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[feb/mar] Front cover pic: Fulton Center, New York supplied by Grimshaw.

048 Interview Jill Entwistle gets to grips with Lucent founder Michael Dunk.

DETAILS 022 Editorial Comment The darc awards has finally arrived. 024 Postcard Courtesy of Factorylux and Light Collective. 026 Headlines The latest industry news. 028 darc night News from the darc awards launch party. 030 Eye Opener Flylight, Het Noordbrabants Museum, The Netherlands 032 Drawing Board Our preview of proposed projects. 036 Spotlight A selection of brand new projects from around the world. 042 Briefing We talk to Rogier van der Heide, Zumtobel’s new Head of Design and Marketing. 044 Snapshot Introducing South African practice Pamboukian Lightdesign. 046 Lighting Talk Jennifer Hamilton, founder of The Vawdrey House, talks light. 154 Inspirations Illustrator / architect partnership, Nanotak.

ART & DESIGN 086 Fetes des Lumieres, Lyon Paul James pays the world’s most established festival of light a visit. 092 Amsterdam Light Festival Paul James takes a canal stop tour of this impressive event. 100 Enlighten Manchester A pilot lighting project showing promise. 104 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light.


TECHNOLOGY 106 Geoff Archenhold Smart lighting and an industry slow to react. 109 Christopher ‘Kit’ Cuttle The difference between vision and perception. 112 Case Studies A selection of projects featuring innovative lighting including: Galeria Melissa Covent Garden (p112); Whitman-Walker Memorial (p114); Bolte Bridge (p116); Qatar Handball Association Complex, Doha (p118); Schlossplatz (p120); Medici del Vascello (p122); Encants Market (p124); Liberty Mutual footbridge (p126); Daryl Roth Theatre (p128). 130 Auroralia Award Strijp-5 in Eindhoven is victorious. 132 Rethink The Night Hellenic Illumination Committee workshop. 134 Bench Test David Morgan looks at Trinity’s new range of slick and stylish exterior lighting bollards. 136 Exterior Lighting Product Guide Inside out fittings. 144 Euroluce Preview What’s coming up in Milan. 146 New Product Guide Brand new products for 2015. 152 Event Calendar


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[feb/mar] Online Watch Grimshaw Partner, Vincent Chang and Artist, James Carpenter as they discuss the Sky Reflector-Net at the Fulton Center, on www.mondoarc.com




054 Novo Nordisk HQ, BagsvĂŚrd Winner of the 2014 Danish Lighting Award, the Novo Nordisk campus is the clever work of Grontmij and Henning Larsen Architects.

068 Fulton Center, New York Featuring Grimshaw design, in conjunction with Arup, and daylighting design from James Carpenter Design Associates.

080 Onze Lieve Vrouwe, Amersfoort Dutch designerJeroen Jans turns the tower into a central and prominent structure for the community.

062 Chifley Tower, Sydney PointOfView brings the building’s Art Deco styling to life through a creative lighting update.

074 IZB Residence, Munich At the heart of Martinsried Life Science Campus sits an elegant space brought to life by Occhio lighting.

083 Nordbad, Munich The iconic historic swimming pool receives renovation to its lighting designed by Gabriele Allendorf Light Identity.






[editorial] Paul James, editor, writes: This issue comes to you later than normal as we just had to wait for our darc night, the official launch party for our international lighting design darc awards that took place in London on February 5th. It was a fabulous evening and many thanks to Light Collective for transforming the venue with light and Kerem Asfuroglu of Speirs + Major for the amazing Dark Source video and exhibition. Now the party is over, the serious issue of developing the awards to be exactly how you want them gets under way. We have listened to lighting designers and manufacturers who have been craving change and we feel we have come up with the ideal format - both in terms of the awards process and the event - to really engage with you. As I said during my speech, we were reluctant to launch yet another awards programme but the calls were getting so loud that we couldn’t ignore them any longer. A huge thank you to our initial eight commercial partners Concord, Innermost, KKDC, L&L Luce&Light, LSE Lighting, Lucent, Megaman and Reggiani - and we will have some more announcements about further partners coming on board shortly. Based on the reaction at the launch party, three components that people particularly seem to like about the darc awards are the year-round online presence of projects and products; the low and high budget project categories; and the peer-to-peer voting. And that’s without even mentioning the exciting interactive element of the planned darc night in September. So take a look at www.darcawards.com, start submitting your work and give us plenty of feedback. We’re listening. Helen Fletcher, deputy editor, writes: It’s been a busy couple of months at the mondo*arc offices with the team juggling the Feb/March issue; the 2015 ILDS; preparing for the darc awards launch party; and a day out to the printers (Blue Peter style) in Buxton... and all with Christmas festivities slap bang in the middle! But we’ve survived to tell the tale and as this is my first ‘proper issue’ I can safely say I’ve enjoyed every last minute of it. We’ve covered some great projects in this issue, with personal favourites including the IZB Residence in Munich (pg.74) and Chifley Tower in Sydney (pg.62). We also have some beautiful lighting installations covered in our Spotlight pages (starting on pg.36), all of which have been handled by our very first intern, Femke. She’s been beavering away for the past few months learning the ropes of journalism, but the time has sadly come for us to say our goodbyes and wish her well in her career. Some of you will have had the pleasure of meeting Femke at the darc awards launch party held at the beautiful Dilston Grove in London. What a wonderful backdrop to a great event (even if hats, scarves and mulled wine were required). It was brilliant to see so many lighting designers venture out to support us and I’m looking forward to some exciting times ahead!



Editor Paul James (p.james@mondiale.co.uk)

Amy Wright (a.wright@mondiale.co.uk)

Deputy Editor Helen Fletcher (h.fletcher@mondiale.co.uk)

David Bell (d.bell@mondiale.co.uk)

Editorial Assistant Rob Leeming (r.leeming@mondiale.co.uk) Editorial Intern Femke Gow


Production Mel Robinson (m.robinson@mondiale.co.uk) Dan Seaton (d.seaton@mondiale.co.uk)

Chairman Damian Walsh (d.walsh@mondiale.co.uk)

Advertising Manager Jason Pennington (j.pennington@mondiale.co.uk)

Finance Director

Advertising Sales Executive John-Paul Etchells (jp.etchells@mondiale.co.uk)

Credit Control

Amanda Giles (a.giles@mondiale.co.uk)

Donna Barlow (d.barlow@mondiale.co.uk)

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[postcard] The two paragons of cool, Factorylux and Light Collective, have teamed up to release a series of natural light in architecture cards, exclusively available through mondo*arc and its sister title darc. Each issue, Light Collective will explain the reason for their choice and then, inserted in each edition, will be a limited edition print.

#4 James Turrell’s Skyspace


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You can’t have a series about natural light without including James Turrell so of course he made our list with the Skyspace installation concept. It is said (apparently) that you never forget your first Skyspace and that’s certainly true for Light Collective. For Martin, it was the Space That Sees at the Museum of Israel and for Sharon, the Deer Shelter Skyspace at the highly acclaimed Yorkshire Sculpture Park. A Turrell Skyspace is a specifically proportioned chamber with an aperture in the ceiling open to the sky (a bit like a contemporary Pantheon). Skyspaces can be both autonomous structures or integrated into existing architecture. The Skyspace’s dominant feature is the circular, elliptical, or square aperture at the top of the room allowing skylight or the night sky to be viewed without peripheral distraction. From the inside of the structure, the viewer’s point of view is focused upwards and inevitably lured into contemplating the sky as framed by the open roof and the installations are somewhere between indoor and outdoor as well as between fantasy and reality. There are now 82 Skyspaces worldwide (a full list of locations can be found here: http:// jamesturrell.com/artworks/by-type/#typeskyspace). The image used for this month’s postcard is from the house of Jim Goldstein in Los Angeles. The house was designed by architect John Lautner in 1963 and this Skyspace is a free standing concrete room built into the hillside and titled ‘Above Horizon’. The Skyspace has two openings: the central oculus, and the corner window. The room is pre- programmed by Turrell for shows at dawn and dusk and houses 5,000 LEDs that are not directly visible by viewers. When the LEDs are activated they

00 O 00


wash the room with abundance of coloured light amplified by the smooth white plaster finished walls. The preprogrammed lighting runs through a slow transitioning colour sequence centring on the view of the sky. Turrell has always embraced the fluidity of light in nature in his work and constructed his first skyspace in 1986 in the parking lot of MOCA’s Geffen Temporary Contemporary. There were no LEDs, just tungsten lamps carefully placed behind wood benches. This meant the sky, seen through a square opening in the roof, was mostly blue but still changed. Many Skyspaces are commissioned by museums; others are commissioned for private art collections. Each one is created for a specific location. Turrell questions what exactly the collector is getting: “When somebody buys a work of mine there is the question, what is it they own? And in some way I can honestly say that you own the light that is passing through.” Turrell’s titles for these spaces are not arbitrary and are inspired from his childhood experience. Raised as a Quaker, the Skyspaces are meant to evoke the quiet, even metaphysical private space of a Quaker meeting with the wooden bench seating that is often included within the Skyspace interior, similar to those of his childhood memories. Turrell recalls how his grandmother used to advise him to “go inside and greet the light.” Half way through the series and we are going you a chance to nominate the final building that Factorylux will make into a beautiful print like this one that goes out to all mondo* arc readers. Fill in and return the postcard for your suggestion to be considered or talk to us via #MondoCards if you want to pick up the conversation online. www.urbancottageindustries.com/filamentlight-bulbs/low-energy-light-bulbs www.urbancottageindustries.com/factorylux www.lightcollective.net


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news headlines Novo Nordisk headquarters wins Danish Lighting award

For the latest news stories, head online: www.mondoarc.com

Whitegoods appoints new Sales and Marketing Director

(Denmark) - Novo Nordisk’s new headquarters in Bagsværd has won the 2014 Danish Lighting Award.

(UK) - Whitegoods Lighting appoints Christopher Burridge as Sales & Marketing Director.

Read the full story online... 1

Read the full story online...

mondo*arc india to launch in March (India) - New quality publication for designers and specifiers in India - joint venture between creative lighting company STIR and publishers of mondo*arc and darc. Read the full story online... 2


International Lighting Design Survey reveals growing profession (International) - ILDS reveals almost 1,300 lighting design practices now operating throughout the world. Read the full story online... 5

Lamp 83 expands

Design LED expands senior management team

(Turkey) - Istanbul-based lighting manufacturer continues operations in new facility.

(UK) - Following investment from Ikea Greentech, Wolfgang Andorfer joins Design LED as Chief Sales and Marketing Officer.

Read the full story online...


darc night launch party takes place (UK) - International lighting design darc awards is launched by mondo*arc and darc magazines. Read the full story online... 7 In pictures

Read the full story online...

the latest news online


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1 Novo Nordisk campus is featured from page 54. 2 mondo*arc india to launch in March. 3 Christopher Burridge. 4 Lamp 83’s new facility. 5 International Lighting Design Survey

features 1300 lighting design practices. 6 Wolfgang Andorfer. 7 darc night launch party took place in London on February 5th.


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[darc awards] mondo*arc and darc magazines, in collaboration with Light Collective, launched their new international lighting design awards at their darc night event in London on February 5th. Pic: Caroline Sterzi

Pic: Gavriil Papadiotis

darc night, the launch party for the darc awards, took place on February 5th at Dilston Grove in Southwark Park, Bermondsey, London and featured a special lighting scheme by Light Collective using fittings from the darc awards commercial partners. A Dark Source animation and exhibition by Kerem Asfuroglu of Speirs + Major also featured. Over 150 designers and partners attended the event. Paul James, awards director and publishing editor of mondo*arc and darc, gave a presentation explaining the awards programme and darc night concept. “With our database of over 1,000 international lighting design practices, as well as interior designers and architects, there is a unique opportunity for every

practice to get involved in the awards process,” commented James. “We intend to make the darc awards the most accessible and global awards programme ever. After the shortlists have been chosen by an expert panel of international lighting designers, each of the 1,000+ lighting design practices and their designers will be invited to vote on their favourite projects via our specially developed website. Using the model developed by the Oscars where all members vote on the work of their peers, the darc awards will give every designer a vote, making this the only truly peer-to-peer lighting design awards in the world.” Each award will be split into low and high budgets, thus allowing the smaller projects a chance to compete and not just given a

token ‘Special Projects’ award. Martin Lupton and Sharon Stammers of Light Collective are excited by the prospect of a pluralistic awards event: “Having been involved in many lighting awards programs over many years, this is a great opportunity to build on all of those experiences and try to create a different version of celebrating the best of lighting design where the judging is in the hands of everybody. Helping to shape darc night in collaboration with mondo*arc and darc has given us a chance to create an awards ceremony that is by the people, for the people – it’s the Oscars of lighting design!” All the projects and the companies who have submitted them will be present on the website so that, over time,



www.darcawards.com will become a comprehensive online lighting design resource that can be used by designers and clients alike for inspiration. There will also be product categories (two architectural and one decorative) that will follow the same philosophy resulting in a comprehensive online database of products. Following the voting process the awards ceremony will take place as part of darc night in September 2015. This will be an atmospheric party in a unique venue in London. Imagine light art, street food, lighting installations… this breaks all the awards rules and will be unlike any other awards ceremony to date. Each commercial partner will be able to show off the capabilities of their product

via a series of light installations from collaborations with lighting designers. Currently the manufacturer partners consist of Lucent, Megaman, Innermost, LSE Lighting, KKDC, Concord, L&L Luce&Light and Reggiani. A maximum of twelve partners will be involved in order to create a dozen inspiration spaces at the specially selected venue in London next September. darc night will be part of the IYL2015 (International Year of Light and Light-based Technologies 2015 ) related activities program and will be promoted by the L-RO (Lighting-Related Organizations) to raise awareness for the lighting design profession and showcase the importance and beauty of light. www.darcawards.com

Previous page Light Collective created a stunning lighting scheme using Megaman’s Dim to Warm LED lamps as a chandelier, Arturo Alvarez V floor standing lamps (supplied by LSE Lighting) and Reggiani’s Rios spotlights shining through the windows. The Dilston Grove arts venue used to be a chapel. This page All the commercial sponsors were represented among the 150-strong crowd. Kerem Asfuroglu exhibited his Dark Source artwork as well as showing an animated film.



eye opener Flylight, Studio Drift, Het Noordbrabants Museum, The Netherlands This year marks the 125th anniversary of Dutch painter Vincent van Gogh’s death. In memory of the artist, Het Noordbrabant’s Museum in the Netherlands displayed Studio Drift’s Flylight exhibition curated by Yksi Ontwerp. Flylight is a site-specific light installation that directly interacts with its surroundings. It consists of delicate glass tubes that light up in an unpredictable way. The light sculpture mimicks the behaviour of a flock of birds in flight, symbolising the conflict between the safeness of the group and the freedom of the individual. While birds are the ultimate symbol of freedom, in a flock they move as one single entity, creating mesmerising patterns. This flock behaviour is an example of self-organisation, meaning that no single bird leads the flight. Amazingly enough, each individual senses the speed and the direction of the group. Flylight translates this flock behaviour into specially developed agent-based software, meaning the patterns in which the installation lights up are not pre-programmed, but have an interactive compound like a real flock of birds. Nature was van Gogh’s and Studio Drift’s dominant source of inspiration and forms a guide through the exhibition that will be on view until April. www.studiodrift.com




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

SAN ZERO A.C. Milan and Arup have presented their expression of interest for the redevelopment of a central area in Milan to host the new A.C. Milan stadium. The innovative venue will include a modern stage for the home matches of the club together with a hotel, a sports college, restaurants, children’s playground, green areas and spaces open to the city and dedicated to public use. The project, developed by Arup’s architecture, urban planning and engineering team in Milan will include lighting design. The new stadium will also provide a unique experience to the spectators, with particular attention towards families, with cutting edge technologies and facilities. The project has been developed with a fully holistic and integrated approach where all the design components have been carefully balanced around the spectator’s experience. Some of these innovative components include sight-lines analysed and designed for every seat and developed by an Arup parametric tool that guarantees

the best possible view from every location in the stadium; high-tech solutions that will enhance the spectators’ experience before, during and after the matches; and special VIP facilities with lounges and spaces with a direct view on the mixed-zone and on the route from the athletes’ changing rooms to the pitch. www.arup.com

SILENT FLYING OBJECT UFO: FUTURISTIC LIGHTING SYSTEM WITH SOUND-PROOFING AT HEART. Creative sphericity. UFO opens up undreamt of possibilities to create exceptional lighting. The components of this lighting system can be freely combined with each other, allowing for limitless creativity, and can also be combined with sound-proofing elements.


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[drawing board]

ELEKTRAFYING DESIGN Marriott Hotel Victoria Island in Lagos, Nigeria is a new development that celebrates the clean lines of modern, contemporary design. Due to open in December 2016, the lighting concept by Elektra Lighting has been based on an interior design scheme developed by RPW Design and the architects from G1 Architecture. The lighting scheme enhances that approach

throughout the public areas with a clean, simple and minimal design, without fuss. Luminaires are concealed where possible; where it is not, minimal light fittings create atmosphere without drawing attention to themselves. The lighting is warm and pleasing to the eye, with a bright and inviting atmosphere to welcome guests during the day. The evening will see the colour temperature

drop to a more relaxed candlelight tone. The lighting will enhance the space, and complement the architecture and interior design. The landscape design, created by the Gillespies design practise, features a flattering lighting scheme to accentuate the design and enhance it, especially after the natural sun light hides beyond the horizon. www.elektralighting.co.uk


BP4, Canary Wharf, London. Architect: Kohn Pedersen Fox Associates. Lighting Design: PJC Light Studio. Photography: GG Archard



[spotlight] The latest projects with the wow factor from around the world.

Pics: James Brittain

PLAYING IN COLOUR Toronto-based architectural firm RAW transformed downtown Montreal into an interactive kaleidoscope with its Prismatica installation at the Quartier des Spectacles. Comprising 50 pivoting prisms, each more than two metres tall, Prismatica is one of two installations selected by the juries of the fifth annual Luminothérapie, a hightech public art exhibition that displays artists’ and architects’ outdoor creations. Luminothérapie lets local designers, artists and architects build novel outdoor creations as part of Montreal’s inclusion as a UNESCO City of Design. The exhibition came in two parts: a field of light and music running the

length of Place des Festivals along JeanneMance Street; and an animated projection series that were played as a game on the facades of seven buildings in the Quartier des Spectacle. RAW’s involvement marked the first firm based outside of Quebec to participate in the competition. For Prismatica, RAW assembled a team of professionals from applied science, technology, art and architecture fields to create the display. The prisms, made of panels laminated with a dichronic film, transmit and reflect every colour in the visible spectrum, varying with the position of the light source and the observer.

Mounted on bases containing projectors, as visitors wander among and manipulate the prisms, they enjoy an interplay of light and colourful reflections. For added affect, as the prisms rotate, a variable-intensity soundtrack comprised of bell sounds plays. Prismatica invited people “to play, to have fun and in doing so, forget about the cold,” said RAW Director Roland Rom Colthoff. “Luminotherapie is a great event that celebrates lively public space on a large scale and speaks for the passion of design found in a city like Montreal.” www.quartierdesspectacles.com www.rawdesign.ca



Pics: Joel Chester

Aeolian Light, an outdoor exhibition held at the Lowry Theatre, Salford Quays, was an illustration of visual energy fields and objects carried on the wind as they floated through space occupied by lights. The idea was that people could also move through the space, causing eddies and disturbances, and in turn affect the light installation. A project by creative designers Squidsoup, commissioned by Quays Culture and University of Salford, Aeolian Light developed from existing research project Ocean of Light, which looked into the creative possibilities of 3D arrays of individually addressable lights to create presence and movement in physical space. The earliest of these projects used a one-metre system developed in Zurich called NOVA. Squidsoup wanted to take this existing system but alter it so people could walk within the cubes and be surrounded by the lights. The project gradually developed into Aeolian Light, an entirely weatherproof interactive system using 12,096 RGB LEDs suspended in strands, each containing 21 points of light with 72 DMX universes - with each one controlling eight LED strands. Aeolian Lights tracked people using a SICK laser scanner with infrared light to detect movement so the visuals flowing through the lights travelled in the same direction as the wind. Working with wet weather and trials with unfamiliar technology as major setbacks, Squidsoup created something that could not only be viewed from a distance by its audience but could entirely envelop people in a floating cube of light and colour. www.squidsoup.org




Pics: Iwaan Baan

COSMIC CONTACT Art museum and cultural centre Foundation Louis Vuitton (FLV) launched the second phase of its inaugural program with internationally renowned Danish-Icelandic artist Olafur Eliasson’s Contact exhibition in Paris. Designed by Canadian architect Frank Gehry, the museum itself contains its gallery spaces in cement blocks covered by curved pieces of glass. Having served a cosmic purpose for Eliasson’s first solo show in France since 2002, this latest exhibition, Contact enveloped the museum’s visitors in a choreography of moving light and shadows, transporting them into a simulation of the darkness of outer space. The route through the exhibition, revolving around two large-scale installations, is derived from the geometry of the circle. By bringing viewers into ‘contact’ with a meteorite, the exhibition begins with a

gesture intended by the artist to expand the horizons of imagination. Firstly, Map for Unthought Thoughts takes viewers to the centre of a semi-circle that is extended to full circumference by a mirror. Covered with black sandpaper, the passageway arouses physical sensations of disorientation and confinement. Then, entering Contact (also the title of the exhibition), visitors move on the sloping floor as if traversing the top of a sphere or planet. The journey concludes with Big Bang Fountain, an apparatus that reveales periodic liquid flashes - referring back to Parallax Planet, a piece which already established a form of ‘contact’ with water by way of an optical device at the start of the exhibition. Finally, outside, World Illuminator uses a sun-tracker installed above the upper shell

of the building to direct rays of light onto the sphere Dust Particle - a multifaceted, geometric sculpture suspended within the building to immerse the visitors in a multi-sensorial experience. This in turn reflects speckles of light into the hall. This unity of interior and exterior testifies the relationship between humankind and the universe - reiterating the exhibition’s central theme. This theme, and that of other cosmic projects exhibited in the gallery, is echoed in the architecture of the museum as the Foundation Louis Vuitton structure gives the impression of something continually changing with time and light, much like Eliasson’s expansive exploration of perception and space. www.olafureliasson.net www.fondationlouisvuitton.fr

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113mm 50mm









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SERPENTINE GAMES The first major UK exhibition by Argentinian artist Julio Le Parc sees the Serpentine Sackler transformed with immersive light installations and the artist’s signature interactive games. Known for creating artworks that animate and transform space through light and using projected, moving, and reflected light to create works of art in constant flux, Le Parc’s playful exhibition transforms the gallery and actively involves visitors. At the heart of his practice is a desire to experiment with our engagement and perception of art, thereby altering our perspective on the roles of the artist, spectator and the institution. Through his experimentation with light, Le Parc creates a situation of visual instability, in the work and in the viewer’s experience. The visitor’s participation in the exhibition is both passive and active, with the design reminiscent of an amusement arcade and its numerous booths. While Le Parc’s light installations offer an immersive experience, his interactive ‘game’ works become a place for activity. www.serpentinegalleries.org www.julioleparc.org

SOVIET SWEDEN Kate Wilkins, of lighting designer collaborative Kate and Sam, has joined musician Matt Johnson (The The) and visual artist and film maker Johanna St Michaels to create The Inertia Variations, a new light and sound sculpture in Gothenburg. Inspired by the Soviet-era Sukhov radio tower in Moscow, the nine-metre-high sculptural mesh of illuminated strands on the roof of Gothenburg’s Röda Sten Konsthall, evokes propaganda tools used by dictators and revolutionaries to resemble creative and communicative struggles. A subsequent stage moves the tower inside the gallery, where the viewer is immersed in narration, soundscapes and music. Wilkins described the project: “I’m fascinated by using light’s influence on mood and perception, and in this first stage we reveal the inner surfaces only, in a white with all warmth filtered out. The tower looks as we had hoped, and very striking in Gothenburg’s docks skyline.” The Inertia Variations is the latest in a series of art-led side projects for Wilkins, her previous credits including the opening of Tate Modern in 2000 and the British Pavilion at the Shanghai Expo in 2010. www.katewilkins.com www.thethe.com

Pic: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015) Image © Sylvain Deleu

Pics: Julio Le Parc - installation view, Serpentine Sackler Gallery (25 November 2014-15 Februrary 2015) Images © READS 2015

lucent /ˈluːs(ə)nt /

adjective literary

glowing with or giving off light. ‘the moon was lucent in the background’

