre Lighting Services Inc Recessed Flange Track, Elliptipar Style 206, ETC Source 4 Jr Astronaut Pods Juno Mini LED Gimbal -MG1L Cloud Ceiling Philips Lightolier Calculite Evolution Incandescent Adjustable Accent Event Lighting Lighting Services Inc 236 Series Wing Exhibit Philips Color Kinetics LumenFacade Art Display Cases Tokistar Advantage LED Module ET SRB BEGA 8711P Façade Lumenpulse LumenFacade Exterior / LumenBeam Extra Large, Philips Lightolier Calculite LED 4 1/2” Exterior North Star Lighting Inc. (Thorn) CSI 10000 Entrance Cooper Lighting Lumiere Coronado Flag Altman Outdoor Ellipsoidal

Light defines the experience Victoria & Albert Museum of Childhood London, UK

“The launch of Lumenline came at an ideal time for this project.” Peter Fordham, DHA Design

Lumenline™ Pendant Direct/Indirect with 3000K direct and RGB indirect

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13-05-30 4:21 PM

London’s Commercial Design Exhibition

May Design Series returns to ExCeL on 18-20 May 2014 The fresh, intelligent, commercially focused event for the architecture and design community, attracts over 10,000 contract buyers, retail buyers and specifiers.

Be a part of it in 2014 Call Joel Butler on +44 (0)20 7921 8712 or email

“A tremendous success - it exposed our brand to clients that we didn’t know due to the pull of districts within the May Design Series, such as kbb and DX.” Ian Stanton, Sales & Marketing Director, iGuzzini

May Design Series 18-20 May 2014 London ExCeL


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Organised by

12/11/2013 15:30


The lighting design by PJC Light Studio is a concept based upon elegance and unobtrusiveness, delivering excellent light quality, whilst achieving a specific focus on each of the store’s 60 brands.

JAZZIN’ FOR BLUE JEANS The new denim outlet in Selfridges, London, is a further addition to the refurbished store. PJC Light Studio developed a scheme that both supported the interior design, while being respectful to the restored features. The new Denim Studio at Selfridges is the largest women’s denim department in the world. Costing as much as £6 million to create, it is as an Aladdin’s cave for Denim obsessives, which, of course, many people are. Some people are constantly on the hunt for the prefect pair of jeans, and many own a healthy number of pairs that aren’t quite that. When one considers this, the £6 million spent looks safe, if not outstandingly canny. With an interior design created by London based design agency HMKM, featuring a lighting design from PJC Light Studio, the new store was built in the space formerly occupied by the children’s department, the store currently boasting 11,000 pairs of jeans from sixty different brands. The brief handed to London based lighting designers PJC, was anchored by the aim

of developing an elegant lighting concept. This had to be seamlessly integrated into the architectural and interior design of the store in general, whilst providing the correct balance and quality of light for a large, prestigious retail environment. Having recently undergone a refurbishment in which the classic architectural features of Selfridges were restored to their original lustre, the lighting design also had to enhance these, whilst being sympathetic towards the newly restored columns and ceiling coffers, which form a noteworthy part of the store’s restored interior. It was also required that the lighting design be flexible in order to respond to the changing furniture and retail display requirements, which would constantly be in flux. As well as this the design had to incorporate the many individual brand areas

that would make up the space, while being energy efficient and low maintenance. Most importantly the visual appearance of the lighting had to be discreet, low in brightness and trimless with high quality detailing. One final key requirement was the design of a unique light feature that would lead shoppers from the entry portal to the ‘Fit Studio’ where the fitting rooms are a key design feature and a point of interest. PJC tackled these challenges with verve and panache opting to create different layers of interest for customers, using discreet installation techniques allied with the use of fittings of a compact size with low brightness optics and a simple style. Visual interruptions to the architectural design, in particular the large restored coffer ceiling, were kept to a discreet




minimum and this was combined with a clever integration of Encapsulite, Slimlite, KKDC and Osram fittings into the furniture units. This was achieved in the high ceiling by developing a trimless track detail that blends FLOS and Lucifero’s luminaires in with the moulding profile. Small trimless adjustable fittings from Lucent Lighting were installed in the low ceilings and were used to achieve a fully integrated clean appearance. The lighting design had to deliver excellent

JAPANESE ロンドンのセルフリッジズ百貨店内の Dnim Studio は、世界最大の女性用デニムショ ップ。 この添付の内装デザインは、ロンドン を拠点とする HMKM 、照明は PJC Light Studio が担当しました。照明コンセプトとし ては、新しい内装が施されたストアに同調す るエレガントなものが求められました。TM Lighting 社が特別にあつらえた照明は、彫 刻的な 「光のライン」 を描いて、顧客を試着室 に導きます。天井下部の表面と上部からペン ダントで取り付けられたオパール色のアクリ ル製バーには、RGBのLEDライトが一列に 連なります。 また試着室の天井には、Whitegoods 社製のホワイトのペンダントライトが 吊り下げられています。 ショップフロア天上内

overall light quality whilst achieving a specific focus for individual brands. This was achieved by specifying lamp types with options of 10º, 25º and 40º optics and additional lens accessory options. All point source fittings within the ceiling were made to be fully adjustable with low brightness accessories such as snoots and louvers. The maximum load of 30W/m² was comfortably met by specifying a combination of metal halide, linear T5 fluorescent and LED light sources with high colour rendering properties throughout and

部の点光源のすべての器具は、輝きを抑えた 付属具を用いて完全に調整可能です。低め の天井部分には蛍光灯装置が設置されてい るのに対し、格間天井にはFLOS 社とLucifero 社の照明が採用されています。 このプロ ジェクトはその関与者にとって、新しいレベル のリテール照明を明示的に表現する絶好の 機会となりました。

CHINESE 伦敦塞尔福里奇百货公司 (Selfridges)里的 Denim Studio是世界上最大的女装牛仔服 特许店,室内设计由伦敦设计公司HMKM 完成,采用了PJC Light Studio公司的照 明设计。照明理念要求优雅简洁,与重新 装修的店面协调一致。制造商TM Lighting量身打造的雕塑性“束光”引导顾客去

The ‘Line of Light’ is a visual feature comprised of a row of RGB LEDs. It is able to change colour from the pictured denim blue to hues marking special occasions. Right Low ceiling lighting from Lucent compliments fixtures from Lucifero and FLOS in the higher coffer ceiling.

试衣间,乳白色丙烯酸装饰条上方,一排 三色LED吸顶安装于更低的天花板,悬挂 于更高的天花板。每个试衣间的天花板都 悬挂有垂饰于Whitegoods的白光灯。门店 天花板里所有的点光源附件可借助低亮度 附件进行全面调节。更低天花板里安装了 Lucent Lighting公司生产的固定装置,而 更高的密闭天花板主打FLOS和Lucifero产 品。该项目为项目参与者提供了界定零售 照明新高度的绝佳机会。

FRANÇAIS Avec un aménagement intérieur crée par l’agence de conception londonienne HMKM, proposant des luminaires de PJC Light Studio, le Studio Denim de Selfridges à Londres est la plus grande concession denim pour les femmes au monde. Un concept

élégant en matière d’éclairage, qui a mis en valeur le magasin récemment restauré. Une caractéristique “Line of Light” sculpturale sur mesure a été développée par le fabricant TM Lighting pour diriger les clients vers les cabines d’essayage, et propose un rang de LED RGB au dessus d’une barre acrylique opale qui est accroché au plafond inférieur et suspendu au plafond supérieur. Un luminaire blanc de Whitegoods est suspendu au plafond dans chaque cabine d’essayage. Tous les points d’éclairage du plafond de l’atelier sont ajustables et sont composés d’accessoires à faible luminosité. Les matériaux de Lucent Lighting ont été installés sur le plafond inférieur tandis que les batardeaux du plafond ont été installés par FLOS et Lucifero. Ce projet a permit aux personnes impliquées la possibilité de créer une nouvelle dimension en matière d’éclairage général.

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a consistent colour temperature of 3000K. A bespoke sculptural ‘Line of Light’ feature was developed in conjunction with HMKM and manufacturer TM Lighting to lead shoppers from the entrance portal to the ‘Fit Studio’ area where customers can be measured and try on clothes. The ‘Line of Light’ features a row of RGB LEDs above an opal acrylic bar that is surface mounted to the lower ceiling and pendant mounted to the higher ceiling. It is fully programmable and usually set to a strong denim blue, but has the capability to be set to other colours during promotions or, for example, Christmas. The ‘Line of Light’ introduces a strong visual feature into the space that visually links with the lighting found in the ‘Fit Studio’ fitting room. The fitting rooms themselves have a graded translucent film that fades to clear vision glass at the top of each fitting cubicle. A white light pendant is suspended from the ceiling in each room, visible through the glass from the outside. The pendant changes to blue, in tune with the Line

DEUTSCH Mit einem durch die in London ansässige Designagentur HMKM entworfenes Innendesign, das ein Beleuchtungsdesign von PJC Light Studio aufweist, ist Denim Studio in Selfridges, London, die weltweit größte Denim-Konzession für Damen. Ein elegantes Beleuchtungskonzept war erforderlich, das sich perfekt dem kürzlich renovierten Laden anpasst. Ein maßgeschneidertes skulpturales ‘Lichtlinien’-Merkmal wurde durch den Hersteller TM Lighting entworfen, um die Kundschaft in die Umkleidekabinen zu führen. Es weist eine Reihe von RGB LEDs über eine opale Acrylbar auf, die an die untere Decke oberflächenmontiert und an die obere Decke hängend montiert sind. Ein hängendes Weißlicht von Whitegoods hängt von der Decke in jeder Umkleidekabine herunter. Alle Punktquellen-Installationen innerhalb der Decke der Shop-Etage können je nach Wunsch mit Zubehörteilen für geringe

of Light, via a motion sensor when the customer enters the fitting room. If assistance is needed a button can be pressed inside the cubicle and the pendant flashes in order to attract the attention of staffers. The pendant returns to white when the room is unoccupied. The central fitting room area is wrapped in a sheer curtain that is lit from a ceiling cove in order to create a soft relaxing space, a space much removed from the adjacent frenetic retail area. The not inconsiderable ambition of opening the world’s largest women’s denim concession, in a recently refurbished store, with a recently refurbished heritage style to protect, was certainly a challenging request. The lighting designers were asked to create a high quality design solution and integration that would achieve a unique and stunning interior. The project afforded those involved in it a great opportunity to define a new level of retail lighting, while introducing another high quality space to the Selfridges brand.

Helligkeit eingestellt werden. Beleuchtungskörper von Lucent Lighting wurden in der unteren Decke installiert, während die obere Kassettendecke Beleuchtung von FLOS und Lucifero aufweist. Das Projekt bot jenen, die an ihm beteiligt waren, die große Chance, ein neues Niveau von Beleuchtung im Einzelhandel zu definieren.

ITALIANO Il Denim Studio è frutto della progettazione realizzata dall’agenzia HMKM di Londra, è dalla progettazione dell’illuminazione degli interni realizzata dello Studio Illuminazione PJC. La struttura, situata nei locali del grande magazzino Selfridges di Londra, presenta una progettazione di interni che lo rende il più vasto distributore Denim da donna di tutto il mondo. Era necessario realizzare una soluzione d’illuminazione che fosse elegante e contemporaneamente esaltasse il negozio appena rinnovato. La ditta manifatturiera TM Lighting ha realizzato un prodotto su misura di

Above The “Fit Studio” is the store’s fitting room. It features white pendants that change colour depending on if the room is engaged or not.

PROJECT DETAILS Denim Studio, Selfridges, London, UK Client: Selfridges Lighting Design: PJC Light Studio Interior Design: HMKM

LIGHTING SPECIFIED High coffer ceiling Lucifero’s (Lucent) Lighting tracks + spot lights FLOS Snipper (Atrium) Flush recess adjustable downlight Low ceiling Lucent Lighting Trimless recess gimbals with CDM-R16 and pin hole with LED 50plus Fitting rooms Whitegoods round trimless LED Xicato CRI90+ Furniture integrated lighting (all 3,000K) Encapsulite Slimlite T5 fluorescent KKDC TiMi LED Osram Powerflex Advance Feature light fittings Both Line of Light and fitting rooms in collaboration with the architect HMKM and TM Lighting Lighting control Mode Lighting

prima qualità, la “Linea di Luce”, in grado di condurre i clienti verso i camerini prova per mezzo di una fila di LED RGB collocati al di sopra di una barra acrilica opalescente fissata sulla superficie del soffitto inferiore e collocata pendente dal soffitto superiore. Una calata di lampada bianca realizzata da Whitegoods è sospesa dal soffitto in ciascuno dei camerini prova. Tutte le strutture dei punti luce del soffitto del negozio sono totalmente regolabili per mezzo di accessori dedicati all’abbassamento della luminosità. Installazioni della Lucent Illuminazioni sono state posizionate nel soffitto inferiore mentre il soffitto a cassettoni presenta installazioni della FLOS e Lucifero. Il progetto nel suo insieme ha donato a tutti quelli che lo hanno progettato e realizzato, la grande opportunità di stabilire un nuovo livello nel campo della distribuzione del settore illuminazione.

ESPAÑOL Con un diseño de interior creado por la agencia

HMKM, ubicada en Londres, y contando con un diseño de iluminación de PJC Light Studio, Denim Studio de Selfridges, Londres, es la mayor franquicia de ropa denim para mujeres del mundo. Era necesario un concepto de iluminación elegante y respetuoso con la recién restaurada tienda. El fabricante TM Lighting desarrolló una característica de ‘Línea de luz’ escultural hecha a medida para conducir a los clientes a los probadores, contando con una hilera de LEDs RGB sobre una barra acrílica de ópalo montada en la superficie del techo inferior y colgada del techo superior. Una luz blanca de Whitegoods queda suspendida del techo en cada probador. Todos los equipamientos con origen puntual en el suelo de la tienda pueden ajustarse completamente con accesorios de bajo brillo. Los dispositivos de Lucent Lighting se instalaron en el techo bajo, mientras que el arca del techo alto cuenta con iluminación de FLOS y Lucifero. El proyecto permitió a todos los involucrados contar tener gran oportunidad para definir un nuevo nivel de iluminación de tiendas.

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SWEETHEARTS OF THE APOLLO The Hammersmith Apollo, recently renamed the Eventim, is a musical temple. A precise refurbishment process is currently restoring the theatre’s Art Deco splendour to its 1930s heyday, a delicate challenge for James Morse Lighting Design.

Photographs: Tom Cronin




The rules of heritage protection ensured that the preservation and renewal of the theatre’s Art Deco interior was paramount. Radiant’s 3D LED Flex 40 RGBW system and LightGraphix LED strip lighting is used for the foyer cove lighting. LED Light Sheet is used on the bar tops.

British music certainly has its fair share of shrines, from the Cavern in Liverpool to the Pyramid Stage at Glastonbury, live performance takes on a whole new meaning in a venue that boasts a back history of legendary gigs. A long history of electric performances suggests there is an ethereal element to a great venue, a case of there being ‘something in the air’. The Hammersmith Apollo, recently renamed the Eventim Apollo, in London, is certainly one of those venues. Opened in 1932 as the Gaumont Palace Cinema, an Art-Deco palace dedicated to a new art form, the talking picture, the theatre soon became a music venue, at first hosting performances by Ella Fitzgerald and Tony Bennett and then, as the tastes changed, a 21 night residency from The Beatles. Bruce Springsteen

recorded a legendary live album there and, in what was one of the more memorable nights in this long roster, David Bowie killed off Ziggy Stardust at the theatre in 1973, in a blaze of glitter and platform shoes. The years of concerts took their toll and the building was badly in need of renovation, when the venue was sold by the failing HMV to a consortium of Aeglive Ltd and Eventim gmbh.The new owners immediately set about the task of renewing the building. It was decided to phase the work to minimise the period the theatre would be dark and the first stage of refurbishment included the front of house areas, the hallways, staircases and bars, as well as the building’s façade. James Morse Lighting Design was responsible for the lighting scheme, working in

conjunction with manufacturer GDS, who was also responsible for the restoration of the original light fittings, and Tim Foster of architectural firm Foster Wilson. Together they worked to produce a proposal for the lighting design at the revamped Apollo. The brief for the lighting design was to make the foyer areas much brighter, while lending the front façade, with its Art Deco style columns and iconic marquee, an impressive visual impact. The façade is relit using a programmable LED colour changing system from Philips Color Kinetics and the underside of the entrance canopy is equipped with Crescent IP54 rated recessed LED downlights to lend a high level of illumination to the entrance. There was a requirement from English Heritage, who had the responsibility for

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The installation also features ArcSystem MR 16 fixtures across the foyer and a DMX universe, which exceeds the normal ARC system 64 channel capability.

JAPANESE ハマースミス・アポロは長年のコンサートによ り、老朽化が進み、早急な改築を必要として いました。James Morse Lighting Design は、照明メーカー GDS 、建築事務所 Foster Wilson の Tim Foster と連携して照 明コンセプトの実現に当たりました。GDS は オリジナル照明器具の修復にも取り組みまし た。建物正面には、色彩変化のプログラムが 可能であるフィリップス社製LED照明を採用 し、入口の天蓋の下側にはIP44レートの埋 め込み式LEDダウンライトを装着しました。 ま た、イングリッシュ・ヘリテッジからの要請に も応える必要がありました。 この組織は、建物 の登録済み内装が損なわれることなく、内部

ensuring the building’s listed interior was not damaged, that the Art Deco nature of the front of house spaces be retained. The vision was to work within the fabric of the original 1932 Robert Cromie masterpiece and wherever possible restore the historical fixtures. A collection of historical photographs detailing the Apollo’s early splendour provided a template from which to work. In response to this, the design team decided to renovate all the existing and original Art Deco luminaires. Using the photographs for reference, GDS managed the manufacture of the new light

正面部分のアールデコの趣が維持されるよ うにする役割を担いました。GDSは新しい照 明器具の制作と、1932年に制作されたオリ ジナルのシャンデリアの刷新に成功し、同社 スタッフが、 これら新旧の照明器具を、色彩 が変化する新しいRGBW 線型照明に装着 しました。 このほか、無線DMX制御システム もこのプロジェクトで使用されています。

CHINESE 多年举办音乐会让Eventim Apollo付出 了代价,建筑急需修缮。James Morse Lighting Design照明设计公司负责制定照 明方案,参与合作的制造商GDS还要负 责原照明装置的修复,合作方还有Foster Wilson建筑公司的Tim Foster。Philips公

fittings as well as refurbishing the original 1932 chandeliers. The architects and the lighting designers felt that the foyer would be much more visually impressive if an RGBW colour changing installation was installed. In response to this Radiant and LightGraphix colour changing LED linear lighting was used for the cove areas and the GDS team fitted new and original fittings with its new RGBW colour changing strip. Designed to achieve an even coverage of light throughout the foyer, and running at up to 70W per metre, it easily matched all compact fluorescent

司制造的程控LED变色系统用于重新点亮 建筑立面,入口雨庇底面安装了额定IP44 的嵌入式LED射灯。负责确保建筑内饰登 记不变的英国古迹署(English Heritage)提 出要求,保留房子空间前面的装饰艺术风 格。GDS负责新灯具的制造并翻新原来的 1932个枝形吊灯。GDS团队在整合新灯 具和原有灯具中使用了其新的RGBW变色 条,针对项目还指定使用了一个无线DMX 控制系统。

FRANÇAIS Les années de concerts au Eventim Apollo ont profondément marqué l’immeuble qui avait grandement besoin d’une bonne rénovation. James Morse Lighting Design était responsable de l’éclairage, travaillant de

concert avec le fabricant GDS, aussi responsable de la restauration des points de lumière, et Tim Foster du cabinet d’architecte Foster Wilson. La façade fut rallumée à l’aide d’un système de changement de couleur programmable LED fabriqué par Philips et le dessous de la structure d’entrée était équipé de luminaires encastrés IP44 LED. English Heritage, qui avait la responsabilité de s’assurer que l’intérieur classé de l’immeuble ne supporterait aucun dommage, avait exigé que le style art déco du devant de la maison soit conservé. GDS a géré la fabrication des nouveaux luminaires ainsi que la rénovation des chandeliers datant de 1932. L’équipe GDS a installé des luminaires d’origine et nouveaux avec son système à couleur changeante RVB(RGBW) et blanc, un système de contrôle sans fil DMX a aussi été proposé pour le projet.

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The façade was relit using fixtures from Philips Color Kinetics and the underside of the marquee was fitted with IP54 rated recessed LED downlights from Crescent in order to create an eye-catching effect.

PROJECT DETAILS Eventim Apollo, Hammersmith, London, UK Client: CTS Eventim Architect: Robert Cromie, Foster Wilson Lighting Design: James Morse Lighting Design


benchmarks that were given. Created specifically for this job the new strip light carries a dedicated white cell (2700K) in order to provide the correct colour temperature. In addition to the newly created strip lights, the installation also features ArcSystem MR 16 fixtures across the foyer. Where the original luminaires had been lost, new fixtures matching the originals were designed by Great British Lighting and installed in the building. Due to the need to minimise the intervention into the original fabric of the structure it was decided to utilise the existing wiring infrastructure and to specify a wireless DMX control system. This radically simplified the wiring of the new lighting installation, meaning that only 240V

DEUTSCH Die vielen Jahre von Konzerten im Eventim Apollo haben ihren Tribut gefordert und das Gebäude benötigte dringend eine Renovierung. James Morse Lighting Design war für das Beleuchtungskonzept verantwortlich und arbeitete zusammen mit dem Hersteller GDS, der für die Instandsetzung der ursprünglichen Beleuchtungskörper verantwortlich war, und Tim Foster vom Architekturbüro Foster Wilson. Die Beleuchtung der Fassade wurde erneuert, wofür ein programmierbares LED-Farbwechsel-System eingesetzt wurde, das von Philips hergestellt wurde, und die untere Seite der Eingangsüberdachung wurde mit IP44 klassifizierten, versenkten LED-Deckenstrahlern ausgerüstet. Das englische Denkmalschutzprogramm English Heritage, das die Verantwortung dafür trug, die unter Denkmalschutz stehende Innenausstattung des Gebäudes nicht zu beschädigen, erstellte einen Auflagenkatalog und

feeds were necessary to the luminaires, with all control emanating from the wireless signal sent to drivers within each luminaire. The installation used a whole DMX universe that exceeded the normal ARC system 64 channel capability. LumenRadio provided an integrated CRMX OEM solution that connected with the ARC system electronics. The reborn Eventim Apollo in Hammersmith is bound to retain its position at the very heart of British music, a position that will be further strengthened by its new and refurbished look. With its retained classic Art Deco features and its carefully considered lighting design, the Apollo will no doubt act as a retro cradle for our musical future for many more years to come.

verlangte, dass der Art Deco Charakter der vorderen Bereiche des Hauses bewahrt blieb. GDS managte die Herstellung der neuen Beleuchtungskörper sowie die Aufarbeitung der originalen Kronleuchter aus dem Jahre 1932. Das GDS-Team stattete neue und originale Beleuchtungskörper mit ihrer neuen, farbwechselnden RGBW-Leiste aus, ein kabelloses DMX-Steuersystem wurde ebenfalls für das Projekt festgelegt.

ITALIANO La stagione dei concerti all’Apollo Eventim ha chiesto il proprio tributo e l’edificio necessitava di restauro. La ditta James Morse Lighting Design è stata incaricata della struttura di illuminazione, lavorando in collegamento con la ditta di manufatti GDS, che aveva anche l’incarico per il restauro delle strutture di illuminazione originali, e con Jim Foster, dello studio d’architettura Foster Wilson. La facciata è stata nuovamente illuminata per mezzo di un sistema di LED a colori pro-

Great British Lighting surface mounted hexagonal Art Deco luminaire GDS purpose made Art Deco wallights with RGBW LED light sources and integral wireless DMX driver (fabricated by Great British Lighting) GDS purpose made rectangular Art Deco surface luminaire with RGBW LED light sources and wireless DMX driver (fabricated by Great British Lighting) GDS ArcSystem Decor surface mounted LED spotlight (Bridgelux 10W LED module) Existing Art Deco fixtures updated by GDS LightGraphix 1500mm RGB LED strip LightGraphix 500mm, 1500mm & 1800mm white light LED strip Concord 1000mm length of single circuit track with 3 LED spotlights Concord circular surface compact fluorescent luminaire Radiant Lighting 3D LED Flex System 40 RGBW LED linear light system Crescent Lighting IP54 Exterior recessed LED downlight (Bridgelux LED module) Applelec LED Light Sheet (installed on bar tops and cut into sections to suit bar top design) Hoffmeister DL 170 25W recessed LED downlight with driver (supplied by Lightworks) Philips Color Kinetics ColorBurst Compact Powercore (supplied by Architainment) Philips Color Kinetics ColorBlast Powercore (supplied by Architainment) Philips Color Kinetics ColorReach Compact Powercore (supplied by Architainment

grammabili della Philips e la parte inferiore della volta dell’entrata è stato rifornito di faretti LED incassati da IP44. English Heritage (il Patrimonio Inglese), responsabile di verificare che gli interni catalogati della costruzione non fossero stati danneggiati, aveva avanzato la richiesta che l’aspetto Art Deco (Liberty) degli spazi d’entrata fosse mantenuto intatto. La GDS è riuscita a realizzare sia la manifattura delle nuove strutture d’illuminazione che il restauro dei candelieri originali del 1932. La squadra della GDS ha installato sia strutture nuove che strutture originali con le sue nuove strisce a colore variabile RGBW; per il progetto è stato inoltre realizzato un sistema di controllo automatico DMX senza cavi.

ESPAÑOL Años de conciertos en el Eventim Apollo se cobraron un precio y el edificio quedó en mal estado, siendo nece-

saria una renovación. James Morse Lighting Design fue responsable del proyecto de iluminación, trabajando junto al fabricante GDS, que también se encargó de la restauración de los portalámparas originales, y con Tim Foster, de la agencia arquitectónica Foster Wilson. Se volvió a iluminar la fachada utilizando un sistema LED de colores cambiantes fabricado por Philips y la parte inferior del toldo de entrada se equipó con luces LED descendentes empotradas calificadas IP44. English Heritage, quienes asumían la responsabilidad de garantizar que el interior catalogado del edificio no sufriera daños, pusieron como condición que se mantuviera la naturaleza Art Déco de los espacios frontales. GDS llevó a cabo la fabricación de los nuevos portalámparas así como la renovación de las lámparas de araña originales de 1932. El equipo de GDS preparó los equipamientos nuevos y los originales con su nueva tira RGBW de colores cambiantes, y también se precisó un sistema de control inalámbrico DMX para el proyecto.

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Johan Moritz has devoted his career to lighting and continues to campaign to better the state of lighting design education. With the rising popularity of festivals of light, Moritz wonders if the fashion is undermining the craft.

EYE ON THE FUTURE The debate in Derry continues to rage in the wake of 2013’s Lumiere festival as to whether ‘A Stitch in Time’ by Tim Etchells will remain as a permanent fixture. No installations were created with permanence in mind.

A Malmo, Sweden, native, I have been working for the City for almost twelve years, both as a lighting designer, project manager, advisor and product designer. During this period I have been involved with a number of temporary lighting installations in the city, many of which have been shown during the Malmo Festival, a cultural feast held in the city every year. Out of my work in Malmo, ‘:by Light’ was developed, a programme of city-wide projects and installations. The project considers how urban lighting can be improved and considers how future lighting systems could be formed. Artistic lighting is also considered by the project, the development of light art in public spaces and how permanent installations can be created with investments and collaborations via the city network. Over 80,000 visitors have enjoyed the project and we wanted to make some of the installations permanent as a ‘thank you’ to the residents of Malmo who have put up with the disturbance staging a lighting festival can cause. Two of three objects have been left permanently. We also worked with local schools and education facilities to involve students in the project and we also gave them a controlled area to develop freely. In conjunction with these events a conference was held with lectures from Mark Major, Erik Selmer and Leni Schwendinger. Every time :by Light is run we carefully select an area of the city to stage a work in

and then use the lessons learnt from that project to stage similar projects elsewhere in the city. For instance, one year we ran a project in a large park to see how safe interaction with the art could be managed, encouraging as many visitors to see the project as possible, while ensuring the event was environmentally friendly. The results from this test are now used in every park in the city. To further develop our work with lighting designers we started travelling around Europe to see how other festivals of light were organised. We attended Fete de Lumiere and even showed a piece there. We also visited Luminale in Frankfurt, Lights in Berlin and White Nights in Paris. All featured beautiful creations allowing people to explore their cities at night time in a creative setting. After a while I started to ask the organisers of these events what the main purpose of them was. One of the consistent answers was that they wanted to create a tourist attraction. Fine, I can understand that, but when I found out how much money was spent on these events, I got really concerned. The situation brings to mind Marie Antoinette’s famous line “let them eat cake”, words actually said by Marie-Therese a 100 years earlier. Cities seem only interested in attracting tourists in the short-term with sparkly, momentary wonders. They do not seem as interested in creating longterm public art. Even if you call the pieces presented at the

principle European festivals of light art, they are still only temporary installations, taken down at the end of a festival, never to be seen by the city’s populace again. This fact prompted me to create the ‘Lighting Capital of the Universe’, a working title. After years of preparation we now have an understanding between the cities in the region of Copenhagen and Malmo to start a project that will focus on developing all disciplines within the lighting design world. So what do we need to do? If you take a deeper look at the :by Light project you will find many answers. Everywhere around the world different lighting experiences are created, but no one seems to collect the results, this is one of the most crucial things you must do in order to foster a discipline. The diversity of disciplines within lighting design should be broadened and a greater focus should be placed on education. Today knowledge of lighting design is still limited and one of the reasons for this is that there is still very little of it in the traditional education of architects, urban planners and landscaping architects. Education is the basis of true understanding. I would like to recommend to the entire community of lighting designers that we stop the madness and the waste of money prompted by festivals of light. In the adapted words of Marie-Therese, “stop feeding the people cake”.

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MAKING THE HARD SELL Helen Marriage, as director of the Artichoke Trust, is responsible for ‘Lumiere’, the UK’s largest light festival. After the festival’s latest incarnation, Marriage made the case for the powerful effect light festivals can have communities. Helen Marriage founded Artichoke Trust with Nicky Webb in 2005, with the aim of taking art to the people. In the years since, Artichoke has become a renowned artistic facilitator, working with artists from around the world to create large-scale public events that appeal to a wide audience. From ‘The Sultan’s Elephant’, by French theatrical geniuses, Royal de Luxe, a life-sized mechanical creature, which strode down the Mall in London, looking like something straight out of ‘A Passage to India’, thumping its way underneath Admiralty Arch shooting sprays of water into enthralled crowds, to the Telectroscope a ‘quirky pseudo-Victorian creation’ that linked New York and London via an illusionary transatlantic tunnel. The Artichoke organised ‘Lumiare’ has been a reoccurring fixture in the company’s calendar. The spectacular light festival, the UK’s largest, has been staged in Durham three times and last year the festival made the jump to Derry/Londonderry for the first time, as part of the city’s ‘Year of Culture’ celebrations. “It requires a planning process of two years,” says Marriage on the time it takes to curate and organise Lumiare, “it is a very complicated and painstaking process. You have to discover not only how a city works, but also get artists to come and commit to the festival. Then you have to assist in the evolution of their ideas, artists come on visits and look at particular buildings and spaces and think about how they might articulate what they are thinking in the context of the city.” As well as curating the programme, Marriage is responsible for organising the nitty-gritty of the festival. “It’s a bit like playing three dimensional noughts and crosses,” she says. “You have to gain the permission of the owners of the buildings involved, you have to think about how the art will work technically and how an audience will move through a space.” This process is complicated by issues such as traffic and pedestrian management, especially difficult in a city like Derry, which suffers from congestion problems. Add this to the fact that you have to make a separate application to the council for each street-light you want turned off, a critical element of a city-

based lighting event, and you have quite the organizational feat on your hands. Yet despite the organisational and bureaucratic task the festival poses, the purpose of the event rarely slips from view. “The aim of Lumiare,” says Marriage, “is to transform public space and to play into the history and the social setting that exists within a city. Derry, for example, contains many people with differing attitudes and loyalties, who have different things to say about the place where they live, our programme tries to articulate that.” The public response to Lumiere in Derry was overwhelmingly positive and on the first night 70,000 people passed through the city during its four hour running time. The effect a festival of this nature can have on a community was particularly evident in Derry. “The conflict is still very recent,” says Marriage, “and feelings are still very raw, nothing is really resolved here. So what we essentially did was issue an invitation for people to come out after dark and explore territory that isn’t necessary their own.” In Derry this made for quite an incredible sight. “It’s just people in the dark, taking it all in, with their coats on, nobody can tell who is from where and that is part of the point of doing it,” adds Marriage. Artichoke often receives requests for Lumiere to be staged in different places. “Whenever we go to a new city and the authorities say, ‘we really want you to do what Artichoke does best’, and we go ‘really?’, because the journey for them will be really quite tricky. We are saying to a city, basically, that we want to disrupt the place and the entire apparatus of a city is designed to keep things moving along in an ordered way. So going in and announcing ‘we want to change everything,’ can be quite a hard sell and

anything we say doesn’t quite explain what it really feels like to be in the middle of it all when it’s happening.” As the debate as to whether light art really can represent an art-form in itself, or instead can only be deemed a crowd-pleasing entertainment continues, Marriage is plain as to where she stands, “I think it is definitely art, it may be entertaining at the same time, but each piece is a curated work, we only work with artists, we don’t work with laser companies or technology companies, we present the work of artists.”



Photographs: Matthew Andrews

The star of the show. Elephantastic by Top’là Design attracted vast crowds to Elvet Bridge who could walk underneath the specially built stage enabling views of the front and rear of the elephant. The beautifully lit Durham Castle hangs in the background.

NORTHERN LIGHTS SHINE IN DURHAM Lumiere in Durham, criticised last year for overcrowding issues, took a fresh approach to crowd control this year and it paid off.

To some extent, Durham Lumiere has been a vicitim of its own success. Created by Artichoke in 2009, the festival returned to Durham in 2011 attracting some 150,000 visitors to the city, bringing economic benefits worth an estimated £4.3m but also bringing problems in terms of overcrowding and complaints from the locals. This year, to spread the crowds, the festival had extended opening times and a free ticketed system during peak hours in the central area for the first time. On 17th November, the third edition of Lumiere Durham, which is commissioned by Durham County Council and supported by Arts Council England, came to a close. First estimates put the number of visitors at around 175,000 attending the festival over four nights.

Visitors from all over the world flocked to the festival to see the 27 light sculptures and installations, while the longer opening times enabled people to choose the most appropriate time to visit the festival. ‘Elephantastic’, a larger-than-life 3D elephant marching through a specially-constructed arch on Elvet Bridge was a clear festival favourite. On North Road, crowds applauded at the end of each cycle of the Keyframes mini-drama, which saw LED stickmen taking over the former Durham Miners’ Hall, to the strains of Lee Dorsey’s ‘Working in a Coalmine’ recorded by young people from Durham County Wind Band. ‘Solar Equation’, Rafael Lozano-Hemmer’s shimmering animated replica of the sun, features the world’s largest custom-made

spherical helium balloon. Nearby, visitors queued at the scanning booth to scan their own eyes and see the images added to Gina Czarnecki’s artwork, which was beamed onto the façade of the Bill Bryson Library. The sound of birdsong by night drew audiences into St Oswald’s Churchyard to explore Sarah Blood’s illuminated birdhouses that filled hidden pockets with light and sound. Further down on Old Elvet, people gathered around ‘Greenhouse Effect’, four electric cars filled with glowing displays of artifical plants, before moving on to Nathaniel Rackowe’s ‘Platonic Spin’ in the Crown Court Gardens. ‘Crown of Light’, Ross Ashton’s glorious historical son et lumiere attracted record numbers, as did Atsara’s quietly mesmer-


VOLUME UNIT THE MEDIA WORKSHOP This interactive projection transformed the exterior of one of Durham’s least loved buildings, Milburngate House, into a visual jukebox. The animation pulsed and ‘danced’ to amplified music broadcast through a sound system at the request of audience members. Live video DJing projections and music, selected by audience members, brought the building to life with a variety of sound responsive images and graphics. Audiences were invited to add their favourite feel-good song to the installation’s playlist by tweeting using the Volume Unit hashtag.

SOLAR EQUATION RAFAEL LOZANO-HEMMER This incredible installation was commissioned by Federation Square for Light in Winter, in Melbourne, and features the world’s largest spherical helium balloon, custom-made for the project. For Lumiere it was tethered over Durham University’s Science Site and animated using ten projectors. The solar animation on the balloon is generated by live mathematical equations that simulate the turbulence, flares and sunspots that can be seen on the surface of the sun. This produces a constantly changing display that never repeats itself, giving viewers a glimpse of the majestic phenomena that are observable on the solar surface, and that only relatively recent advances in astronomy have discovered.

ising installation and soundscape in the gardens behind. Lumiere worked with partners to deliver outreach projects in local schools and the community in the lead-up to the event. More than 600 schoolchildren across County Durham took part in workshops about Litre of Light, the campaign bringing alternative light sources to people in parts of the world where electricity is either too expensive or not available at all. Around 200 people attended the Durham University public science event about the eye in art and science. Artist Gina Czarnecki, together with some of the University’s leading academics, presented a series of talks that explained in simple terms how the human eye works, its evolution and impact on perception, and the way

artists and scientists had worked together on the project. As part of its outreach to the wider community, Lumiere worked with offenders in Durham’s three prisons and a youth remand centre. Over 100 prisoners and their families created artworks, which were displayed together to form a huge illuminated wall in the Galilee Chapel inside Durham Cathedral. The artworks have now been returned to be exhibited inside the institutions, following Lumiere. “We are delighted with the success of this third edition of Lumiere. It’s been wonderful to see how much everyone has enjoyed it this year. The feedback has been overwhelmingly positive,” commented Helen Marriage, Lumiere’s Artistic Director. “We made many improvements to the way

the festival has been organised this year, to ensure visitors had an unforgettable experience that was comfortable as well as enjoyable.” Councillor Simon Henig, Leader of Durham County Council, stated, “Lumiere 2013 has been breathtaking, thought provoking, entertaining and an overwhelming success for tens of thousands of festival-goers and very many businesses. I confidently predict a very significant economic boost to the county linked to the opportunities delivered by this world class event. Just as important though is the immense sense of pride we can take in knowing we have worked together to showcase some of the very best we have to offer in County Durham.”