ProSpex® Axis A range of recessed adjustable circular gimbal downlights — Available in both trim and trimless versions — 2 sizes, Mini and Midi — Antiglare snoot as standard — Tapered or Long Snoot options — Accepts LED, Low Voltage and Metal Halide light sources — Multiple trimless installation kits available Product shown ProSpex Axis Midi Trimless with Long Snoot

www.lucent-lighting.com London | New York



[briefing] ROGIER VAN DER HEIDE We speak to the the new Head of Design and Marketing at the Zumtobel Group following his move from Philips. Why did you move from Philips to Zumtobel? When I joined Philips it was an interesting moment in time because of the shift in lighting technology and the decisions that meant for a huge business like them. I had a great time but I wanted to work with a 100% lighting company. There are other lighting companies of course but Zumtobel has always been involved in application working closely with architects and lighting designers. I’m a lighting designer so this appealed to me. I’ve known the Zumtobel family for quite a while and we have had discussions in the past but there was always something getting in the way. Now was the right time. What is your role at the Zumtobel Group? My role (Head of Design and Marketing) is a very influential one, heading a small group of passionate people to drive the company forward. We are in a process of transformation. Based from what I saw at Light + Building we have some catching up to do. Ulrich Schumacher came on board as CEO just over a year ago and it’s his goal to make Zumtobel healthy and fit for a future that is faster. There will be an interaction between my creative vision and what we structure in our programmes to develop a cohesive portfolio of innovative products. The focus on LED by most of the lighting industry has been energy savings. Most of the big companies haven’t thought about what we can do with LED that we weren’t able to do before if we combine it with other technologies. That is starting to happen now and I want to be at the centre of that. Do you have any specific goals for the Zumtobel Group brands? I want to create an ecosystem rather than treat the three main brands (Zumtobel, Thorn and Tridonic) as separate entities. The approach to the market of the three brands has always been very different but by working closer together we have an ideal opportunity to give the market what it wants by simplifying the whole process. We are working on ideas but it would be great if every Thorn product had really intelligent, connected light for example. Why not? It doesn’t have to be just the really high end brands that have this. Why can’t Zumtobel have beautiful, aesthetic exterior products? There are no reasons why. I can’t tell you it will definitely happen but it’s a wish of mine. Will you continue to work with architects and designers to develop products? Yes, we will but we will also work with new talent, both from architecture and other disciplines, to come up with a new road map of ideas. It’s easy to hire a famous architect to design a product, pay a fee and then it gets specified on a few of their projects. But it’s not enough. We need to build relationships in which the continuous exchange of ideas gets established. For that you need to show your passion. Many large lighting companies fail to make real choices. They try to

cover everything, they have huge complex catalogues but it’s too much for architects who have to think about every element of the building. Of course we still need catalogues but we should be talking with architects and others to create real lighting solutions, to make catalogues more relevant. Will the policy of supporting lighting designers on projects continue? Yes, we will always support lighting designers on projects where they are involved. But of course in some markets there are no lighting designers and in this case we can offer a service that includes lighting design. This doesn’t compromise lighting designers. On the contrary, everything we do at a high level grows the market for all. Lighting designers benefit the more great lighting design is out there. The reaction from lighting designers when the news came out that I was joining Zumtobel has been very positive. There’s a lot of love out there for Zumtobel! Why is Zumtobel opening a Lichtforum in Amsterdam? Unlike previous Lichtforums, it will be a centre for experimentation. The great architects and designers from the past like Frank Lloyd Wright, Charles and Ray Eames were not scared to experiment with materials to create and I think we need to be like this with light. We have to create lighting solutions with experts from other disciplines like the arts, science, healthcare or behavioural psychology or even app developers to drive a programme of innovation. I want to make smart lighting that is more holistically connected than just the driver and the lamp. I want to connect to the rest of the world. I have no idea how to do that yet but I want to find a way. Why specifically Amsterdam? It’s nothing to do with the fact that I live here! The language and travel connection advantages are obvious but Amsterdam is so creative in design, architecture and technology, with a lot of great talent. Many great architects are based in the Netherlands like Mecanoo, MVRDV, UNStudio, OMA etc. Hi-tech companies like Cisco, Google, Microsoft and IBM have their European headquarters here. They are all now looking at lighting and I am very interested in working with them. They don’t care about the mechanics of manufacturing lamps but they can bring some fresh ideas to the debate. Everyone at Zumtobel cares passionately about lighting and we can bring our expertise to the table. You had some time between leaving Philips and joining Zumtobel. What did you get up to? I was busy! I went back to my roots and did some small lighting design projects. I also had more time to dedicate to this year’s Amsterdam Light Festival (I’m the founder) which was very rewarding. And I am involved in a documentary film about light based on a theatre production of Prometheus: The Poem of Fire by Alexander Scriabin that I’m working on. Scriabin composed the piece about light in 1910 when electric light had just been invented. There have been several productions of it when lighting has been involved but this will have a modern, fully immersive lighting interpretation. It will be shown here in Amsterdam in December this year for the International Year of Light. www.rogiervanderheide.com www.zumtobel.com

out of darcness comes light... ...welcome to darc night

a unique international decorative and architectural lighting awards concept and event from


member of


entries now being accepted on www.darcawards.com



[snapshot] Paul Pamboukin has over 30 years experience working with light. He cut his teeth in the theatre and was Chief Lighting Designer at the State Theatre in Pretoria before moving to event lighting and then establishing Pamboukian lightdesign in 1990.


Alice Lane is the first in a new breed of exclusive health clubs from Virgin Active. Gone are the downlights and factory aesthetics and in arrives mood lighting and a warm atmosphere. The red, off-centre stairs detract attention from the cosy lounge space behind, while the cove-like speckled sitting room offers personal lounge areas and individual interior luminaries add definition to the lounge atmosphere. Much of the lighting is bespoke design - luminaires are floating disks and panels with differing colour temperatures in different areas, used to not only demarcate the various activity zones but complement different activities in an appropriate ambience. Profile spotlights cast gobo dots onto the offshuttered ceiling above the pool and red LEDs in the handrail define the edge of each step of the glossy staircase. Above, seemingly floating irregular amorphic mirror disks mingle the reflections from below, with the reflected light from the different exercise areas announcing each space on the upper floor. Scattered custom-made circular incandescent coloured discs contrast with the matt black concrete roof structure lined with service conduits to give mood over the open plan cardio area. By contrast the muscle toning area is lit with lines of cold white LED panels. Windowless glazed boxes against the interior walls for body and mind work appear spacious and intimate. The wide bands of LED lighting from floor to floor are graphically decorative and functional. Fully programmable, RGB colour control allows instructors to set the mood for their specific session.


As part of a public art programme, artist William Kentridge and sculptor Gerhard Marx coneptualised ‘Firewalker’, a threedimensional object. Moving around what looks like a puzzle of a sculpture, viewed from one of two specific points, the piece resolves into two different images. Carrying hot coals on her head, the Firewalker is seen north while the miner can be seen from the south. To ensure no shadows were created and the images weren’t distorted by blending of the black panels, the piece is lit accordingly. To achieve this, three metal halide projectors illuminate the sculpture from the front and it is backlit with a metal halide blue projector.



Southpoint Properties’ lighting concept underscores the open white glass box building with controlled splodges of fun, brightly coloured, furniture; underlining its minimalist feel through a basic rational graphic statement. Using a single light source for general lighting, the fluorescent tube is applied as a standard 28W open channel tube light and a 40W circline, with the directional linear spacing of the suspended tracks and rhythmic positioning based on photometric calculations. The cool white light on all floors is broken by warm accent light over areas that require a more intimate atmosphere. The ground floor coffee bar has a raft of 60 spun lampshades with 5W CFL’s clustered together, suspended at the same height to mirror the counter. Above the customer relations lounge custom-made pendants with oversized glare-free reflectors create their own ceiling. The same pendants with additional 50W downlights illuminate the table featured in the orange glazed meeting room. The multiple fittings work to complement the architectural aesthetics.


The hotel’s lighting features a glass pendant chandelier, lit with blue and white LEDs mimicking rain falling in the hotel’s double volume concierge, while 1,000 suspended diamond-like glass crystals lit by recessed RGB LED downlights are programmed to project warm amber colours before fading through to greens, blues and midnight blue. In the hotel foyer red light randomly appears and disappears with the movement of the lifts. LED strips placed in the underside of each tread create a soft warm light up the staircase, while a gentle strip wash from a narrow band of LEDs light the carpets. Bedrooms are entered through a wall of warm light using full-length light boxes, while headboards use light boxes with low bright LEDs that fade down.

PAMBOUKIAN LIGHTDESIGN • DIRECTOR: Paul Pamboukian • HEAD OFFICE: Johannesburg, South Africa • SATELLITE OFFICES: New York and Zurich • ESTABLISHED: 1990 • EMPLOYEES: Six • CURRENT PROJECTS: Alice Lane High-rise Precinct, Johannesburg; Discovery Concept Store, Cape Town; Eastgate Mall, Johannesburg; Falcons Sculpture, Yas Island Abu Dhabi; Holocaust and Genocide Museum, Johannesburg; Hotel on Garapan Island, China; Le Chaland Resort, Mauritius; Mandela Museum, Johannesburg; Menlyn Maine Central Square, Pretoria; PAIH Office Building, Nairobi; Regent Hotel, Doha; Steyn City Mixed Use Development, Johannesburg www.ppald.com



[lighting talk]

This issue we talk to Jennifer Hamilton, founder of interior design practice The Vawdrey House.

COULD YOU TELL ME... …what made you become an interior designer? I am one of those lucky people who is actually doing what they wanted to do from about age 12 ... and is still loving it! I have always enjoyed making the environment around me better and used to lie awake at night redesigning friends’ houses. I’ve now actually designed many of them in reality – for example our Addison Gardens project is the house of an old school friend. I am also a perfectionist and a bit of a control freak – I think those are actually good qualities for an interior designer – it means I can’t stop until I feel the client is happy! ... how important is lighting to your designs? Lighting is crucial. It doesn’t matter what you do with a space, if the lighting isn’t right - or the effect of the daylight upon the colours and materials used - it won’t be as good as it should be. I love atmospheric lighting, which conjures up a mood rather than a task, and I like a space to feel a certain way, whether that is bright and breezy or dark and moody. I don’t like bland. ... why is spending time thinking about and working with light important to you? After many years in commercial design at MoreySmith, where we, as the designer, were generally in control when it came to the lighting, I am finding that lighting for residential projects is more subjective. What I think is the best lighting effect or level does not necessarily suit the client - some people like bright houses, some people (like me) err towards dramatic gloom! So, part of my job is to discover the preferences of each client and tailor the lighting to them, while still making the design work as a whole. ... about the role lighting plays in the light of the city? How do you contribute to that? Lighting plays a big role, and for me the focus is on houses in London [1]. For the most part this is under individual control and I love the random and unplanned nature of the residential scene. Do you ever gaze out over a rooftop or street scene at night and wonder about the rooms that you want to be in and those you don’t? I want to add more of the ones you do! ... how do you approach lighting a building through architecture? In older buildings I like to keep things soft, mixing general lighting, which you can dim according to taste, with accent lighting, which adds a certain feel on its own. This brick wall forms the back of the

Photo: Siobhan Doran Photography

old house we extended in Tunbridge Wells [2] and looks great with antique brass swan necks imitating the old gas lamps. In more modern spaces, I love the way concealed lighting adds an ethereal glow... like this library space for a house in Brook Green [3]. ... about the best and worst illuminated spaces you have visited? There is a pub in my home town which has just spent a fortune refitting itself – we waited eagerly for the result, hoping this would be a lovely cosy gastro pub for a family Sunday lunch. But no... despite a selection of Farrow & Ball paints and a huge array of different and not totally awful light fittings, which I imagine on paper would have looked like a design-led approach, I think that the heights are all wrong, and everything is too bright and cold. During the day there is no atmosphere at all, and at night it’s like sitting in the middle of an empty front room with the curtains open and the ‘big light’ on. Also, surprisingly a lot of hairdressers have awful lighting with sharp spotlights right over your head, leaving horrible shadows under the eyes. On a more positive note, I love cosy low-ceilinged pubs with log fires and candles. The Talbot in Somerset has it just right in their bar... or our recent project for Cullenders Deli in Reigate [4], where industrial wall lights bounce off the tiled walls, creating both a utilitarian and welcoming feel at the same time. ... about the importance of shadows and the balance of darkness and light in your work? Sometimes the change from one element to another is what makes both even better. In a soon to be completed project, we are installing a 4m long tunnel between two cavernous basement spaces. Lined with black, sandblasted oak panels to walls and ceiling and lit only by a concealed LED at the top, this will be an incredibly dramatic space, which will contrast with and enhance the sense of light and space in the rooms either side. In another house in Barnes, London [5] you leave a traditional entrance hall with panelled stairs - just pendant lighting and north facing daylight filtering through a frost glass door - and sliding back the bookshelf step into a bright open-plan living space with fullheight glazing by day, and by night a 7m concealed light-raft, which casts a soft light to the length of the space and down the soft linen curtains. www.thevawdreyhouse.com

Photo: Siobhan Doran Photography


Photo: Siobhan Doran Photography

Photo: Siobhan Doran Photography

Photo: Siobhan Doran Photography



IT’S A FAMILY AFFAIR From the days of spotlights and Par lamps to the modern day lighting we see today Michael Dunk has experienced it all. Today, he remains at the core of his family run business Lucent, which recently partnered with the darc awards, and sees no reason to call it a day anytime soon. Words by Jill Entwistle. Lighting has become an awful lot more complicated since Michael Dunk started out as a salesman with Concord Lighting in 1972. “With the exception of Derek Philips there were no lighting designers in the UK back then,” he said. Everybody used a spotlight or a downlight and chose a Par lamp with a certain beam spread. That was it.” Any expertise resided with manufacturers. Dunk likens calling in on leading designers such as Fitch, to a doctor’s consultation: “We would advise on lighting. There were no lighting designers and lighting wasn’t a big consideration.” But behind the scenes were the seeds of the lighting design profession as we know it today. Barry Hannaford and Maurice Brill, to name just two nascent talents, were in Concord’s schemes department carrying out the plotting and lighting design on drawing boards (no CAD yet, of course). Dunk, and Lucent, the company he founded in 1990, have followed the development trajectory of the modern lighting profession every step of the way. Rising to national Sales Manager at Concord in 1978, Dunk left in 1984 to become Managing Director of a start-up lighting company called Lighting Workshop, partially backed by Concord and based in Covent Garden, London. The aim was to be a design and supply company, with Maurice Brill running the design side. The company quickly became associated with what was then a new source, low voltage, tungsten halogen. “I quickly saw the opportunity for low voltage lighting,” said Dunk. “The only people to do it properly were the French at the time, and the first company to do it properly was Mole Richardson, the stage lighting specialist. They teamed up with GE early on, the first company to bring out the dichroic lamp, and quickly came out with a range of downlights.” Having put together an English range from French products, and subsequently US products, LW rapidly made a name in retail, supplying the likes of department stores House of Fraser and Debenhams, along with Bodyshop. LV sources had a bit of a bumpy




Left The Dolce Vita shopping centre. Right The Plenilunio shopping mall in Madrid.

ride in the early days and Dunk sees a lot of parallels with some of the issues surrounding LEDs as they now bed in as a mainstream source. “There were a lot of challenges in low voltage - contractors running bell wire from the transformer to the fixture, or running ten fittings from one transformer. And like LEDs, heat was another issue.” Crucially at this time, Dunk began making regular marketing visits to the US. As well as sourcing product, the aim was to grow the company’s customer base of North American lighting consultants. Independent lighting design was firmly established and recognised in the US, unlike the UK, where it had only begun to develop in the early to mid-80s, when Jonathan Speirs set up Lighting Design Partnership with Andre Tammes, and consultancies such as Lighting Design International and Equation came into being. With Lighting Workshop acquired by Courtney Pope in 1988 Dunk decided to

strike out on his own in 1990 to set up Lucent Lighting. Although manufacturers still designed the lion’s share of lighting schemes, his experience in the US had left him with the firm conviction that he only wanted to deal directly with lighting designers, and that the new company would steer clear of the design and supply route. “I focussed on this area because lighting designers do quality work,” Dunk said. “I was also very conscious that to be different to my competitors, I would have to have an edge and that edge would be dealing with lighting designers, particularly those who were working internationally. My aim with Lucent was to cultivate the contacts I’d made in the States, especially New York when at Lighting Workshop.” In the early years Lucent acted as a UK distributor for German and US lighting companies such as RZB, RSL, Hess and Ardee, but also designed and began manufacturing a limited range of low voltage and metal halide downlights, the

product area that has always been at its core. Initially the company became particularly involved with shopping centre projects, specified by LDP and LDI among others. The breakthrough came with what turned out to be a long association with New Yorkbased lighting designer Theo Kondos, who specified Lucent for a series of malls in Spain and Portugal. “He was the guy who helped us in business, in a big way. He recognised in Lucent our ability to recreate his ideas. We did a shopping centre in Spain with him in 1991 - a year after we’d started the business followed rapidly by two more. We then did around five a year for eighteen years with both Theo and other consultants. Before the recession in Europe we completed nearly 100 projects.” Another seminal figure was Dallas-based Craig Roberts Associates - Dunk having by now ventured further afield in the States - whom they first worked with on


Some 10,000 ProSpex tiltable downlights were supplied to the Atlantis Palm hotel in Dubai. The initial product rang was designed specifically with the hotel in mind.

the Tommy Hilfiger store in London’s Bond Street. It was the association with CRA that led Lucent to switch from distribution to manufacturing with the launch of the first ProSpex lockable, tiltable downlights in 2007. The initial product range was designed specifically to win The Atlantis Palm hotel project in Dubai, (pictured above) with some 10,000 fixtures supplied. “I owe a lot to Craig Roberts. He basically couldn’t find any European fixtures that had features that compared to American products. At the time he was probably right. Everything here was very stylised. With the Americans it was the Edison Price ethos - dark light reflectors, adjustability, locking on the fixtures and locking rotation so they could focus a job properly. He couldn’t find any European company that was doing that so we started building fixtures for his international work.” From this point the company created an international distributor network and now has a presence in more than 40 countries.

Lucent also developed its second major range, ProSpex Plus square pyramidal and round conical downlights, as a result of CRA, which was specifying for 22 hotels in Mecca (the Jebal Omar development). It meant a huge investment in tooling. “Once again he couldn’t find any European fixtures with the square pyramidal look and with lockable tilt and lockable rotation built in. So we did it. We’ve completed five of those 22 hotels already - around 16,000 downlights. We have to build all the adjustability into the downlight itself and enable it to be installed from below. That’s the challenge.” Lucent also has a long-term relationship with New York-based Schwinghammer Lighting. “The first designers ever to design a gimbal slot system in the ceiling, which they created in the late 1980s,” said Dunk. “We started building gimbal fixtures to Amercian specifications.” The company also developed its pinhole downlight for Schwinghammer. Again

it was US consultants highlighting the deficiencies of European fixtures and driving improvements. “Europeans at the time weren’t conscious of glare control, lamps were very close to the bottom of fixtures and very apparent to the eye,” said Dunk. “Additionally there was no provision for adding louvres and media accessories. The Americans also don’t like anything that projects down below the ceiling like pull-down downlights. They taught us how to do trimless fixtures. “I would say 70-80 per cent of our range is American driven - all our gimbal fixtures, pinhole downlights, the whole range of square and round downlights,” Dunk continued. “We owe the American influence a lot and its particularly rewarding that the UK and international lighting designers have also taken to the fixture designs.” Dunk likes doing quality projects and seems to positively relish being pushed by the most discerning lighting designers to get it as perfect as possible. “I like to work with



Above Llft The Dior store in Milan was a major turning point in the retail sector for Lucent. Top The Lucent team with Michael Dunk and wife Valerie centre. Above left The Polo Ralph Lauren project in New York - central to the company’s move into retail. Above The Principe Pio shopping centre in Madrid.

lighting designers who are very exacting, those who will focus the job themselves at the end and appreciate the features and benefits we have built in. “Our products are of a quality and appearance to satisfy the high-end market. I much prefer to supply this area globally because we are less subjected to the ups and downs of the economy.” At 68, you might think Dunk was contemplating putting his feet up but he and his wife Valerie are as involved as ever in growing the business, whose turnover is currently growing around ten per cent a year. In 2014 Lucent moved to bigger offices with a showroom in north London and a larger warehouse and technical offices in Enfield, expanding from 330 sq metres to more than 1,100 sq metres. The company also invested heavily in creating its own photometric facility, with further upgrades to come, and has IES files for the majority of its luminaires. Most ambitiously of all, last year it launched its fittings into the US market. “It was never my intention to start selling products in the US because there are so many companies there already,” said Dunk.

“However, in my experience the high-end retailers typically want one manufacturer to supply all their requirements globally. So 18 months ago we bit the bullet and put the majority of our downlights into testing and got ETL [proof of compliance with North American safety standards]. We delivered our first light fittings in February 2014 and we have already exceeded all our expectations.” Lucent recently also supplied the Polo Ralph Lauren flagship store in Manhattan (pictured above) and several Mulberry, Tiffany’s and Dior outlets. “So we’re starting to appear on their radar,” continued Dunk. “The lighting designers who’ve used us internationally are starting to use us there as well. We’re probably the only UK company that’s really concentrated on the US market for so long. Around 60 per cent of our business now comes out of the States.” A fair number of lighting companies have fallen by the wayside over the 25 years of Lucent’s existence, and family businesses are notoriously prone to staleness and stagnation. The company’s winning formula is straightforward - remaining true to its founding principles, constant reinvestment,

dedicated staff and an excellent management team, a vigorous approach to innovation and business opportunities, and the willingness to consistently go the extra mile - lighting designers are an exacting bunch when it comes to getting a precise specification backed up by highly responsive service. Some 40 per cent of the fixtures Lucent supplies are standard products that have been customised. “You have to be flexible,” said Dunk. When Lucent started out there were just four people. There are now 45 in the UK alone. Dunk is quick to pay tribute to the backing and support he’s received over the past 25 years from his wife Valerie. “She has been the ying to my yang. Constantly making me think about and consider decisions and directions we have taken, she and has certainly been a great partner. “I’m pleased with the way it’s going but you have to bear in mind we are still a family business, it’s our own money. We enjoy what we are doing. While we’re still actively running the business and enjoying it, we’ll carry on.” www.lucent-lighting.com







The Novo Nordisk Campus consists of two central buildings that are each architecturally unique in their own right but together form the framework of the Danish company’s new headquarters.


Pics: Søren Aagaard and Christina Augustesen, Grontmij ©Novo Nordisk



The atrium and staircase in the NN1 building. The lighting concept for the atrium has been focused on emphasising people’s movements and a flow upwards through the building, as well as on creating lighting that is of an understated nature yet provides grand visual effects.

Novo Nordisk’s new headquarters in Bagsværd, Denmark, is the work of Henning Larsen Architects. Home to the company’s top management, along with around 1,100 administrative staff, the architecture consists of two office buildings sited in a verdant and inviting landscape, inspired by the Danish forests and landscapes. The largest of the two buildings, NN1, is six stories tall, is characterised by a cylindrical massing and comprises a central atrium, auditorium, offices, meeting rooms, quiet rooms, a library, classrooms, kitchenettes and canteen. The complexity of the insulin molecule was a source of inspiration for the architecture, with the helix structures of the insulin molecule creatively informing the building’s rounded form, the atrium’s spiralling inner staircase and the dynamic white balconies. The architecture aims to create a lively space for people to meet, where synergies

JAPANESE Henning Larsen Architectsの設計による ノボ・ノルディスクの新 本 社はデンマークの Bagsværdにあります。経営陣に加え、約1,100 人の事務担当者と設計担当者が働くこの2つ のオフィスビルは、デンマークの森を望む緑豊 かで魅力的な場所に立地しています。2つの建 物のうち大きい方はNN1と呼ばれ、6階建ての 細長い円筒状の建物の中心に中庭、講堂、事務 所、会議室、静寂室、図書室、学習室、給湯室、 食堂が作られています。 もう一つの建物NN2 は、 くさび型の4階建てで、隣りの円筒状のビル からは独立した印象ながら一体感のある設計 となっています。 このNN2は背の低い多角形の 建物に接触する形で建てられており、 それが焦 点、つまり円筒状のNN1をメインに視線の流 れを作っています。設計を担当したGrontmijチ ームは設計の早い段階から深く関与していまし

can be created between employees across different fields, and with guests from around the world. The second building of the campus, NN2, is a wedge-shaped, four story edifice. It has an independent formal expression, yet still relates to the circular-formed neighbouring building. The wedge-shaped geometry of NN2 creates a coherent complex of lower polygonal buildings, which help stage a focal point – the circular main building, NN1. From early on in the design development, it was Novo Nordisk’s desire to bring in a lighting designer and so the lighting design team at Grontmij were heavily involved from start to finish. Based on the architectural visions of Henning Larsen Architects and Novo Nordisk, while considering the diverse functional and aesthetic needs, Grontmij’s lighting design team created a lighting strategy that

た。Henning Larsen Architectsとノボ・ノル ディスクは、 この本社ビルの設計コンセプトとし て、多岐にわたる機能と見た目の美しさを考慮 し、Grontmijの照明を採用しました。Grontmij の照明設計チームは多岐にわたる照明を多層 的かつ一体感を損なわない戦略的な照明とし て設計しました。

ensured an overall lighting concept and hierarchy for the integration of various lighting elements. The lighting strategy has worked to accentuate the building’s iconic significance and identity, the movements and flows throughout the building, and its appearance and functionality during the daytime, evening, and night time hours. So strong was this strategy that Novo Nordisk was awarded the 2014 Danish Lighting Award. This was achieved through a varied lighting environment, where orientation and movement are controlled by vertical lighting, low placement of lighting elements, and variations in lighting levels and lighting characteristics (for example, variations in direct and diffuse lighting, as well as colour temperatures). Anne Bay, Jury Chairman and Director of the Danish Lighting Center commented: “The lighting is integrated and enhances the


层建筑,整体独立而对称,但仍与圆形的相 邻办公楼相联系。NN2 的楔形几何结构为较 低的多边形建筑营造出一个连贯的综合体, 帮助逐级强调一个焦点——也就是圆形的主 建筑 NN1。在设计开发的早期,Grontmij 的 团队即开始积极参与其中。基于亨宁拉森建 筑师事务所和 Novo Nordisk 强调多元功能和 美学需求的建筑学愿景,Grontmij 的灯光设 计团队所设计的灯光策略确保了整体的灯光 理念和多种灯光元素的整合层次。

诺和诺德 (Novo Nordisk) 的新总部位于丹 麦的 Bagsværd,由亨宁拉森建筑师事务所 (Henning Larsen Architects) 担纲设计。作 为公司高层和大约 1,100 名管理行政人员的 办公处所,该建筑包含两栋办公楼。受到丹 麦森林景观启发,该建筑绿荫环绕、风景 怡人。两栋办公楼中较大的一栋 NN1 高六 层,呈圆柱形,包含一个中庭、礼堂、办公 室、会议室、静室、图书馆、教室、厨房和 餐厅。第二栋办公楼 NN2 为一座楔形的四

Le nouveau siège de Novo Nordisk à Bagsværd au Danemark, est l’œuvre du bureau d’études Henning Larsen Architects. La direction de la société et environ 1 100 membres du personnel administratif profitent de l’architecture de deux immeubles de bureaux lovés dans un paysage verdoyant et accueillant, inspiré des forêts et des paysages danois. Le plus grand des deux bâti-


ments, le NN1, comporte six étages caractérisées par une volumétrie cylindrique comprenant un atrium central, un auditorium, des bureaux, des salles de réunion, des salles de repos, une bibliothèque, des salles de classe, des kitchenettes et une cafétéria. Le NN2, le deuxième bâtiment, est un édifice en pointe de quatre étages. Il montre un achèvement formel indépendant, mais s’agence tout de même au bâtiment circulaire voisin. La géométrie en pointe du NN2 crée un complexe cohérent de bâtiments polygonaux moins élevés et offre un point de convergence avec le bâtiment principal circulaire, le NN1. Dès le début de l’élaboration de la conception, l’entreprise Grontmij établit une ferme implication. L’équipe de conception de l’éclairage de Grontmij imagina une stratégie assurant un concept d’éclairage général et une hiérarchie pour l’intégration des différents éléments d’éclairage, basé sur les visions architecturales de Henning Larsen Architects et de Novo Nordisk, tout en tenant compte des divers besoins fonctionnels et esthétiques.