CONSUMERIST CHRISTMAS TREE LUZINTERRUPTUS Thousands of discarded plastic bags were transformed into a 9m high illuminated Christmas tree, laden with giant baubles. Spanish art collective Luzinterruptus’ Consumerist Christmas Tree challenged our addiction to plastic bags and its environmental consequences of our throw-away society at a time of year when our consumption hits an annual high. Participants were invited to donate spare plastic bags to help take part in creating the tree at workshops leading up to the festival. The installation is a development of a piece first created by Luzinterruptus at the Gewerbemuseum in Winterthur, Switzerland, called ‘Plastic Garbage Guarding the Museum’, part of ‘Plastiksack!’, a four month exhibition that explored how our use of plastic bags symbolises our consumerist society.

AQUARIUM BENEDETTO BUFALINO & BENOIT DESEILLE Collaborators Benedetto Bufalino & Benoit Deseille found a new role for the now defunct telephone box by transforming it into a lit aquarium, full of exotically coloured fish. This playful installation invited the crowds to imagine exotic travel and escape from their everyday lives.

LITRE OF LIGHT MY SHELTER FOUNDATION / MICK STEPHENSON The Litre of Light project began in the Philippines with one bottle light. Eventually, the movement grew to brighten up 28,000 homes and the lives of 70,000 people in Metro Manila alone. Now it’s present in India, Indonesia, and beyond. As part of Lumiere 2013, Artichoke ran workshops with children in local schools to raise awareness of communities that are living without lights in their homes, and teaching them how to make a lightbulb out of a plastic bottle. The lighbulbs created during these workshops were then displayed at Lumiere in a structure designed and made by local artist and builder Mick Stephenson.

EL SOL HET PAKT 30 transparent illuminated tents were laid out in the shape of a treble clef on a grassy plain outside County Hall. Each tent contained an image of a musician and emitted music ‘played’ by a different brass instrument. Wandering through the installation, the audience could identify all the different instruments separately by leaning over each tent; further away, the whole band could be heard. The significance of the way the tents were laid out can only be seen from above. The title ‘El Sol’ is a play on ‘Sol-fa’, the musical alphabet. The music includes a specially recorded composition, ‘Susanna and Orchidea’, by composers Nino Giuffre and Roberto Villata.



design file Féte was inspired by a Féte du bley, a French countryside fair. “The idea came to me,” Ron Haselden says, “of using wooden masts with 48 festoon lights strung between them.” This was complimented by the installation of loudspeakers, which played a mix of Dutch fairground music and French popular accordion music, matching the chase sequence of the multi-coloured lighting. When brought together, the strung lights create the outline of a tent while the music bounds around the empty space, creating a circus atmosphere, only with the performers missing. For a piece that is fifteen years old, the work has shown a remarkable durability and it has recently been rebuilt, LED replacing the tungsten lights that had been used previously. “When you change the technology you lose something and you gain something. LED loses the glow that you used to get with tungsten lights, a tungsten light takes a millisecond to go off after you have flicked the switch, but when an electronic light goes off it’s off.” The work’s lightweight structure allows

A light artist of long-standing, Ron Haselden’s Féte is a tribute to the countryside traditions of his adopted Brittany. it to be moved around and, aside from Durham, the art has been shown at the Serpentine Gallery in London, in Canary Wharf, Lisbon and in Derry’s Bogside. It was also presented in the Brittany countryside not far from Haselden’s home where passers-by would stop their cars and waltz to the music underneath the festoons. Light is a material Haselden has consistently returned to throughout his career.

“I see light as a reaction against the big lumps of sculpture that just get dumped in a public space and left, that’s just not what I want to do. If you work with light it requires maintenance and care and if you don’t give it that then it just passes into history.”

DRESSES TAEGON KIM Taegon Kim’s ethereal work first appeared at Lumiere in 2009. His new piece, which was shown in the cathedral’s cloisters, developed that original idea, with three shimmering dresses that appear to float in the darkness. Made from fibre-optic LEDs, each dress tells its own story, slowly changing colour and evolving over time. Their mysterious, ghostly shapes are inspired by Roland Barthes’ ‘A Lover Discourse’ and Kim’s fascination with relationships and love. Each dress, slowly changing colour, symbolises their evolvement over time, posing the question ‘Who would we want to be, if we could wear our own desires?’

CROWN OF LIGHT ROSS ASHTON, ROBERT ZIEGLER, JOHN DEL’ NERO Using images drawn from the powerful history of Christianity in the North East, the visual material of this large scale projection gave a glimpse of inside the Cathedral itself and one of the most richly decorated, and important books of all time, the Lindisfarne Gospels. ‘Crown of Light’, back by popular demand after successful showings in 2009 and 2011, gave residents and visitors a final chance to explore the contents of this historic book in the year in which it returned to Durham for the first time since the 17th century.

hall 3.1, stand D11



Photographs: Chris Hill

Cédric Le Borgne’s Travellers look out over the River Foyle. In human form, but with no features, the figures appeared to soar over Derry’s Peace Bridge.

LIGHTING THE WAY TO LEGEN-DERRY Lumiere brought the curtain down on Derry’s barnstorming ‘City of Culture’ year. While bringing artists together, the festival also acted to further strengthen a healing community. The resurgence of Derry in the wake of 1998’s Good Friday Agreement is one of the most inspiring stories to result from the end of The Troubles. The city is still very much living its history, although much has been consigned to the past, a place so full of significant stones with meaning to so many different factions, can still prompt tensions within the community. The city’s name is often given the ‘New York, New York, so good they named it twice’ treatment and is lengthened to Derry/Londonderry, in order to satisfy both sides of the divide. However, after it was used in a string of advertising campaigns, it is increasingly popular to dub the area simply ‘LegenDerry’, a sign of the city’s newfound canny ability to re-invent itself along unifying lines.

Culture has played a crucial role in this re-birth, a role strengthened further after it was announced that Derry would become the UK’s first ‘City of Culture’ in 2013. The yearlong programme of events attracted international attention due to the decision to hold the Turner Prize exhibition and announcement at Ebrington, the former British military installation, the one-time barracks transformed into art galleries, the gargantuan parade ground (bigger than Trafalgar Square) now a public piazza. The ‘City of Culture’ year was brought to a stunning conclusion by ‘Lumiere’, the Artichoke organised light festival, fresh from a successful outing in Durham. The Trust fully embraced Derry’s complicated heritage and attempted to tackle it when compiling the programme.

One of the best examples of the artwork transcending history was ‘The Empty Plinth’ which projected an untainted beam of white light into the sky. Developed by Mark Lusby of the Holywell Trust and John Peto of the Nerve Centre, the work was placed on Walker’s Plinth, a memorial that sits on the Royal Bastion, midway along the Western Perspective of the Derry City Walls. The plinth used to hold a statue of the Rev. George Walker, the one-time joint governor of Derry during the Catholic Siege of the city in 1689, before it was dramatically blown up by the IRA in 1973. The site is still venerated by the Protestant Apprentice Boys of Derry and continues to be vandalised by Catholics when community tensions are running high. The fact that the light-artwork was even presented on the


MARBLES DAAN ROOSEGAARDE Dann Roosegaarde innovatively uses LED to humanise public spaces. ‘Marbles’ was placed in ‘The Fountain’, a largely Loyalist area of the city, and consisted of large multi-coloured gem like stones, which interact with people using sound, colour and light. Smart sensors are installed within the crystals and they are able to change their mood from ‘bored’ to ‘excited’, becoming more animated as the audience interacts with them. The stones are also able to communicate with each other, interacting via flashes of colour.

FIRE GARDEN COMPAGNIE CARABOSSE The rolling hillside of St Columb’s Park, just by Ebrington, should attract some of the visitors that are lured across the Foyle by the Peace Bridge. Alas, it remains something of an undiscovered gem. Carabosse, one of France’s most important street art groups, renowned for bringing their ‘Fire Garden’ to spaces around the world, set out to put this right, creating a firey wonderworld touched by a sense of bohemian whimsy, with engraved furnaces and antique kettles bellowing out flames. There is a tradition right across Derry of bonfire burning, a very hostile and aggressive statement, and Artichoke wanted to present something involving fire that showed it could be a medium both peaceful and delightful.

site at all was quite extraordinary. When it was standing, the column looked out over the Bogside, home to a large chunk of the city’s Catholic population, another flash-point in Derry’s rocky history, the place were the Bloody Sunday march set out from and until the conclusion of The Troubles a no-go area for Protestants. Lumiere turned the Bogside into a momentary art-gallery, attracting crowds into the area to see work from Cleary Connolly and Ron Haselden. Connolly presented ‘Change Your Stripes’, a light projection artwork, onto the Derry Credit Union building, which brings to mind both an abstract painting and a psychedelic zebra crossing from a Pink Floyd video, the stripes rippling across the wall, responding to the movements of those who look at it.

Some of the works opted to highlight the heritage of the city, such as ‘Shirts’ by H Sleiman & L Bond, which was displayed on the Fabric World Building. The work is comprised of colourful neon outlines of shirts, a nod to Derry’s shirt-making tradition. The city was once the world leader in shirt production and it has been estimated that at one point in the city’s history the industry employed every woman in the city, the kind of charming fact that Derry’s recent history has eclipsed and the city and its visitors are currently being reacquainted with. Krzysztof Wodiczko’s ‘Public Projection Derry/Londonderry’ did tackle the city’s more recent past though. Wodiczko’s large scale projections are well known, his work in Derry was mobile and involved the projection of the words of local residents affected

by the marginalization and division that still haunts the city. Projected from an ambulance, the location changing as the vehicle moved around town, the artwork is both a warning and a wish, a warning of how easy a return to the old ways would be, and a fervent wish for peace. Finally there was ‘A Stich in Time’ by Tim Etchells, a phrase re-produced in seemingly Soviet-era lettering on top of the Rosemount Shirt Factory. Some nicknamed it ‘Derry’s version of the Hollywood sign’ and it is hoped that the installation will remain after the ‘Year of Culture’ is over, becoming a new Derry icon, a post-Troubles landmark, with no history to prompt further division. A 21st century unifier.



design file Born out of her desire to collaborate with a painter, Elaine Buckholtz spun and extracted the warm colours of van Gogh’s ‘Night Café’ and projected them in light. ‘Spinning Night in Living Colour’ is an exploration in painting with light, a journey in-between two mediums, the second medium being the music of Béla Bartok. “Once I had seen the projection, I started to think about a score for it, because I thought it would be more conducive to experiencing the work,” Buckholtz says. “I really loved Béla Bartok’s music, so I used that as a starting point and then slowed the music down. Everything is slowed down, the spinning is slowed down, and the music is slowed down to about half of its speed.” Buckholtz worked with composer Floor van de Veld, who scored the music while looking at the artwork, before taking Bartok’s style and then adding layers. “I chose van Gogh because I really, really love the colour sensibility of his work, not because he was van Gogh,” says Buckholtz. ‘Night Café’ is a very warm painting, the

Elaine Buckholtz’s ‘Spinning Night in Living Colour’ brought the warmth of van Gogh’s paint shades to a Derry car park. colours appearing to emanate off the billboard screen. “I considered others,” she adds, “mostly post-impressionist painters, which is interesting, because those painters were experimenting, moving from representational to a more emotional base of consciousness in painting and in some ways our intentions are aligned.” This was the first time ‘Spinning Night in

Living Colour’, had been installed outside of San Francisco, the artist’s base, and the first time the piece had been displayed in the open air. However, the artist had always had a fantasy of displaying the piece on a billboard, something Helen Marriage at Artichoke immediately recognised it would be perfect for.

CHANGE YOUR STRIPES CLEARY CONNOLLY Staged on the façade of the Derry Credit Union (the former Stardust Dance Hall) in the Bogside, Change Your Stripes was composed of black and white stripes, which were projected onto the wall, rippling across the building, distorting and changing as people jumped up and down in front of it. Originally conceived for display in the Pompidou Centre in Paris, Derry was the first time that the work had been shown outdoors and on such a large scale, acting to attract people into the Bogside who might not have thought of visiting in the past.

VOYAGE NOVAK Inspired by the whimsically romantic façade of the Austins Department Store, Voyage, a light projection work by NOVAK, brought to mind the novels of Jules Verne and all the daring adventurers who have braved the seven seas. Strung with semaphore signal flags, the building was transported seaside, with sharks swimming in and out of window arches, all complimented by a bespoke score of hornpipe whistles and fog horns from composer Ed Carter. Novak has produced 2D and 3D motion design, as well as 4D projection mappings, for television broadcast as well as visual shows that accompany chart topping musicians.

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Le Prince des Lumières / Damien Fontaine © Muriel Chaulet

Huge numbers congregated in the Place des Terreaux for Damien Fontaine’s story of the Prince of Light projected onto the building façades.


Paul James found plenty of examples of projection and video mapping in Lyon for their annual festival. However, there were plenty of hidden gems if you knew where to look. During four magical nights in December, over 800,000 inhabitants of, and visitors to, Lyon gathered in the city centre to take in the atmosphere and see some impressive lighting, projection and video installations. Highlights included the amazing large format projection / video mapping epic of the ‘Prince des Lumières’ by Damien Fontaine in the central hub of Terreaux square, which won the The Trophée des Lumières award for best installation. The Récylum Trophy for Sustainable Lighting went to ‘Paradise Lost’ by Jean- Charles de Castelbajac / Blachère Illumination in the courtyard of the Hotel de Ville. ‘Pierrot le feu’ set Bellecour square ablaze with videos, projections and pyrotechnics directed by Joseph Couturier. Shown for the first time, the Lyon fresco (‘Mur des Lyonnais’) was a success with ‘Dessine-moi

des lumières’ created with the collaboration of the Emile Cohl School, experts of mural painting Cité Creation, and visual artists Theoriz Crew. The lighting of the Hôtel-Dieu, Lyon’s historical hospital, was a big hit with nearly 105,000 spectators working their way through the ‘Caresses Climatiques’, a jungle of creepers created by Alain Benini. Visitors were encouraged to go off the beaten track to discover some of the more insteresting installations. Each year, the Lyon festival leaves behind a permanent installation as a legacy of the event. This edition saw the the new Croix-Rousse Tunnel, which is designed for non-motorised traffic only, lit permanently using neon. An interior lighting scheme now accompanies cyclists and pedestrians over the 1.8-kilometre-long crossing all year long, both day and night.

The creation offers a novel and exceptional experience to a larger audience. Opened to the public in time for the festival, the installation aims to encourage use of the tunnel by city residents and make the crossing an entertaining experience to be repeated with renewed pleasure. Between the Croix-Rousse tunnel and the Rhône river banks, 160,000 visitors rediscovered the Tête d’or park, ravished by the sweet Zen atmosphere of the ‘Chinese Corner’ created by Li LI. Up Croix-Rousse hill on the Gros Caillou esplanade, a colourful maze made by Jérôme Toq’r, was a major hit. On the other bank of the Rhône, 1,000 visitors a night visited the Hospital Saint-Luc Saint-Joseph terraces to listen to ‘Le Coeur à l’ouvrage’ created by Annick Picchio.


Festicolor / Yves Moreaux © Muriel Chaulet

Anamorphose / Skertzò © Ville de Lyon

Lost Paradise / JC de Castelbajac © Muriel Chaulet

Le grand orchestre de Fourvière / Jean-Luc Hervé © Frédéric Guignard-Perret

La Marguerite / Franck Pelletier © Muriel Chaulet

Dress Code / LNLO 2013 © Frédéric Guignard-Perret



The Temporal Tower by Todd van Hulzen, a reimagining of the Haringpakkerstoren tower that was torn down in the 19th century.

Pics: Janus van den Eijnden

LIGHTING THE VENICE OF THE NORTH Henk Jan Buchel and Vincent Horbach knew that light could make a fairytale scene out of a wintery Amsterdam. Their festival of light continues to be a creative winter warmer. The Amsterdam Light Festival is a winter light extravaganza for all ages. For 50 nights the historical centre of Amsterdam presents a string of unique artworks, both on land and water. For the second outing of the event the theme was ‘Building with Light’ and the programme was constituted of 30 light sculptures and projections by international artists. A boat tour was available for those wishing to get a close up of the artworks along the Amsterdam canals and the Amstel river, while a walking route, Illuminade, took visitors through the centre of the city. The festival took place during the darkest period of the year and the festival aimed to

‘enlighten’ the audience with colourful and engaging artworks, during the chilly winter months. Some of the more engaging works included ‘We Light Amsterdam’ by Stichting Nieuwe Helden and a concept from Lucas De Man and Pascal Leboucq. The installation was the result of a collaborative project between Stichting Nieuwe Helden (New Heroes Foundation) with the city’s creative residents. They collected light bulbs from Amsterdam homeowners and created an installation in which the light bulbs fromed the statement, ‘We Light Amsterdam’, hundreds of lamps and light bulbs making a carpet of light.

‘Reflections’ by the Austrian artist Teresa Mar made a stunning centrepiece to the festival and used the façade of the Hermitage Amsterdam as a backdrop. Inspired by the museum’s then exhibition ‘Gauguin, Bonnard and Denis: A Russian Taste for French Art’, the work was a joint project between the Hermitage Amsterdam and the Amsterdam Light Festival. ‘Hatch’ by Hagar Elazari and Liat Segal made for another eye-catching affair confronting viewers with the endlessness of light by mimicking the experience of standing between two mirrors.


DRAWN IN LIGHT RALF WESTERHOF Located by the Amstel/Stopera this project was made entirely out of steel. This impressive installation by Ralf Westerhof is about six metres in diameter and the metal wires are hand-bent, reflecting the light. The installation rotated above the Amstel River, resulting in a continuously moving and light-emitting line drawing against the dark sky. Ralf Westerhof graduated from the Amsterdam Hogeschool voor de Kunsten in 2007 and is known for his 3D line drawings made of hand-bent wires.

CANONICALIZATION OF THE SEDUCTIVE MIND SHIH CHIEH HUANG Comprised of household appliances, zip ties, water tubes, lights, computer toys, etc, the materials have been reconstructed by Huang into a individual new electronic ecosystem. Shih Shieh Huang is a Taiwanese artist who works and lives in New York.

PAS ENCORE MON HISTOIRE VINCENT OLINET Vincent Olinet’s bed was inspired by fairy tales and was decorated with old and new curtains and decorative bed sheets. The lighting made the cream drapes and bed sheets look almost ghostly as the bed floated with abandon around the city’s waterways. The bed remained outside during the period that the festival was running and the artist opted to leave the structure to nature without protecting it from the elements in any way, this meant the structure became more and more ragged as the days went by. The artwork was also presented in the Red Light District in Amsterdam, where the bed and the observers relation to it as a private and intimate space, had a particularly potent meaning.

LIGHTBATTLE VENIVIDIMULTIPLEX ‘Lightbattle’ was a unique interactive bicycle light-artwork that let visitors experience the Rijksmuseum in a unique wonderful and joyful way. The high-end arch of light determined the strongest cyclists. The installation consisted of a lightweight arch that elegantly spanned over the pathway. Attached to the arch were nearly 5,000 LED lights (supplied by InventDesign) that were individually triggered by state-of-the-art computer systems. Underneath both sides of the arch stood five bicycles from which the energy of speed was being regenerated for a light challenge never seen before!



Pic: Urmas Mand

Pic: Annika Haas

Pic: Urmas Mand

Pic: Annika Haas

Pic: Annika Haas

Pic: Annika Haas


The inaugural Tallinn Light Biennale brought delight and debate to the Estonian capital. The Tallinn Light Biennale provided some welcome relief to the Baltic winds that whipped the Estonian capital as November 2013 drew to a close. Under the direction of organisers Priit Tiimus and Eva Tallo, the festival provided a mix of installations, exhibitions and events designed to not only entertain, but also engage different design disciplines and the general public at large, entering into a wider conversation about the power and potential of light and lighting design. The festival ran alongside a PLDA sponsored conference and workshops. The latter saw four experienced lighting designers each tackle a practical application of lighting design, taking their respective teams through the process from drawing board to installation. These finished projects joined the festival’s other light artworks in the city streets as a practical demonstration of new approaches to lighting public spaces.

The crumbling shell of an old movie theatre (the former ‘Helios Cinema’, appropriately enough) provided a hub for a variety of events. As well as the conference, it proved the perfect backdrop for an installation of kinetic art by Paul Friedlander, whose mesmeric work An Alternative Approach to Unifying String and the Standard Model of Particles whirled and shimmered to the delight of visitors. Deeper within the building, Estonian light art awaited discovery, as did Light Collective’s One Beam of Light photographic exhibition. For the closing weekend’s Gala Night, the Helios was packed for a live music performance, accompanied by Kurt Laurence Theinert, whose Visual Piano wrapped the auditorium’s walls with a 360 degree projection, that pulsed and evolved in response to the band on stage.

Above (clockwise from top left) Emograph tranformed spectators’ pulses into dynamic projections; Paul Friedlander’s kinetic art; interactive art on show at the Helios cinema; Light Collective explore the power of a single beam of light; Kurt Laurence Theinert’s Visual Piano wraps the Gala Night crowd in projected light; Marko A Kovacic’s Sparks of Prometheus machine in action.

Pic: Annika Haas


NIGULISTE CHURCH LIGHTING TALLINN’S CHURCHES In one of four PLDA branded workshops, Dutch lighting designer Berry van Egten helped a team to produce an engaging scheme for the town’s St Nicholas’ Church. A line of uplit trees guided the eye towards the main entrance, which was surrounded by cool white. The threshold itself was intentionally left in the shadows in order to emphasise any light spill from the doorway when left ajar. Buttresses along the church wall were lit from just one direction - echoing the mono-directionality of daylight and providing a rhythm to the structure. A side wall was given a wash of rippling blues and, to the rear of the church, visitors discovered one of the town’s oldest trees. Lit in pulsing red, the tree became the symbolic beating heart at the centre of the city. Construction work on the bell tower meant it couldn’t be used in the project, but the existing tungsten floods provided a useful comparison to the modern light sources applied by the team.

Pic: Annika Haas

Pic: Berry van Egten

KANUTI GARDEN MODERN CHRISTMAS LIGHTING An interdisciplinary group of seven people lead by workshop head Sabine De Schutter created a lighting installation that transformed the oft bypassed and forgotten Kanuti Garden by bringing light and life into the public park. Creating a user-centred lighting installation was the main objective. The team went out on to the streets to ask passers-by what they wish for and what light and Christmas mean to them. Using these comments the team aimed to create a social lightscape that invited the community to spend time together in this public garden after dark. The centrepiece of the installation was a sculpture that collected the wishes of the locals and encourages people to share. Lighting is here a facilitator, connecting people with a place. The installation was built in such a way that one noticed it from a distance, but was rich in elements that had to be experienced by actually visiting the park itself. For instance, the slowly pulsating light coming from the wish fountain is just an indicator that there is something to see.

Pic: Jack Be Nimble

Pic: Jack Be Nimble

Pic: Jack Be Nimble




Pic: ÅF Lighting

Pic: ÅF Lighting

Paks Margareeta (aka Fat Margaret) tower was added to the city fortification as a cannon tower in the early 16th century to defend the city against naval attacks as well as to impress visitors and enemies. During the centuries the tower has been used for different purposes such as an arsenal for weapons, a prison and today it houses the Estonian Maritime Museum. A team led by Allan Ruberg created a series of scenes depicting entries from a notional diary, kept by Margaret over her lifetime. The lighting concept dealt with the visual transformation of the location and important dualities such as deconstruction versus enhancement, inside versus outside, and history versus future. Using a variety of techniques from the lighting design toolbox, the team created scenes from 1535 (an attack from the sea), 1856 (a prison break) and 2013 (Margaret’s big night out).

Pic: ÅF Lighting

METRO PLAZA MEDIA FAÇADES For the duration of the Biennale, the dynamic façade of the Metro Plaza building was given over to a team of lighting design initiates, who developed a new scheme under the professional guidance of Stephan Horn. Their treatment of the façade bound together ‘nature’ and ‘city life’ to create a day in the life of Tallinn, from sunrise, through the bustle of rush hour and lunchtime, to dusk and nightfall.

Pic: Urmas Mand

Pic: Urmas Mand

Pic: Urmas Mand

Pic: Urmas Mand

OLD TOWN GUERRILLA LIGHTING Under the guidance of experienced lighting designers, the public were invited to join a night of guerrilla lighting, descending on some of Tallinn’s many overlooked features and temporarily transforming them with low-power portable light sources. The hands-on attack demonstrated how much can be achieved with very little, if approached in a considered way. Pics: Annika Haas


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IN THE LIGHT GARDEN The Gardens of Light Festival was a major new event to boost Bournemouth’s winter tourism appeal. Designed by Michael Grubb Studio, the festival included ten interactive ‘Light Pods’ that were scattered throughout the town centre’s beautiful Grade II listed gardens. Based on a traditional beach hut, each ‘Light Pod’ was unique, interactive, quirky and designed to appeal to a wide range of ages and tastes, from as young as two years old up to 80 years and older. The project began when Michael Grubb Studio was approached by both Arts Bournemouth and the Town Centre BID to create something that would have a lot of visual impact and would be unique for Bourne-

mouth, with the ultimate goal of creating a draw for tourism and spending. The design team considered the maritime identity of Bournemouth, and came up with the idea of a series ‘light pods’, which would be mini light experiences contained within a small space loosely based on a beach hut. A series of simple and fantastically complex ideas were then developed for each pod. These included:

• The HipPODdrome - a beach hut structure, covered entirely in seamless chrome cladding and filled with forty rotating disco balls, strobes, colour-changing floodlights and even a DJ and amplifiers. • Optical World - a magical three-dimensional curtain of hanging fibres inside a mirrored pod for an infinity effect. The fibres are sequenced to show the light appearing to run in lines, backwards and forwards.


Above Light Lounge: DMX controlled LED colour change modules are incorporated within the structural frame and hidden within the seating and under the base unit.

• The Light Lounge - a deconstructed beach hut, with light emitting from the main frame, the seating and the space below. Sequenced colour effects are then used to create the perfect chill-out zone. Michael Grubb Studio developed a lighting masterplan for the entire site, as they did not see the Light Pods as being a standalone idea. Additional lighting schemes were then introduced to the iconic balloon, surround-

ing landscape as well as the meandering river to create an all-encompassing lit experience. The Gardens of Light Festival is part of a long-term project for Michael Grubb Studio, in conjunction with Bournemouth Town Centre BID, to oversee and direct the five-year lighting masterplan.

Above, from top Temporary lighting using a limited colour palette was added to create a sense of place and support wayfinding. Optical World: Suspended fibre-optic system spatially sequenced for linear movement, with an internally clad infinity mirror. The HipPODrome: A micro-disco housed within a seamlessly chromed exterior contained rotating disco balls with DMX controlled LED colour change pinspots, a strobe, smoke machine and sound system.



AS CLEAR AS DAY Light Collective are involved in a novel take on the Festival of Light, using daylight as a source of inspiration for the Day.One festival in Mexico City. Here they explain the concept of the upcoming event. There are two main reasons why we decided to organise Day.One. Firstly, we love Daylight - its the real thing! Secondly, the world is already full of lighting festivals. They all take place at night and focus on creating spectacle using artificial light! We figured it was time to turn things on their head and do something different. What is the light source in the most amazingly lit spaces you can think of? Natural light. What is the light source in the most inspirational spaces you can think of? Natural light. What light do people like best? Natural light! We want to change the way people think about the use and application of natural light and the biggest opportunity for us to do this is in the promotion and demonstration of its use. Natural light is the only truly sustainable source of light available to us and we believe that designing with it is a skill that lighting designers should be able to offer. Daylight design is something that should be part of a lighting designer’s skill set and whilst it is for the few, for many others it is a lost art. The first objective of Day.One is to promote daylight and daylight design by lighting professionals and in order to highlight this we have created an event that celebrates natural light and architecture. Throughout history, artists have always represented the sky and the sun in their work, bringing the awesome qualities of natural light down to an appreciable and understandable scale. We took inspiration from this and Day.One uses daylight and sunlight art to engage our audience and to contrast with the hundreds of artificial lighting festi-

vals taking place each year. Obviously we couldn’t do it in the UK so Light Collective have formed a partnership with Mexican Lighting Designer Magali Mendez, Director of Saas Lighting. Day.One is the world’s first natural lighting festival and will take place on the 8th - 11th May 2014 in Mexico City. The event comprises twelve temporary installations created by artists from all over the world. We can boast contributions from Mexico, Greece, Denmark, Brazil, Italy, UK, France, Korea, Germany, Austria, Sweden, Spain, Portugal. We are pleased to announce that our featured artists are Rodrigo Muro, Alexia Gkika and Tristan Haar, Jiyoen Song, Marianna Novaes and Augusto Bastos Ramalhao, James Newton, Johan Gielen, Lara Elbaz, Anne Bureau, Isabel Villar and Federico Favero, Lorena Vyeira, Giovanni Traverso, Monica Zuniga, Diana Garcia and Paul Elhert. The work varies in style and includes a camera obscure piece, coloured glass, mirrors, prisms, shadow and photography. All of our artists are either practising architectural lighting designers, have a background as a designer or are studying the subject. We believe that they are the people with a unique knowledge of natural light and are giving them an opportunity to share it. We received many more submissions than we imagined which put us in the unexpected position of having to choose which artists we could invite to the actual event. The quantity and quality of submissions help strengthen our belief that there is a space for a festival of daylight.

The event program also includes a manufacturers’ technology workshop where we are offering sponsors an opportunity to talk to architects and lighting designers about their products. This will include natural light products and artificial lighting products that interface with natural light, control systems and artificial lighting. The discussion about natural lighting includes the opportunity to talk about good lighting in general. There is also a seminar program that includes the featured designers, special guests and local architects. It is an opportunity for architectural lighting designers to talk about the importance of natural light and demonstrate how having daylighting design skills can enable us to take control of the one element of building design that can make a difference to our carbon footprints and make us completely responsible for the light experience within architecture. In addition, there will be a series of workshops taking place with local school children and in conduction with IESNA, we will also be holding a film night with showings of films from designers, artist and architects. Day.One will also offer an architectural tour to visit buildings in Mexico City with incredible daylight designs including the Cineteca Nacional, MUAC, Hesiodo, Camino Real, Capuchinas, Hospital de la luz, Casa Gilardi and Museo Soumaya. All of the installations and events will take place in and around the Casa Luis Barragan, the private residence of Mexico’s most celebrated architect and a master of natural light and colour with the Barragan Foundation supporting Day.One.


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CHOO’S SHOES The new Jimmy Choo flagship store for men in London bears the stamp of Milan based interior designers Ciarmoli Queda Studio, with luminaires by Reggiani. The new store replaces the Jimmy Choo men’s shop in Mayfair Burlington Arcade to dedicate more space to the growing men’s collection and to convey the history of the brand. In view of the display layout and furnishing elements, the lighting solution designed for the store focused on Yori, a projector with minimalist design and a wide range of applications. The shop, in an old Georgian style building in Dover Street, covering 1,200sqm over two floors, offers an eclectic and somewhat un-

conventional approach to exalt the products by the London brand. The decidedly masculine colour combination of black, anthracite grey and silver alternates with hints of red. Black marble and leather surfaces mixed with felt, velvet and tweed textures as well as vintage furniture – like the P40 armchair designed by Osvaldo Borsani in 1955 and the Giò Ponti table in wood and glass – together give the interiors a typically 1960s retro feel. The ambience and context are accentuated by the Yori luminaire, a product with

essential lines that refer to basic geometric forms and blends perfectly into the store’s interiors. The window display area, with its staggered steel shelving, contains the 10W LED version of Yori, invisible from the outside thanks to its size and recessed trimless mounting channel, thus guaranteeing precise and effective lighting without invading the product space. In the lighting project for the raised ground floor, track-mounted 26W and 10W Yori projectors have been used with 3000K


colour temperature, high Colour Rendering Index (CRI 94 and 90) and narrow, medium and wide beams (2x8°, 2x15° and 2x26°) to spot light both the articles on display as well as the pictures hanging on the walls. The light emission of the two versions is 800lm for the 10W luminaire and 2100lm for the 26W one. The arrangement and angles of the lights have been conceived to ensure greater light intensity for dark furniture, where shoes and bags are displayed, and less in the “living” area, with special attention paid to the dazzling effect created by the reflection of the shiny materials. The basement floor is home to the storage rooms and another display area including a bar in which 14W Unisio recessed luminaires with retracted optics have been used, with medium-wide beams and CRI 90 to ensure

the same colour quality and visual comfort perfect for a lounge area. Light in the display area on the basement floor is provided by 10W and 26W (CRI 90 and 94, medium and wide beam, 2x15° and 2x26°) Yori projectors, but in the recessed track version this time due to the low ceilings. The finish of these luminaires is a special customised grey to effectively minimise and blend the projectors in with the colour of the walls. In the storage and utilities area, surface-mounted 14W Unisio luminaires have been used with wide 2x26° beam and the 10W version of Yori on a recessed mounting rail. Used in the courtyard, which is on a lower level than the street, is the 14W LED Rios with high IP rating (IP66), placed outdoors

above the entrances. The interior designers Simone Ciarmoli and Miguel Queda of Milan-based CQS (Ciarmoli Queda Studio) have created a truly unique and highly evocative place, ideal for an exclusive brand like Jimmy Choo. The store succeeds in expressing great charm, creating an inviting and highly elegant environment thanks also to the choice of luminaires, their use and arrangement, carried out in collaboration with + Light in Milan. The project is the fruit of the extensive experience gained by the architecture and design firm CQS, which can boast alliances with prestigious fashion and luxury brands: in fact, for Jimmy Choo it had already created a pop-up store in Italy, its men’s stores in Tokyo and Hong Kong, and has worked for other brands in the yacht design sector.



BASALT GREY MORNING The Eraldo Fashion Building in Ceggia, Italy, is an introspective building that looks in on itself. Viabizzuno developed a lighting scheme that added to the melancholy tone painting. The Civic Centre of Ceggia, in Venice, is the site of the new ‘Eraldo Fashion Building’, a commercial exhibition venue. The area of town where the building stands is bereft of any buildings of historical significance, so the centre stands out brightly amid the concrete curtain that forms the Via Roma. Charmingly meshing with the Piavon Canal, the architectural concept of the building was based around the notion of four overlapping parallelepipeds that create, when brought together, something resembling a monolith in shape. The only outward openings in the building are two windows at each end of the optical

canal that crosses the first floor, making this structure something of an introspective, introverted building, more focused on itself and its own well being than on the objects that sit around it. The monolithic feel of the exterior of the building is underscored by the structure’s basaltic stone lining concealing the metal innards of the structure. The interior unfolds around a patio, the principle canal of light acting to collect and distribute the sun’s rays and distribute them towards the lower floors. Natural light and its relationship with artificial light is translated into an architectural

rhythm in this building, the artificial light acting in conjunction with the natural to highlight the contours of the structure. The lighting design by Viabizzuno follows the rigorous rhythm of the building’s beams, one of the many interior rhythms and patterns that make up Parisotto and Formenton’s interior design. Forming the centrepiece of the building, the patio continues the introspective theme, prompting the building to look inwards, towards itself, without ever opening outwards.

BUILT-IN DESIGN The journey from concept to completion for an integrated façade lighting project can be long and not without risk. The rapid development of integrated LED into the building envelope has brought a new level complication to the design, procurement and construction process. illumination Physics understands the journey and the needs of every player very well. We develop the product, provide a practical solution for the installation methodology, and supervise the installation.

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MIRROR MIRROR... House of Fraser worked with Philips Lighting on its Oxford Street store to create an inovative solution aimed at improving customer experience. A highlight is the interactive lighting scenes in the fitting rooms. With 63 stores of varying ages and architectural design, House of Fraser faces a challenge in establishing a consistent ‘look and feel’ that reinforces its brand identity. Lighting plays a key role in achieving this and House of Fraser teamed up with Philips Lighting in order to explore a number of lighting options for its flagship store in Oxford Street, London. Research showed that around 60% of purchasing decisions for clothing were made in the fitting room and in respose Philips opted to introduce a pioneering approach to the lighting in both the lingerie and general fitting rooms. The existing lighting in the lingerie fitting rooms comprised a T5 fluorescent mirror light strip, supplemented by a recessed metal halide downlight and a decorative wall sconce. When brought together, this created an unwelcoming space with uncomfortable glare that highlighted shadows on the customers’ bodies. Crucially, the lighting did not provide customers with an accurate perception of what the clothes would look like in the different environments they would be wearing them. The new solution uses Philips AmbiScene

Occasions mirrors, which provide tuneable white light that can be adjusted by scenesetting controls, allowing customers to switch between ‘day,’ ‘evening’, ‘by the pool’ and ‘natural daylight’. This faclity lends customers greater confidence in their purchasing decisions, increasing the likelihood that they will buy. In addition, recessed metal halide downlights have been replaced with suspended square LED feature luminaires to provide indirect cove lighting. The wall lights have also been re-located and fitted with Master LED lamps, while an additional Occasions mirror has also been installed at the end of the corridor circulation area to provide greater freedom of movement. Existing CDM downlights in the fitting rooms have been removed, some being replaced by StyliD compact LED fittings. The new lighting has eliminated the buildup of heat that was experienced with the previous CDM lighting, ensuring customers are more comfortable and market research has since proved positive. The personal shopper experience is an important part of the House of Fraser service and one of the personal shopper suites had no natural daylight, making the space feel claustrophobic and

uncomfortable. The ambient lighting in this area has been enhanced in order to provide higher light levels and improved colour rendering, using recessed StyliD LED spotlights to help shoppers fully appreciate the colours and textures of the materials and fabrics. An Occasions mirror with three lighting scenes has also been installed. The ambient lighting is further enhanced by two Philips Luminous Textile panels, which integrate multi-coloured LEDs within textile panels to provide a unique ambient lighting system. These panels create ‘mood walls’ that can display dynamic content while integrating with other decorative and ambient effects. They also help to compensate for the lack of natural daylight in the space. The scene selection concept is taken a step further in the personal shopper fitting room, where a Philips AmbiScene Seasons mirror uses integrated frontal lighting and optional ambient coloured lighting to provide eight lighting scene options, including ‘winter’, ‘spring’, ‘summer’ and ‘autumn’ as well as ‘indoor’, ‘outdoor’, ‘evening’ and ‘party’.