Left Atrium, Building NN2 - the dynamic lighting scenarios in the skylight uses warm white light, amber shades, and light in blue-green-purple shades. Right Building NN1 - the canteen lighting; lighting of the atrium’s smaller light-zones; lighting of the auditorium in a blue scene.

architecture and the building’s functions without drawing attention to itself. This project exemplifies the excellent developments in contemporary lighting design, where it is not the light itself that is eye-catching, but the architectural totality and the atmospheres that are created by the light,” The strategy developed by the team at Grontmij has ensured sustainable lighting by prioritising illumination levels, placement and control. The lighting strategy has been an important design parameter throughout the entire design and construction process, and the detailed planning followed the same lighting strategy as well. Moreover, it has been a crucial factor in interdisciplinary understandings and communications. The design and implementation of the lighting was carried out in close collaboration between the client, lighting designers, architects, interior designers,

DEUTSCH Der neue Firmensitz von Novo Nordisk in Bagsværd, Dänemark, ist die Arbeit von Henning Larsen Architects. In dem Gebäude ist neben dem Verwaltungspersonal mit rund 1.100 Angestellten die oberste Führungsebene des Unternehmens untergebracht. Die Architektur besteht aus zwei Bürogebäuden, die in einer grünen und einladenden Landschaft liegen und durch die dänischen Wälder und Landschaften inspiriert wurden. Das größere der beiden Gebäude, das NN1, hat sechs Etagen, kennzeichnet sich durch einen zylinderförmigen Komplex und umfasst ein zentrales Atrium, ein Auditorium, Büros, Konferenzräume, Ruheräume, eine Bibliothek, Unterrichtsräume, kleine Küchen und eine Kantine. Das zweite Gebäude, das NN2, ist ein keilförmig geformtes Bauwerk mit vier Etagen. Es hat einen unabhängigen formalen Ausdruck und ist dennoch verbunden mit dem kreisförmig geformten Nachbargebäude. Die keilförmige Geometrie des NN2 schafft einen kohärenten Komplex kleinerer, polygolaner Gebäude, die dazu beitragen, einen Blickpunkt zu inszenieren – das

contractors, and suppliers, and the projectspecific solutions were tested in onsite mock-ups. Based on the lighting strategy, concepts were then developed for the atrium, auditorium, library, meeting rooms, canteen and kitchenettes. The cylindrical form of the atrium is highlighted by the vertical lighting of the wall surfaces in the atrium’s circulation zones, whereby the shape of the atrium is heightened. The circular staircase has lighting integrated into its handrail, which illuminates the wood treads in a manner that reflects the light in a warm glowing colour. The handrail naturally provides a safeguard, but its built-in lighting also illuminates the horizontal tabletop surfaces in the break out spaces located along the balconies. This safeguarding element becomes a luminous parapet that flows and wraps its way around the glazed roof of the atrium, which is accentuated by pale

kreisförmige Hauptgebäude NN1. Von Beginn der Designentwicklung an war das Team von Grontmij stark beteiligt. Auf Grundlage der architektonischen Visionen von Henning Larsen Architects und Novo Nordisk hat das Beleuchtungsteam von Grontmij unter Berücksichtigung diverser funktioneller und ästhetischer Bedürfnisse eine Beleuchtungsstrategie geschaffen, die ein komplettes Beleuchtungskonzept gewährleistet und für eine Hierarchie bei der Integration der verschiedenen Beleuchtungselemente sorgt.

ITALIANO La nuova sede di Novo Nordisk in Bagsværd (Danimarca) è stata realizzata da Henning Larsen Architects. Sede del top management della società, insieme ad un personale amministrativo di circa 1.100 persone, l’architettura si compone di due edifici per uffici situati in un invitante paesaggio verdeggiante, ispirato ai boschi e ai paesaggi danesi. Il più grande dei due edifici, NN1, è alto sei piani, è caratterizzato da una volumetria cilindrica e comprende un atrio centrale, un auditorium, degli uffici, delle sale riunioni, delle hall, una biblioteca, delle aule, delle piccole

blue light. The parapet illuminated in warm white light contrasts naturally with the pale blue. At the bottom of the atrium, smaller lightzones are created within the greater space with the help of floor lamps, table lamps and directed light from pole-mounted luminaires. These lighting elements create a more intimate ambiance and smaller momentary spaces that can be used for short meetings and briefer stays. The design also offers variations in light zones and lighting atmospheres, which simultaneously support the functional and aesthetic needs of the people using the building. Throughout the entire design process the focus remained on integrating the luminaires into the architecture and avoiding glare so that light is primarily visible when it hits the various surfaces. The lighting system has been implemented using energy efficient LED light sources.

cucine con angolo cottura e una mensa. Il secondo edificio, NN2, è di quattro piani ed è a forma di cuneo. Esso presenta un`espressione formale indipendente, ma si rifà ancora agli edifici circostanti che sono di forma circolare. La geometria cuneiforme del NN2 crea un complesso coerente di edifici poligonali piú bassi, che aiutano a mettere in risalto l’edificio centrale circolare NN1. Il team di Grontmij è stato fortemente coinvolto sin dall’inizio dello sviluppo della progettazione. Sulla base delle visioni architettoniche di Henning Larsen Architects e Novo Nordisk, tenendo conto delle diverse esigenze funzionali ed estetiche, il team di progettazione luci di Grontmij ha creato una strategia di illuminazione che garantisse un concetto di illuminazione generale, ponendo maggior attenzione all’integrazione di vari elementi di illuminazione.

ESPAÑOL Las nuevas oficinas centrales de Novo Nordisk en Bagsværd, Dinamarca, es obra de los Arquitectos Henning Larsen. Siendo el lugar donde se encuentra la alta gerencia de la empresa junto con alrededor de 1.100 empleados adminis-

trativos, la arquitectura está compuesta de dos edificios de oficinas ubicados en un verde y acogedor paisaje inspirado en los bosques y paisajes Daneses. El edificio más grande de los dos, el NN1, tiene seis pisos y se caracteriza por contar con una distribución cilíndrica y está compuesto de un patio central, auditorio, oficinas, salas para reuniones, salas de descanso, una biblioteca, salones para capacitaciones, cocinas y un bar. El segundo edificio, el NN2, tiene forma triangular y es de cuatro pisos. Cuenta con una expresión formal independiente, aunque aún guarda relación con el edificio vecino de forma circular. La geometría en forma triangular del NN2 crea un complejo coherente de edificios más bajos con forma poligonal, lo cual ayuda a establecer un punto de fuga - el edificio principal circular, el NN1. El equipo en Grontmij estuvo fuertemente involucrado desde un comienzo en el desarrollo del diseño. Basándose en las visiones arquitectónicas de Henning Larsen Architects y Novo Nordisk, a la vez que consideraba las distintas necesidades funcionales y estéticas, el equipo de diseño de iluminación de Grontmij creó una estrategia que aseguraba un concepto general en iluminación y una jerarquía para la integración de varios elementos lumínicos.



The lighting design of the NN1 building’s atrium. The tectonics of the glazed roof are accentuated by pale blue light, framing the ‘heavens’ of the atrium. The parapet that is illuminated in warm white light and the steam of pale blue light contrast each other naturally.

Furthermore, the lighting system has used luminaires that shield the light sources in order to avoid visual discomforts of glare to the greatest extent possible and the luminaires’ light distribution, colour temperatures and colour renderings have been selected based on the functional needs. For example, in the canteen, library, and meeting rooms, spots with a colour temperature of 3,000K, a Ra-value of +90 and a narrow beam light distribution have been utilised. This was done in order to create direct light that gives high-quality colour rendition on the surfaces of the tables in these areas. The direct light and the warm colour temperature support daily functions, as well as supporting direct communications between the people using the building. The direct light has been combined with linear recessed luminaires and wide-beam spots (with a colour temperature of 4,000K and a Ra-value of +80) for the wall lighting and general lighting; this helps frame the various spaces and transitional areas. The combination of diffuse and direct light supports visual comfort, as well as one’s experiences of the spaces, forms and textures. The second building of the Novo Nordisk Campus, NN2, offers a spectacular sculptural atrium, offices, meeting rooms, a

canteen, and a diversity of ancillary spaces. Similar to NN1, this building’s focal point is its atrium, which visually and physically connects the four stories and manifold functions. The atrium has been designed with 50 skylight baffles that poetically disperse daylight into the space and the building’s core. The design and direction of the skylight baffles, influence the play of light and shadow taking place in the building throughout the day and across the year. Daylighting’s dynamic behaviour juxtaposed with the design of the electric lighting’s intensity, direction, and colour temperature help to create the appearance of changing ‘ornamentation’ in the skylight baffles, as well as in the atrium and its adjacent spaces. On the occasions when daylight is insufficient – such as evening hours and the winter months – the electric lighting comes to aid. The concept of the electric lighting involved creating lighting that partly supports the daytime lighting during periods of limited natural light, and partly contributes to the general electric lighting. Likewise, the electric lighting has been designed to accentuate the tectonics of the skylight and to create a welcoming and exciting atmosphere in the atrium as a whole. The electric lighting has been planned using ten different lighting scenarios;

each programmed with a specific dynamic lighting configuration. The different colour shades shift in a slow tempo, characterised by a soft and gradual transition from one shade to another. Most of the scenes work with white light nuances, which span a spectrum from bluish light to neutral white light, and finally to warm light in the form of dark golden hues. The scenes are programmed to align with the daytime lighting’s diurnal and seasonal rhythms, as well as to demarcate special holidays. www.lighting.grontmij.dk

PROJECT DETAILS Novo Nordisk, Krogshøjvej, Bagsværd, Denmark Client: Novo Nordisk Architect: Henning Larsen Architects Lighting Designer: Christina Augustesen, Lighting, Grontmij in cooperation with Henning Larsen Architects

LIGHTING SPECIFIED ERCO Quintessence downlight and wallwasher ERCO Compar spotlight Fagerhult AS RAY 2 ceiling light Fagerhult AS Notor ceiling light Fagerhult AS Pleiad Comfort downlight Fagerhult AS Phase spot Martin Professional Tripix 300 linear LED strip Osram LINEARlight FLEX Osram Double grazer Osram Washlight - RGB and 2700° White Osram Floodlight - RGB and 2700° White Traxon Nano Liner Allegro AC lights Traxon DMX control system

Intelligent Transparency The Illusion of Zero Gravity Highly efficient pendant LED luminaire. Integrated light management. Precise lighting technology with high visual comfort. Light statement in the room: minimalist and clear cut. www.wila.com @WILA_lighting #TrustWILA



Pics: SLA


Novo Nordisk Nature Park is a tranquil space that erases the boundaries between work and leisure, utilising both natural and artificial lighting. Developed by Denmark-based SLA Architects, the Novo Nordisk Nature Park was designed not only as a recreational setting for the two office buildings, but to provide Novo Nordisk employees with an area for dynamic knowledge sharing and synergy across sectors. The park utilises both natural sunlight and artificial lighting to create a tranquil atmosphere during the day and at night. In the daytime concrete surfaces reflect the changes of the sunlight, whereas at night the surfaces become illuminated by scenographic spotlighting. The light is designed to provide the space with an adventurous feel when walking through the park as well as when observing from inside the buildings. “We are inspired by the natural light because it’s dynamic and sensual,” commented SLA Partner Rasmus Astrup. “It is quite natural that light moves and changes character. When the wind blows, the leaves of a tree or surfaces reflect light, so it is always in some sort of motion. It was precisely this fascination of daylight everlasting movement, that has in the Natural Park, inspired us to enable dynamic white light into the different habitats in such a way that the light - almost imperceptible - changes in the strength and pattern.

“Light is not just light. Light is a story about space - it is dynamic, it changes all the time. When light is best, it tells stories and create atmosphere.” Pathways, as well as several of the plant biotopes, are lit up with slightly varying gobo light projections, creating a sense of moonlight and the fixtures are mounted ‘streetlight-style’ on simplistic poles, with both poles and fixtures painted in an elegant dark grey coat. The path light is sensor-driven and is only activated when people approach it. Just as natural light, the artificial light setting of the park will, in this way, never appear the same. All exterior lighting is created with LED luminaires, which are dimmed down to 50% at night to avoid light pollution and keep the energy consumption to a minimum. The landscape design interprets and expands on one of the finest natural expressions known from the Danish Woodland; the dead-ice landscape. The expression is a lush, lightly rolling and varying setting. The landscape uses a wide palette of native plants and holds over 1,000 trees that over time will grow into forests and habitats, offering an informal green frame for both the indoor and outdoor lives of the employees. The landscape’s flowing manifestation aims to encourage meetings between employees,

which in turn encourages an active work environment, knowledge sharing and innovation. In this way, the boundaries between work and leisure are erased and recreational strolls become an integrated part of everyday life at Novo Nordisk. With this in mind, the park trails are designed to give the greatest possible experiences, spatially, topographically and texturally. The trials are tailored to give the greatest sensuous variation of light, shadow, colours and sounds. The curved course of the path provides varied and unpredictable experiences in the daily transit through the park from one building to another. SLA’s landscape provides Novo Nordisk with a strong, new brand while employees, customers and guests have a stress-free recreational space for social outdoor meetings. www.sla.dk

PROJECT DETAILS Novo Nordisk Nature Park, Bagsværd, Denmark Client: Novo Nordisk Architect and lighting design: SLA Architects

LIGHTING SPECIFIED Bega inground armatures iGuzzini Maxiwoody compact floodlights iGuzzini luminous rushes Martin Professional Exterior 400 image projectors

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t: Architec e u b tta Taglia Benede er: Develop .a. s a ñ a p Es L’Oréal ctor: Constru dos ia c o IC As ring: Enginee .P. .C S res Estructu rs o lt u s n o Installer: AGW C SAISS Year: 2013 Lighting: aui -made M Custom de Avant a -m Custom + Trimless Fil Flat Nic

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MOVING ON UP Chifley Tower’s updated lobby lighting, created by design consultancy PointOfView, incorporates strong stainless steel design elements and pendants in order to bring the building’s elegance and Art Deco styling to life.


Photos: Jackie Chan



Artwork and art sculptures featured in the lobby was highlighted using ERCO LED track spots.

Drawing comparisons to some of the world’s greatest buildings, such as the Chrysler and Empire State Building in New York, and the Petronas Twin Towers in Kuala Lumpur, the Chifley Tower in Sydney, Australia, epitomises the luxury and opulence of the Art Deco era. Occupying one of Sydney’s most expensive sites, bought by the Bond Corporation in 1988 for AUS$306m, the 6,438.6 sq metre site, designed by New York architects Kohn Pederson Fox in association with Travis McEwen, is one of the most elevated in the city with harbour views never to be built out. When the time came to upgrade

the main lobby and satellite lobbies, such an iconic Sydney landmark required a delicate approach, particularly with the lighting. While the fabric of the building was constructed from such quality material that it required no attention, it was felt it deserved to be celebrated in a more appropriate light. Design consultancy PointOfView (POV) was brought on board by building owner GIC to work on the upgrade of Chifley, having previously worked together on the exterior lighting at Sydneybased office accommodation No.1 Martin Place. “The building has such a strong aesthetic

our design had to look timeless and as if it was part of the original,” said Mark Elliott, Principal of POV. “This drove a bespoke solution whereby we designed all of the equipment used in the space.” The Chifley concept began with researching Art Deco buildings such as the Chrysler for inspiration, and then taking these approaches and developing them into a more contemporary style, bringing Chifley into the 21st century so that it can stand as a premium building for the future to come. The palette of materials used in the original KPF design is a collage of fabulous stones with stainless steel detailing, Elliot


Photo Credits: Grieg Hall in Bergen, Norway | Xicato Artist Series, Lighting Design by Kim E. Hughes - Bright Norway AS | Luminaires by Roblon




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The building has such a strong aesthetic, PointOfView’s design had to look timeless and as if it was part of the original, driving a bespoke lighting solution.

commented: “The lighting approach was obvious to us, we had to freshen the space during the day, in order to enhance the daylight ingress while creating a more dramatic space after dark. “We washed the rear wall, which draws the eye through the full height glazing into the space from an external view point. The light bouncing off the walls is what lights the space and together with uplighting to the ceiling, creates a sense of volume.” ERCO metal halide wall washers were used in the double height spaces, while ERCO LED wall washers brought single height spaces to life. In order to highlight the artwork featured in the lobby, ERCO LED track spots

JAPANESE フルトン・センターは300,000人の通勤者を抱 えるマンハッタン島最南端への入り口にありま す。 設計を担当したのはGrimshawで、 ARUP との協業でした。 照明デザインはニューヨーク を拠点とするJames Carpenter Design Associatesが行いました。 フルトン・センターの 外部からの 建築費用は140億ドルに上ります。 光を建物内に導く直径53フィートの眼には、James Carpenterの設計による装飾ピース Sky Reflector-Netが置かれて光を蓄えます。 かすかに光るこのピースは、 このアトリウムを光 で満たしたいという設計者の願いの現れでま す。 アトリウムの円錐形が緊張感を醸し出し、 こ の装飾ピースが目線を空から建物の中心部に 向けて下向きに誘導しています。 内装デザイン は入場者の動きを妨げず、 視線を複数階に広

were implemented. To replace the previous suspended square light fixtures, which felt underscaled and awkward in the wing shaped lobby, POV custom designed a series of stainless steel rings made by Lightforce, providing uplight to the ceiling during the day through the use of Xicato LED modules and focused downlighting at night thanks to acdc LED downlights integrated into the rings. The materials used for the custom fittings were critical and had to match the existing stainless detail of the building – the grade of stainless steel, weight and direction of the brushing were all tested until a perfect match found. Together with the rings, a custom cluster

げます。 James Carpenterによるプロジェクト の第二の要素はデイ・ストリートの地下からフ ルトン・センターを新築されたワールド・トレー ド・センターに向けて結ぶ地下通路の建設で した。 このトンネルは、黄昏を模したインテラク ティブな光の壁が特徴的です。

CHINESE 奇夫利大厦位于悉尼最昂贵地段,由邦德 公司于 1988 年耗资 3.06 亿澳元建成,占地 面积 6,438.6 平方米,由位于纽约的科恩佩德森-福克斯建筑师事务所 (Kohn Pederson Fox) 联合 Travis McEwen 建筑师事务 所担纲设计,是城市海港风景线上许可建 设的最高建筑。在对主厅和卫星厅进行升 级改造工作时,这样一座悉尼地标式建筑 也需要精致的工作,尤其是在灯光上。考

of pendants – also made by Lightforce and featuring acdc LED downlights - were suspended over the reception desk to anchor it in the space and give visitors a point of destination, where previously it had been lost in the open space. The lift lobbies were also suffering from a cave effect and so a new architecturally integrated stainless beam was strapped through the lift lobbies, connecting the existing lateral beams. Elliot explained: “The previous wall light and downlight combination left the walls and ceiling dark. Lift lobbies are a critical part of the journey to the office floors, these transition spaces shouldn’t be

虑到大厦建筑材料如此上乘,就必须搭配 合适的灯光加以点缀。大厦业主 GIC 委托 设计咨询机构 PointOfView (POV) 担纲奇 夫利大厦的升级工作,他们曾合作创建了 悉尼商住楼“马丁广场 1 号”的外部灯光 工程。奇夫利的理念起始于对装饰艺术建 筑作品的研究,如克莱斯勒公司总部,以 作为灵感来源,并取其精华再将其发展成 为一种更为现代的风格,将奇夫利大厦带 入了 21 世纪,以让其永远屹立于未来的风 景线中。

FRANÇAIS Acheté par le Bond Corporation en 1988 pour 306 M$ AUS, et occupant l’un des endroits les plus chers de Sydney, le site de 6 438.6 m2 conçu par les architectes New Yorkais Kohn Pederson Fox et Travis McEwen est l’un des plus élevés de la ville et offre un panorama du port qui

restera vierge de construction. Lorsqu’il s’agit de transformer le hall d’entrée et les halls satellites du gratteciel le plus emblématique de Sydney, une approche réfléchie, en particulier en ce qui concerne son éclairage, était exigée. Bien que la structure du bâtiment ait été construite à partir de matériaux de qualité, de sorte qu’elle ne nécessitait aucune attention particulière, le bâtiment lui méritait un traitement de la lumière plus adéquat. Le propriétaire du gratte-ciel, GIC, invita l’équipe de consultants en conception de PointOfView (POV) à travailler sur l’amélioration du Chifley, puisqu’ils avaient déjà collaboré à l’élaboration de l’éclairage extérieur des locaux du N° 1 Martin Place à Sydney. Le concept appliqué au Chifley démarra par une recherche de bâtiments Art Déco tels que le Chrysler pour s’en inspirer et ensuite prendre ces idées et les faire évoluer en un style plus contemporain, transportant ainsi le Chifley dans le 21e siècle pour que son architecture de standing soit admirée par les générations à venir.


Downlighting and uplighting used for the rings, pendants and throughout the lift lobby included Xicato LED modules, acdc LED downlights and T5 fluorescent lamps.

forgotten.” The new beam houses T5 uplights to uplift the ceiling and wash light across the stonewall cladding, while downlighting from acdc enhances the diamond pattern in the stone floors. The upgrade to this space relied purely on the lighting to enhance it with light and with a new sculptural form. “This kind of solution can only be achieved through custom designed solutions, the kind of work that we pride ourselves on,” said Elliott. “We light spaces but we also create beautiful objects to light from. This project demonstrates the power of light and how a it can change the face of a space.”

DEUTSCH Der 6.438,6 Quadratmeter große, durch den New Yorker Architekten Kohn Pederson Fox in Zusammenarbeit mit Travis McEwen konzipierte Standort auf einem der teuersten Plätze Sydneys, der 1988 für AUS$306m durch die Bond Corporation erworben wurde, gehört zu den höchsten der Stadt mit einer unverbaubaren Aussicht auf den Hafen. Als die Zeit kam, die Eingangs- und Satellitenhallen zu renovieren, verlangte solch ein ikonisches Wahrzeichen von Sydney viel Fingerspitzengefühl, insbesondere im Bereich Beleuchtung. Während die Struktur des Gebäudes aus solch qualitativ hochwertigem Material konstruiert wurde, dass keine besonderen Vorkehrungen zu treffen waren, herrschte die Meinung, dass die Beleuchtung zu verbessern war. Die Designberater PointOfView (POV) wurden durch den Eigentümer des Gebäudes GIC beauftragt, an der Auffrischung des Chifleys mitzuarbeiten, nachdem sie zuvor zusammen an

The aesthetics of the space are supported by all the usual sustainable design technologies; using LED and lighting control systems that harvest daylight and transition from day to night scenes, as well as out of hours settings ensuring the installation not only creates different settings, but is efficient in its use of energy. Concluding, Elliot said: “It’s amazing to see how the style of architecture has changed from the late ‘80s to today. KPF are great architects and great architecture stands the test of time, a slight face lift was all that was needed to bring this gem back to life.” www.pov.com.au

der Außenbeleuchtung der Büroräume No.1 Martin Place in Sydney gearbeitet hatten. Das Chifley-Konzept begann damit, Art Deco-Gebäude wie das Chrysler als Inspirationsquellen zu suchen und diese Ansätze anschließend zu nutzen, um sie zu einem zeitgenössischen Stil weiterzuentwickeln und somit das Chifley ins 21. Jahrhundert zu integrieren, so dass es auch in Zukunft als Gebäude der Spitzenklasse fortbestehen kann.

ITALIANO Occupando uno dei siti più costosi di Sydney, acquistato dalla Bond Corporation nel 1988 per AUS $ 306 millioni e con una superficie di 6.438,6 m², la Chifley Tower é stata progettata dagli architetti di New York Kohn Pederson Fox in collaborazione con Travis McEwen ed è uno dei punti più alti della città con vista sul porto che sia mai stato costruito. Al momento di ristrutturare la hall principale e quelle piú piccole, un punto di riferimento simile della cittá ha richiesto un approccio delicato, in particolare per

PROJECT DETAILS Chifley Tower, Sydney, Australia Client: GIC Lighting Design: PointOfView

LIGHTING SPECIFIED ERCO quintessence lensed wall washers LED & metal halide ERCO LED track spots Modular Lotis downlights T5 fluorescent lamps Lightforce custom made lighting rings (with Xicato 41WXLM modules) and pendant elements

l’illuminazione. Mentre la struttura dell’edificio era stata realizzata con dei materiali di qualità e, quindi, non ha richiesto molta attenzione, si è ritenuto opportuno che l’interno meritasse di essere celebrato con una luce più appropriata. I consulenti di progettazione PointOfView (POV) sono stati assunti dal proprietario dell’edificio GIC per lavorare alla ristrutturazione della Chifley, avendo già lavorato insieme sull’ illuminazione esterna dell’ufficio N. 1 di Sydney Martin Place. Il concetto Chifley é iniziato con la ricerca di edifici Art Deco, come quello Chrysler, ai quali ispirarsi, per poi prendere questi approcci e svilupparli con uno stile più contemporaneo, portando Chifley nel XXI secolo in modo che potesse presentarsi come un edificio símbolo per l’avvenire.