FRIENDS OF THE OVAL German furniture outlet Möbel Martin opened it biggest store in Mainz recently. Insta provided fittings for a Tobias Link designed lighting scheme, which puts the building’s distinct oval shape at its heart.

With a sales surface of more than 45,000m², the Möbel Martin store in Mainz is an impressive retail space, complemented by a light installation designed by Tobias Link, which plays into the distinct oval shape of the building. Insta and Link have been cooperating closely for years and the company was able to help realise Link’s indoor lighting plan for the store, with the use of Instalight 3210 and 3242 LED downlights. A particular highlight of the store is the design in the atrium. The heart of the store, the atrium is a footfall hub and the perfect stage for promotional activities. A ceiling sculpture of plasterboard was designed by Link, making the otherwise rather unobtrusive ceilings much more attractive. In the centre of the oval geometry that

comprises the atrium ceiling, a ring and a hole were cut out of the wave. The recessed surfaces are illuminated indirectly and take up narrow-beam downlights for the ground floor. The complete structure is outlined from the second floor by LED movingheads, which produce a light with a higher colour temperature and a changing radiation angle, acting to remind the observer of passing clouds. The transition between daylight and artificial light in the entrance area is realised due to the light beam ceiling, supplemented by environmental lights at the edges. Individual luminaires with narrow-beamspots throw stimulating impulses onto the circulation zone. During the opening times, the illumination in the

transition area, at the entrance, works with a delta of 2,700K to 5,000K. The ceiling of the catering area was designed with coves, indirectly illuminated by LEDLUX LS LED lines from Insta, while general lighting in the catering area was designed with the use of Insta downlights. The illumination of the principle footfall hubs was largely reduced in favour of the exhibition surfaces, directing the attention of customers to the exhibits, while saving energy. Further energy efficiencies were made via the exchange of old compact fluorescent lamps for LED luminaires. The common façade illumination was largely reduced, so, in this area, the energy consumption was reduced by 60% in comparison with older furniture stores.

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Photographs: The V&A

MY FRIEND THE DOCTOR Happold Lighting was appointed by the V&A to work with Nord Architecture to develop a low energy lighting scheme for a new gallery space. Concord products were used to equip the space. The Dr Susan Weber Gallery is a new furniture gallery at the Victoria and Albert Museum (V&A) in London. Featuring an outstanding collection of British and international furniture from the 15th century to the present day, the gallery is part of ‘FuturePlan’, the V&A’s continuous programme of transformation, it also boasts an energy efficient lighting scheme by Happold Lighting, featuring Beacon Muse by Concord. In order to create the lighting scheme a daylight analysis of the space was carried out, before, in order to conserve the sensitive exhibits, natural light levels were balanced with discreetly positioned artificial lighting.

Concord Beacon Muse spotlights were installed at high levels within the space and were positioned in such a way as to reveal the forms and details of the diverse V&A furniture collection. The spotlights use warm, high colour rendering LEDs, each fitted with a suitable filter, depending on the exhibit. Furthermore, each luminaire is fitted with a potentiometer to allow the individual setting of light levels, allowing visitors to fully appreciate the craftsmanship of the pieces. “When we designed the lighting scheme for the new gallery we had a two-fold challenge, to create a sense of daylight in the space for visitors while preserving but also revealing the exhibits in the best

possible way,” commented Laura Phillips, lighting director at Buro Happold. “Beacon Muse helped us to achieve this and the use of LED played a significant contribution in the meeting of energy efficiency targets for the project.” Concord Beacon Muse features an adjustable optic system that can deliver a wide flood 65˚ beam angle, which can be adjusted down to a 10˚ spot without the need for additional lenses or reflectors. The ten degree tight spot is ideal for accent lighting and for accentuating the texture, colour and shape of gallery exhibits.

Pub Mondo 2 03/02/2014 14:10:30











BAND OF GOLD The brand new OROLOI store in Athens, Greece, uses lighting products from Electron to create an engaging retail space on one of the busiest streets in the Greek capital.

Located on one of the most commercial streets in the center of Athens, the OROLOI jewellery boutique recently opened its doors to customers. In such a busy street, the primary lighting goal was to attract the attention of passersby. In addition, the aim was to provide adequate illumination to the showcases, while creating a welcoming and friendly atmosphere. The store window is illuminated by Kronos downlights, one of the custom made downlights from Electron powered with Xicato LED modules. The Kronos downlight is actually designed and developed by Electron SA and it is thermally validated by Xicato. The downlight was manufactured

according to the specific requirements of the space in terms of correlated colour temperature (CCT), colour rendering index (CRI), lumen output, power consumption, optic system, colour, and dimming. The general illumination of the ground floor of the store is realised with the Mars downlight. The Mars is one of the many custom made downlights from Electron SA powered with Bridgelux LED modules. This series of downlights is also custom made. On the first floor, the Uranus downlight with a Bridgelux LED module was also installed to supplement the general illumination. In addition to the custom downlights, additional illumination was created due to the Tetra linear luminaires. The tetra was

selected due to its modern design, high lumen output, and high lumen efficacy It was made in the lengths and shapes required, using the relevant line and corner extensions, and then it was surface mounted. The showcases were illuminated with high power LED spots powered and controlled by LED converters designed, developed and manufactured by Electron SA. Finally, the store faรงade was illuminated with high power IP LED wall washers. Sustainable and environmentally friendly, the lighting installation is low energy and economical. This elegant lighting scheme offering a unique shopping experience.

30. March - 4. April 2014

Hall 3.1 Stand B90



FLYING IN B.O.A.C..... A wide-reaching renovation project has leant Belgorod International Airport in Russia a new lease of life. Fixtures from Griven helped in the creation of a multifaceted lighting design from Heliocity LLC.

Built in 1954, Belgorod International Airport in Russia was thoroughly renovated in 2013 in order to modernise its architecture. The improved functionality of the airport transformed it into one of the most convenient and well-served flight facilities in central Russia. The exterior renovation of the airport involved principally its façade. Decorative and functional design elements, along with innovative materials and an LED based lighting system transformed the airport into an attractive public area. The lighting scheme aimed to emphasise the flowing volumes of the building, focusing on the brand new entrance. Conceived by lighting designers Viktor Pyatykh and Anton Karpun of Heliocity LLC, the airport’s lighting design features three schemes designed for day, night and feast days. The design suited to the day-time features LED lighting fixtures located on the

roof that light up the upper part of the entrance, while RGBW floodlights mounted near the main arched doorway create soft colour accents. A different colour composition has been selected for each day of the week. During the night, dynamic and coloured effects are disabled in order to save power, while the street lighting poles maintain a low illumination level. On feast days, a composition based on the official colours of Belgorod has been chosen to highlight the exterior borders of the main entrance. Dynamic sequences of fireworks with flashes of light and flying sparks are also projected during festivities onto the airport walls using LED projectors. Installed by Spetsmontge-Service LLC, thirty units of Griven Emerald RGBW, with differing optics, along with ten units of Zaphir W, in cold white, provide bright colour accents and an even white light

distribution to the façade. Benefiting from state of the art electronic colour mixing, Emerald RGBW features sixty high RGBW power LEDs, coupled with a variety of high build and design optics. The combination of RGBW LEDs offers a strong white light output quality, as well as a wide variety of intermediate colour hues. Developed for refined architectural lighting, Zaphir W features 40 white power LEDs, which are capable of delivering a remarkable performance from an extremely compact unit. Fitted with a capacitive touchscreen display, ZAPHIR W is available in grey and white finishes and in both warm and cold white colour temperature options. The full digital control system, obtainable from any one-channel remote DMX512 control desk, includes stand alone functions implemented by master/slave mode for the synchronisation of multiple units.

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FLY ON THE WALL The walls of Rabat have stood ready to repel marauders for centuries. Today, in friendlier times, the walls have been made more welcoming by a lighting design from Electrimar, with fixtures from LEC Lyon.

The walls of the Moroccan capital were built in the twelfth century and were made a World Heritage site by UNESCO in June 2012, along with a number of other sites in the city, including the kasbah des Oudayas, the Essais Garden, the medina and the Mohammed V mausoleum. In order to protect the South and the West sides of the city, a major wall was built at the end of the twelfth century by the Almohades. Rabat currently has two great walls intersecting at an acute angle, measuring over five-kilometre long. The walls are two metres thick and, on average, eight metres high. The illumination of the 1.5km long walls was achieved in concert with the reconstruction of the road alongside the old town.

“The walls encircle the old city of Rabat and the ones that we have decided to light are the ones that are the most visible,” says Fouad Bahechar, president of Electrimar, the Moroccan lighting specialists who worked on the project. “Every 30 metres, the turrets project outwards, over the street. We thought that this rhythm was interesting to explore and that’s the reason why we chose to use two colours, warm white for continuity and red for relief.” To meet with the requirements of the project Electrimar began a dialogue with LEC Lyon. Allevard adjustable and fully recessed spotlights, which included six to seven LED lights in red and warm white colours, were installed in the ground.

These fixtures light up the walls from top to bottom and offer the shockproof protection necessary to overcome the heat and the traffic, which are both prevalent features of the Rabat atmosphere. The 5716-Allevard spotlight, installed in Rabat, spreads out strong light from the ground to coat the eight metre high walls, while the integrated spotlight lenses were customised to enable the wide-ranging coating of the walls in warm white as well as coating the turrets in a sharp red. LEC developed a spotlight Especially for this project that allows on-site adjustments of the beam without dismantling the device in question. The lighting was adjusted to the smallest detail for a quality, accurate end result.

LYTELAB HIGH POWERED, MULTI-ADJUSTABLE SPOTLIGHT Lytelab is ideal for double height spaces within retail, reception spaces, museums, galleries and atria, due to its high output and flexibility. This multi-adjustable 42W LED spotlight is fully dimmable, delivering light exactly where you need it. A unique adjustable lockable lens lets you alter the beam angle from 15ยบ- 50ยบ. Total power consumption is 47W. Combined with 50,000 hours life expectancy resulting in low maintenance cycles. Lytelab has a retro industrial feel, produced in a matt black finish with a full range of accessories.

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Tel: 0870 606 2030

27/11/2013 12:40:36



SCORING HIGH The new European Centre for Music in Luslawice aims to develop the best talent from around the world. LUG Light Factory provided bespoke fixtures to provide a stylish, energy-smart lighting solution. Krzysztof Penderecki European Centre for Music in Luslawice opened in May last year with the aim of encouraging talented young musicians from all over the world to develop their abilities and achieve full artistic maturity. The complex comprises a concert hall for 650 spectators alongside an academic facility of exercises rooms for music and ballet, seminar rooms and a library. LED fixtures were used throughout, provided by Polish-based LUG Light Factory. The construction of the concert hall ceiling made it necessary to create a downlight solution that could be installed between beams in the ceiling. LUG engineers designed a bespoke luminaire, the LUGstar Square LED, to offer two beam angle options (36ยบ and 76ยบ) and a 3500lm output from 40W - a luminaire efficiency of more than 90%. Further illumination is provided by a 3000K white band of Vigo System LED fixtures, running round the perimeter of the hall, just below balcony height. The LUG team also developed a special square modular luminaire for the project. Dubbed the LUGclassic LED Square, the fixture was produced as both surfacemounted and recessed versions and used in various locations, such as the wide hallways and circulation areas that run throughout the Centre. Internal stairs leading to the foyer use Focus LED fixtures that have been converted into suspended pendants, providing 2000K and 3000K white light as required. An outdoor porch area wraps around one side of the building and her too Focus LED fixtures were adapted for the location this time as ceiling-mounted, IP44-rated versions.


Buren’s Columns in the Cour d’Honneur of the Palais Royal in Paris, France Prime Contractor: Ville de Paris / Artist: Daniel Buren / Illumination: Patrich Bouchain



Photographs: Adam Mork

FISHING FOR CHANGE Copenhagen’s Blue Planet aquarium immerses its visitors into the multifaceted world of the sea. A lighting design from Rosco helped to create projected water effects within the aquarium’s vast halls. The new national aquarium in Denmark makes for a realistic journey to the bottom of the sea, with its colourful collections of tropical fish, along with its impressive tanks of stingrays and sharks. Looking like a cascading whirlpool from above, the aquarium’s structure also makes for a stirring feast for the eyes, making a fitting replacment for the aquarium’s former home in Charlottenlund, which is bound to fire the imaginations of those who see it. The design goal was to make the aquarium’s visitors feel like they were exploring the sea that surrounds the building. Using Rosco’s X24 effects projector, lighting designer

Jesper Garde Kongshaug created a realistic and controllable water effect that he projected throughout the vast concourse areas inside the aquarium. Every aquarium is filled with ethereal, wavy effects of light shining through or reflecting off the various pools and tanks of water in exhibits. Blue Planet Aquarium wanted to incorporate those effects into its ‘swirling water’ inspired design to allow visitors a glimpse at the kind of life fish live deep within the Earth’s oceans. Kongshaug knew that, in order to immerse the visitors in an underwater experience, he would need to generate his own reflected water effect.

Over 40 Rosco DMX-controlled X24 effect projectors were installed throughout the building’s 53 aquariums, which gave Kongshaug complete control of the speed, direction and coverage of the projected water effects he created. Working with Rosco’s colour lab, he created a custom dichroic colour wheel that slowly circulated the blue, green and cyan colours chosen to emulate the Kastrup Harbour outside the aquarium’s walls. Jesper Kongshaug’s stunning lighting design brings the swirling waters of the sea inside the aquarium to accomplish the immersive vision of the design.



TRAILBLAZING MOVES In the first phase of a landmark project, over 130 Spar stores in Northern Ireland and Scotland are converting their fluorescent lighting to Nualight’s Blaze LED fixture.

Spar’s decision to convert their fluorscent lighting to Naulight’s Blaze LED fixture is the first major LED retrofit in the convenience sector in Europe and will yield a minimum of 60% energy savings for the company. The project is a turning point for the convenience retail industry in its journey to sustainability and is the result of a partnership between the Cross Group (specialists in refrigeration, air-conditioning and energy efficient technologies) and Nualight. The deal was agreed with the Henderson Group and CJ Lang & Son Limited, who between them own and operate the Spar franchises for Northern Ireland and Scotland. Nualight’s Blaze fitting was selected after a competitive tender process to source the best LED lighting system for the Spar stores. Cross Group is the exclusive distributor of

Nualight LED fixtures in Ireland (both North and South) and the in the UK. Dr Glen Crumley, energy manager at Henderson Group, said “The Blaze product offers clear energy efficiency and cost benefits, as well as a soft, natural lighting that results in a very pleasant shopping experience for our customers.” In a further development, A.F. Blakemore & Son Ltd, a family-owned group of businesses with in excess of 1,100 Spar stores across England and Wales, has also committed to rolling out the Blaze solution across its store network following successful pilot trials. A.F. Blakemore & Son is one of the largest businesses in the UK employing more than 7,500 people with a turnover in excess of £1.1 billion. The Blaze LED sustainable lighting programme will be offered to independent store owners in the Blakemore network through its shop-fitting company

Blakemore Design & Shop Fitting. The maintenance-free Blaze 600 fitting delivers 67% energy savings, a five times longer lifetime than traditional store fluorescent lamps, superb colour vibrancy, and a unique optical design for a bright and natural ambience. The Blaze is designed and manufactured in Europe by Nualight. For a typical Spar store, annual savings of approximately £3,500 can be achieved in energy, fixtures and maintenance over each year of the 8.5 year average lifetime of the installation. This offers clear business benefits, particularly when the “refresh effect” is factored in. Upgrading old fluorescent fixtures to Blaze also gives each store an instant facelift, making stores feel fresher, brighter and more modern.

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RINGING IN NYE With three spectacular events in Dubai and Qatar A&O Technology was able to close out the year 2013 in style and hit the ground running in 2014. At the end of November A&O bathed the Burj Khalifa in light to mark the announcement that the city had been chosen to host Expo 2020. On 18 December, a magnificent light show in Doha followed to mark National Day 2013 and a further superb lighting spectacle that included a record-breaking firework display on New Year’s Eve at the Atlantis, The Palm in Dubai, heralding the advent of 2014. The announcement that Dubai would be hosting Expo 2020, the first time ever that the world’s fair has been held in an Arab country, needed to be marked. In response A&O bathed the 828-metre-high Burj Khalifa from top to bottom in blue and white light using xenon searchlights. This was also the first time the tower had been lit from all three sides to create a 360° illumination. The expo colours gave way at the end of the show to the colours of the national flag, to mark the United Arab Emirates’ National Day. The A&O Creative team was responsible for the creative concept behind the illumination. Next it was time in Doha for Qatar to celebrate its own National Day. It does so

on 18 December each year to celebrate its independence, the day Sheik Jassem bin Mohamed bin Thani, the founder of the state of Qatar, took power in the year 1878. The location of the installation for the National Day illumination was Old Palm Trees Island, which lies some 800 metres from the corniche lining Doha Bay in the Persian Gulf. The highlight of the show was the first use of the ‘Double Twister’ composed of 7,000W searchlights flanked by fans of light spread by Falcon 6000 CMY searchlights. This architecture of light, formed by column-like beams had enthused onlookers in Azerbaijan and Muscat. For this event, A&O Technology installed Falcon Beam colour 7,000W and Falcon 6000 CMY fixtures on the small island, a logistical challenge in itself as all the equipment had to be transported there by ship. In the end, A&O Creative, the in-house creative department of A&O Technology, realised a light show that could be seen from 360°, beginning as an ambient show four days before the actual event. Every evening, from 7pm to midnight, this ambient show became more elaborate, until guests

and onlookers were able to witness the spectacle. The New Year’s celebrations at Atlantis Dubai’s leading entertainment resort, included a 360° facade illumination with searchlights, and an accompanying firework display. With a six-minute lightshow, Dubai celebrated the arrival of the New Year at the Atlantis Resort in incomparable style. A&O Creative designed a lavish illumination with lush colours adorning the facade and moving searchlights on the roofs that could be seen for miles around. This was the first time that Falcon 6000 CMY searchlights had been employed as wall washes and they proved fully convincing in the role. On the beach side, the main public area, Falcon CMY LED video, moving LED xenon hybrid searchlights with LED panels complemented the facade illumination and the play of beams from the roof. A&O Creative managed to make this already luxurious hotel even more magnificent and impressive, with rays reaching into the sky against a backdrop of pyrotechnics.


Visit our innovation showcase at Euroshop to learn more.

HALL 11. STAND E22 For a Smart Conversation about lighting your store, contact your sales representative or email



CRAFTING A NEW LIGHT Zumtobel have created a charming new lighting scheme for the Werkraum Bregenzerwald association in Andelsbuch in Austria.

The new home of the Werkraum Bregenzerwald association in Andelsbuch was designed by Peter Zumthor and features a large wooden roof and glass facade. The organisation promotes Austrian crafts and trade and serves as a showcase for the work of the Bregenzerwald people. The unique architecture placed special requirements on the lighting system. Zumtobel developed a custom-made lighting concept involving a number of special solutions for the various functional areas in the Werkraum House. For the part of the building that is open to the public, where

various Werkraum members exhibit their work, Zumtobel used 100% cutting-edge LED technology. A lighting management system was installed so that the lighting can be flexibly controlled whenever events or exhibitions are being held in the building. In order to ensure perfect room acoustics, the open hall of the building where events are held was fitted with a thickly cushioned coffered ceiling made from timber. Zumtobel used a specially designed suspension system to install 160 LED spotlights of the Panos Infinity range in this

area. These downlights provide uniform ambient lighting as well as especially good lighting quality and are also highly efficient. Additional accent lighting and colour rendering are ensured by nearly 90 swivelling Vivo LED spotlights, also fitted with a special pendant suspension system, which are used mainly for highlighting individual exhibits, ensuring a fascinating art experience for the visitor.



HANDED DOWN LONDON PRIDE The Cheapside Hoard, the world’s largest collection of late-16th and early-17th-century jewels has been lit by Precision fixtures. A record breaking collection of jewels on display at the museum of London has been lit by Precision Lighting’s Pico 1 Surface LED spotlights. The Cheapside Hoard includes finger rings, cascading necklaces, Byzantine cameos, a beautiful jewelled scent bottle and a unique Colombian emerald watch, the priceless collection of jewels representing the City of London’s most exquisite stash of buried treasure and the single most important source of knowledge on early modern jewellery worldwide. Lighting Designers Studio ZNA chose Pico luminaires to light the high security display cases housing the priceless due to their accuracy and light quality. The Pico 1 is a small, discreet spotlight with a body machined from aerospace-grade 6063-T6 aluminium. 108 Pico down-lights and their drivers help to draw visitors’ view below a horizontal line, focusing their gaze away from the surrounding contemporary architecture. A further 28 surface-mounted Picos, also

within the cases, provide up-lighting. The lighting design incorporated existing fixtures, including tungsten halogen fibre optic point sources to illuminate the exhibition’s title wall. The tabletop cases and graphics were lit

with existing track-mounted beam shapers, while LED and cooler tungsten halogen colour temperatures work particularly well together.

OH BOP, FASHION Xicato’s New York charity fashion show featured the regarded Vibrant Series LED module, which aims to cast fashion in a detailed new light. Xicato presented a fashion show and silent auction to benefit the Bailey House at the Steven Kasher Gallery in Midtown Manhattan at the end of 2013. For 30 years, Bailey House has provided homes and support to people living with HIV/AIDS, spreading the charity’s mission that housing is a human right. Hosted by celebrated photographer Roxanne Lowit, whose work has featured prominently in Vanity Fair, the silent auction brought the event to a conclusion, with fashions from Cynthia Rowley, Mara Hoffman, Lulu Guinness, Douglas Hannant, Nicholas Kirkwood, BCBG Max Azria, and Tod’s all being auctioned off, for hopefully extortionate prices, in order to support the charity’s good work. The event featured various models, all lit by Lighting Services Inc’s LumeLEX 2060 LED Series fixtures, equipped with Xicato’s new ‘Vibrant Series’ LED modules. Scenes

changed at one-minute intervals providing an opportunity for the audience comprised of fashion, retail and lighting designers to compare how different types of light can affect the perception of the clothing. Using only the house wiring that was already in place, the LumeLEX 2060 Series fixtures were controlled through Lumentalk

(via iPad) to program the various scenes for lighting the fashion models. Introduced onto the market last Summer, Xicato’s ‘Vibrant Series’ has been used by designers due to its ability to bring out textures and highlight the depth of materials.

The hot topics of EuroShop 2014. Materials

Energy & Efficiency Technology



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Architecture & Design

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Equipped with efficiently, high-performance LED technology and innovative reflector technology, NAVO sets the standards for an economical and sales-promoting ambient lighting. By means of indirect light directing NAVO ensures an extraordinary, light-intense presentation of the goods and puts brilliance on the shelves. Come and see us at EuroShop 2014 16 – 20 February 2014, Messe Düsseldorf Hall 12, Stand C35

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Lighting solutions for retail and architecture.

25.09.2013 14:09:16



CENTRE OF EXCELLENCE In the first of the IALD’s regular columns in mondo*arc, the association shows us its new headquarters in Chicago, designed by architect Perkins + Will and lighting design practice Schuler Shook.

JAPANESE Schuler Shookが、 国際照明デザイナー協 会(IALD)のシカゴオフィスのために手掛け た照明デザインは、主として蛍光灯、 メタルハ ライドランプ、LEDなどの効率性の高い光源 を主に活用することで、高度な省エネ機能を 織り込んでいます。 チームは、 デザインの主要 目標のひとつに、IALDがテーマとする 「変化 する光の力」 を掲げました。壁、つり天井、表 部分ではすべてホワイトが採用され、表面に ニュートラルな光を投げかけます。 また、照明 器具は、建具の中に巧妙に組み込まれていま す。IALDは、 ミニマルかつすっきりとした時代 を超越した感覚の照明デザインを望みまし た。壁に設置された柔らかな光を放つ大型 パネルは、一日を通じてゆっくりと色彩を変 化させるようプログラムされ、オフィスで働く IALD のスタッフにポジティブなエネルギー を与えます。

Schuler Shook’s design for the International Association of Lighting Designers’ (IALD) offices in Chicago incorporates a high level of energy efficiency, utilising predominantly high-efficacy light sources such as fluorescent, metal halide and LED. The IALD is the service organisation for professional lighting designers and has branches in many countries around the world. One of the primary reasons we decided to re-locate its headquarters was to accommodate more staff. We have grown considerably in recent years and are continuing to expand. Further, the IALD’s previous offices

IALDの改装予算は小規模であったため、 デ ザインチームは、 シンプルで低価格の素材を 創造的な方法で活用する必要がありました。 また、設計および建設期間はわずか6ヵ月し かありませんでした。 こうした予算と時間的制 約の中、 チームは個性的でエレガントなデザ インを作り上げることに精力を傾けました。 こ の結果、IALDの新しい本社用の照明は、堅 苦しくなることなく、率直で時間を超越したデ ザインというプロジェクトの目標を達成してい ます。

had no access to daylight. Not only did this make for a dreary work environment, but it also didn’t support our members’ principles of integrating natural and electric light for healthy workspaces. Schuler Shook assisted the IALD as we toured a number of potential office spaces throughout Chicago. We helped them evaluate factors such as the quality of natural light, and the ability to renovate the space inexpensively. We ultimately settled on a loft space nestled in Chicago’s River North design community that has generous ceiling heights, exposed timber ceilings, and

内。IALD热衷最低限度的、清洁的、不 受时间影响的照明。安装的大型鲜艳护墙 板通过程控整天慢慢变色,以给在办公室 上班的IALD员工带来愉悦心情。IALD的 装修预算很少,所以设计团队只得创造性 地使用简单的廉价材料。还有,设计和施 工进度只有六个月时间。尽管有预算和工 期限制,团队致力发展独一无二的高雅设 计。 新IALD总部的照明实现了直接、不受时间 影响且没有公司气息的项目目标。



设计国际照明设计师协会(IALD)位于芝加 哥的办公室时,Schuler Shook结合了高 水平的能源效率,主要使用高效光源,如 日光灯、金卤灯和LED。团队主要设计目 标之一是展示灯光的转化之力——IALD 宗旨。墙、吊顶和曲面均为白色,以呈现 中性反射面。照明器材被精心集成于建筑

La conception de Schuler Shook pour les bureaux de l’Association Internationale des Concepteurs d’Eclairage (IALD) à Chicago est d’une grande efficacité énergétique car elle utilise des sources de lumière à haute performance telles que les lampes fluorescentes, halogènes et LED. Un des objectifs principaux de l’équipe en matière de conception était

de démontrer la puissance de transformation de la lumière - un principe de IALD. Les murs, les plafonds suspendus et les surfaces sont tous blancs afin de proposer des surfaces réfléchissantes neutres. Les installations d’éclairage sont soigneusement intégrées dans l’architecture. L’IALD tenait à ce que l’éclairage soit minimaliste, propre et intemporel. Les grands panneaux muraux lumineux ont été installés et programmés pour changer de couleur lentement pendant la journée afin de diffuser une atmosphère positive. L’IALD avait un petit budget de rénovation, l’équipe de conception a donc du utiliser des matériaux peu couteux et simples de manière très créative. De plus, le calendrier de conception et de construction ne s’étendait que sur six mois. En dépit des contraintes de temps et d’argent, l’équipe s’est engagée à développer une conception élégante et unique. L’éclairage du nouveau siège social de IALD a atteint son objectif : être simple, intemporel sans être trop “corporate”.


LIGHTING SPECIFIED PANTRY: Lighting Services Inc pendant-mounted line voltage track, Philips Alkco surface-mounted lensed linear fluorescent T5 undercabinet light, LBL Lighting pendant-mounted low voltage track COPY ROOM: Philips Alkco: Surface-mounted lensed linear fluorescent T5 undercabinet fixtures, Axis Lighting pendant-mounted lensed linear fluorescent T5 downlights OPEN OFFICE: Delray Lighting low-profile linear fluorescent pendants, Osram Sylvania Seamless linear fluorescent T5 lamps for Delray pendants, Philips Color Kinetics LED nodes, Lighting Services Inc monopoint and track-mounted adjustable Ceramic Metal Halide T4 trackheads and current limiting devices CONFERENCE ROOMS & EVP OFFICE: Focal Point: Recessed lensed linear fluorescent T5 downlights, Elliptipar pendant-mounted adjustable linear fluorescent T5 wall washers, Cooper Lighting Iris recessed adjustable halogen MR16 downlights, Lutron Electronics motorised shades and shade control devices RECEPTION: Traxon colour-changing LED nodes arrayed behind diffusing panel, Lighting Services Inc pendant-mounted line voltage track with adjustable Ceramic Metal Halide T4 trackheads, Birchwood Lighting surface-mounted diagonally staggered linear fluorescent T5 strip lights within custom painted light box behind IALD logo cutout, Cooper Lighting IO LED surface-mounted linear LED accent light within reception desk, Bartco Lighting surface-mounted linear fluorescent T5 strip lights to uplight ceiling from architectural clouds ELECTRICAL ROOM: Cooper Lighting Metalux pendant-mounted linear fluorescent T5 downlight COAT CLOSET: Bartco Lighting surface-mounted lensed linear fluorescent T5 strip light

east-facing windows. The space was large enough to accommodate their current staff of seven people, but also gives them the ability to eventually expand up to eleven employees. Further, the new space provides ample space for storage, meetings and a kitchen. Schuler Shook collaborated closely with the IALD and Perkins + Will, the architect selected for the renovation. One of the team’s primary design goals was to demonstrate the power of light to transform - a principle of the IALD. Walls, suspended ceilings and surfaces are all white in order to

DEUTSCH Das Design von Schuler Shook für die Büroräume der International Association of Lighting Designers (IALD) in Chicago integriert eine hohes Level an Energieeffizienz. Vorrangig werden Lichtquellen mit hohem Wirkungsgrad wie Kompaktleuchtenlampen, Metalldampflampen und LED benutzt. Eines der wesentlichen Designziele des Teams war die Demonstration der Kraft des zu transformierenden Lichts – ein Grundsatz der IALD. Wände, Zwischendecken und Flächen sind alle weiß, um neutrale spiegelnde Oberflächen zu präsentieren. Die Beleuchtungskörper werden sorgfältig in die Architektur einbezogen. Die IALD war auf eine minimalistische, reine und zeitlose Beleuchtung bedacht. Große leuchtende Wandplatten wurden montiert und so programmiert, dass sie im Laufe des Tages langsam die Farbe wechseln, um die Büroangestellten positiv zu beeinflussen. Die IALD verfügte über ein sehr niedriges Budget für die Renovierungsarbeiten, deswegen sah sich das Designteam der Herausforderung gegenüber, einfache, kostengünstige Materialien auf kreative Weise

present neutral reflecting surfaces. Lighting fixtures are carefully integrated within the architecture. The IALD was keen to have lighting that is minimal, clean and timeless. Large, glowing wall panels were installed and programmed to slowly change colour throughout the day to positively influence the IALD staff working in the office. The IALD had a very small renovation budget, so the design team was challenged to utilise simple, inexpensive materials in creative ways. Further, the design and construction schedule was only six months. Despite the budget and time constraints,

zu verwenden. Darüber hinaus war das Design- und Bauprogramm auf nur sechs Monate begrenzt. Trotz der Zwänge in Bezug auf Budget und Zeit sollte das Team ein einzigartiges, elegantes Design entwickeln. Die Beleuchtung für den neuen Firmensitz von IALD erreicht die Ziele des Projekts und ist geradlinig und zeitlos, ohne kommerziell zu wirken.

ITALIANO La progettazione della Schuler Shook per gli uffici di Chicago della IALD (Associazione Internazionale dei Progettisti d’Illuminazione) contiene un alto livello di rendimento energetico per mezzo dell’utilizzo predominante di fonti di luce ad alta efficacia quali quella fluorescente, l’alogenuro metallico e il LED. Il gruppo di disegnatori aveva fra i propri scopi progettuali quello di dimostrare la capacità di trasformazione della luce, un principio base della IALD. Muri, soffitti sospesi e superfici sono tutte realizzate in bianco proprio per presentare superfici a riflessione neutra. Le installazioni d’illuminazione sono attentamente integrate all’interno dell’architettura. La IALD era propensa ad avere un’illuminazione che fosse min-

Top (l to r) During mid-day hours, panels lit by LED nodes are predominantly amber to mimic warm afternoon sun; at dusk, panels slowly cross-fade to blue animations to encourage alertness before employees head home; after dark, panels change back to amber animations to sustain circadian rhythms. A preset control system provides flexibility and automatic shut-off. Left Eight feet long pendants utilise T5 Seamless lamps, opal acrylic lenses, and integral, step-dim ballasts. Ballasts are wired to only drive lamps at 50% output to meet energy code and light level requirements. Far left Despite a sparse budget and six month design/construction schedule, the IALD’s new offices are dynamic. The design incorporates simple, clean forms and white surfaces to reflect light. The reception area features the logo and monitors displaying projects. A framing projector softly illuminates the IALD logo. The ‘passage’ logo is backlit.

the team was committed to developing a unique, elegant design. The lighting for the new IALD Headquarters achieves the project goal of being straightforward and timeless without being corporate. It is a demonstrated, creative and positive example of The Power of Light.

If you would like to learn more about the benefits of joining the IALD then go to

imale, pulita e atemporale. Vasti pannelli murali luminescenti sono stati installati e programmati allo scopo di cambiare lentamente colore durante le ore del giorno con lo scopo di donare un’influenza positiva al personale della IALD impegnato negli uffici. La IALD aveva un budget di ristrutturazione molto limitato, dunque la squadra progetti si è cimentata nello sforzo di utilizzare in modo creativo materiali semplici ed economici. Inoltre, i tempi di progettazione e realizzazione del progetto erano ristretti nello spazio di sei mesi. Nonostante le limitazioni di spesa e di tempo, la squadra aveva preso l’impegno di sviluppare un progetto elegante ed unico nel suo genere. L’illuminazione della nuova sede centrale della IALD ha raggiunto la mèta progettuale di essere semplice e atemporale senza però essere aziendale.

ESPAÑOL El diseño de Schuler Shook para las oficinas de la Asociación Internacional de Diseñadores de Iluminación (IALD), en Chicago, incorpora un alto nivel de rendimiento eléctrico, utilizando principalmente fuentes de energía de alto rendimiento, como fluo-

rescentes, haluros metálicos y LEDs. Uno de los objetivos de diseño principales del equipo era demostrar el poder de la luz para transformarse, un principio de la IALD. Todas las paredes, los techos suspendidos y las superficies son blancas para presentar superficies reflejantes neutrales. Los dispositivos de iluminación están cuidadosamente integrados dentro de la arquitectura. La IALD deseaba contar con una iluminación minimalista, limpia e intemporal. Se instalaron grandes paneles brillantes, programados para cambiar de color lentamente a lo largo del día para influir positivamente en el personal de la IALD que trabaja en la oficina. La IALD disponía de un presupuesto de renovación muy bajo, por lo que el equipo de diseño tuvo el desafío de utilizar materiales sencillos y baratos de forma creativa. Además, el programa de diseño y construcción sólo abarcaba seis meses. A pesar de las restricciones de presupuesto y de tiempo, el equipo estaba comprometido para desarrollar un diseño único y elegante. La iluminación de la nueva sede de la IALD logra el objetivo del proyecto de ser directa e intemporal sin ser corporativa.



mondo*arc editor Paul James was one of the judges of the Auroralia Award held in Lyon on 7th December. Organised by Schréder and LUCI, the awards attracted a record 26 entries making this the most hotly contested competition since its inception in 2009.


The winning cities celebrate with André Papoular - CEO of the Schréder Group, Marie-Gabrielle Kokken - Schréder Group Communication Director, Annelies Storms representing the President of LUCI and members of the Auroralia jury.