ESPAÑOL Ocupa uno de los sitios más caros de Sídney y fue adquirido por Bond Corporation en 1988 por AUS$306 Millones. El lugar de 6.438 metros cuadrados, diseñado

por los arquitectos Kohn Pederson Fox de Nueva York, junto con Travis McEwen, es una de los más altos en la ciudad con vistas hacia el puerto. Cuando llegó el momento de actualizar el salón principal y los salones satélites, un sitio tan emblemático de Sídney como éste, requirió un tratamiento delicado, particularmente con la iluminación. Mientras que la estructura del edificio fue construida de una calidad de material tal que no requería de atención, se merecía tener la luz más adecuada. La consultora de diseño PointOfView (POV) fue convocada por el propietario del edificio, GIC, para que trabaje en la actualización de Chifley, habiendo trabajado ya juntos en la iluminación exterior en las instalaciones de las oficinas en No. 1 Martin Place, con base en Sídney. El concepto de Chifley comenzó con la búsqueda de edificios Art Deco, como el Chrysler, para inspiración y luego tomando estas estrategias y desarrollándolas hacia un estilo más contemporáneo, trasladando al Chifley hacia el siglo 21 para que se convierta en un edificio premium del futuro venidero.



Pics: Provided by Grimshaw except when noted

IN A NEW YORK MINUTE The Fulton Center is the new transport hub for Lower Manhattan. Styled as both a retail space and a Subway interchange the impressive new structure with its centrepiece oculus was designed by Grimshaw in conjunction with Arup and features a daylighting design from James Carpenter Design Associates. The Fulton Center is the gateway to Lower Manhattan and is the entrance through which 300,000 commuters arrive daily in the city’s business district. Inspired by the awe inspiring Grand Central Station in Midtown and standing between the newly opened World Trade Center Memorial and City Hall, home to NYC’s trend setting liberal mayor Bill de Blasio, the Fulton Center is a transport hub combining a number of Subway stations with 65,000 square feet of retail space. Designed by Grimshaw in conjunction with

Arup, with a daylighting design from the New York based James Carpenter Design Associates, the Fulton Center cost 1.4 billion dollars to build and the Centerpiece of the project is the 53 foot-diameter oculus that allows daylight to pour into the building’s principle atrium. The impressive ceiling is formed from a cable structure that supports aluminium panelling that caches the light and appears to shimmer. Grimshaw was appointed by the Metropolitan Transportation Authority Capital Construction Company as the lead architect

on the project in collaboration with prime design consultant Arup. Grimshaw after the completion of a considered design process, designed a dynamic transport environment that treamlines connectivity and enhances the user experience for transit passengers who use the station daily. The surging redevelopment of Lower Manhattan that has followed after the difficulties prompted by 9/11 and the financial crash of 2008 prompted the creation of the station and it is a vital link to this commercial center and its growing residential sec-


Pic: Patrick J. Cashin

tor, acting to connecting eleven New York City Transit subway lines and easing access to PATH trains serving New Jersey. “From the beginning, we were inspired by the ambience and activity of Grand Central Station,” says Grimshaw Project Partner Vincent Chang. “We endeavoured to design a similar environment for transit customers and visitors, creating a new front door to downtown New York. By providing a dramatic, light-filled civic space and incorporating the historic Corbin Building, the transit center repre-

sents a microcosm of Lower Manhattan’s evolution, one that reflects both the legacy and the revitalisation of the district.” The Fulton Center is organised around a large-scale atrium contained within an elegant, transparent façade. Tapered steel columns draw inspiration from the historic neighbourhood’s cast-iron buildings and complement the integration and restoration of the adjacent Corbin Building, the historic Romanesque Revival Style office building which dates back to 1888, a time before New York became the high-rise city it is

The oculus in the Fulton Center acts as a photographic centrepiece to the building.



Above The open plan nature of the building allows commuters to easily move around the interior of the building ensuring easy navigation around the Center’s knot of Subway stations. Above right The oculous in the ceiling of the building.

today. The open design provides unimpeded customer movement and sightlines across a level ground plane extending from the major thoroughfares of Broadway and Fulton Street. Carefully aligned entrances and exits allow the streetscape to permeate the building, defining clear and efficient pathways to all trains. Once beyond fare control and underground, passengers encounter brighter, widened passageways than in the older stations, with clear signage connecting the complex array of platforms.

JAPANESE シドニーで最も地価の高い一角を占めるこの 建物は、1988年、3億6百万オーストラリアド ルでBond Corporationに売却されました。 ニューヨークを拠点とする建築会社、Kohn Pederson Foxは、 この6,438.6m2の建物 をTravis McEwenと共同で設計しました。 シドニーの高台に位置し、港の眺望を誇る チフリータワーは未だ完成を見ることなく、 メインロビーとサテライトロビー改築の際は、 シドニーの有数のランドマークとして照明に は特に細心の注意を要しました。 ビルに使用 された織物類は主張しすぎず、 それでいて見 栄えがするように照明が設計が変更されま した。建物所有者であるGIC社は、チフリー タワーの改装に際し、以前シドニーのオフィ

The transit hub’s atrium ascends to 120 feet and is topped by a conical dome Centerd on the concourse below. The dome is truncated by an angled glass oculus oriented to the southern sky. The central architectural concept of redirecting natural light deep into the transit environment in an effort to humanise the space and orient passengers, culminated in the design of the dome’s interior and a new integrated artwork. Sky Reflector-Net (2013) is the work of engineer, architect and artist; a collaboration with Arup, Grimshaw and James Carpenter

スビルNo.1 Martin Placeの建物外装照 明での協業を踏まえて設計コンサルタントの PointOfView(POV) に提案しました。 チフリ ーのコンセプトは当初、 クライスラーの本社 ビルのようなアールデコ式のビルといったも のでしたが、検討を重ねるうちに現代的なデ ザインに変わり、未来を見据えた21世紀のビ ルにふさわしい、高級感あふれるデザインと なりました。

CHINESE 富尔顿中心是下曼哈顿区的门户,每天 要见证 300,000 名往返人流。该中心由 Grimshaw 联合 ARUP 设计,日间灯光设 计源自纽约詹姆斯·卡彭特联合设计事务 所 (James Carpenter Design Associates)。 富尔顿中心耗资 14 亿美元建成,具有直

Design Associates, commissioned by the MTA Arts for Transit and Urban Design and MTA Capital Construction Company. Held aloft below the oculus, the artwork paints an ever-changing image of the sky across the atrium interior. The Sky Reflector-Net builds upon the architect’s desire to ensure that the atrium is light filled. Tensioned within the atrium’s conical form, the artwork acts to fold the sky downwards into the core of the building, helping to create the grand civic room that the designers hope will stand in posterity as a rival to Grand Central.

径 53 英尺的圆孔,可让阳光射入建筑。 由 James Carpenter 设计的艺术大作 Sky Reflector-Net,位于圆孔中,可捕捉光线 并闪光。设计师的初衷是使得整个中庭光 线充足。在中庭的圆锥形中经过处理后, 该艺术作品会将阳光向下折射至建筑核心 部位。内饰设计为顾客自由通行提供便 利,且视线可横跨整个楼层。James Carpenter 为该项目创造的第二个特别元素就 是在 Dey Street 下修建了连接富尔顿中心 和新世贸中心的 PATH 站的地下通道。该 通道采用了交互式的光墙,可营造出美轮 美奂的黄昏映像。

FRANÇAIS Le Centre Fulton est la passerelle vers le bas de Manhattan pour 300 000 banlieusards. Le cabinet Grimshaw, en col-

laboration avec la maison ARUP, en fut le concepteur, tandis que le groupe James Carpenter Design basé à New York en imagina l’éclairage. La construction du Centre Fulton a coûté 1,4 milliard $ et dispose d’un oculus de 53 pieds de diamètre permettant au bâtiment de baigner dans la lumière du jour. Au milieu de l’oculus se trouve le « Sky Reflector-Net », une œuvre d’art conçue par James Carpenter. Celle-ci capte la lumière et la fait scintiller, répondant ainsi à la volonté de l’architecte de voir l’atrium resplendir de lumière. Reflétant la forme conique de l’atrium, l’œuvre tendue semble attirer le ciel vers le bas, au cœur même du bâtiment. Le design intérieur procure une circulation des clients et un angle de vision sans entraves sur tout le rezde-chaussée. Le deuxième élément du projet pour James Carpenter était la création d’un passage souterrain sous la rue Dey reliant le Centre Fulton à la station PATH du nouveau World Trade Center. Le tunnel est doté de murs de lumière interactive qui simule la tombée de la nuit.

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Das gute Licht. For better architecture.



The egg-like interior of the Fulton Centre, the atrium ascends 120 feet.

JCDA, working with Schlaich Bergermann und Partner created a cable net structure that fits inside the oculus perfectly. Designed to resemble the film that forms a soap bubble, the façade draws the eye upwards to the ephemeral, diurnal and season rhythms of the sky. The skylight features a perforated facetted reflector system that is able to animate and redirect seasonal sunlight into the atrium. Visible from the corner of Broadway and Fulton the sculpture creates a distinctive point of orientation amid the busy city. The second element of the project for JCDA was the creation of an underground pas-

DEUTSCH Das Fulton Center ist das Tor nach Lower Manhattan für 300.000 Pendler. Der Bau des Fulton Centers, das von Grimshaw in Zusammenarbeit mit ARUP entworfen wurde, mit einem Tageslichtdesign von James Carpenter Design Associates, die in New York ansässig sind, hat 1,4 Milliarden $ gekostet und weist ein Rundfenster mit einem Durchmesser von 53 Fuß auf, dank dem das Tageslicht ins Gebäude einfallen kann. Sky Reflector-Net, ein von James Carpenter entworfenes Kunstwerk, ist im Rundfenster installiert, nimmt das Licht auf und scheint zu flackern, ganz nach dem Wunsch des Architekten, der gewährleisten wollte, dass das Atrium lichtdurchflutet ist. Das Kunstwerk, das innerhalb der konischen Form des Atriums gespannt ist, soll den Himmel nach unten in den Kern des Gebäudes klappen. Die Inneneinrichtung verschafft dem Kunden

sageway under Dey Street linking the Fulton Center to the PATH station at the new World Trade Center. The tunnel features interactive light walls that simulate the experience of twilight meaning that the two sections of the project are linked by depictions of the sky. According to New York Governor Andrew Cuomo, “This new station makes traveling easier for subway riders, and is a beautiful public space for visitors and commuters to enjoy. We now have a new cornerstone in Lower Manhattan, and I am proud to see this unique complex opened to the public.” Both a neighbourhood asset and regional interchange, the Fulton Center fulfils a sig-

eine ungehinderte Bewegung und Sichtlinien über Fläche auf Bodenniveau. Das zweite Projektelement für James Carpenter war die Schaffung eines unterirdischen Gangs unter Dey Street, der das Fulton Center mit der PATH-Station im neuen World Trade Centre verbindet. Der Tunnel verfügt über interaktive Lichtwände, die die Erfahrung von Dämmerlicht simulieren.

ITALIANO Il Fulton Centre è l’ingresso al Lower Manhattan (la parte meridionale dell’isola) per 300.000 pendolari. Progettato da Grimshaw in collaborazione con ARUP, con un progetto dei newyorkesi James Carpenter Design Associates che prevedeva lo sfruttamento della luce del giorno, il Fulton Centre è costato 1,4 miliardi di dollari per la sua costruzione e dispone di una sorta di occhio di circa 16 metri di diametro che permette alla luce diurna di entrare

nificant civic role as a gateway to and from Lower Manhattan. Today, commuters and visitors alike will arrive and depart through a memorable, contemporary urban transit centre that celebrates the city’s history while looking forward to the area’s future. www.grimshaw-architects.com www.arup.com www.jcdainc.com

PROJECT DETAILS Fulton Centre, New York, USA Client: New York City Transit Authority Architect: Grimshaw, Arup Daylighting Design: James Carpenter Design Associates

nell’edificio. Lo Sky Reflector-Net, un’opera progettata da James Carpenter, si trova all’interno dell’occhio e, assorbendo la luce, sembra luccicare, rispettando il desiderio dell’architetto di conferire all’atrio un’estrema luminositá. Teso all’interno della forma conica dell’atrio, il disegno fa sì che il cielo “scenda” al centro dell’edificio. Il design degli interni offre il libero movimento dei clienti ed una visuale dal piano terra. Il secondo elemento del progetto di James Carpenter è stata la creazione di un passaggio sotterraneo sotto Dey Street che collega il Fulton Center alla stazione PATH presso il nuovo World Trade Center. Il tunnel è caratterizzato da pareti interattive luminose che simulano il crepuscolo.

ESPANOL El Centro Fulton es la puerta hacia el Bajo Manhattan para 300.000 personas. Disenado por Grimshaw junto con

ARUP, con un diseno de iluminación natural de James Carpenter Design Associates de Nueva York, el Centro Fulton costó $1.4 billones en ser construido y presenta un óculo de 16 metros de diámetro que permite el ingreso de la luz natural al edificio. El Sky Reflector-Net, una obra de arte disenada por James Carpenter, se encuentra dentro del óculo captando la luz y pareciendo brillar, construido sobre el deseo del arquitecto para asegurar que el patio interior esté lleno del luz. Tensionado dentro de la forma cónica del patio, la obra de arte actúa plegando el ingreso de la luz del cielo hacia abajo en dirección al núcleo del edificio. El diseno interior permite el movimiento de los clientes sin impedimentos y la visibilidad a través del plano horizontal. El segundo elemento del proyecto para James Carpenter fue la creación de un pasadizo bajo tierra bajo la calle Dey que uniera el Centro Fulton y la estación PATH en el nuevo World Trade Center. El túnel presenta paredes interactivas de luz que simulan el crepúsculo.


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IZB Residence is at the heart of Martinsried Life Science Campus, providing scientists from around the world with an elegant space to engage in thoughtful discussion before unwinding at the end of each day. Making the most of the space, Occhio’s lighting concept pursues the principle of connection between architecture, interior design and lighting blend.

Pics: Robert Sprang


Design hotel IZB Residence, located in the heart of the Martinsried Life Science Campus, stands at an impressive 27-metres high - encompassing seven-storeys and featuring incisive, elegant design. Rising from a triangular floor plan, the IZB is designed as a faculty club serving as a meeting place for guests and scientists from the surrounding research facilities. Designed by Stark Architekten of Munich, the building is a communicative focus of the campus, comprehensively lit by Occhio. In charge of the lighting design was Occhio's Helen Neumann, who commented: "The briefing given to us was simply a rendering of the building with its specific façade and the floor plans for each storey. Our first drafts showing the idea of curved ceiling trenches luckily struck with the architect immediately and after a year of refinement the harmonic result emerged. "Together with Stark Architekten, we developed a lighting concept always keeping the 'bigger picture' and all-over result in mind." With the building’s front embraced by white aluminium strips, the internal lighting concept pursues the principles of



The ‘Seven and More’ restaurant on the ground floor - visitors experience the continuation of the façade’s dynamics on the interior. The dark suspended and decorative ceiling wells playfully mirror the curved design while assuming the function of a chain, onto which the surface-mounted Piu alot spotlights are threaded.

connection: architecture, interior design and lighting blend together just as the internal spaces do. When visitors first enter the hotel they experience the continuation of the façade’s dynamics inside, through the reception and restaurant area. The dark suspended and decorative ceiling wells playfully mirror the curved design, while also assuming the function of a chain, onto which 123 surface-mounted Occhio Più alto spotlights are threaded. The rhythmic arrangement of the spotlights and luminaires enables the targeted lighting of the individual zones and at the same time guides the visitor through the space. "The open floor plan concept for the public areas was supposed to appear consistently

in one design," commented Neumann. "However, the different areas required different lighting atmospheres according to their purpose. We had the idea to design ceiling trenches that thread the luminaires like pearls on a string meaning they could be distributed among the space and create a calm ceiling view. Theses trenches became one of the signature features of the building. "With the combination of LED and lowvoltage halogen the different areas could be lit accordingly to their purpose by keeping one consistent luminaire design." Covering the first six floors of the IZB are twelve junior suites and 24 rooms, in which diverse areas of usable space are seamlessly interconnected and equipped with Occhio’s

「一番嬉しかったのは、 このビルが建て られている過程と完成したときです。全て のバーチャル画像や平面画像が形にな デサイナーズホテル、IZBレシデンスは り、文字通りこのビルが醸し出す調和を Martinsriedライフ・サイエンス・キャンパ 感じることができました。美しく、有機的 スの中心部に聳える7階建て、27メート で純粋な内装は訪れる者を迎え入れ、繊 ルの建物です。 この研ぎ澄まされた感性 細な雰囲気で満たされています」 とエレガンスが見事な調和を見せる建 物は、食事会や周囲の研究施設からの 研究者を招いての会議が行える会議施 設としてStark Architektenによって設 设计酒店 IZB Residence 位于马丁雷德 計されました。 キャンパス内のコミュニケ 生命科技学院的中心地带,是一座夺 ーション活性化を狙って建てられたこの 人眼球的 27 米高建筑,共七层,设计 建物全体の照明デザインはHelen Neu含蓄而典雅。该建筑由 Stark Architekmann率いるOcchioが行いました。Helten 担纲设计,用途为教授俱乐部,供 enによれば、 「Stark Architekteとの協 周边研究机构宾客和科学家作为会议 業で構築した照明コンセプトは、 「 俯瞰 用地。该建筑是校园的交际中枢,由 的」 に全体を捉えるというものでした」。 Helen Neumann 领衔的 Occhio 负责



universal lighting. The workspace in each room is lit by a Sento tavolo table luminaire (42 in total), while the headboards are lit by a Sento letto wall luminaire (again, 42 in total are used). Where sitting areas are featured, a Sento lettura floor luminaire lights the space; and 36 of the rooms feature a Sento filo suspended from the ceiling into the room. Along the hotel’s corridors, the walls are shaped with Duna shape spotlights marking access to the lift, helping to orientate the guests. At the same time they form a symbolic tree trunk through the entire building, right up to the top storey where the Faculty Club G2B (Gateway to Biotech) - the centrepiece of the building - is found. This 170 m² club room, with

灯光设计。他曾评论到:我们和 Stark Architekte 携手开发了一套灯光理念, 呈现出一种“大视野”和全方位的感 官。 “让我印象最为深刻的,是建筑施工 阶段和建成的一刻。突然之间,所有 的视觉图像和 2D 方案都转化为现实, 你可以切实地感觉到一种和谐油然而 生。美丽、有机而简洁的内部装饰营 造出一种热情而感人的氛围。”

FRANÇAIS L’hôtel IZB Résidence de sept étages est situé au coeur du Campus des sciences du vivant Martinsried, et s’élève à une hauteur impressionnante de 27 mètres. Il présente un style très design, à la fois élégant et ajouré. Conçu par le cabinet

Stark Architekten dans le but de devenir le club de la faculté et servir de lieu de réunion pour les invités et les scientifiques des centres de recherche des environs, le bâtiment est l’axe de communication du campus. Il fut complètement éclairé par l’entreprise Occhio, géré par Helen Neumann, qui explique : «Avec Stark Architekte, nous avons développé un concept d’éclairage en gardant constamment en tête le “tableau d’ensemble” et le résultat final. Pour moi, le plus beau moment fut de voir le bâtiment durant sa phase de construction, puis ensuite, à son achèvement. Soudain, toutes les images virtuelles et les plans en 2D sont devenus réalité et l’on pouvait littéralement ressentir l’harmonie émerger. Un intérieur esthétique, épuré et naturel garantit une ambiance très chaleureuse et raffinée.


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Along the corridors, Duna spotlights shape the walls and mark access to the lift area, while forming a symoblic tree trunk through the entire building. Also used in the G2B faculty club, the Duna spotlights have been arranged randomly in the ceiling and provide functional lighting for the diverse areas. In the bedrooms Occhio’s Sento range takes centre stage.

modern furnishings and a view of the Alps, serves more than 600 professors and some 100 managers and CEOs of the IZB on the campus, acting as a place for communication and the interdisciplinary interlocking of people and their ideas. The first member of the G2B was Professor Edvard Moser, winner of the Nobel Prize in medicine 2014. The open ground plan of the club, which stretches across the entire story is divided into different function areas and includes a spacious bar area creating an inviting atmosphere for discussion, while high seating elements providing a private framework for gatherings, and a private

DEUTSCH Das Designhotel IZB Residence mitten im Life Science Campus Martinsried erhebt sich als ein eindrucksvolles, 27 Meter hohes, siebengeschössiges Gebäude mit einem prägnanten, eleganten Design. Stark Architekten hat das Gebäude als Fakultätsclub entworfen, der als Treffpunkt für Gäste und Wissenschaftler der benachbarten Forschungseinrichtungen dient. Es ist ein kommunikativer Schwerpunkt auf dem Gelände, umfassend beleuchtet durch Occhio unter Leitung von Helen Neumann, die folgenden Kommentar abgegeben hat: „Zusammen mit Stark Architekten haben wir ein Beleuchtungskonzept entwickelt, das stets das "größere Bild" und das Gesamtergebnis berücksichtigt hat. Der bedeutendste Moment war für mich, das

dining area is available for business meals. There are 85 Duna shaped spotlights trailing across the ceiling – randomly arranged and providing functional lighting for the diverse areas, echoing the principle of the melding of architecture and lighting. Concluding, Neumann added: "The greatest moment for me was seeing the building during the construction phase and then again after completion. Suddenly all the virtual pictures and 2D plans turned into reality and you could literally feel the harmony that emerged. A beautiful, organic and puristic interior with a very welcoming and sensitive ambience was achieved." www.occhio.de

Gebäude während der Bauphase und dann nach Fertigstellung zu sehen. Plötzlich sind alle virtuellen Bilder und 2D-Pläne Wirklichkeit geworden und die sich daraus ergebende Harmonie war buchstäblich spürbar. Eine schöne, organische und puristische Inneneinrichtung mit einer sehr einladenden und gefühlvollen Atmosphäre wurde erzielt."

ITALIANO OL’ hotel IZB Residence, situato nel cuore del Campus Martinsried Life Science, è alto ben 27 metri e comprende sette piani che sposano un design incisivo ed elegante. Progettato da Stark Architekten come un club di facoltà che servisse come luogo di incontro per ospiti e scienziati provenienti da strutture di ricerca circostanti, l'edificio è un pilastro comunicativo del campus, sapientemente illuminato da Occhio e diretto da

PROJECT DETAILS IZB Residence, Munich, Germany Client: Operating Company IZB, Martinsried Architect & Interior Designer: Stark Architekten Architect Consultant: Andreas Oberrenner, Occhio Projects Lighting Design: Helen Neumann, Occhio Projects

LIGHTING SPECIFIED Occhio Più alto spotlight Occhio Più piano recessed spotlight Occhio Duna recessed spotlight Occhio Sento letto LED wall luminaire Occhio Sento tavole LED table lamp Occhio Sento filo LED lower suspended lamp Occhio Sento lettura LED standing lamp Occhio Sento terra LED standing lamp

Helen Neumann che ha commentato: “Insieme a Stark Architekte abbiamo sviluppato un concetto di illuminazione tenendo sempre in mente il “progetto finale” ed il risultato complessivo”. "Il momento più importante per me è stato vedere l'edificio durante la fase di costruzione e poi di nuovo dopo il suo completamento. Improvvisamente tutte le immagini virtuali ed i piani in 2D sono diventati realtà e si poteva letteralmente sentire l'armonia che emergeva. Quindi è stato raggiunto l’obiettivo che avevamo e cioé quello di unire un interno bello, organico e minimal ad un ambiente molto accogliente e sensibile".

ESPAÑOL EL hotel de diseño IZB Residence, ubicado en el corazón del Martinsried Life Science Campus, está levantado con una impactante altura de 27

metros compuestos de siete pisos y presentando un diseño incisivo y elegante. Diseñado por Stark Architekten como un club de facultad, y al servir como un lugar de encuentro para huéspedes y científicos de las instalaciones de investigación de los alrededores, el edificio es un foco de comunicación del campus que se encuentra iluminado de forma exhaustiva por Occhio, liderado por Helen Neumann, quien comentó: "Junto con Stark Architekte, desarrollamos un concepto de iluminación teniendo siempre en mente el panorama completo y el resultado general”. "El mejor momento para mí fue ver el edificio durante la fase de construcción y luego de la finalización. De repente, todas las imágenes virtuales y los planos en 2D se convirtieron en realidad y se podía sentir literalmente la armonía que afloraba. Se logró un interior hermoso, orgánico y purista con un ambiente muy acogedor y sensible."

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Pics: Rob Acket

BEACON OF LIGHT Dating back to 1470, Amersfoort’s Onze Lieve Vrouwe tower has been newly enlightened by lighting designer Jeroen Jans, marking the tower as a central and prominent structure in the local community.


Oxram Traxon and CLS LED lighting fixtures shine inwards to hilight the beams and reduce light pollution.