The winners of the Auroralia 2013 Award were announced at the prize ceremony organised by Schréder and LUCI in Lyon during the annual Fêtes des Lumiéres. More than 120 lighting professionals, from city authorities to architects and town planners gathered to discover the winning cities. Nîmes (France), Ibarra (Ecuador) and Durham (England) won the top three prizes, while the city of Heidelberg (Germany) was commended with a Special Mention. Now in its fifth year, the Auroralia Award - organised jointly by LUCI and Schréder - exceeded expectations with a record number of entries from around the world competing to promote the best sustainable urban lighting initiatives. For this edition, an impressive 26 cities and

towns from across the world (up from 16 last year) submitted entries - from all over Europe, to India, Egypt, the USA and South America. The quality of the entries was exceptionally high, confirming a strong commitment from cities and towns for a rational use of natural resources. The panel of judges from the specialised press used their extensive experience and unique insight to single out projects that significantly minimise the environmental footprint while balancing performance and practicality with innovation and aesthetic rigour. First prize was won by the French city of Nîmes whose Urban Transport Scheme involved a scheme from lighting designers Côté Lumière to provide a coherent and

contrasting lighting solution with safety and comfort. Pedestrian areas are lit by a warm light for a welcoming ambiance while the roads are lit by a colder white light and luminaires at different heights. With more than 7,000 passengers daily, the new bus service has well and truly changed the lives of the residents. The Auroralia jury were particularly impressed by this inspiring initiative to promote a more sustainable way of life by providing an enhanced experience of mobility through innovative street lighting. Second prize went to Ibarra in Ecuador whose Parque Bulevar Céntrica, a 240,000sqm area dedicated to cultural, educational, sports, recreational, tourist and administrative activities, makes use of


The objective of the Auroralia Award is to reward three cities that have implemented a system of exterior lighting that minimises the environmental footprint in the most noticeable, exemplary and original way. Clockwise from top left: the first prize winner Nîmes, France; Durham, UK won third prize; mondo*arc editor Paul James with the team from Stainton Lighting Design Services; Ibarra, Ecuador, winner of the second prize; Special Mention went to Heidelberg, Germany.

the site of the former Ibarra city airport. The authorities implemented the latest LED lighting solutions with a hydroelectric power supply to ensure an energy-efficient lighting solution with optimal colour rendering for excellent visual comfort and a sense of well-being. This careful selection of luminaires also means that the city has reduced its energy costs and CO2 emissions by 43% per year. By awarding the second prize to Ibarra, the jury wanted to highlight the positive impact of this project on the social, economic and environmental aspects of urban life. Third prize was awarded to Durham, UK who, in collaboration with Stainton Lighting Design Services, created a new lighting solution for the castle and cathedral to be

energy efficient, ecological and enhance the magnificent architectural details and texture. The two monuments are lit by LED floodlights which were carefully selected to minimise energy consumption and maintenance costs. Equally, after consulting with local ecologists, it was decided that although certain areas would not be illuminated, to preserve the roosts of the Pipistrelle bats living in the vicinity, an LED lighting solution with low or inexistent UV emissions was a wise choice. Likewise, the trees have not been illuminated. The two monuments are illuminated with different colour temperatures to create a contrast and can be dynamically lit for special events thanks to a DMX control system. A special mention went to Heidelberg in

Germany who regenerated an abandoned freight area into a high-tech campus in one of Germany’s largest urban development projects based entirely on sustainable passive housing standards. The entire project, including the lighting scheme, integrates cutting edge technology to promote a sustainable way of life. LED luminaires equipped with a remote management system and motion detection have been installed for the upmost energy efficiency, generating 60% energy savings. By awarding a special mention to this city, known as Germany’s “green capital”, the jury wanted to highlight their initiative as an excellent example to follow.



Dr. Karolina M. Zielinska – Dabkowska is an architectural lighting designer and researcher. As one of the plenary speakers during the inaugural ALAN 2013 conference considering the problems of light pollution, she offers her overview of the event.

VALUE OF LESS LIGHT Since the invention of the electric light bulb by Thomas Edison in 1880, humankind has embarked on a large-scale experiment with a number of negative consequences we are just beginning to grasp. For millions of years darkness at night was part of our existence, yet today darkness is often nowhere to be found, today we are more and more exposed to artificial light at night. Now our cities are active 24/7 and people spend as much time experiencing the built environment during the hours of darkness as they do by day, particularly in winter. Lighting therefore plays an important role not only in providing the basic means by which to see but also in creating an appropriate atmosphere, making experiences of the public space both positive and enjoyable. However, the general experience of many cities in Europe, after dark, is relatively poor. The streets, squares, parks and other public spaces often feel insecure and tend to disorient people due to poor quality lighting, such as poor contrast and colour rendering and orange spill from high pressure sodium lamps. Additionally, white metal halide or LED light sources are a constant reminder of consumption, pollution and waste. Great buildings and monuments are disfigured due to unnecessary light spill from street lighting, advertising and other uncontrolled sources. In recent years research in apparently distant and unrelated disciplines to architectural lighting design, such as biology, medicine, ecology, astronomy and environmental protection, has highlighted a number of conditions and restrictions that exterior lighting projects should take into consideration. Inappropriately designed exterior lighting in cities has been identified as one of the reasons for climate change and disorders in maintaining the integrity of ecosystems and light pollution. Attempts to address these interdisciplinary conditions in today’s projects of external illumination are not an easy task. However, thanks to interdisciplinary conferences, such as ALAN 2013 , the first International Conference on Artificial Light at Night in Berlin, Germany, there is a hope, that through collaboration and exchange with experts from different fields, appropriate external lighting solutions can be developed. This interdisciplinary conference that took place from 28-30 October 2013, was organised

by the research consortium “Verlust der Nacht” (“Loss of the Night”) with contributions from the International Dark Sky Association. With 141 participants from 24 countries and five continents, thirteen plenary speakers, 60 contributed talks and fourteen posters, a proper platform of knowledge and experience

At the ALAN conference participants also took part in unique measurements, using the Loss of the Night (Android) or Dark Sky Metter (iOS) smartphone App, which uses the phone’s camera to accurately measure the brightness of the night sky above Berlin and delivered the results to a central database that will create a worldwide map of light pollution.

View of Earth from outer space showing light pollution.

exchange was created for the conference. The issues discussed related to interdisciplinary conditions, which translated directly into new research questions, such as whether the technical expertise, complex requirements arising from the need to save energy, protection of the environment or even politics would have a negative impact on the quality of proposed lighting design solutions and how we can make sure that they are safe for humans, flora and fauna. In my opinion the answer to the problem can be resolved only by quality lighting masterplans, established collaborations with experts such as biologists, ecologists, medical scientists and astronauts, combined with the incorporation of their research findings. On

top of this, simply dimming and switching off decorative lighting after a certain time at night can have a big effect. In the past, cities in Europe did not employ a professional lighting designer to design such lighting masterplans. The lighting proposed focused mainly on functional needs, way finding as well as safety. However, Europe is now opening up to good quality lighting, and this recognition has created job opportunities for independent lighting designers. There are already good examples; countries such as France have positioned themesleves in the lead of the anti-light pollution campaign with a series of laws. As of July, office buildings have been obligated to switch off their interior illumination one hour after the last employee has left the building. As well as this, after 1am external illumination of retail shops, façades, including neon advertisements, must be switched off. Also, initiatives such as Lights Out Boston that started in 2008 are worth following. Under this voluntary program participating building owners and managers agree to turn off or dim all architectural and internal lighting between 11 pm and 5am during the autumn migratory bird season. It has since been proved that the buildings committed to this program saved money reducing energy use, reducing the risks of climate change, while protecting wildlife. Skilled professionals in the lighting design field are needed more than ever; their experience and knowledge can lead to innovations, cost and energy savings, as well as a positive environmental impact. By designing lighting with balance, intelligent thinking and awareness of environmental and civil implications, professional lighting designers will actively play a role in the quality of life for generations to come. The answers we provide today are for the questions asked tomorrow, simply stated: “Who cared enough to make life better?” For further info and conference proceedings, please follow the links: Programme.html Dr. Karolina M. Zielinska – Dabkowska MSc. Arch, Dipl. Ing. Arch (FH), PhD, PLDA

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David Morgan discovers a little known exterior architectural lighting ultra-narrow projector from a Japanese manufacturer with a history in the automative lighting sector. It’s a fitting that could be treasured by specifiers.


Stanley Electric was established in 1920 by Mr. Takaharu Kitano to manufacture replacement automotive lamps for the very small number of cars (all imported) then on the roads in Japan. The company was named after the intrepid 19th-century British journalist and explorer Sir Henry Morton Stanley, famous for his exploration of central Africa and his search for the missionary and explorer, David Livingstone. Upon finding Livingstone, Stanley allegedly uttered the now-famous greeting, “Dr. Livingstone, I presume?” The company has prospered and now employs around 13,000 people with over 30 offices worldwide and around 75% of global sales are still to the automotive lighting sector. The company was early to research and develop LED light sources in the late 1970s and introduced a number of innovative LED car stop lights in the 1980s. The first white light LEDs were introduced in the late 1990s. The company also produces a variety of sensors, indicators and other electronic components for the

automotive and industrial markets. The company has developed a Stanley Group Vision statement and is now reinventing itself as a company that innovates with light in ‘all areas of human activity’. One element of this strategy is a move into the architectural lighting market and the new Stanley corporate headquarters in Tokyo showcases a variety of LED luminaires developed with Motoko Ishii, the leading Japanese lighting designer. It is not entirely clear if these luminaires were custom designs specifically produced for this project or if they will become standard Stanley products for sale in Japan and in overseas markets. Some of the first non-automotive lighting products that Stanley are marketing is a range of exterior architectural LED projectors including ultra-narrow, dynamic white and colour changing types. The most interesting of these is the LLM0545A narrow beam architectural exterior projector. Despite the prosaic name this is an exciting product incorporating a highly effective

lens system that produces a very well controlled 3 degree beam with almost no spill light. The heart of the product is a 60mm diameter lens that apparently was developed from one of the Stanley automotive headlight designs. Nine of these lenses, in a square format, are used in this luminaire. There seem to be two versions of the product using the same optical system with different drive currents and heat sink sizes. The LED light sources used in the review sample were 5,000K 70 CRI LEDs run at 700mA. Total power consumption is 22 watts to create around 400,000 candelas in the centre beam. At a distance of 90 metres there is a light level of 50 lux in the centre beam according to the Stanley data. The construction of the projector is simple with a die cast aluminium passive heat sink that runs at a remarkably cool temperature when saturated. I was not able to open the luminaire to confirm the pcb temperature but I assume that the LEDs are operating at the right temperature to give an estimated working life of 40,000 hours to 70% of


Left The LLM0545A narrow beam architectural exterior projector incorporates a highly effective lens system that produces a very well controlled 3 degree beam with almost no spill light as shown by the lighting of these offshore islands at a distance of 700m. Above The LED light sources used in the review sample were 5,000K 70 CRI LEDs run at 700mA. Total power consumption is 22 watts to create around 400,000 candelas in the centre beam. At a distance of 90 metres there is a light level of 50 lux in the centre beam and even at 500m the light level is 1.5 lux.

original lumens. The projector is rated at IP65 with a clear polycarbonate cover over the lens and pcb assembly. The cover moulding snaps over the heat sink casting and is also fixed with four stainless screws. A simple stainless mounting U bracket with robust fixing and clamping hardware ensures that the projector can be aimed and locked. The Chinese-made driver supplied with the sample is remote and the sample we tested is provided with a long exterior grade cable. While the optical performance of the projector is very impressive, there are a few detail design issues that could be improved. The use of clear polycarbonate for the enclosure cover may cause problems in markets such as the Middle East where this type of luminaire could have a large potential market. High levels of UV from sunlight will cause yellowing over a period of time with even the best grades of polycarbonate and abrasion from driven sand will also tend to damage the exterior surface and affect the distribution. I would

prefer to use glass covers for architectural projectors to minimise these problems but that would necessitate a redesign of the luminaire. The design is functional and while the mounting bracket and the die cast heat sink are undoubtedly effective they lack design quality or any branding identity. The only distinctive visual features of the luminaire are the lens system and the high perceived quality of the lens mouldings. The LLM0545A has already been used on some noteworthy projects in Japan including lighting various towers as well as some offshore islands over a distance of up to 700 metres without any problem spill lighting effecting shipping. It is understood that the luminaire has already been specified for use on some high profile UK projects. This luminaire is an impressive example of optical engineering and will be a very useful part of the lighting designer’s tool kit where ultra-narrow exterior projectors are needed. To develop a larger presence in the

international architectural project lighting market, Stanley may benefit by adding a more distinctive product design identity to their engineering excellence. Had Dr Livingstone not been wearing his pith helmet and trademark khaki, it is unlikely Stanley would have recognised him on that fateful day in Africa. Similarly, the 20th century Stanley, for all its advanced optical engineering, could benefit from more attention to branding. Architects wandering through the Middle East, stumbling upon this LLM0545A projector are unlikely to say, “Stanley, I presume?�. David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development.




A selection of fixtures for the great outdoors.


Linear LED ILight iLight Technologies’ linear LED lighting products offer smooth, even light output, low energy consumption and a narrow profile that is perfect for architectural and accent lighting design. All of iLight’s products are versatile, customizable and can be easily installed in both interior and exterior applications.

Eco-Range Flood 130 Cambridge Light The Eco-Range is designed to be a high quality, long lasting, reliable product with looks that won’t be out of place in any environment. With an IP66 rating The LED flood light is rated at 130 watts and is a suitable replacement for existing Metal Halide or Son/Sodium fittings. Its design is more than capable of complementing a high quality architectural design or any other kind of floodlighting area such as school and university campuses, walkways, car parks, industrial complexes or warehouses.

FLUT, the new Lamp floodlight family, has been specially designed for lighting facades and vaulted ceilings and its main characteristic is its flat dimension. FLUT is a floodlight luminaire manufactured in aluminium injection lacquered in a texturised grey colour or anthracite coloru, and serigraphed tempered glass. Thanks to its ball joint it allows swiveling of the light between 90º and -30º or viceversa.

Belkis 2 EMFA This IP67 spot is designed to deliver high output light to facades, bridges, monuments, signs and trees and is made of die cast aluminium. Six colors can be chosen from to adapt the spots to their environment. The multichip CREE LED comes in three tones of white and with three reflectors to achieve the desired light effect. The spots can be mounted on surfaces, in the ground or concrete with a picket, or on a pole with the addition of a simple adaptor.

5716-Allevard LEC Lyon This in-ground recessed spotlight and is a flush-to-ground-level fitted directional light fixture. It can be used in a multitude of different applications, from tree up-lighting to wall washing. Its diminutive and hidden profile helps to bring out character in architectural features with minimal visual intrusion. It can be used on bridges and walkways to cast a soft light along the side of railings and balustrades to guide and orientate pedestrians as an alternative to illuminated handrail and dependency on traditional luminaires

Sonic LED Unilamp Sonic, the family of spots and floodlights are available as ground or wall mounts for various settings. The body housing is made of enhanced LM6 high-pressure die cast aluminium alloy and is protected by nano ceramic film with double layer powder coating. Available in three sizes with a choice of six colours, Sonic is operated with high power LED and metal halide lamps. The lumen output of the LEDs range from 1120lm to 7050lm, reflectors and pure-white glass are also used in the luminaire family.

Lumenfacade Lumenpulse This linear, high-performance, LED projector with a slim, 2-inch profile makes it easy to integrate the product into facades. The design repositions the driver chamber out of view, reducing the height of the luminaire and concealing wiring and mounting details. Available in 1’, 2’, 3’, or 4’ sections, the luminaire can be configured with a number of options such as: optics for grazing or flood lighting; a choice of outputs, various colour temperatures, mounting options, finishes, accessories and dimming control via DMX, DALI or 0-10 volt.


Our feeling for good design but also the high demand on functionality are the core values which determine our work. We are continuously searching for rooms of improvement and for unique shapes when we are creating new lighting solutions. The results are lighting series which bring out architecture.

Envios IP66 Reggiani

We are looking forward to present our latest product news:

Envios has plenty of variations to perfectly adapt to design demands and a good degree of protection (IP66) that also makes the product resistant to the elements (from -20° to +35°C). Envios incorporates the LED Luce System with the best high efficiency LEDs (up to 4295 lm, 108.5 lm/W) with varying tones of excellent white (3000K - 4000K, CRI from 82 to 97).Envios comes in surface mounted versions and also has a series of accessories so it can be used in various applications.

Düsseldorf, 16.-20.02.2014 hall 11, stand C73

Frankfurt, 30.03.-04.04.2014 hall 1.2, stand F50

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Exterior 430 Martin

and at the Light & Building, hall 1.2 stand F50 or at our headoffice +43-7242-698-0.

Great for applications requiring just one colour, the product offers bright red, green, blue, warm white or cold white options. The Exterior 430 also uses a unique colour calibration system in its red, green and blue units to ensure uniformity across fixtures, plus the added ability to adjust colours to precisely match the look needed. Colour fades within a narrow range, such as magenta, blue and turquoise are also possible.

Headoffice: Europastraße 45, 4600 Wels Austrria, T. +43-7242-698-0,

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Ampera Urbis With a long lifespan, the Ampera range is available in three sizes, to offer a complete solution for pedestrian areas, bike paths, residential and commercial streets, rural or urban roads and motorways. The Ampera’s slim design allows it to blend into any type of environment. Additional features such as motion and speed detection and remote management can be included thanks to its flexible technical concept. Thanks to the low initial investment and high energy savings, the product is ideal for replacing older lighting fixtures.

Metronomis LED Philips Metronomis LED is the first post top range in the world to offer a palette of environmental lighting effects to give projects a unique contextual or aesthetic touch. During the day, the discreet, transparent design blends into its context, be it contemporary or classical, while its night time appearance is both functional and decorative. Further diversity is provided by the possibility of specifying the type of light engine and selecting between a variety of masts and brackets

City Module Technilum The sleek alluminium City Module lighting poles from Technilum offer easier maintenance with inspection plates and mast-heads that are interchangeable, which avoids having to make a complete new unit. The use of a range of extruded profiles incorporate external grooving so that a mast can be accessorized without having to put up another post. Features such as police, tourist and commercial signs, or traffic lights, can be incorporated to avoid the use of independent supports.

Mic Cluster LIGMAN This versatile and modern concept design solution is able to illuminate, parks, monuments, pathways and façades. With a robust finish, polyester powder coating, die-cast aluminum, the product is attached to a well-engineered aluminum column with a standard height of 5m. The Projector head can precisely orient 360° or tilt to 180°. Mic cluster are available and it is possible to combine different beam angles from narrow to wide beam. LED versions are available in differing colour temperature.

LED Street Light EIC

Sostituto Artemide

The High Power LED Street Light is a new solution for traditional street illumination. With direct connection to 85~265VAC AC power, this is a high powered, environmentally friendly product. Featuring unique heat engine technology, liquid phase change. Citizen cob LED chips and high fixture efficacy, the product features a durable IP67 driver, IP66 full sealed housing along with a high transmission glass lens with a rectangular beam. Available from 3000, 4000 and 5000K, the product is low maintenance, with up to up to 50,000hrs of lifetime.

With a head-pole appliance that uses high-yield LED sources, the Sostituto by Ernesto Gismondi falls within the ME3a class for road use and can be used on fast-track urban roads, extra-urban roads and highway service lanes. IP65, with an EN-Ab 47100 die-cast aluminium lighting body, the product also features asymmetrical high-efficiency PMMA optical units. With a dark grey paint finish and high-transparency shock-resistant anti-UV methacrylate screens, the head-pole joint is integrated into the appliance body.

Demand More.