Standing at 98m tall, the Onze Lieve Vrouwe tower shines brightly over the geographical heart of the Netherlands, thanks to a lighting makeover by lighting designer Jeroen Jans. While local authorities were enthusiastic about the project, there was no funding available and so Jans set up a non-profit organisation to raise the required funds in just nine months. Now considered a beacon for Amersfoort and its people, the tower’s lighting upgrade took two years to complete, with Jans envisioning the tower as “a magical structure projecting unity, balance and synergy through lighting.” Jans’ main objectives were to drastically reduce light pollution and achieve a 50% reduction in power. In order to achieve this, the lighting had to work from the inside

out, ensuring no external shining of beams onto the building, and no fixtures and fittings were visible. This vision was achieved with the help of light engineering company Lomans, which installed Osram Traxon and CLS LED lighting fixtures. The Osram fixtures includes two types of liners, the XB27 and XB36, both of which use different colour temperatures and lenses to give each part of the tower a specific texture. There were 138 CLS LEDs supplied in three types of fixtures - the Revo-basic, the Revo compact and the Mirjam. Each fixture has its own lens and colour configuration and is relatively small so doesn’t affect the building’s architectural aesthetics. The Revo fixtures lower the power consumption and limit the loss of light to reduce light pollu-

tion, thereby exaggerating these aesthetic details with focussed and directed lighting. The Revo Series’ lenses are fully interchangeable, lighting all details of the tower thanks to the different beam angles. The project was not without its challenges however and Jans described how it was difficult to fix anything to the tower without causing damage. In order to design skirting boards for the three long walkways, Jans worked closely with Cultural Heritage Agency of the Netherlands to come up with something that could be integrated with existing security fences. The newly lit tower was revealed in November last year with the local residents receiving it with enthusiasm and pride. www.jeroenjans.com

PROJECT DETAILS Onze Lieve Vrouwe Tower, Amersfoort, The Netherlands Lighting Design: Jeroen Jans

LIGHTING SPECIFIED CLS REVO Basic LED fixture CLS REVO Compact LED fixture CLS Mirjam fixture Traxon XB27 LED fixture Traxon XB36 LED fixture

GILE 15-eng-Mondo-arc-236 x 333 mm.pdf 6 2014-11-26 15:59:38










Pics: Julia Dittlof


Nordbad, an iconic swimming pool in Munich, has recently undergone a renovation, with the interior retaining its period style while embracing modern flourishes. Gabriele Allendorf Light Identity developed a suitable lighting design for a historic facility. The newly refurbished Nordbad swimming pool in Munich retains a classic monumental architectural style while offering swimmers all the conveniences required from a modern swimming pool. Built during the Second World War, Norbad is famous for its impressive 33-meter swimming pool and sauna area, there is also an outdoor pool that remains open through the winter for any hardy soul that wishes to take a dip in the freezing cold. Lighting designers Gabriele Allendorf Light Identity aimed to create a lighting scheme that would make Nordbad equally famous for its lighting design. The concept uses our natural human fascination with water and the colours and shadows created when water is lit, and funnels this inspiration into a contemporary

illumination of the swimming hall. First proposed in the 1920s as a public swimming pool in the northwest of Munich the realisation of the Nordbad was delayed from 1936 to 1941 when it was finally erected under the direction of Karl Meitinger and Philipp Zametzer. At the end of the Second World War the public swimming pool was partly destroyed and hence rebuilt from 1949 to 1951. The architecture of the building is typical of the time, the use of columns an example of the attempt pre-war German architects made to resurrect the traditions of a more classical school of architecture, taking particular inspiration from the buildings of Ancient Rome. The original interior of the building featured imposing murals and two ornately

The Nordbad swimming pool was previously lit from the ceiling, but now, to make the room feel like an architectural whole, the pool is lit from side walls, freeing the ceiling from a tangle of cables in the process.

painted horses that sat between a large and regal wall clock. These were later edited out of the building during the reconstruction in 1949. It was decided to switch the lighting of the hall from the ceiling to the sidewalls for pragmatic reasons. In preparation for the removal of the lighting above the pool it had to be emptied, no small task in itself, and it took twelve hours until the pool was drained. The pendant ceiling luminaires, complete with their classic ball glass lampshades, were replaced by a number of fluorescent




lamp chandeliers and the classic ceiling lights were replaced by ceiling floodlights and reflector sheets. The effort was worth it though, as by relocating the lights to the wall sides the ceiling was freed from large tangles of cable and the swimming pool now appears as an architectural unit. As well as this the ceiling floodlights and reflector sheets mounted in the 1990s were not only inefficient with a 40% loss of light through light deflection, but they were also hard to maintain. LED spotlights were installed along the interior colonnades. The fixtures were individually designed by Gabriele Allendorf Light Identity and have been built in cooperation with LMT, they are chlorine vapour and water resistant and were manufactured by Otterpohl-Leuchten. Using specialist luminaires not only enables a perfect adaptation of the structural shape to the architecture but also adapts the light perfectly to the room. In this case the LED spotlights homogeneously bring light into the middle of the room, while also directing the light onto the ribbed ceiling. The room contour is emphasised by the downlights shining from the pillars and this light is then easily directed into the wider room.

The luminaires have been installed on the columns approximately seven meters above the floor. In the lower area of the north side of the pool the pillars boasted ugly black loudspeaker boxes and these have been replaced with subtle white loudspeakers. The solaria galley, which reaches along the side of the swimming hall on the first floor of the building has been equipped with subtle ceiling light lines. This indirect and warm white illumination helps visitors to relax, while the innovative lighting creates a seamless connection with the swimming areas. All the fixtures in this area were designed by Allendorf in conjunction with Korona. The light concept was made in close cooperation with the heritage management office in Munich and the SWM and this is a project that respects the requirements needed to preserve historical monuments. The plan for the next renovation phase intends to highlight the arcade behind the tribunes in a way that emphasises the wall mosaics. It is intended that cold white lights will accentuate the blue and turquoise shades of the mosaics. The new look Norbad is a pool for swimming purists, who like to revel in the notion of swimming as a pursuit, a tool for relaxation

Left LED spotlights were placed on the ceiling behind the colonnade, while bespoke LED wall lights were fixed to the columns themselves. Right The neoclassical style columns lend the pool a stylish feel and, thanks to the lighting being relocated the shape of the ceiling is undiminished.

and exercise rather than sport and competition. This newly modernised facility can also cope with the demands of competition too, all under a lighting scheme that doesn’t aim only to highlight the pool, but to make it, in conjunction with a fine neoclassical building, part of an architectural whole. www.gabriele-allendorf.de

LIGHTING SPECIFIED 20 x Custom made wall up and down lights chlorine Gabriele Allendorf / Otterpohl-Leuchten 1 x Custom made LED Line (uplight) for solarium-gallery (in cooperation with Korona) 1 x custom-made LED Line (downlight) in the solarium-gallery (in cooperation with Korona) 2 x spots for the Angel-fountain, Linealight iLed Clivo

PROJECT DETAILS Nordbad, Munich, Germany Client: The City of Munich Architect: Karl Meitinger Lighting Design: Gabriele Allendorf Light Identity

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Paul James paid a visit to the world’s most established festival of light and managed to force his way through the bustling crowds and huge queues to find some interesting installations. The official Twitter account of Fetes des Lumieres confidently predicted that three million people were expected on the streets of Lyon between December 5 - 8 to see this lighting spectacle. And boy, at times it felt like it! The crowds remorselessly pushed their way through the narrow cobbled streets and enclosed plazas in such a frenzied way that it sometimes verged on the dangerous. But such is the want for an incredibly successful festival of light that has its roots in a candle lighting ceremony from 1852. The Festival of Lights is a unique event because, unlike other large events in France and other countries, it is tied to the territory and local history. It perpetuates a secular

tradition whose celebration has evolved over time. This living heritage has been transmitted from generation to generation. The people of Lyon see the Festival of Lights as an essential annual event, which they enjoy participating in. Many associations, companies, cultural institutions, hospitals, schools and universities mobilize each year to propose, welcome or support creations that contribute to animating the different city districts. Anyone may also light windows and balconies with candles on the evening of December 8th. Since 2005, ‘Candles from the Heart’ has invited the public to support a charitable association by purchasing candles and participating in the giant light fresco on the

evening of December 8. This year, to celebrate its 150th anniversary, the French Red Cross is the beneficiary of this act of solidarity. The French Red Cross and its 53,000 volunteers support projects promoting the social link. For many years, the association has been committed to supporting the sectors of health, independent living, emergency and rescue, training and international solidarity. Everyone is invited to support this social solidarity operation by purchasing one or more ‘Candles from the Heart’ at one ofthe dedicated points of sale open during the four days of the Festival of Lights, as well as on the days preceding the event. www.fetedeslumieres.lyon.fr

Pic: Gilles Aymard

VARIATIONS ARTIST: GILBERT MOITY The Tour Incity, the tallest building in Lyon at 200 metres, is due to open in 2015 but it made the perfect vehicle to create a dynamic lighting scheme created by French light artist Gilbert Moity. 154 circles of blue light were installed on the west facade of the tower, creating geometric movements over the surface of the entire side of the building. The patterns represented the comtemplative and captivating activity and energy generated inside the tower but also the architectural dimension of the building. These ‘Variations’ created an endless, intense blue scene that created a hypnotic visual spectacle to watch at any time. The installation was visible across the city.

Pic: Gilles Aymard


CATHEDRAL OF WATER AND LIGHT ARTIST: JEAN-LUC HERVÉ The Hôtel de Région became a cathedral of water and light during the festival. Spectators were captivated by a projection of an immense cascade of water running down the facade. Inside the cathedral the Concert de l’Hostel Dieu choir were joined by a soprano to make the light vibrate in harmony with the Kyrie and Mass in C Major by Mozart. Gradually distorted and elongated, the sounds were transformed into an aquatic symphony of streaming, dropping and lapping water.

NIGHT OF DREAMS ARTIST: DAMIEN FONTAINE The 70th anniversary of the disappearance of Antoine de Saint- Exupéry was commemorated at the huge Place Bellecour by Damien Fontaine with the help of projection specialists La Maison Production. The square became a temporary theatre for an inspired evocation of the life and work of this writer and pioneering aviator from Lyon, who wrote The Little Prince (the subject of Fontaine’s spectacular projection at last year’s festival). This production blended music, large images, special effects, acting and gigantic decoration. The series of dreamlike settings evoked fragments of the existence and adventures of Saint-Exupéry.

NJÖRD, SPIRIT OF THE WIND ARTISTS: KIMI DO, WILFRIED DELLA ROSSA AND THOMAS MATHIEU The set of a fantasy film? An archeological site? Sheltered by the Town Hall courtyard transformed into mysterious sanctuaries, some 30 transparent monoliths, created by WECOMEINPEACE, enclosed the spirits of the air. Materialised by a multitude of feathers floating on a light wind, these spirits danced a ballet of light. The composition seemed to convey the breathing of a living being. Created by Squeaky Lobster, the soundtrack participated in the magical, poetic atmosphere of the setting.



HI STRIKER ARTIST: BEAM’ART Inspired by the ‘Test Your Strength’ carnival game, this interactive animation was created by Beam’Art, a collective born from the meeting of two research engineers Benjamin Petit and Antoine Vanel. It aimed for the most powerful and precise hits possible to create a luminous beam, which crossed the walkway and lit up the Palais de Justice and its 24 columns. Visitors large and small took turns taking up the challenge. The most talented triggered an amazing show of music and light.

WINTER GARDEN ARTIST: CHRISTOPHE MARTINE A passionate fan of air and wind, Christophe Martine has used luminous kites for several years as a way to share his enthusiasm. For Inter Park, once night has darkened the park, visitors entered a fairyland, where plants with delicate curves and scintillating flowers open their buds and corollas inside crystal greenhouses. On the water’s surface, eggs light up on the sleeping lake. The magic rises to the sky, where a nuptial parade of dragonflies and carps watches over this fantastic world.

INCANDESCENCE ARTIST: SEVERINE FONTAINE Eight gigantic incandescent lamps wrap the Rhône riverbanks in a warm glow in this installation by Campagnie IKB (founded by Fontaine) helped by Airstrip and using Philips lighting. A knowing wink at the lighting of yesterday, their shapes and multiple filaments present light intensities and shades in all their variations. Like a live body vibrating with energy, a ten-metre-tall reproduction of the cap base ‘E27’ lamp came to life in a poetic light ballet to the rhythm of a musical composition inspired by the sounds of nature.

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Pic: Michel Djaoui

ARTIST: GUILLAUME JEOL For the permanent lighting of the Book Silo at the Part-Dieu Library by Atelier Roland Jeol, the north and south building facades evoke the edges of a book on a shelf, while the spiral stairway shines with a warm light in reference to the gilding on ancient books. Façade light lines (instalight 4010 ) from Insta were attached vertically on the side walls of the building in order to present books of different thicknesses. On the south facade, an emergency staircase was staged as a protruding ancient book with golden letters, and the east facade represents the transition to the digital media age with light points. eldoLED PowerPIX 1 are used to light the east facade, symbolising the emergence of digital communication and the exchange of knowledge at international level.

BALL[ET] ROOM ARTIST: AURÉLIE LE GOUGOUEC For the Festival duration, the Place Sathonay was transformed into an ephemeral ballroom. During the day and at night, trees took the stage in white tutus. Here and there, their naked branches revealed the curve of an arm, the arch of a torso or an extended leg, depending on the whims of the visitor’s imagination. Each evening, the ballet came to life to the music of great composers. Waltzes, symphonies and ballets followed each other, while the air took on varied hues, from the coolest to the most sparkling, in harmony with the musical background.

NIGHT LIGHT AT JACOBINS ARTIST: CHRISTOPHE MAYER For the duration of the festival the Jacobins Fountain in Place des Jacobins became a gigantic base for a night light topped with a shade reflecting backlit silhouettes. Invited to find a haven in the soft light of this oversized lamp, visitors were cradled by the lullaby of a music box and dreamt their dreams of childhood.



DUTCH DELIGHTS Festivals of light are flourishing around the world, adding more meaning to a public area, demonstrating culture and the beauty of simplicity and bringing people together. Amsterdam Light Festival continues to grow in popularity and here’s why... Now in its third year, the Amsterdam Light Festival ran from November to January for more than 50 days. As one of the largest light festivals - in Europe at least – it aims to complement the city’s historical centre with light sculptures, projections and installations through the help of a number of national and international contemporary artists. The festival has grown year on year in terms of popularity both with artists and visitors. There were over 1,000 applicants for the 40 installations available and it is estimated by

the organisers that 750,000 people saw the installations either by boat or foot. The boat route, ‘Water Colors,’ took visitors past artworks along Amsterdam’s canals and the Amstel, while the walking route, ‘Illuminade’ wound through the city centre. During the festival, light played a central role in the city as museums and institutions organised light-related activities introducing visitors to innovations in light art. The result of a venture between cultural institutions, the municipality, knowledge institutes and businesses in Amsterdam, the

festival has year-on-year been sponsored by numerous parties, along with crowd funding playing a significant role in its success. This year Zumtobel became a key partner and also helped realise two projects. The theme for this year’s festival was ‘A Bright City’ challenging artists to create a tribute to life in the city. The resulting artworks presented a unique take on the modern city of Amsterdam. www.amsterdamlightfestival.com

Pics: Janus van den Eijnden

178 BOTTLES, 1 MESSAGE ARTISTS: Saskia Hoogendoorn & Lieuwe Martijn Wijnands There is no other city in the world where you can find as many nationalities as Amsterdam; the city’s 800,000 residents represent 178 nationalities. They are the beating heart of the city and now this image has been visualised for all to see. A heart shines in the centre of Amsterdam

where the water of the Amstel and the Zwanenburgwal meet. 178 Bottles, 1 Message consists of 178 bottles containing LED lights that can be controlled by the festival’s visitors. The duo Saskia Hoogendoorn and Lieuwe Martijn Wijnands of creative agency Tijdmakers

collaborated with light specialists Rivolta, Triple It, Robert Overweg and Jasper Kloosterboer for the execution of the artwork, inspired by the famous words of former city councillor, Floor Wibaut (18591936) whose statue can be seen standing around the corner from the City Hall. www.tijdmakers.nl


RE(BI)CYCLE DOME ARTIST: Vasili Popov The Re(bi)cycle Dome has been constructed using 300 bicycle rims from discarded bicycles. The light source of the artwork is fed with energy by way of an old-fashioned water pump controlled by the general public. Popov first built the Re(bi) cycle Dome with the help of a computer program that used special algorithms, written by the architect himself. These made sure that the recycled wheels would be distributed equally. Another challenge was linking the wheels to ensure stability of the structure as a whole. The links are made of metal and have been designed to secure the wheels instead of what they are usually meant to do. In short, the Re(bi)cycle Dome is a state-of-the-art dome, designed and crafted down to the smallest details. www.popov-architecten.nl

HOUSE OF CARDS ARTISTS: Merav Eitan & Gaston Zahr of OGE Creative Group House of Cards consists of twelve light boxes in the form of playing cards that in turn - or all at once - appear according to a preconfigured choreography. Architects Merav Eitan and Gaston Zahr of OGE Creative Group, an agency from Israel that specialises in architecture, street art projects and light design in the public space, are responsible for the House of Cards design, which stands at almost sixmetres high. With several layers to the structure, the idea stems from childhood memories and the artists’ games with their children. Portraying the city in various ways, House of Cards has literally been built up like a large building, layer by layer so the structure takes the form of a house. It also refers to a less tangible but equally important structure in society - made up of people and their relationships. www.oge-group.com



MY LIGHT IS YOUR LIGHT ARTIST: alaa minawi The six life-sized figures made of curved neon tubes stand on a dock as though they have just arrived from far away. Refugees, conceived by artist alaa minawi - a Palestinian refugee himself, living in Lebanon. Working with neon lights to represent a soft, gentle glow exuded by the refugees forced to leave their home, alaa’s sculptures are made of white neon tubes that distribute an extremely delicate and almost silky substance, especially in the evenings. alaaminawi.tumblr.com

ON THE WINGS OF FREEDOM ARTISTS: Aether & Hemera The Wertheimpark bathes in the glow of a radiant cloud of butterflies, hundreds of which hover above the ground in continuous, upward flight. On the Wings of Freedom is an interactive artwork conceived by Italian design studio Aether & Hemera. The butterfly as a symbol for a quick transformation is twofold for this installation. On the Wings of Freedom is about the way in which the pervasiveness of technology is changing our society and how little we realise it. At the same time, it is about the transformation of the city - a place where people can continuously be inspired, not only culturally but also socially; a place for ongoing change and progress. www.aether-hemera.com

LIGHTBRIDGE ARTISTS: Tjep. Lightbridge is an ode to Amsterdam’s bridges, and much like an actual bridge, functions as a connector itself. The artwork not only draws on bridging our experiences of the city from the street and the water but attempts to connect the 17th Century architecture of Amsterdam’s canals to the newest developments along the shores of the IJ. Tjep. refers playfully to Amsterdam’s most iconic lights: the ones that line the arches of Amsterdam’s bridges. The lights used by Tjep. in Lightbridge react to movements, from both the street and the water, and respond with computercontrolled lighting effects. www.tjep.com


GHOST SHIP ARTISTS: VisualSKIN Amsterdam and the maritime history of the Netherlands is a golden combination according to the creatives behind Ghost Ship. VisualSKIN specialises in the creation of additional dimensions in existing locations by using spectacular lighting designs and projections. Their ghost ship is not only a nocturnal mirage but also a retro-futuristic hologram turning to water curtains and old-fashioned stage lights. VisualSKIN has created the illusion of a 3D object with two intersecting planar projections. The wind plays an important role in achieving the desired ghostly and dreamy effect – when it picks up and blows against the streams of water, the image shakes and it’s almost like you are looking at a magnetic field. The use of the water jets reflects the fountain that once stood on this exact location. The mythological fountain, designed by sculptor Albert P. Termote, was constructed in 1956 in honour of the centenary of the Koninklijke Nederlandsche Stoomboot Maatschappij (KNSM), or Royal Dutch Steamship Company. www.visualskin.ro

TRIANGOLINI ARTIST: Hagar Elazari Triangolini’s design is simple, with the artwork consisting of nothing more than a flat source of light that has been covered with layers of semi-transparent triangular stickers. When a sticker is peeled off and moved elsewhere, the pattern changes. Light disappears and reappears in continuously changing geometric constellations. Visitors are encouraged to finish what Hagar Elazari has started and interact with the installation. www.hagarelazari.com

EFFERVESCENCE ARTIST: Géraud Périole You can see just about anything in the light circles hovering above Amsterdam’s Herengracht, the realisation of French artist Géraud Périole, who entitled his artwork Effervescence, meaning (the) bubbling, fizzing and foaming. The artist likes to use uncomplicated and recognisable forms that he continually repeats. The rings are compiled in an ingenious system of cables that have been attached to the trees lining the canals and which can’t be seen in the dark. The luminous circles appear to hang effortlessly in the air and it’s up to the imagination of the viewer to ‘finish’ the artwork when standing on the edge of the canal, or better yet, inside a boat. www.geraudperiole.com



INTREPID, THE PAPER BOAT ARTIST: Katja Galyuk, City + Light The illuminated paper boat, about 60 times the size of a folded origami boat, has been named Intrepid, meaning ‘brave’, or better yet, ‘audacious’. With her simple approach, Galyuk highlights what the city stands for through this artwork: safety and security, a place with beacons and landmarks that have become a part of the daily lives of the city’s residents. In this way, the paper boat is an everyday object that, as the result of a slight transformation, can have a great effect. www.citypluslight.com

ARBORESCENCE ARTISTS: Loop.pH This winter, a spectacular, futuristic-looking landscape arose from the Herengracht. Arborescence looks like a crossing between a system of advanced streetlights and the porous stems of a mystical mangrove forest, teeming with fireflies and glowworms. The elements float on pontoons on the water’s surface and are illuminated from below by way of sensor-equipped LED lights that react to the movements of the water. Arborescence is the visualisation of an idea, the application of new technological possibilities in regards to energy use, packaged in a setting of trees. www.Loop.pH

CIRCLE OF LIFE ARTIST: Rob van Houten Circle of Life is a Möbius strip, or a loop with only one surface and one side. The artwork is about eternity, about the endless stream of water in the canals and the rush of people to the city. The colours of the ring also play an important role in this scene. It starts off in a milky white colour, depicting an empty city needing to be filled with life. When someone crosses the Melkmeisjesbrug, the intense light flows in both directions and blends together to form new colours. www.orbitect.nl

A New Spectral Paradigm

by Teddy Lo

“...... I’m positive that PLANET LED will help more people know the importance of LEDs and their energy-saving abilities.” – Shuji Nakamura

winner of the Nobel Prize for Physics 2014 the Millennium Technology Prize 2006





CONSTELL.ATION ARTISTS: LIKEarchitects The red arches are plastic tubes are lit from within using LED lights that further accentuate their colour. The simple architectural elements can be adjusted to the specifics of the environment in which they are placed. Sometimes the arches appear almost royal, other times they refer to Amsterdam’s beautifully lit bridges or, as a result of their distinctive red colour, to the infamous Red Light District. What Constell.ation manages to do in every location, is give visitors the impression that upon passing through the arches, they are entering into a physical space - a space in which everything appears to be different and where time seems to stand still. www.likearchitects.com

CAMP-FIRE ARTISTS: Wilmhelmusvlug Near the Hortus Botanicus, Amsterdambased artist and designer Wilmhelmusvlug presents Camp-Fire: an oversized, archetypal scouts fire. Wilhelmusvlug sees the campfire as the first human meeting point, a landmark, a safe haven for those who want to leave the busy schedule of the everyday behind, or for those who just want to stare into the fire or start up a good conversation. The city, too, can be seen as a large campfire. It’s a source of warmth and light that has attracted people for centuries. www.wilhelmusvlug.nl

WATER FUN ARTIST: Angus Muir Several spherical buoys float on the water’s surface and are illuminated in a rainbow of colours. The buoys exude an uncomplicated sense of joy. Muir celebrates the public space with his light designs, almost bringing it back to life. Water Fun floats effortlessly through the visual violence. www.angusmuirdesign.com



Pic: Andrew Brooks

NORTHERN LIGHTS Held in December last year, Enlighten Manchester was a pilot festival devised and delivered by Curated Place along with city-wide partners to show how artists and musicians can transform a city centre. Enlighten Manchester Festival, delivered by Curated Place, was an experimental pilot featuring nine lighting installations across Manchester’s city centre that resonated with the public as a project that was both popularist and accessible, while maintaining its artistic legitimacy. Despite unforgiving weather conditions over the three day period, the final day allowed all of the planned installations, designed by seven international artists and lighting designers, to enlighten Manchester Art Gallery, department store Debenhams, City Tower and seven separate pieces within public square Picadilly Gardens with Andrew Brooks’ Immersion and Elissa Artesero’s A Solid Wish Scatters marked as public favourites. Funded by the Arts Council, Curated Place’s Director Andy Brydon described Enlighten Manchester as a festival aimed at engaging the public by activating public spaces into something other than they currently are, a vision which was particularly aimed at Picadilly Gardens The festival was a

culmination of the cycle of support from the Nordic Council that previously secured Curated Place’s production of Reykjavik’s Winter Light Festival and Torshavn’s Nordic House. Brydon described the Piccadilly site as “very difficult, it’s so open, there’s no experience of discovery when you move around it.” There was no infrastructure or nature to disguise the mechanics of the project as in the Scandinavian locations, where trees were used to hide cables. Working with an arts budget of £35k posed further challenges also, in that “we didn’t expect there to be quite such a lack of infrastructure, so we had to bring all the power ourselves with the help of the City Council,” continued Brydon.  Chris Lowe of lighting design practice BDP, who worked on the Manchester Art Gallery installation, told mondo*arc of the reliance on favours from manufacturers donating kit in order to complete the project. Brydon and Lowe agree that the support from the Arts Council “legitimates

architectural work and lighting work as an art form. That’s the real power, because they locate what we’re doing,” they both told mondo*arc. Following the festival, Manchester Art Gallery’s position facing St Peter’s Square - opposite the Central Library is a space Curated Place wishes to expand the festival into in the future. The group also aims to house more works indoors, implementing a light, sound, art and music programme by developing a new partnership with the library and working more with the gallery, as the transition from outdoor to indoor space offers more points of discovery than an empty public square. What is needed for the festival to expand in the future, according to Brydon, is more planning time and a larger amount of support from commercial partners. The next six months will be spent fundraising in order to achieve something more adventurous for 2015 within the framework of an international event that’s relevant.  www.enlightenmanchester.co.uk


IMMERSION ARTIST: Andrew Brooks LIGHTING DESIGNERS: Nick Malbon with Heidrun Kelly Brooks takes people on a tour of the city from the noisy bustling streets to the peaceful rooftops of Manchester’s highest towers in a new projection environment of his photography from gallery walls to an outdoor space. Created in collaboration with Curated Place and Lighting Designer Nick Malbon, featuring a new composition by Welsh composer Jack White, the ultimate aim was to allow audiences a way of interacting with Brooks’ images that focus on the clarity and quality of the experience and image over and above an encounter with digital technology. www.andrewbrooksphotography.com

Pic: Andrew Brooks

A SOLID WISH SCATTERS ARTIST: Elisa Artesero LIGHTING: Piccadilly Live A Solid Wish Scatters is a subtle intervention of light responding to the concrete of its surroundings. The words reflect up onto the famous concrete wall in Piccadilly Gardens. The earthly presence of the blocks scatter into an ephemeral light piece to show all that is solid is still fragile and all that is perceived to be permanent never will be. www.elisaartesero.com

Pic: Andrew Brooks


Pic: Heidrun Kelly

ARTIST: Tine Bech LIGHTING: Picadilly Live A unique interactive spotlight, which plays with the audience. A small spotlight moves randomly around on its own until the audience steps into the light, when the light stops and opens up to the user in a play of light via a variety of programmable motion cues. The focus is moved to the audience, the playful light when caught grows, enabling the person to step into the light and take centre stage, encouraging participation and possibilities for play and performance. www.tinebech.com



Pic: Heidrun Kelly

WIND IN THE WILLOWS ARTIST: Ulf Pedersen SUPPLIERS: Fossil Optical Using vintage projectors from Pink Floyd’s projection rig, Pedersen created a new vision for the Tadao Ando wall at Picadilly Gardens. www.ulfmarkpedersen.co.uk

CITY TOWER ARTIST: Ulf Pedersen SUPPLIERS: Fossil Optical An abstraction of nature inspired by Nordic wildlife, supported by City Tower. www.ulfmarkpedersen.co.uk Pic: Heidrun Kelly

Pic: Arnar Liefsson

MANCHESTER ART GALLERY LIGHTING DESIGNERS: Myrkraverk with Chris Lowe & Giorgos Kourtelis, BDP SUPPLIERS: Philips, Mike Stoane Lighting, LED Linear Chris Lowe and Giorgos Kourtelis of BDP, in collaboration with Icelandic designer Myrkraverk, transformed the exterior of Manchester Art Gallery’s historic building with a stunning light installation to bring people’s attention to the historic facade at night. www.facebook.com/myrkraverk.light.art www.bdp.com

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Technology expert Dr Geoff Archenhold discusses smart lighting and a dumb industry that is slow to react to this major technology change.

SMART LIGHTING: WHO’S DUMB AND DUMBER? Within the first ten days of 2015 I was bombarded by three conferences on how smart lighting is going to change the industry forever. This led me to question whether this propensity for ‘smart’ perhaps makes up for the rather poor level of skill throughout the lighting supply chain? The bare fact is that the lighting industry has seen a seismic shift in the level of understanding on all fronts from lighting designers, engineering consultancies, fixture manufacturers through to ballast manufacturers, controls and installers. Unfortunately, an industry (more accurately the skills within the industry) will take at least ten to twenty years to catch up with the fundamental earthquake and aftershocks of a major technology change. Until new skills sets are firmly embedded within the industry, it is running ‘blind’ and to those that truly understand the technology, business models and markets, the rest of the industry appears ‘dumb’. I am not saying I’m smart and everyone else is dumb but there are many things I get to see in this sector where I comment why are they doing that or do they really believe this? Here are just a few examples: EXCESSIVE LED LIFETIMES AND WARRANTIES In the early days, LED and fixture manufacturers claimed 50,000 to 100,000 hours of useful life even though they were talking about individual component lifetimes. These ill-conceived claims were designed to convince unsuspecting lighting designers they never needed to re-lamp products compared to traditional filament and fluorescents and so excellent for endusers. The problem is LED fixtures (even dumb ones) aren’t constructed from single components and thus become significantly more complex than the traditional light sources they replace. As a result they are inherintly less reliable at a system level.

If you read back through the years, I have explained that system reliability is only as strong as the weakest component. In terms of LED lighting that is the electrolytic capacitors used to smooth output ripple current to meet EMC standards. Therefore, why do lighting designers accept a company’s word (no matter what their size or brand) when they say they will guarantee a product for, say, ten years? Is it in the blind belief they can offer their clients such a guarantee and just pass the liability back to the supplier? It’s not really how a responsible supply chain should operate and no other industry operates like this. For example, the IT, telecoms and consumer electronics markets are vastly larger than the lighting industry and offer no more than a one or two year warranty despite the fact they spend £100’s of billions on R&D to deliver quality products each year! Every warranty I’ve read has so many exclusions in them yet everyone still requests them as though it’s a metric of quality – duhhh! CONTINUED WHOLE LIFE SUPPORT LED product lifecycles are incredibly short. This is a major issue moving forward for lighting designers because they should be looking at whole life support for a building. Just ask yourself how many healthy LED companies have been around for more than a decade - what happens five years into your prestigious lighting scheme when failures occur? Do you say to your client they are under warranty and should speak to the supplier about replacements? The supplier probably isn’t around and even if they were they couldn’t ship you replacements as they stopped making them three years ago! Wow, your client is into an expensive re-lamp or an ugly looking patch! LIGHTING CONTROLS The old controls companies have been a bedrock with reliable technology but they are all based on expensive proprietary

systems. These are difficult to maintain or expand, so what do they do now the Internet of Things is coming along? I know, let’s build a gateway and add an app which means we are there! Absolutely wrong. The advantage for the controls industry is to shift to new open platforms with lower costs and a vastly greater skills base leveraged from the IT industry. Why not use Linux, Java and other open source solutions which are commonly used elsewhere? These solutions are truly scalable and are not limited to control protocols developed 20+ years ago. SECURITY OF LIGHTING As lighting becomes ‘smarter’ it will become connected so security of the connecting infrastructure will become vital. The lighting industry today has no idea about what security is in a network of devices and as such we will see attacks on lighting and building management systems over the next few years – that’s a guarantee. Therefore, make sure you don’t get caught out like Sony did where hacking teams infiltrated their networks, stole all the information and burned their servers to the ground. The moral of this unfortunate episode is learn to have backup plans and maybe not trust ‘cloud’ based controls but rather something in-between. I could have written so much more but I would really like your feedback on how dumb or smart the lighting industry really is... g.archenhold@mondiale.co.uk

Geoff Archenhold is an active investor in LED driver and fixture manufacturers and a lighting energy consultant. The views expressed in this article are those of the author and do not necessarily represent the views of mondo*arc.

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THE VISION THING Lighting expert Christopher Cuttle explains the difference between vision and perception, which is the distinction between lighting to make an object visable of lighting it influence its apperance. Lighting Design - A Perception Based Approach Author: Christopher Cuttle Publisher: Routledge Paperback ISBN 978-0-415-73197-3

For lighting designers, the current situation in general lighting practice is dismal. When we are fortunate enough to have encountered an enlightened building owner, it is to be expected that they will be concerned about sustainability, and if there are consultants involved who are anxious to avoid professional liability, it is reasonable to expect that they will want the lighting to be compliant with current lighting standards. For indoor lighting, such standards arespecified in terms of minimum illuminance levels to be provided on task planes, but in practice these planes are only vaguely defined with the result that practical application requires the prescribed levels to be provided uniformly over the wall-towall horizontal working planes. This makes thoughtful application of illumination to provide for lighting design objectives impossible. Furthermore, this situation is not restricted to working environments. For any location where the standards prescribe an illuminance value, for an installation to be accepted as fully compliant it will have to be just another regular array of luminaires providing uniform horizontal working plane illuminance. You can forget any thoughts about lighting that relates to the actual situation, let alone any creative solutions. In a previous article proposed “A Shared Purpose for the Lighting Profession”, which involved redrafting lighting standards in terms of ambient illumination. The difference here is that ambient illumination is specified in terms of mean room surface

exitance, MRSE, which is the measure of the density of inter-reflected luminous flux within the volume of an enclosed space. Note that this metric does not include direct flux: it concerns only flux that has undergone one or more reflections from surrounding room surfaces. If indoor lighting standards were to be specified in MRSE, then in all cases, designers would have freedom to devise lighting design objectives to suit. While technicians who know nothing about lighting would still be able to churn out standards compliant luminaire layouts, MRSE-based standards would open up opportunities for professional lighting designers to devise lighting distributions to provide for selected design objectives. Every situation involving a lighting professional could be expected to become a distinct design project, that is to say, it would involve thinking through how direct light, from windows or luminaires, may be distributed not just to generate ambient illumination, but to create an illumination hierarchy, this being an ordered distribution of illumination to express a distinct and recognisable design intent. Ambient Illumination Figure 1 shows the entrance foyer of the Australian National Parliament Building in Canberra. The conventional approach to illumination engineering is to consider what are the critical visual tasks. According to whether the class of visual task in the ituation is judged to be ‘simple’ or ‘moderately easy’, the recommended maintained illuminance specified in the relevant standard (AS/NZS1680.1) would be 160 or 240 lux, and it would be assumed that the selected value would be provided uniformly over a wall-to-wall horizontal working plane 700mm above floor level. To provide this illuminance with optimal efficiency would call for a grid layout of luminaires that directs the total luminaire flux onto the horizontal working plane, but it can be seen that in this instance, a different approach has been taken. Indirect lighting has been installed, and the result is a pleasant and diffused distribution of illumination creating something of a ‘sky and ground’ effect, and whether it complies with either of the standard values seems to be irrelevant. If instead, the lighting standard specified

Figure 1 standard ambient illumination values for indoor locations, where this value would be recognised as the overall density of luminous flux that is just sufficient to ensure that the space does not appear dull, gloomy, or under-lit, then this extent of provision would be defined by the perceived adequacy of illumination (PAI) criterion. Providing the standard ambient illumination specified for the activity could be expected to ensure PAI satisfaction. The proposed metric for ambient illumination is mean room surface exitance (MRSE), which relates to the overall density of inter-reflected luminous flux within an enclosed space. MRSE may be used in standards (or lighting codes or recommended practice documents) to define standard ambient illumination levels to satisfy the PAI criterion for different types of activities and locations. Alternatively, it may be used by designers to achieve chosen design objectives, such as providing for an overall brightness of illumination within a space, or variation of appearance as people pass from one space to another. the café space shown in Figure 2. is different in character and the illumination is only one cause. It should be clear that not every space needs to be governed by a standard ambient illumination. This is an example of space where designers should have free reign to apply low ambient illumination (providing safety is not compromised) enabling high contrasts to be achieved, and as in this case, attention being drawn to the view-out. The standard ambient illumination would set the minimum level, whereas the designer’s chosen ambient illumination would become the first component of the lighting design. A higher level could be opted for, or for locations where no standard value is




specified, the lighting designer is free to introduce design objectives that depend on low ambient illumination levels. Lighting design objectives for a space may be described in terms such as ‘a bright and lively overall appearance’, or ‘a subdued and restful appearance’, or even ‘a dim and intriguing space’. In this way, the design ambient illumination is a design objective that is chosen for a particular location, and it forms the foundation for the illumination hierarchy. Illumination Hierarchy What we see is a distribution of reflected flux, and what the light sources, whether luminaires or windows, provide is a distribution of direct flux. An effective distribution of direct flux is one that creates a scene of reflected light for the space, directing attention to objects of interest, giving emphasis to forms, colours, and textures that have visual significance, whether as furnishings, work tasks or art objects. This is what is meant by an illumination hierarchy, being a distribution of flux that creates a structured pattern of brightness that is related to the space and the activities that it houses. It needs to be understood at the outset that this does not need to be an elaborate or pattern, but rather that for every location, the pattern of light is sensibly related to the space and whatever goes on within it.

room surface exitance, MRSE, and the lm/ m2 value is entered as shown. It will take designers a little while to become accustomed to this measure of the diffusely inter-reflected light within a space, but the entered value of 150 lm/m2 would assure a moderately bright appearance appropriate. As soon as the value is entered, the FRFrs value of 31,885 lumens pops up, and this is the first reflected flux that has to come from the room surfaces to provide the 150 lm/m2 of MRSE. We move on to the next stage of the design process. The task is to devise a distribution of direct flux from luminaires that will generate a distribution of reflected flux that both provides the design ambient illumination and achieves a visually satisfying illumination hierarchy. In Figure 3, turn attention now to the target/ambient illuminance ratio

Figure 4 a specification of both ambient illumination and illumination hierarchy, but the all-important column of Etgt(d) values. By providing these direct illuminance values onto the target surfaces, which, after all, is just a matter of applied illumination engineering, the agreed overall distribution of reflected flux will be achieved.

Figure 3

Figure 2 The process of planning such a distribution is greatly facilitated by use of the illumina tion hierarchy spreadsheet, an example of which is shown in Figure 3. If it looks formidable, keep in mind that only the bits shown in red are entered by the user, the rest is generated automatically. The first three columns are straightforward – room surfaces, their areas, and their reflectances – but keep in mind that the reflectance values do matter and you need to be confident that the values you enter are realistic. As has been explained, the first component of the design concept is the design ambient illumination, for which the metric is mean

on uplighting would need a TAIR of more than 2.0, which would upset the hierarchy. Instead, lower TAIR values from a combination of uplighting and wallwashing are opted for where the aim is to match the first reflected flux that will occur form target surfaces (FRFts) to the required FRFrs value. Figure 4 shows the design taken to a stage where it could be discussed with a client. TAIR is a readily understood concept that enables discussion of the distribution of light as it would affect the appearance of the space and its furnishings. When agreement is reached, the designer has not only

(TAIR) column, and three lines down is the reception area set against wall 1. This would benefit from a distinct level of selective illumination, and so it becomes the first target surface. A TAIR value of 5 has been entered, and instantly, the next column shows that 600 lux of direct illumination (Etgt(d)) has to be put onto this surface. Continuing down the TAIR column, as the values are filled in, the illumination hierarchy takes form. When the end of the column is reached, the FRFts (first reflected flux from target surfaces) shows a value of 18,182 lumens, and this means that direct light reflected from the targets will provide 57% of the FRF needed for the ambient illumination. The question now is how to provide the other 43%. The most useful target surfaces are large, high reflectance surfaces over which illumination can be spread without detracting noticeably from the illumination hierarchy. The ceiling is an obvious choice, but some experimentation confirms that to rely only

When every location becomes a potential design project We still need lighting standards to ensure that illumination is adequate for indoor activity, but what we do not need is the imposition of standard illumination distributions. An illumination distribution that is suited to each situation is the essence of lighting design, and having uniform distributions imposed obstructs the design process. It cannot be beneficial to deny opportunities for thoughtful lighting design. The design approach applied in this article is carried further in my recently published book, “Lighting Design: A perception-based approach”. The spreadsheets shown in Figures 3 and 4 come from one of four spreadsheet programs that I use to facilitate lighting calculations, all available online. www.kit-lightflow.blogspot.co.uk References 1. Cuttle, Christopher. A Shared Purpose for the Lighting Profession. Mondo*arc, Aug/ Sept 2012; 68: 125-128. 2. Cuttle, Christopher. Lighting Design: A perception-based approach. Oxford: Routledge. 132pp, 2015.

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Galeria Melissa Covent Garden is the third installation from the Melissa shoe brand. Featuring ambitious in-store art installations, MJ Lighting and Applelec worked to provide just as ambitious lighting solutions. MJ Lighting has created an inventive lighting scheme using Applelec’s LED Light Sheet for the Galeria Melissa shoe store in Covent Garden, London. Famed for its candy fragranced plastic shoes, the Melissa brand is about to become known for more than its plastic footwear. The brand began in 1979 with creative director and head of research and development Edson Matsuo and has now sold over 50 million pairs of shoes in 50 different countries. Each ‘plastic dream’ shoe design is unique with a story of its own and is a great example of plastic architectural design. A favourite with many celebrities, the brand has seen some hugely successful collaborations with Vivienne Westwood, Karl Lagerfeld and Kate Moss. With flagship stores in NYC and the brand's native Sao Paolo, Brazil, Galeria Melissa London becomes the third galeria to open.

Each shop aims to revolutionise store design by creating a cultural space - a platform for exciting art installations, while also selling Melissa merchandise. The imaginative store concept was initially devised by acclaimed Brazilian designer Muti Randolph and brought to life by renowned architectural and retail design practice IDL. MJ Lighting was then approached to provide lighting solutions for the ambitious in-store art installations. As well as downlighting from Hoffmeister (supplied by Lightworks), the new Covent Garden store features a number of art installations inspired by light, movement and colour. As shoppers enter the store they are greeted with a kinetic art installation formed of 21 illuminated acrylic shoeboxes. In each box sits one of the iconic plastic shoes illuminated by Applelec’s LED Light Sheet, which is built into the roof of the box. The

shoeboxes hang from the ceiling, each moving independently, through an integrated Rako solution, to the stores eclectic soundtrack. In the largest space of the Galeria sits an impressive u-shaped sculpture, the tunnel wall featuring a rigid formation of 64 apertures covered in a layer of mirrored glass. Behind the wall of glass are 64 display cases housing a range of Melissa shoes, each box clad with Corian and illuminated inside using LED Light Sheet which is once again built into the roof of each box. MJ Lighting’s newly launched Flex Wave product was then used to depict the clean line of each aperture. When discussing the use of LED Light Sheet in this project, Mathew Inett of MJ Lighting commented: “LED Light Sheet gave us the flexibility, effect and uniformity we needed for such a forward thinking brand.” www.mjlighting.com www.applelec.co.uk



WASHINGTON ICON The Whitman-Walker Centre was one of the first responders to the AIDS epidemic in the 1980’s at time when Ronald Reagan wouldn’t even utter the disease’s name. A new memorial, lit by Acclaim, marks this legacy. Located at the site of the old Whitman Walker Clinic at 14th Street and S Street in Washington, D.C, the new Pillar of Fire sculpture has 370 layers of cut and polished float glass. The multi-faceted sculpture catches the light from many directions and at night the work is illuminated to reveal slowly changing colours to represent an abstraction of the rainbow flag. Pillar of Fire is the creation of William Cochran, an artist known for his large-scale site-specfici public art projects. A project sponsored by JBG Companies of Chevy Chase, Maryland, and Grosvenor America, the sculpture reinterprets the biblical Pillar to honour healthcare workers on the front lines of the AIDS pandemic during its early days. The artist said, “In the dark days of the pandemic, people were desperately ill with nowhere to turn, yet many called HIV/ AIDS a plague from God and ostracized the sufferers. This kind of madness and fear was all too common then. Pillar of Fire represents the ones who brought light

into that darkness. It honors the courage, compassion and selfless service of HIV/ AIDs healthcare workers who developed and served at the Whitman Walker Clinic from 1987 to 2008. These healthcare workers served a population that was being refused medical services everywhere else,” said Cochran. “I chose a minimalist approach with a simple shape symbolizing creation,” Cochran said, “spiraling upward while under tremendous downward pressure , to exploit the hidden strength of glass in compression, as a metaphor for these healthcare workers.” The column is comprised of 370 egg-shaped layers of float glass and atands 16 feet high. At night, a slowly changing display of complementary colorus combines with the shape of the sculpture to give a spiraling sense of “motion in stillness”. The colorful illumination is created by an internal and external programmable lighting system developed by John Coventry of Coventry Lighting , Chevy Chase, Maryland.

“We needed to find a reliable, waterproof lighting system that provided excellent colour changing capabilities, that was highly adaptable and easy to install,” says Coventry, describing lighting design for the sculpture. Based on these criteria, he selected six Flex Tape WP RGB and eight AL RGBW drivers from Acclaim Lighting. Flex Tape WP RGB, a thin and flexible LED circuit strip, mounts inside of a UV-coated, flexible-silicone, waterproof sleeve. IP65 rated for wet locations, Flex Strip can be cut every 2 inches to create the exact length needed for an application. With a 120-degree beam angle, its low profile allows for a variety of cove, millwork, signage and other applications, including, as in this case, sculptures. Flex Tape has performance life of 30,000 hours. This monument is a fine memorial to people who gave their all to help others. www.acclaimlighting.com




Designed by architects Dentor Corker Marshal , Bolte Bridge spans Melbourne's Yarra River. Asked to update its existing lighting, ULA Group chose Griven to create something much more present. Built in 1999, the Bolte Bridge spans Melbourne’s Yarra River and features two 140m high silver towers, situated on either side of the roadway at the midpoint of the bridge's span. Designed by architects Dentor Corker Marshal and named after the former Premier of Victoria Sir Henry Bolte, it is one of the largest balanced, cantilever cast in situ box girder, bridges in Australia and forms part of the CityLink system of toll roads. Following the successful re-lighting of the Melbourne 'Red Sticks’, Griven’s authorised Australian dealer, the ULA Group, was invited to head up, supply and design the Bolte Bridge project, managed by Transurban. When the old lighting system of the bridge had reached the end of its life, the opportunity came to enhance the lighting while also meeting Australian energy reduction targets. Working closely with Transurban’s engineers

and after several site tests, the decision was made by ULA Group to replace 42 highpowered metal halide lights on the bridge towers with 36 Griven Powershine MK2 D RGBW LED exterior wash luminaires. The fixtures were installed on newly erected platforms at the base of each column, using a combination of spot and medium optics to achieve even coverage and maximum light output. Once the installation of the new LED lighting system was complete, Transurban reported a reduction in energy usage by 89% - the power usage for the Bridge lights went from 327,000kWh per year to 36,000kWh per year. The components and replaced fittings from the previous lighting system were recycled and re-used wherever possible. The new Griven LED lights fittings have an estimated operating life of more than 50,000 hours, much longer than the previous system.

The new Griven Powershine MK2 D LED wash lights have also created endless possibilities to achieve dynamic colour changing scenes, which can illuminate the Bolte’s iconic towers in different hues, to support and involve the bridge in special cultural and sporting events. The new LED luminaries were strategically installed and positioned at the base of each tower to minimise the risk of glare to passing motorists and reduce light spill. The environmental benefits and cost savings achieved in this project, stand as a great example of how to replace out-of-date lighting installations with new resourceful and sustainable solutions. Overall, the results are both aesthetically pleasing, energy efficient and culturally sustainable, which assimilates perfectly into Melbourne’s progressive city environment.

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THE BEAUTIFUL GAME The newly constructed Qatar Handball Association Complex in Doha features a noteworthy lighting design from Grupo MCI.

The newly built Qatar Handball Association Complex in Doha is one of three stadiums built for the twenty-fourth edition of the World Men’s Handball Championship, which will take place from 15th of January to the 1st of February 2015. The complex, with a total built-up area of 40,000 square meters, will include an arena with a planned capacity of 5,500 seats. The complex also includes two training halls, accommodation, restaurant and lounges. The project was commissioned to make accurate lighting calculations to try to reduce the number of luminaires in the project, without altering the uniformity and quality of the lighting effect. The luminaires selected for the project were Square Grazer 66x2, SmartLedFlex, LedFloodStrip, Line Grazer and Linear Flex Ultra Plus. For general lighting 80 Square Grazer RGBW

66x2, with a 45Âş beam angle, were used to highlight the top of the facade. 284 recessed Line Grazer RGBW 600 mm were used in order to achieve a uniform lighting effect for the entire facade. For the lighting control of the fixtures DMX512-A was used. The finality of this protocol is to create different lighting scenes, which can be activated by sensors or by time sensors, through programmed events or by users remote control or Smartphones. Due to the dimensions of the project the distribution of the DMX signal was performed through a radial fiber optic network. The luminaire control rack was created by Grupo MCI and the programming of the light effects were done by remote control, following the specifications and requirements from our customer. To highlight the perimeters of the complex, SmartLedFlex was used. This flexible

linear fixture is very suitable for decorative architectural projects and provides a high performance homogeneous light to highlight the perimeters and outlines of buildings. As a finishing touch and to light up the different hexagons surrounding the facade of the stadium, Linear Flex Ultra Plus 72W was used. Linear Flex is a great solution for applications with curving surfaces or limited space. Its small size enables it to be seamlessly integrated into architectural spaces. Finally, for the lighting of the outdoor stairs of the complex, LedFloodStrip was used as well as a warm white light colour for the stairs and RGB for the handrails. The excellence of the scheme ensures lighting is at the core of this attractive new building. www.grupo-mci.org



EYECATCHING EFFICIENCY Schlossplatz in Varel has been transformed into a modern and interesting public space thanks to the implementation of Insta LED lighting technology. The Schlossplatz (palace square) in Varel, near Bremen, Germany, has been brought to life using the latest in LED lighting technology. Commissioned by the town of Varel and supervised by OC Lichtplanung, the light planning office for municipal and architectural lighting, Insta implemented its proven luminaire series Instalight 3090 LX as part of the installation. The round LED installed light points are intended for various design arrangements on paths, squares, parks and

gardens - for the Schlossplatz project, they were incorporated into the paving. The brief was to transform the square into a modern, beautiful and interesting area for the citizens and merchants of Varel. The lighting design had to be eyecatching while energy efficient. In addition to the 3090 LX’s, Insta specified the 1060 LX luminaires - similarly robust with the same quality features and installation options but in linear form. Furthermore, the project was

provided with ground spotlights for illuminating objects coming out of the ground, these were implemented by Insta in collaboration with Lehner Werkmetall. The Terramo Q220 spotlights from Lehner Werkmetall are equipped with technology powered by Insta from the brand new Instalight 3050 RGBW spotlight series. The official inauguration of the Schlossplatz took place in November last year, as part of the Festival of Lights. www.insta.de

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19.01.15 15:09

Abbey Cloister in Cluny, France Arches up-lit with 5625-Linealec Specifier: 2BDM agency




Made famous by Leonardo da Vinci, Villa Medici del Vascello has been restored to its former brilliance thanks to considered lighting. In 2014, after nine years of architectural improvements, Villa Medici del Vascello was reopened to the public. A historic residence located in San Giovanni in Croce (province of Cremona), it is known for having been the residence of Cecilia Gallerani, the lady featured in the Lady with an Ermine painted by

Leonardo da Vinci. Once a nobleman’s home, the residence has been restored to its former glory and brilliance thanks to a carefully planned lighting design project, involving a number of lighting solutions by Luce&Light. The building hails back to the start of the 15th Century and was originally used as a

fortress for defensive purposes. The villa then underwent numerous architectural changes and extensions over the course of the decades. It started as a military stronghold, then a nobleman’s country residence between the 15th and 16th Century until it slowly acquired its current shape and structure. Studio Luce Sacchi oversaw the lighting project, installing various L&L LED lights. The brief was to create a stunning setting with the lighting enhancing the imposing edifice and respecting its rigorous shapes. The L&L Bright 2.0 recessed lighting devices were installed on the first floor balcony of the villa. This spacious terrace was built in the 17th Century and overlooks the villa’s entrance in all of its grandeur. The elegant serliana structure is enhanced by the lights placed at the base of the columns - thanks to a bright, warm, 3,000K coloured light - the 20° angle illuminates all of the column including the capital. The inner balcony is enhanced by the River 1.0 linear profiles with a 10° by 45° optical angle. A number of linear profiles, in this case the River Wall 1.0, have been placed inside the loggia on the upper floor. They still retain the 10° by 45° elliptical optical angle and are fitted with ten 3,000K coloured LEDs, which create a suggestive chiaroscuro effect on the wall, giving more depth to the space. Arches and columns are the dominant elements of the spacious inner courtyard of the villa, the result of architectural improvements carried out in the 18th Century. Bright 2.0's were installed at the base of the columns to illuminate both columns and arches with their beam at a 20° angle - the effect markedly enhancing their shape. The River 1.0’s are concealed recessed spotlights running along the lateral walls of the courtyard. These profiles were chosen for their elliptical optical nature to illuminate the walls in their entirety. www.lucelight.it

labyrinth? pipeline? street?