Equipment, Expendables, Systems, and Rigging for Entertainment and Architectural Lighting Since 1947. Australia • India • United Kingdom • United States +612 9550 4299 Australia | +91 9900085324 India +44 1442 260600 U.K. | +01 212-586-1620 USA |

JOIN industry the leading scheme for the lighting



Recolight members have recycled more lamps and luminaires in total than any other UK scheme – over 30,000 tonnes since 2007. Average annual membership growth of 16% from 2009 to 2014, proof that we’re the lighting industry’s scheme of choice. We have a dedicated customer service team managing over 550 waste lamp and luminaire collections per month. Accredited by the Environment Agency for B2B and B2C.


Committed to maximising the recycling of all lighting in scope of the WEEE regulations. UK wide network of over 2300 collection points giving our members and their customers access to FREE recycling. Not for profit maximising funds available to provide free recycling. Set up by the lighting industry, working for the lighting industry, and a member of the LIA.

Recolight operates the UK’s most comprehensive network for recycling lamps and luminaires, taking away the burden of compliance from our members. Recolight is not for profit and leads the way in lamp recycling with continual investment in initiatives to make lamp recycling as easy and efficient as possible for all. To date, Recolight have funded the recycling of over 194 million lamps.


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Jade 9 Griven

Balti 220 Ivela The body shows an innovative design relying on a simple geometry and sinuous lines. It is conceived to optimize the performance of the LED used, answering to the needs of passive heat dissipation, combined with minimized product dimensions. It reduces to a minimum the protrusion from the wall and hence the visual impact. Manufactured in die-cast aluminium, it covers the gear box ensuring glare control and shows a double fold as a design feature to highlight the LED spot. Balti 220 features a high protection rating, IP65/66, and a special surface anti-oxidizing treatment. The fitting has been designed to ensure a wide lighting coverage of the wall, the roof and the floor with exemplary glare control and luminous quality.

This rounded spotlight houses nine RGBs, as well as electronics and a power supply unit. Providing a colour palette from a chassis, with lighting performance assured by the digital control of all functions, either onboard for standalone operation with Master-Slave selectable for multiple unit synchronization, or from an external DMX512.

With an IP66 rating, Forma Lighting’s multi-system linear projector made from extruded high quality aluminum housing coated in superior polyester powder paint for atmospheric resistance, with a toughened safety glass covering the front hinged aluminum frame specially designed for easy and convenient ‘no tool’ lamp replacement. Compatible with a range of lamp sources, Fronteluce offers specifiers a compact adjustable design with maximum flexibility via its accessories, varying beam optics, modular lengths and mounting possibilities, to create a continuous light line.

Polaris Norka This family of LED luminaires use XENA lighting technology. In three different white colour temperatures, the lumen packages vary between 7,000 lm and 27,510 lm with optimum thermal management. Useful for industrial settings.

Modena LED LUG This wallwasher is dedicated to outdoor illumination and is made of an aluminium profile. Its construction allows modification according to the needs of the project. A great example of this process was in Rzeszow, where MODENA LED was used to illuminate a circular footbridge. The product is available in two versions: MODENA LED – available in 4 colours and MODENA RGB – compatible with DMX dimming, which allows for creating lighting scenes.

GVA Lighting Highlighter Series The Highlighter product family is a long run modular LED lighting system designed for large-scale installations. Typical applications include architectural cove lighting with the Highlighter HL-COVE and delineation with the Highlighter HL-DL for long run lighting applications including architectural delineation of skyscrapers, bridges, airports and shopping malls. The Highlighter family uses the proprietary power and control system, Infinity, allowing it to be installed in exceptionally long runs up to 200 metres.

Fronteluce LED Forma Lighting

Instalight 1060 LH Insta Instalight 1060 LH allows homogeneous lines of light to be created within landscape design. It is a fully-encapsulated IP68 enclosure, with heavy duty stainless steel frame allowing driveover capability. An integrated driver in the body of the luminaire combined with plug and socket connectors makes installation simple.

Exterior Lighting.

Project: MAD Peleton, Oslo (MAD Arkitekerts)

Spotlight 4.0011 1 POW-LED 2 Watt 140 Lumen Stainless Steel Cover IP67

WIBRE Elektrogeräte GmbH & Co. KG +49(0)7131 9053-0 Leingarten/Germany Anzeige_210x150.indd 1

Hall 5.0 Stand A86 30. March – 4. April 2014 Trade Fair Frankfurt

Made in Germany. Since 1919.

04.02.14 07:57



IN WITH THE NEW A selection of new products to start the new year.

Sniper Ominus Lighting

Droop Arlight Droop series aims to use the potential of LED light in pendant light fixtures. The product offers the flexibility to adjust the height of the light source in the space, answering the different needs of individual offices, work stations, stores, restaurants and foyers etc. Its unusual, silhouette creates a gentle shape and thanks to the constantly improving LED technology, the lit area up is expanded up to 75cm in diameter without losing the productâ&#x20AC;&#x2122;s slender look.

Ideal for applications and designs with energy concerns as well as retail, office, showcases, hospital and cruise ships and hotel lobbies. More energy efficient than most incandescent lamps, the product offers high colour rendering and its miniature size and pin hole design makes it ideal for display showcases.

The Jupiter Downlight is powered with Xicato LED Modules. The Jupiter is custom made in terms of lumen output, Correlated Colour Temperature, Colour Render Index, colour of fitting, and dimming option, according to the project requirements. It emits diffuse light and is perfect for various applications in leisure venues, retail shops, and residences.

Arcolis Nicolaudie

Evolution Series Luxiona/Sagelux Sagelux has announced the launch of the innovative Evolution series, which will join its existing range of self-contained emergency lighting. By incorporating LED technology the size of the product has been reduced to only 50mm Evolution is available in different versions, with a luminous flux of between 60lm to 500lm,offering illumination options for any type of area. It also features a high-temperature waterproof Ni-Cd battery with surge protection and deep discharge protection

Jupiter Electron

Vinci Lystra The new Vinci LED spotlight is designed for professional retail lighting. The characteristic and unique design of the heat sink is created for modern needs and is a flexible solution. Vinci is available in two sizes, in either a black and white finish, and with a wide range of possible LED light sources, as well as a set of accessories. Designed and developed in Sweden, the main parts of the luminaires are in die cast aluminium. All created with subtle surfaces, hidden cables and distinct geometries that characterise a typical Lystra product.

The Arcolis application is a comprehensive tool allowing you to directly control and re-program the STICK-KU1, STICK-KE1 and STICK-DE3 from your smartphone or tablet. This is a simple application which can be used by just about everyone in any situation. Mobile, easy to use and powerful, Arcolis is the ideal controller for dimming or switching traditional, LED and RGB colour mixing DMX lighting fixtures. It can be programmed with static and dynamic lighting scenes and effects.


Neat and discreet yet capable and controllable, the LVX is on track; and there is more to come.



GU10 230V LED Lamps Soraa

InstantFit Philips The Philips’ InstantFit LED replacement tube requires no re-wiring as it includes a smart electronic design that is compatible with existing drivers, ballasts and sockets. The result is a dramatic reduction in the time it takes to change from fluorescent to LED tube lighting - from over 20 minutes per fixture to a matter of seconds. LED tube lamps use up to 50% less energy compared to linear fluorescent tube lighting and require less maintenance due to their long lifetime.

Built with design flexibility in mind, Soraa’s new LED GU10 lamps are available in a wide range of light output, beam angles and color temperatures. Soraa’s Premium 2 LED GU10 10° lamp has a peak intensity of 7760Cd and 2420Cd for the 25° option—twice that of halogen. The LED GU10 lamps are available in 10°, 25°, 36°, and 60° beam angles and 2700K, 3000K, 4000K, and 5000K colour temperatures. Plus, the company’s 10° lamp works with its award-winning magnetic accessory SNAP System.

RefLED MR11 Sylvania The RefLED MR11 185lm uses just 3.5W of power equaling an 80% energy saving over a halogen equivalent. The lamp also offers 25,000 hours of operation and so helps reduce lamp replacement costs dramatically. The lamp delivers an 185lm output and is available in 3000K with a beam angle of 30 degrees. LED retrofit projects are a relatively quick and easy way to make significant operating cost savings due to a comparatively low investment combined with all the benefits associated with LED: reduced energy consumption and maintenance.

LED Light Sheet Applelec

LED36P Times Square Lighting The LED36P delivers the lighting equivalent of a 75-watt pattern projector utilising a 28.8 watt Xicato LED module. The rewards are 10 times the lamp life as well as 70% energy savings. The LED36P projects stock or custom patterns (gobos) and is equipped with four framing shutters for precise beam shaping.

Created to bespoke specification, LED Light Sheet is now available in a CRI of 90 in 3100K, 4100K and 5200K panels. Providing homogenous illumination, these flat light panels are constructed in depths of 6mm or 8mm and feature IP54 or IP67 ratings. In addition to the high CRI options, RGB LED Light Sheet and a full range of colour temperatures are available with control via DMX, Dali or 0-10V.

Sharp Lamp Orlight The new range of Orlight high output retrofit LED lamps take advantage of the excellent cost performance provided by the Sharps Zenigata chipset. They feature Orlight’s Tune Dim technology, which delivers flawless dimming performance all the way down to an indiscernible glow. Combined with a punchy 550 lumens and a CRI greater than 80, this range of retroft LED lamps is set to be a hit within the architectural lighting market. Orlight are offering this range of high output retrofit lamps in 2700K, 3000K, 4000K and 6000K.

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31/01/2014 15:31



EcoSpec Linear INT Ecosense

Crocco SLAMP Crocco, applied to the wall or to the ceiling, is a lamp formed of a polished steel base and a brightly-coloured printed Lentiflex shade, making its sinuous shape even more striking. Crocco, with its three sizes and seven colours, allows the installer to create different compositions depending on different spaces available and ideas of setting. The LED lighting, providing up to 1,500 lumens in the largest version, makes this an ideal solution for spaces which need a touch of originality in lighting.

EcoSpec Linear INT and Linear INT LP (Low Power) are designed with slim profiles, making them the smallest and best-selling linear cove luminaire in thr Ecosense product line. The integral brackets with 180째 vertical rotation adjustability provide versatility making these luminaires ideally suited for interior architectural, hospitality, retail, exhibit and display applications.

ArcSystem Global Design Solutions ArcSystem is a range of Modular LED lighting and control products specifically designed for auditorium, concert hall, architectural, retail and arena spaces using wired DMX or wireless ArcMesh protocol, this allows you to retrofit ArcSystem lighting fixtures without the need to rewire your auditorium or venue. The ArcSystem comes in a range of options for both recessed or surface mount, single cell to multi-cell, including wide a range of beam angles from 9째 to 80째.

ADVERTISERS INDEX A&O.....................................................................143 ACDC....................................................................69 Alto........................................................................27 Amerlux.................................................................35 Anolis.......................................................................9 Ansorg.................................................................145 Applelec................................................................87 Arlight....................................................................25 Barbizon..............................................................157 BDP......................................................................167 Bega.....................................................................4-5 CLS..........................................................................8 Dalcnet................................................................157 David Morgan Associates......................................85 Dial......................................................................161 DPA......................................................................166 EBV........................................................................21 EcoSense Lighting.................................................61 Electron...............................................................161 EMFA.....................................................................99 Encapsulite............................................................81 Euroshop.............................................................145 Filix .....................................................................143 Global Design Solutions........................................91 Griven....................................................................19 Grupo MCI..........................................................151 Guangzhou International Lighting Exhibition........14 GVA Lighting.........................................................93

Havells-Sylvania...................................................133 Huda Lighting......................................................123 IALD.......................................................................10 Illumination Physics.............................................121 Insta.....................................................................129 Instrument Systems.................................................7 ISTL......................................................................159 KKDC.....................................................................23 LEC Lyon..............................................................135 LED Linear...........................................................172 Lee Filters ...........................................................103 Light & Building...................................................151 Lightgraphix..........................................................89 Lighting Design Awards......................................163 Ligman...................................................................12 Lucent....................................................................79 LUG.....................................................................141 Lumenpulse...........................................................75 Martin..................................................................139 May Design Series.................................................76 MBN....................................................................131 Microlights.............................................................51 Mike Stoane.........................................................161 Molto Luce..........................................................155 Neonlite.................................................................47 Nexo Luce...........................................................137 Nicolaudie.............................................................11 Norka...................................................................115

Nualight...............................................................141 Oldham Lighting Projects....................................166 Ominus..................................................................13 Orlight.....................................................................2 Philips..................................................................111 Pritchard Themis..................................................166 Proliad.................................................................125 Pulsar.......................................................................6 Recolight.............................................................157 Remote Controlled Lighting..................................67 Rosco.....................................................................43 Roxo Lighting......................................................117 SAT......................................................................165 Sattler....................................................................45 Selux....................................................................165 Signcomplex..........................................................16 SLAMP.................................................................171 Speirs + Major.....................................................166 Studio Due............................................................17 Technilum............................................................127 Traxon:e:cue..........................................................59 Unilamp.................................................................97 Vivid ....................................................................167 Wibre...................................................................159 Wuxi Jinshun Lighting...........................................15 Xicato......................................................................3

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 / EMAIL: J.PENNINGTON@MONDIALE.CO.UK The US annual subscription price is USD105. Airfreight and mailing in the USA by agent named Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage pending at Jamaica NY 11431. US Postmaster: Send address changes to mondo*arc, C/O Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA.


Patented low glare cross beam technology Up to 85lm/W 80,000 operating hours (L70) 3000 and 4500K (+/125K) Up to 78% energy savings on HQL equivalents Multiple relector systems Die cast IP66 aluminium housing 0% ULOR 5 year warranty DALI/1-10v control Up to 55ยบC ambient temperature 600 and 450mm housings Single, twin and staggered pole tops For traffic or pedestrian areas Up to 60 metre pole distances using 10m poles

The perfection of LED street lighting. Powerful. Aesthetic. Future Oriented. Avanza

Visit us at Light+Building Frankfurt, Hall 3.1 stand B81 30 March - 4 April 2014 +44 (0) 1926 833455

Experienced Lighting Designers Required

We are independent lighting design consultants, based over in East London, looking to recruit experienced architectural lighting designers for our expanding studio. Our work is varied over a range of commercial and private projects in both the UK and internationally. We are looking for the right people who want to join our team; for prospective colleagues who want to work in a collaborative and friendly design environment; for skilled designers who want to bring exciting ideas to the table and to see them come to fruition. Applicants should have a minimum two years lighting design experience and be fully literate in AutoCAD, Word and Dialux as well as Indesign and Photoshop. 3D modelling skills in Rhino and Sketchup would be useful but not a prerequisite. A good level of written and spoken English is expected of any prospective candidates. Please send us a covering email, along with a current CV and any examples of previous projects you have worked on. Make it addressed to Peter Pritchard at Pay will be commensurate with experience.

Assistant Designers... Speirs + Major are award-winning international designers who work with light.

CAD Technician and Sales Project Engineer Oldham Lighting is rapidly expanding and we have recently secured four major overseas contracts along with a significant number of UK contracts, utilising our developing line of LED products. Our track record in product design, manufacturing and lighting solutions is second to none; with selected partners we have created lighting solutions and installations that have won awards and showcased our capabilities worldwide. Due to this recent expansion we are now looking to recruit.

We have positions available in our London studio for assistant designers with excellent visual communication skills and a passion for light. Applicants must be able to hand sketch and should be experienced users of Photoshop, AutoCAD and a 3D software package. Previous experience of lighting design is preferred but is not essential.

CAD Technician We are seeking a CAD technician to assist in our busy drawing office. Applicants should have 2 years experience preferably within either an electrical or lighting background. Excellent skills in AutoCAD, enthusiasm and dedication are essential. Must be able to demonstrate excellent project and time management skills. Salary commensurate to experience. Based in our Guildford Head Office.

Salary and benefits will be commensurate with ability and experience.

Sales Project Engineer

If you are interested in being considered, please contact:

We are also seeking a self-motivated, organised and driven person, with strong negotiation and communication skills to enhance our current sales team. Our ideal candidate should have significant knowledge of LED lighting and can demonstrate a strong network of contacts with lighting designers, architects and contractors. Good IT skills and driving licence are essential. Salary commensurate to experience with a significant commision scheme. Based: London - Home Counties.

Sarah Charles Speirs + Major 11-15 Emerald Street London WC1N 3QL

If you are interested in being considered for either of these roles please send a C.V. to or

All applications must be made in writing and include samples of work that demonstrate both your passion for light and your thinking and ability to communicate light through a range of media.

Oldham Lighting Claudgen Works Bridge Park Merrow Lane Guildford GU4 7BF

Strictly no agencies. Speirs + Major are an equal opportunities employer.

Direct applications only, no agencies please.

Mondo Ad.indd 1

31/1/14 14:51:53

Want your career to go into the pink in 2014?

Then get in touch! Vivid Lighting has a vacancy for a Sales Director for London / South East.

For details please visit:

organise your worldwide business diary with mondo*arc


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ACCLAIM LIGHTING Junostraat 2 6468 EW Kerkrade The Netherlands

European Headquarters

LpS September 30 - October 2 Bregenz, Austria

Lightfair International June 3-5 Las Vegas, USA

Light+Building March 30 - April 4 Frankfurt, Germany

AL bar AC

LuxLive November 19-20 London, UK

Light India September 18-21 New Delhi, India

Lumibat May 20-22 Lyon, France

LEDucation March 18-19 New York, USA

DynaGrace Interior

Interlight Moscow November 11-14 Moscow, Russia

The LED Show September 16-18 Los Angeles, USA

ARC @ May Design Series May 18-20 London, UK

Lighttech March 6-9 Istanbul, Turkey

Phone: Fax: Email: URL:

+31 (45) 546 85-60 +31 (45) 546 85-97


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Phone: Fax: Email: URL:


+1 (323) 317-9800 +1 (323) 582-3108

IALD Enlighten Europe November 9-11 Berlin, Germany

American Headquarters

Shanghai International Lighting Fair September 3-5 Shanghai, China

Light Middle East November 3-5 Dubai, UAE

INALIGHT 2014 May 13-15 Jakarta, Indonesia

IALD Enlighten Americas October 16-18 San Diego, USA

Light February 26-28 Warsaw, Poland

June 9-12 Guangzhou, China

Guangzhou International Lighting Exhibition

LEDTEC Asia May 7-9 Singapore

EuroShop February 16-20 Dusseldorf, Germany

Pennsylvania Convention Center, Philadelphia, PA, USA



This issue, Light Collective have approached Paul Ehlert from EPOS design (the only lighting designer in Austria we know!) for his graphic representation of what inspires him. Paul’s intention for the Back Page is that its meant as a reminder to every designer that there are lots of amazing things around you locally that you should appreciate. However, you should also remember to break out of the ‘small world’ that you exist in on a daily basis and get inspired by the things that are further afield. However, we are dead jealous if this is Paul’s ‘small world’!

mondo*arc Feb/Mar 2014 - Issue 77  

mondo*arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market...

mondo*arc Feb/Mar 2014 - Issue 77  

mondo*arc is the leading international magazine in architectural lighting design. Targeted specifically at the lighting specification market...