If this is a street –

we make it shine! The Z5M series is designed for high flux output applications with high current operation capability. This makes the Z5M LEDs the ideal light source for outdoor lighting applications such as street, down and floodlighting. For further information please contact us at sales.europe@seoulsemicon.com.


Z5M2 · High lumen output and efficacy · Designed for high current operation · Wide CCT range 2600~7000K · High color quality with CRI min. 80 (R9>0) · ANSI compliant binning · 3-step MacAdam

be bright



TAKEN TO MARKET With its jaggedly shiny ceiling the new Encants Market in Barcelona is certainly eye catching. Featuring lighting products from LAMP, the market acts as a neighborhood beacon, both physically and economically. Situated in Barcelona, the new market Encants Barcelona of Fira de Bellcaire, better known as Encants Vells, is located in the vicinity of the Bosquet de les Glories. The market design offers a continuous platform for all commercial activities in the area. Built at differing levels, the structure combines the market with the street. The new facility is functional, open and modern, with a brash roof that protects the businesses from the weather, while retaining the feel of outdoor shopping. The roof not only protects the commercial activities of the market, but due to its shiny quality, it reflects the appearance of the city back into the market. Each structural

module of the roof has different inclinations in order to do this, reflecting light, atmosphere and landscape. The make-up of the structure, which has completely open sides, allows natural light to seep into the space unhindered, meaning light can bounce and reflect across the cover material. In terms of artificial lighting, the same uniformity as in natural light was required, especially application of the space was considered. 500 direct lightning Lamp Shot spotlights were installed, with different optics and powers and placed were the required. In the higher levels of the market 35W Shot

with street optics were used, while in the lower sections 150W Shot with street optics were installed. At the perimeter of the structure spotlights were installed with spot optics so they should project directly onto the central square. In addition to this the market stalls themselves were lit with Lamp Step Air fixtures, luminaires that were manufactured with 1x80W special powers. The new market place acts not only has a landmark in a city well known for its outstanding buildings, but also as a commercial centre for a bustling neighborhood. www.lamp.es

Rune Marki, Managing Director, Osram UK

At Osram, we are confident that as a member of Recolight we fully comply with the spirit of the WEEE regulations. Our Customers know that through Recolight they have a one stop shop service for the recycling of our lighting equipment. Recolight removes the burden of WEEE compliance allowing us to focus on our core business.

At GE we are proud of our green credentials. That is why Recolight membership is so important to us: We know that Recolight both meets and exceeds our obligations to recycling lighting equipment. Recolight is also very engaged in the WEEE legislation, and that means we can be sure we get the best possible information and advice.

John Storey SBU Director, Havells-Sylvania

Steven Reed, Marketing Manager, GE Lighting

Havells-Sylvania are committed to providing our customers with the best possible solutions – and that includes a comprehensive recycling service. That’s why our membership of the Recolight scheme is important to us. The Recolight network has over 2300 collection points covering the whole of the UK. That means our customers, wherever they are, can all access a free recycling service.

0845 601 7749





LIBERTY ABRIDGED Lighting design firm Lam Partners enliven the Boston streetscape with a Lumenpulse colour changing footbridge for Liberty Mutual Insurance.

When Boston-based insurance company Liberty Mutual Insurance decided it wanted to give something back to its city, an out of the ordinary new lighting scheme for its two buildings was opted for. And so, working with CBT Architects, lighting design firm Lam Partners decided on a footbridge for Liberty Mutual that would allow employees to cross between its two buildings while enlivening the Boston night time street scape at the same time. Together, the two companies developed an illuminated glass floor concept giving the bridge a glowing, otherworldly look. To achieve this, the team implemented Lumenpulse Lumenfacade interior colour changing with White (RGBW) luminaries in the floor of the

bridge, creating a luminous effect with no obvious lighting sources. There are two main structural beams on either side of the bridge with the Lumenpulse lighting fixtures installed within the floor plate beneath a layer of glass. This seals off the bottom of the bridge structure, allowing it to glow from the streetscape below. “But because it’s a four-sided box with bevelled upper edges, you also get reflections of the lighted bridge in the walls and ceiling, which are clear glass," said Jamie Perry, Senior Associate at Lam Partners. The appearance of the bridge changes throughout the year with pre-programmable lighting scenes identified by the client. “The combination of long life, line voltage LED

fixtures, with precise optics, significant output and a small housing made the Lumenfacade fixture ideal for this application,” continued Perry. When it came to lighting the façade, Lam Partners adopted an economical approach, using less than 70 Lumenfacades to highlight the stone detailing and cornice, allowing the building’s distinctive shape to emerge from the night sky. The technique was made possible with a warm colour temperature and a 10 x 60 grazing optic. Combined with the glowing, colour-changing bridge, the end result highlights the elegance of the building, while still giving the street below a sleek, modern feel. www.lumenpulse.com






rc e

lo n a

Square Grazer


Design by artec3 Studio

Square Grazer ® finds the optimal balance between aesthetical and functional values, technical perfection and easy mounting. 48W | 79W | 160W 9º | 28º | 45º | 10x50º DMX | DaLI PSu integrated Swivel head Light color W


Tel. (+34) 93 630 28 00 Mail. info@grupo-mci.com




SAVING STATURE CBBLD has illuminated the façade of a New York City landmark while preserving its original grandeur. Where once stood the Union Square Savings Bank now stands the Daryl Roth Theatre. Former home to the Union Square Savings Bank of New York City is now home to the Daryl Roth Theatre featuring three theatrical performance spaces. Erected in the 1840’s, the building’s entrance is framed by four Corinthian columns. Thanks to Cline Bettridge Bernstein Lighting Design (CBBLD), these historic columns now display 150 custom Acolyte LED fixtures highlighting each column with projections up and down the walls of the theatre. Wide custom optics from the tandem fixtures emphasise the bold, classic façade of

this timeless structure, reviving the building’s original stature and grandeur. One hundred and fifty custom made fixtures are positioned in five different locations. A truss extends several feet from the edge of the roof, supporting a double mount fixture arrangement. This uses a set of two fixtures with three different beam angles, projecting down the surface of the building and repeated along the entire roof edge. Along the edge of the roof, projected upwards, repeated single mount fixtures illuminate the decorative roof columns of the theatre.

The side of the building features five windows lit with ten fixtures, two per window. These fixtures project upwards and highlight the architectural details at the top of the window opening. The vaulted ceiling of the front entrance that stands behind the ionic columns is lit with another double truss mounted set of fixtures, which illuminate the entire entrance. Lastly, portico mounted fixtures feature above the 25ft tall front doors, which create a focal point for the eye when looking at the front of the building. www.acolyteled.com













w w w. r e c o m - l i g h t i n g . c o m



THE AURA OF AURORALIA mondo*arc editor Paul James was one of the judges of the Auroralia Award held in Lyon on 6th December during the Fête des Lumières. Organised by Schréder and LUCI, the awards attracted seventeen entries of extremely high standard making it very hard for the judges, which included Paul James, editor of mondo*arc.

First Prize went to Eindhoven (Netherlands) for Strijp-S, an urban laboratory, dedicated to creating an inspirational living environment. The street lighting can be controlled individually and are custom fitted with RGB, warm white and cool white LEDs to create different ambiances (depending on the season and local events) and can even flash red to warn inhabitants of weather conditions such as approaching storms. The Auroralia jury was impressed by this inspiring initiative that embraces sustainability in all its forms.

The winners of the Auroralia 2014 Award were announced at the prize ceremony organised by Schréder and LUCI in Lyon on 6th December during the annual Light Festival. Over 100 lighting professionals, from city authorities to architects and town planners gathered to discover the winning cities. Now in its 6th year, the Auroralia Award - organised jointly by LUCI and Schréder - continues to receive a high number of entries from around the world which confirms the increasing commitment of local authorities to minimise the ecological footprint of urban lighting. For 2014, a total of seventeen towns and cities from all the world submitted entries: Bucaramanga - Colombia; Cairo - Egypt; Carballo - Spain; Coyhaique - Chile; Dubai

- United Arab Emirates; Eindhoven - Netherlands; Heidelberg - Germany; Lamego - Portugal; Lyon - France; Malaga - Spain; Randfontein - South Africa; Salé - Morocco; Savigliani - Italy; Stutterheim - South Africa; Szekszárd - Hungary; Vadodara - India and Venice - Italy. The panel of judges from the lighting and sustainability press (including Paul James, publishing editor of mondo*arc) used their extensive experience and unique insight to single out projects that not only significantly reduce energy consumption but have a positive social impact for the well-being of the local population. First Prize went to Eindhoven, Netherlands for Strijp-S, the former Philips industrial site that has been converted into a 66 acre com-

plex combining residential, working, leisure and cultural facilities. Aiming to become an energy neutral city, the council implemented sustainable smart lighting systems that create optimal experiences for the general public. The street lighting in Strijp-S is not only functional - to improve safety and visibility - but also aesthetic and interactive to reflect the living nature of the public space. Second Prize went to Malaga, Spain for the Back2Light Soho regeneration project in which roads were reclaimed to create more pedestrian zones for increased social interaction and to boost local trade. Trees, urban furniture and play areas were installed. The city analysed the latest innovations and technology to draw up a sustainable lighting plan that improves lighting levels and


Clockwise from top left The second prize winner Malaga, Spain for its Back2Light Soho regeneration project; the award entrants and winners including the victorious Eindhoven team; Special Mention went to the rural town of Stutterheim, South Africa; Lamego, Portugal, winner of the second prize for its sympathetic lighting of the monumental baroque Sanctuary of Nossa Senhora dos Remédios.

creates a warm nocturnal ambiance while reducing the city’s energy consumption and environmental footprint. They implemented the latest LED lighting solutions integrating a motion detection and dimming system to create safe, comfortable and fun environments. This careful selection of lighting technology also means that the city has reduced its energy costs and CO2 emissions by 50% per year. Light pollution was eliminated. This district has once more become a popular and inviting space where residents can relax and play after dark, improving their quality of life and creating a sense of pride in their home city. Third Prize went to Lamego, Portugal that launched a sustainable lighting renovation

project with the goal of enhancing the town’s heritage to revitalise tourism and create engaging and secure public spaces for residents. New luminaires were carefully chosen to ensure an aesthetic design in line with the architectural heritage while integrating modern technology to reduce the town’s environmental footprint. By installing LED luminaires with a remote management system that dims the light during the night, this Portuguese town has reduced its energy consumption by 70% and its CO2 emissions by nearly 21 tonnes per year. A Special Mention went to the rural town of Stutterheim, South Africa that launched a plan to replace its lighting to fulfil multiple objectives including enhancing the landscape, increasing safety for residents

travelling to work at night in dark environments, reducing energy costs without compromising lighting levels and respecting dark sky initiatives. The lighting material also had to reflect the local forestry industry. With LED luminaires mounted on poles made from wood sourced locally, this successful relighting initiative has lifted the sense of well-being for the local population, some of whom have to commute by foot often after nightfall. It has also reduced energy costs and CO2 emissions by an impressive 79%. www.schreder.com www.luciassociation.org



RETHINK THE NIGHT The Hellenic Illumination Committee, led by Georgios Paissidis, staged an International Lighting Design Workshop in Ioulis, the capital of Kea Island in October, taking advantage of the beautiful night sky due to the lack of light pollution on the island.

Pic: Yiagos Athanassopoulos

Pic: Nicole Krüger - before

Pic: Nicole Krüger - before

Pic: Nicole Krüger

Pic: Nicole Krüger - after

Pic: Nicole Krüger - after

Above & top left Projection exercises in Kokka / Kea; Above & top right Before and after pictures of the nighttime identity of the Otzias Beach Hotel marked by the saturated red light stimuli of the local flowers.

The trend of workshop based lighting education emerged fifteen years ago and reached its prime recently with a lot of lighting design workshops taking place all over the world and contributing to successful city marketing of relevant host cities. However, the southern part of Europe hasn’t been so active in organising these workshops. The Hellenic Illumination Committee (HIC) thought that the time is right for an international thematic lighting design workshop and, staged under the motto ‘Rethink the Night’, the first event took place on the island of Kea. Georgios Paissidis, chairman of HIC was responsible for the specific education program with a focus on the development of nightfriendly lighting design concepts by means of appropriate lighting technologies and techniques. The orientation of the workshop reveals the will for a creative differentiation from other workshops that was also dictated by the uniqueness of the local night sky of Kea. It features a quality equal to that of the Cerro Paranal Observatory in Chile according to relevant photometric measurements

that was carried out during the workshop with the support of Guenther Wuchterl, light pollution expert and chairman of the Kuffner Observatory of Vienna. This is attributed to the windy conditions that prevent light pollution propagation from Athens by keeping clouds and moisture away and to the delayed electrification of the island. The lack of light pollution and distinctively underlit environment stimulated the mostly inert dark adaptation skills of participants thus providing ideal conditions for investigations about the potential of night friendly lighting technologies. Participants were distributed into three groups, each responsible for one site, while three different lighting technologies were assigned to each site. The accurate lighting control projection technique was applied under the guidance of projection mapping expert Christoph Drews from Weimar in the ruined warehouses of Kokka, which started supplying steamboats with coal at the end of 19th century. Phosphorescence aided lighting was applied

in the courtyard of the small chapel of Agioi Anargyroi under the guidance of light artist Aleksandra Stratimirovic from Stockholm, while the third night friendly technology of synaestethically oriented creative lighting control was applied by Iva Vassileva, light architect from Greece, in the courtyard of the Otzias Beach Hotel, which also provided accommodation for the participants. The delegates represented eighteen countries from Europe, America, Asia and Middle East with participation of the students of the lighting design masters course at the University of Wismar together with the Director of the course, Prof. Dr Thomas Roemhild, who gave a lecture about dynamic lighting in public spaces. The workshop has already been registered as a CIE-IYL2015 event for next year and will be staged again in Kea from 12-16 October under the auspices of the Holy Orthodox Metropolis of Syros with focus on the integration of the small chapels of Ioulis Capital City of Kea in its silent nightscape. www.rethinkthenight.com

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.

We understand what will work and what will not, we are all about a total solution. • Product Design • Manufacturing • Installation • Control • Commissioning and Programming • A circle of capability we call ‘Built-In Design’

Specialists in customised lighting to suit your design.




The Sticks and Stones range of lighting bollards are based around a novel and attractive approach to colour and finishes. Along with the Alchemy range, David Morgan looks in detail at these latest innovations making their mark on the exterior lighting sector.


Although his working life began in the Australian fashion industry, Mark Cunningham is now recognised as a veteran of the architectural lighting world and has managed divisions for companies including Spectral, Etap, Zumtobel and Targetti Poulsen. In 2012, he founded his own UKbased company Trinity Lighting. Trinity focuses on the architectural exterior and landscape lighting markets and has just launched a number of new product ranges. Cunningham has developed these products himself, doing all the design work and tapping into his many years of experience in marketing and selling other designers’ work. It is understood that production of the range has been outsourced to specialist companies in the UK while Cunningham concentrates on design, sales and marketing. The most striking of his designs are a number of LED lighting bollard ranges. The first range comprises Sticks, Stones and Alchemy versions and is based around a novel and attractive approach to colour and finishes. The bollards’ extruded aluminium

core can be clad in a variety of different materials so that they match the flooring or wall-cladding materials. This enables landscape designers, architects and end users to select finishes for exterior lighting in the same way that an interior designer would match lamp shades and bases into an interior scheme. While most architectural and landscape lighting products are offered in custom powder coated colours and finishes to achieve colour coordination over a period of time, these finishes will fade and degrade, particularly in extreme, exposed and marine locations. Cunningham has overcome this problem and achieved a far greater degree of durability with the Stones bollards, by cladding them in a solid ceramic material that will weather attractively in the same way as floor or wall-cladding materials over many decades. With the advent of very long life LED sources, luminaires will now have be able to match the much longer period between installation and servicing without starting to degrade. This makes ceramic an ideal

material for this application. The ceramic cladding material used is a 10mm solid body coloured vitrified porcelain, with a micro surface protective sealant bonded to a core of 5mm thick extruded aluminium. The Sticks bollards are clad in 10mm thick Acetylated timber for applications where a wooden finish is needed. The timber is sourced from managed forest and the patented chemical treatment of acetylation ensures the wood won’t rot or distort for around 50 years and is graded with the durability of teak and other tropical hardwoods. The Alchemy series shares the same construction as the Sticks and Stones bollards but instead of ceramic or wood the panels are made of a 97% metal with resin mix that gives the effect of cast copper, bronze, brass or iron. The appearance of the Sticks, Stones and Alchemy range is clean and simple to enable the sheet materials to be used and this gives them a rather pleasing timeless quality. The construction of this range is modular


Stones range

Sticks range

Birdcage luminaires

Alchemy range

and standard parts are used throughout so that a wide variety of product variants can be produced to customer’s orders, using the minimum number of components. Cunningham has also gone to great lengths to ensure that there are almost no visible fixings. To gain access to the internal areas and control gear one of the ceramic or wood panels slides up exposing two stainless steel catches with a 450lb breaking strain that holds the bollard onto a mounting plate. Installation would appear to be a simple matter and if the bollards were damaged they could be replaced quickly. The COB LED light engine is mounted pointing downwards to the cast top plate to ensure good thermal management and gives a soft light distribution through the opal polycarbonate / acrylic blended material diffuser. On the samples that I was shown there was a visible shadow from the internal wiring showing on the diffuser which would be good to eliminate in the next iteration. All Trinity bollards are made to order so the colour temperature and LED power can be selected to meet the project requirements

up to a maximum power rating of 16W providing around 1,500 lumens. The Stones versions are available in heights from 500 to 1,400mm which is limited by the size of the Ceramic panels. The Sticks version can be supplied in a greater range of heights, up to five-metres when used as a lighting pole. The taller lighting pole versions incorporate a clear window and incorporate a standard Vossloh Schwabe LED street lighting module available in a number of optical options. Mark has also developed a second range of bollards that includes the Birdcage, Silhouette and Cascade based on a square frame construction. Into the frame direct and indirect light engines, diffusers, painted reflectors, perforated metal panels and other lighting elements can be assembled to create a wide variety of heights and visual treatments. As a fairly recent start-up Trinity has the usual issues to address in order to turn the company into a successful venture but Cunningham’s long experience in the architectural and landscape lighting markets has helped him to identify some key

design features for the ranges that should differentiate them positively from existing products. Being able to provide exterior lighting in matching finishes and materials to buildings on a modular and customisable basis would appear to be a very good way to get the company off the ground. The feedback to the product samples from Mark’s many contacts in the lighting design community has been positive, so hopefully the next stage to full production will be smooth and Trinity Lighting will rapidly join the ranks of successful UK-based lighting companies. www.trinitylighting.co.uk

David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. david@dmadesign.co.uk www.dmadesign.co.uk © David Morgan Associates 2015




A selection of fixtures for the great outdoors.

WR80 Series Studio Due

Washer Allegro AC XB Traxon & e:cue Designed for outdoor environments, Washer Allegro is a strong LED lighting solution for architectural illumination. Offering multiple colour options, flexible aiming and various beam spreads, this product is capable of a wide range of actions, from flood, direct and indirect illumination. Powered by AC line voltage and controlled via DMX512, Washer Allegro is a high output, energy efficient and compact LED lighting solution with easy installation. www.traxontechnologies.com

IP67 rated, the WR80 Series utilises 80 high brightness LEDs, combined with an optic system with antiglare reflectors. Robust and reliable, the fixtures are able to light up objects from short distances. The WR80 can be equipped with LEDs with different colour temperatures (warm, neutral and cold). The WR80WB (white balance) is equipped with LEDs with different wavelenghts in order to vary the colour temperature of the light. Suitable for use on buildings and monuments. www.studiodue.com

Site ERCO This grazing light wallwasher has been created for use outdoors in order to emphasise wall structures for a three dimensional effect. With unprecedented precision and uniformity, this product is ideal for highlighting specific qualities of architecture, while increasing its spatial effect, emphasising the texture and material of historic structures or unusual facades in the most striking way. ERCO created specific LED PCBs for the product, which are arranged in a line. The product also features collimators which are responsible for the fixture’s precision. www.erco.com

BFL Exterior Acolyte Industries Wash 48 and Wash 24 Illumination Physics This family of washlights has been created for architectural applications. They are available in numerous configurations and different lens angles, including 5, 10, 25 and 45 degrees. Dependent on the configuration the Wash produces between 5000 and 9200 lumens. The IP Wash family is available in a variety of white light, 2400K to 6000K as well as RGBW and RGBA. The electronic drivers can either be integrated into the fixture, or supplied with a remote driver. www.illuminationphysics.com

Exterior 400 Martin Professional The Exterior 400 range is available in a number of variants depending on the application - 400 for long-throw, 410 for shorter throw, using pre-mixed LED with no colour separation, 420 for white light colour temperature control (2,700 6,500K), and 430 for single colour, using high-efficient LED in either red, green, blue, warm white or cold white options. A choice of beam angles are also available from 7.5º, 14.5º, 31º and 57º. www.martin.com

This powerful fixture is designed to wash and graze tall buildings up to 500 feet. It’s durable anti-UV coating and IP65 waterproof rating allows it to withstand harsh outdoor conditions. The fixture is offered in a variety of colour options and beam angles and its data signal is daisy-chainable. It operates at 100-240V AC in two versions and is available in three lengths and differing colours. The products also feature up to 16,111 lumens (108LED model) or 7901 lumens (72-LED model). www.acolyteled.com


Flood200 Pulsar Pulsar’s high power ChromaFlood200 features 66 3W LEDs with a maximum power consumption of 200 watts. This fixture has become an important product for architectural and entertainment LED lighting as it produces mixed colour within the unit eliminating multi-coloured sources and shadows. IP66 rated, 100-277 VAC, with seven LED populations from single colour to TriColour, full remote DMX, LCD menu system and optional lens plates – 8,25,45,10x35,10x90 degree. Available in black, silver and white finish as standard, with custom colours available to suit specifications. www.pulsarlight.com

LED Handrail LEC Lyon

LED-Handrail Leccor This LED-handrail made of stainless steel, glass beaded or polished, has a continuous light-outlet protected by polycarbonate glass. Equipped with a single / double row-LED stripe (4.8W - 9.6W / metre) it is available with symmetric or asymmetric beam angle (460-920 lm/m). Protection class 1 / 2 certified for public works. www.leccor.de

Stylage Schreder

Urba Thorn Urba is an LED lantern exclusively designed by architects, city planners and designers, Wilmotte & Industries. This versatile lantern is suitable for many urban applications from pedestrian and cycle lanes to minor and main urban roads. Available in two sizes up to 15,000 lumens with nine light distribution choices, Urba provides efficient LED lighting (up to 100 lm/W) to illuminate the urban landscape, placing light precisely with no waste (ULOR=0) due to dedicated optics. www.thornlighting.com

The Stylage LED lantern is a useful tool to create aesthetic consistency in cities composed of a mixture of heritage and modern architecture who wish to highlight their historical patrimony while accentuating their commitment to the future. Equipped with the performing LensoFlex 2 LED engine, the Stylage offers a high performance with energy savings that can exceed 75% compared to luminaires fitted with traditional light sources. This efficiency lowers its payback time. www.schreder.com

A discreet and slim linear lighting solution, this LED handrail is designed to fit in to its urban environment to uplight footpaths, stairs and or terraces. LEC has supplied a complete stainless steal handrail that is equipped with 6 x 3 Superwatt LEDs in 3W and has a wide choice of colours. It offers two beam spreads (116x44 and 130x25), is rated at IP67 and IK10, and only weighs 300 grams. Its minimum level of light is 100 lux on a 1.2 metre strip. The 5682-School Light body is made of anodised aluminium. www.lec-lyon.com

Lyss Luce & Light This outdoor spotlight offers a semicircular light output and has a die-cast aluminium body. With excellent IP ratings to enable outside use, the product also features high definition optics, a semicircular beam of light, an adjusting plate and two available power outputs: 5W and 9W. www.lucelight.it



Kick Architectural Area Lighting Contemporary design meets high performance lighting with Architectural Area Lighting’s new Kick luminaire. Available in a four-inch square profile with 6,500 lumen output of a five-inch profile with 13,000 lumen output, AAL’s contemporary urban luminaires are an excellent option when street and pedestrian fixutre for up mounting heights of 25-inches are needed. The Kick comes in multiple colour temperatures, three optical distributions, is UL wet listed, IP65 rated and can be mounted as a single, double, triple, or quad. www.aal.net

LeafNut Harvard Smart cities are the future, and street lighting is a key smart city application. Harvard Engineering’s wireless control and monitoring system LeafNut was one of the first products in the smart cities evolution and continues to be at the forefront in the market. Already installed by over 100 local authorities across the globe, LeafNut is a proven technology that allows users to remotely manage and dim street lights, helping to reduce energy costs and carbon emissions. www.harvardeng.com

Hexhedron Unilamp Built with versatility in mind, Hexahedron is a design element for urban illumination. Built to be strong, its aluminum construction means the product can be used in areas with high vandalism. Hexhedron is also an eye-catching object being low glare and contemporary in style. Illumination is via Tridonic LED modules and drivers, utilising 3000k and 4000k options and a CRI of >80. Finished with an architectural material Granito Ceramic top this is a versatile, rugged, low glare product. www.unilamp.co.th

Instalight 1067 Insta

Lumenfacade Inground Lumenpulse The Lumenfacade Inground is an LED luminaire designed for ground-recessed lighting applications, including asymmetric wall washing, grazing, and linear wayfinding. An innovative, plug and play design simplifies installation, protecting the system from water infiltration and ensuring long-lasting performance. The Lumenfacade Inground is available in five different sizes (1, 2, 3, 4 and 6’), with a wide choice of outputs, colour temperatures, colour-mixing systems, optics and controls. www.lumenpulse.com

The Instalight 1067 Inground LED light line utilises the standard Multiline V 100 S ACO DRAIN channel and features a glass cover with stainless support frame and plug + play LED floorlines allowing simple exterior installation. Available in 1000mm or 500mm lengths (width 135mm) to create continuous lines this single colour (with RGB options) product alows control of each luminaire. www.insta.de

Modena LED LUG This decorative outdoor LED luminaire features a profile body that ensures it is water and dust-proof to a degree of IP65. The luminaire is mounted directly on the wall or in the ceiling and provides high quality lighting for effective and impressive illuminations of selected objects. Modena LED offers a selection of five monochromatic light colours (white, red, green, blue or amber) whereas Modena RGB LED is designed for creating dynamic illuminations with a variety of changing light colours and arrangements. www.luglightfactory.com


Design: Michel Tortel





i-Line Vision CV9C StrongLED

Parade Graphic Griven The Parade Graphic features powerful architectural LED modules that enable an endless layout of patterns and graphic displays. Fitted with 20 or 40 independent RGB full-colour LEDs, these high impact IP67 bars are capable of reproducing almost any visual concept easily blending on a building façade to achieve a dynamic performance. Self addressing software, remote firmware update and an integrated electronic driver are further features of a product packed with technology. www.griven.com

This high brightness LED square contour light features a high light transmission frosted PMMA diffuse. The light colour is bright and consistent and offers a seamless line of light when cascaded with no dark space. Available in a range of whites, mono colour, RGB and RGBW. Featuring DMX control, with the function of automatic addressing, this product is weatherproof sealed and has an IP65 rating. www.strongled.com

This waterproof custom series of linear LED fittings holds an IP67 rating. These linear fittings are made with Nichia LEDs and have been created according to the requirements of lumen output, CCT, CRI that is required by users. The standard lengths vary from 33cm to 202cm with different covers, but other lengths are available upon request. The custom linear fittings are ideal for highlighting, concealed lighting, in-ground illumination, and other applications. www.electron.gr

Lindro Reggiani

Cool Simes Part of a new generation of Simes products that maximise the potential of LED technology whilst minimising size and energy consumption. The striking lighting effects from the solid volumes of aluminium and glass, reflect the continuous efforts aimed at reducing and simplifying the luminaire and emphasising the architecture and its visual comfort. The Cool family has recently seen its range enlarged with new dimensions and new designs creating more stylish solutions applicable to different contexts. www.simes.com

Linear LED Electron

LIRA GVA Lighting LIRA is a miniature bracket mount LED spotlight designed for architectural or landscape applications. Sealed to IP66, LIRA is suitable for dry, damp and wet locations. With its low profile, tilt-adjustable body that comes in two colours - black and matte grey - it is discrete enough to be mounted virtually anywhere without being a distraction. LIRA comes in two LED colour output versions: RGBW, that can output almost any colour combination and dynamic white (DWT) producing any white colour light between 2700K and 6500K. www.gvalighting.com

Lindro is available in two sizes, along with a special version featuring an asymmetrical optic. Its high protection rating (IP66) and advanced LED technology make Lindro a versatile and reliable fixture for outdoors. The high level of efficiency and number of reflectors available make it suitable for general lighting or accent lighting for both small and large spaces. Lindro’s technical specifications allow it to be used both indoors and outdoors, anywhere that requires a small light fixture with excellent performance and a high protection rating. www.reggiani.net




Pera Mawa Design This outdoor LED up or downlight features an anodised surface finish thickness and is waterproof. Milled from a single solid block of aluminum, the housing is available in an anodised stainless steel-like or middle bronze surface finish and has no visible screws. The satin finished cover is revisionable with the help of a glass suction tool and the product is IP54, Serie DEKRA tested. www.mawa-design.de

A robust aluminium floodlight luminaire designed for facades and vaulted ceilings - injection lacquered in a texturised grey or anthracite colour, and serigraphed tempered glass. Able to swivel between 90º and 30º, it incorporates an anti-condensation valve and models are available with symmetric, asymmetric and street optics, for luminous flux of 5,000, 8,000 and 12,000 lm with warm and neutral white LED. There is an RGBW model available with luminous flux of 4,800. www.lamp.es

LightVault 8 Kim Lighting Representing a new family of LED ingrade luminaires, the LightVault 8’s Bluetooth connectivity makes it stand out. The solid brass fixture, which features LED optics, uses high-speed Bluetooth technology to enable field aiming and dimming while offering control from iPhone, Android or tablet. The luminaire is available in spot, wall-wash and narrow flood in-grade applications. Multiple colour temperatures, up to 2,500 lumens output and flat-lens, halfshield, eyeball, rock guard and directional marker-style housings are also possibilities. www.kimlighting.com

Titan OFA - 205 Tons This IP65 rated product is ideal for use outdoors. With an exquisite pear-shaped floodlight that is able to rotate 355°and tilt 140°, this fixture would make a fine addition to any outside environment where subtle lighting is required. The product also features a high IP rating and a strong durability meaning that use of the product outdoors is of no concern to users. www.tonslight.com

4-in-1 RGBW Acolyte Industries

LD10238 Lightgraphix This powerful and robust light fitting is suitable for a wide range of exterior and interior applications including the illumination of building facades and for wall washing. When fitted with a narrow ten degree spot the LD10238 is ideal for lighting columns and arches and any situation where strong lighting is required outdoors. Differing beam options are also available, as well as a 30 degree medium or 50 degree wide spot. www.lightgraphix.co.uk

Most exterior RBG fixtures alternate between red, green and blue LEDs, leading to imperfect colour mixing. By mixing RGB with white on a single LED chip the product mixes colours brilliantly and offers a larger palette of colours, while a 3.7° beam angle focuses the light where it is needed. The product also features up to 4792 lumens, is available in three lengths and boasts an IP65 waterproof rating. www.acolyteled.com

Light at the Arctic circle.

Projekt: Iglootel 2015, Lapland Sweden

WIBRE Elektroger채te GmbH & Co. KG info@wibre.de +49(0)7131 9053-0 Leingarten/Germany Anzeige_210x150.indd 1

Made in Germany. Since 1919. www.wibre.de

30.01.15 07:42



MILANESE TREATS We take a look at what’s in store at this year’s Euroluce Show.

Backlighting Design LED

Soft Ceiling Delta Light The iMax range is the first collection in the Soft Ceiling concept. The name stands for maximum eye comfort and minimal visual appearance, offering a vast range of high performing and discrete lighting solutions. Opting for LED opens a wide array of possibilities with lumen packages ranging from 400 to 2000 lumens, and beam angles starting at 6 degree going to 43. You can choose from fixed or adjustable, trimless or with trim, and a wallwash version, each one available with different light sources and finishes. www.deltalight.com

Design LED Products offers outstanding, award winning technology in the world’s thinnest shelf lighting solutions and in the world’s thinnest and most flexible backlighting solutions. Additionally, Design LED technology is unique in facilitating tailored and bespoke lighting solutions allowing total customisation of shape, size, colour and light distribution. At Euroluce, Design LED will launch their super thin, and super-efficient outdoor backlighting solutions, available in multiple shapes in a flexible, malleable material. www.designledproducts.com

Circus Innermost Berlin born, London based Corinna Warm based these beautiful pendants on the shape of Victorian Circus tents. The new grey colour, paired with a matt white interior, is a removal from the traditional use of an antique gold interior in the other pendants of the collection. Circus will soon possess both cool and warm temperature options to style any setting. www.studiowarm.com

TAPE Wever & Ducre TAPE is an extremely thin, extremely bright LED light source that is near invisible, but the lighting effect is enormous. The dimmable light is available in white or dark grey and in various heights. www.weverducre.com

ETEREA Platek OLED Light Panels LG Chem LG Chem provides OLED light panels in a variety of shapes and sizes. Nine different models are available with two different color temperatures (3,000K/4,000K), which deliver high color rendering levels (CRI>90) as well as achieving high luminance, high efficacy and long lifespan. LG Chem OLEDs emit no UV, very low heat and no blue light. www.lgoledlight.com

ETEREA represents the evolution of the concept of a lantern, a light yet tough solid body with minimal lines and well defined geometries able to conceal the latest generation LED sources. The hallmarks of ETEREA are great flexibility and excellent performance, by which outdoor spaces are enhanced with minimum power consumption and with the highest level of functionality. ETEREA is available in three colours and is made of stainless steel AISI 430 with no visible screws. www.platek.eu


4100 Belfiore/9010 A recessed pathfinder suitable for stairs, corridors and entrance areas, available with high power LED chips, dimmable on request. The special easy mounting system allows perfect installation on plasterboard and with the optional back-box on masonry as well.The special Alphaplus+ - a compound of natural materials and stabilisers - gives the product excellent UV resistance and thermal properties, and is also hypoallergenic, non-toxic and paintable. www.9010.it

Ravello Astro With its distinct cantilever profile, Ravello is one of a growing number of product families in Astro’s range providing design cohesion across different lighting functions. Each of Ravello’s wall light, table and floor lamp variants is a sleek, modern, clean-lined luminaire in its own right. But, thanks to their unity of form, the Ravello family combine to create striking yet harmonious lighting schemes. Ravello comes in polished chrome, matt nickel and bronze combined with standard shade options of white, black and oyster with built-in diffuser. Ravello is compatible with retro-fit LED lamps. www.astrolighting.co.uk

EyeNut Harvard Engineering Harvard Engineering will be presenting its energy saving lighting solutions at Euroluce 2015 on stand P32 in Hall 15. EyeNut is the monitoring and management system revolutionising the indoor lighting market. LeafNut is the control and monitoring system for outdoor and street lighting and was one of the first smart cities technologies on the market. The company will also be showcasing LED Solutions, which combines its LED product ranges – CoolLED drivers, LEDeng light engines and the CustomLED bespoke design and placement service – to deliver integrated LED Solutions that provide opportunities to expand lighting boundaries. www.harvardeng.com

Original 1127 Brass Anglepoise

Mini Bond Tube LEDS-C4 A new minimalist spotlight made of cast aluminum, painted and finished in white combined with black details. Available with Zhaga LED modules with passive dissipation and high efficiency reflectors and angles of 20°, 30° and 50°. With no external driver required, this range of spotlights can be nicely integrated with any space. This spotlight can also incorporate different accessories installed as a surface or a recessed solution. www.leds-c4.com

Created by the makers of the original Anglepoise, the Original 1227 Brass table lamp faithfully represents the most iconic Anglepoise design. Incorporating Anglepoise linear force spring technology, this lamp offers unrivalled flexibility and perfect balance, with heavyweight cast metal base for stability. Can be combined with wall lamps and pendants in the collection to create a fully coordinated lighting scheme. www.anglepoise.com

Clavius LED Axo Light Axo’s long standing Clavius collection now features LED technology in addition to other light sources already in the catalogue: halogen, fluorescent, incandescent with screw fitting, fluorescent with dedicated fitting. The integrated LEDs are dimmable using the DALI system. The new range includes major new features: the introduction of the new and elegant sand-coloured lampshade, the gold finish of the frame and typological development with the introduction of new pendant and ceiling lamps. www.axolight.it



NEW FOR 2015 A selection of new products hitting the market.

Xoominaire 9999 LED Linear

Orbit Sensio Orbit boasts a higher light output than the equivalent HD LED fitting. The fitting is supplied with a collar and can be surface mounted or recessed and is available in both cool and warm white LED. Orbit features a tiltable centre section that allows users to direct the light to the desired position on the worktop, providing an ideal task lighting solution that makes food preparation easier and safer. www.sensio.co.uk

Mood Light Motion Traxon & e:cue Combining LED lighting with motion sensing technology, Mood Light Motion interactive lighting panels create stunning interactive lighting solutions. Intuitive and innovative, each modular lighting panel contains an interactive lighting control engine functioning as a complete standalone system. Up to 255 modules can be connected and automatically addressed. There is no need for external sensors or controllers and it is compatible with various surface materials. Mood Light Motion adds a creative dimension for modern interior designs. www.traxontechnologies.com

30W Acrich module Seoul Semiconductor The 30W Acrich Smart Lighting module consists of an LED module with Acrich MJT 5050 LEDs, Acrich3 IC technology, and an innovative heat sink and secondary optics. It doesn’t require a complex AC/DC converter and can be operated directly from the AC mains which simplifies designs, reduces component count and improves on the reliability of the luminaire. Acrich3 enables connection through a variety of wireless networks. This module is available in various color temperatures and beam patterns. www.seoulsemicon.com

Truelux Drivers Truelux Truelux drivers include constant voltage and constant current models suitable for the Soraa MR16 and AR111 lamps – both with DALI, 0/1-10V, Phase, and non-dimming options. The constant voltage drivers offer flawless dimming of the Brilliant and Vivid ranges, while the constant current drivers are designed for the 300mA MR16 lamps, offering a smooth, linear constant current output with no flickering. www.trueluxgroup.co.uk

An extraordinary design language characterises this luminaire, which is available as surface mounted or pendant versions. The functional lighting system has the cross section of 99x99mm and is available in a standard length of 1,412mm. The possibility of through-wiring completes the technically advanced system. They are available in three colours, and the aluminium profile allows the use of nine different optics for direct/indirect illumination. It is especially suitable for applications in shop, retail or exhibition areas. www.led-linear.com

Luce Verde Series Sattler The Luce Verde Series provides a glimpse of nature and an atmosphere of well-being due to the luscious green of the moss integrated in the gentle LED ring luminaires. The moss is preserved, therefore durable and does not need maintenance. With their gentle softness and characteristic tactile feel, these large-dimensioned luminaires speak to all our senses and simultaneously improve the room acoustics. Available sizes are diameters up to two metres. www.sattler-lighting.com






May 5 – 7, 2015



NEW FOR 2015 A selection of new products hitting the market.

Factorylux Eco-LED Urban Cottage Industries

A high specification LED lamp combining technology and design to provide superior quality light output in a rugged and handsome form. Redefining the relationship between LED and incandescent, it is: bright powerful, warm, consistent, flicker free, high CRI with tactile heat-sink cast as a solid piece of raw aluminium and features a spherical glass envelope; and innovative double-click dimming. www.urbancottageindustries.com

MIREL Zumtobel Featuring a distinct appearance, integrating energy-efficient LED technology into a tried-and-tested stylistic idiom. Thanks to the lens shape, a directional beam pattern and a brilliant appearance are achieved without any annoying glare. Light distribution is effected at a rate of 95 per cent with only five per cent of the luminous flux reflected by the louvre. This results in more precise direction of light and higher luminous efficiency, indicated by a luminaire efficiency factor of 112lm/W. www.zumtobel.com

Dim to Warm Megaman This latest line of LED products, featuring Dim to Warm technology allows improved performance following the curve of filament lamps while enabling LED lamps to emit a warmer light as dimmed. It is also possible to offer true fit sizes and shapes across Megaman’s range of LED retrofit lamps, making it the widest offer available with the look and feel of old technology but with all the benefits of LED. www.megamanlighting.com

ADVERTISERS INDEX Acclaim............................................. 117 Anolis.......................................... 10, 150 Applelec........................................... 111 Architectural Area Lighting............... 155 Architonic........................................... 77 Atkins................................................ 150 BDP................................................... 151 Bega................................................... 71 CLS....................................................... 6 darc night........................................... 43 David Morgan Associates................. 108 Design LED....................................... 117 Dial..................................................... 97 Electron............................................ 107 Encapsulite......................................... 16 Euroluce.............................................. 79 Fuhua Electronic .............................. 143 Griven................................................. 19 Grupo MCI....................................... 127 Guangzhou Int’l Lighting Exhibition... 82 GVA.................................................. 141 Harvard............................................... 53 Havells-Sylvania.................................. 25 IALD.................................................... 14 Illumination Physics.......................... 133

Insta.................................................... 15 Instrument Systems.......................... 121 IstanbulLight..................................... 149 ISTL................................................... 108 Kim Lighting......................................... 3 KKDC.................................................. 35 Lamp................................................... 61 LEC-Lyon.......................................... 121 Leccor................................................. 97 LED Linear........................................ 156 LEDartist............................................. 97 Lee Filters .......................................... 85 LG....................................................... 39 Lightfair............................................ 147 Lightgraphix..................................... 103 Lucent................................................. 41 Lucifer................................................. 21 LUG.................................................. 125 Lumenpulse........................................ 23 Lunoo......................................... 89, 151 Mawa Design.................................... 151 May Design Series............................. 4-5 MBN................................................... 12 Nicolaudie.................................. 11, 151

Orlight.................................................. 2 PLDC.................................................... 8 Precision lighting................................ 73 Pulsar.................................................... 9 Recolight.......................................... 125 Recom Electronic.............................. 129 Rising Dragon Technology................. 13 SAT................................................... 127 Sattler................................................. 27 Schréder........................................... 139 Seoul Semiconductor....................... 123 Signcomplex..................................... 115 SPARC............................................... 129 StrongLed......................................... 119 Studio Due......................................... 17 Times Square Lighting...................... 107 Tons.................................................. 123 Traxon e:cue....................................... 99 Truelux................................................ 91 Unilamp................................................ 7 Wibre................................................ 143 Wila.................................................... 59 XAL..................................................... 33 Xicato................................................. 65


This is my story Improving together

“Atkins has opened up all kinds of opportunities for me. If you perform well here - you get noticed quickly. I was given more responsibility and challenges, with training to deliver. And I’ve enjoyed lots of variety, creating prestigious and innovative lighting solutions from the Gatwick Airport expansion to the Olympic Park legacy.”

John Senior lighting designers £competitive + great benefits | London or Epsom Join our specialist lighting team in our building services division and we’ll develop your talent and give you the chance to shine. Making your mark on some of the world’s biggest and most exciting engineering challenges, you’ll play a lead role in creative and technical lighting projects. From architectural to technical solutions in public realm and cityscape, hospitality, sporting events and residential and commercial developments, you’ll enjoy pushing the boundaries and exceeding the expectations of our clients. If you’re a talented leader, communicator and lighting designer - your story starts here. So, discover more and apply at:

www.atkinsglobal.com/LightingDesigners Or contact Marie Kiernan on 0207 121 2675, or email marie.kiernan@atkinsglobal.com

Trinity Leeds Shopping Centre

Looking for



What’s your idea of inspiring design?

Lunoo is a lighting manufacturer located in Belgium, focused on the contract market. With our lighting solutions we are aiming at the best shopping experience, the cosiest restaurant, the perfect working atmosphere, ... In order to expand our business we are looking for motivated sales agents in several countries with the purpose of establishing a long-term business relationship.

// What do we offer?

// Our ideal partner?

• Project-based lighting calculations and lighting plans

• Has strong interpersonal skills and able to build a business relationship with professional people.

• Technical support • Representation and support for your region • Commission on sales

• Is experienced in project management and lighting consultancy • Is looking for a long-term business relationship

// Interested?

SENIOR LIGHTING DESIGNER BDP’s lighting team delivers people centred designs. Our work encompasses all aspects of artificial and natural lighting design both

Please contact Mr. Sven Callewaert

in the UK and internationally. Team work, conceptual integrity and collaboration are at the heart of our working methods and we are firmly committed to the sustainability of our environment. We have opportunities in our Manchester studio for suitably qualified and


experienced individuals to join our team at Senior Designer level and take responsibility for a wide range of exciting projects from

+32 56 676 128

client brief to commissioning. Visit our website...


the lighting company


agenten2.indd 1

Mawa design, in manufacturing and marketing their own lighting collection, has made a name for themselves in the last 10 years with the planning and construction of custom lighting. Over the past 30 years, we’ve been well-known as an accessories manufacturer, but today our core competence is in the field of lighting design and the production of custom lighting.

Distribution Partner To extend our capabilities, in addition to specialist lighting retailers, to public buildings, museums, churches as well as banks, we are looking for a competent distribution partner for Great Britain. Your mission Expansion and development of the market position for mawa design; Working and accompanying projects in your territory; Further development of existing client relationships; New acquisitions in the areas of retail, architects, planning offices and specialty stores. Requirements Technical or commercial/business training; several years experience in providing consultant sales or project management involving technical, decorative lighting with demonstrable sales success; Independent work ethic and a high level of commitment; Pleasure in dealing with people; Dedicated team player with a talent for organization; Flair for architecture and design Our offer We offer a very attractive success oriented income, as well as an interesting and multifaceted variety of work. We look forward to receiving your informative application: Tina Krauß · t.krauss@mawa-design.de · www.mawa-design.de mawa design GmbH · Neu-Langerwisch 36 · D - 14552 Michendorf

3/02/15 15:46

EVENT CALENDAR darc night is coming www.darcawards.com

member of


Smart Lighting May 20-21 Berlin, Germany www.smartlighting.org

China Lighting Expo April 22-24 Beijing, China www.chinalightingexpo.com


LpS September 22-24 Bregenz, Austria www.led-professional-symposium.com

May Design Series May 17-19 London, UK www.maydesignseries.com

IstanbulLight April 16-19 Istanbul, Turkey www.istanbullight.com

in collaboration with

London Design Festival September 19-27 London, UK www.londondesignfestival.com

LEDTEC Asia May 7-9 HoChi Minh City, Vietnam www.ledtecasia.com

Euroluce April 14-19 Milan, Italy www.cosmit.it/en/euroluce

A unique new event from

Guangzhou Intl Lighting Exhibition June 9-12 Guangzhou, China www.light.messefrankfurt.com.cn

Lightfair International May 5-7 New York City, USA www.lightfair.com

Light March 25-27 Warsaw, Poland www.lightfair.pl Lumibat June 2-4 Lyon, France www.capurba.com/lumibat/

sparc May 27-29 Sydney, Australia www.sparcevent.org

LightingTech Qatar May 4-5 Doha, Qatar www.lightingtechqatar.com

LEDucation March 5-6 New York, USA www.leducation.org

LED Expo May 21-24 Bangkok, Thailand www.ledexpothailand.com

LIGHTEXPO AFRICA May 2-4 Nairobi, Kenya http://www.bizpromos.net/le/

The LED Show February 24-26 Las Vegas, USA www.theledshow.com


Interlight Moscow November 10-13 Moscow, Russia


Acetech October 28 - November 1 Mumbai, India

PLDC October 28-31 Rome, Italy http://www.pld-c.com

IALD Enlighten Americas October 8-10 Baltimore, USA www.iald.org

Iluminotronica October 8-10 Padua, Italy www.illuminotronica.it

darc night September 24 London, UK www.darcawards.com





Nonotak is a partnership between illustrator Noemi Schipfer and architect and musician Takami Nakamoto. Despite forming in early 2013, they have notched up a number of impressive international commissions. They caught our eye due to their unique fusion of projection and sound and we look forward to watching them go far... Their chosen image is from one of their installations, DAYDREAM V3, which is part of an experimental series that demonstrates how it is possible to sculpt light within a space. DAYDREAM V3 is an installation consisting of projected graphics onto semi transparent screens to duplicate an original image. This makes visible the lens ratio of the projector like a cross section in architecture. They always use black and white as they consider projection a light source and not video. Nonotak say: “We chose this picture to illustrate how light is abstract. We always attempt to get close to a simple aesthetic and light is our best medium for that. Light inspires us by its immateriality and flexibility. It can change the perception of any object and space.” www.nonotak.com

Two sizes: 4� and 5�


Up to 12,800 lumens


Up to 103 lumens per watt


Zero uplight

Profile for Mondiale Media

mondo*arc Feb/Mar 2015 - Issue 83  

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

mondo*arc Feb/Mar 2015 - Issue 83  

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

Profile for mondiale