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#84 2015


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The May Design Series is the UK’s definitive interiors event. Meet British and international suppliers across five show sectors: Lighting | Furniture | KBB | Decor | DX The lighting sector at May Design Series will showcase the full spectrum of lighting, from decorative to architectural. Source from previously unseen international lighting suppliers alongside the best of new and established British talent.

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Abhay Wadhwa Alberto Pasetti Aleksandra Stratimirovic Allan Ruberg Dr. Amardeep Dugar Dr. Anadi Martel Andrew Sainsbury Angus Farquhar Anne Bay Anne Bureau Arne Hülsmann Arve Olsen Astrid Poulsen Athanassios Danilof Dr. Aurélien David Björn Meyer Brett Anderson Carlo D’Alesio Dr. Carlo Volf Carolina de Camillis Cehao Yu Cesar Castro Chris Precht Cinzia Ferrara Claire Hamill Prof. Dr. Claude Demers Claudia Paz Dr. Craig Bernecker Deborah Burnett Eik Lykke Nielsen Dr. Elettra Bordonaro Fabio Aramini Gillian Treacy Prof. Dr. Günther Leising Iain Ruxton Inger Erhardtsen Isabel Sanchez Sevillano Isabel Villar James Benya James Duff Johann Gielen Prof. Dr. John Mardaljevic Jonathan Rush Dr. Karolina Zielinska-Dabkowska Katja Schiebler Dr. Katrin Müllner Kerem Ali Asfuroglu Dr. Kevin Houser Lars Oliver Grobe Dr. Linnaea Tillett Dr. Lone Stidsen Mahdis Aliasgari Majid Miri Malcolm Innes Marco Palandella Marina Silkina Marinella Patetta Martin Valentine Maurice Asso Michael Grubb Dr. Michael Royer Nathan Savage Nitika Agrawal Nona Schulte-Römer Oliver Stefani Pablo Martinez-Diez Paul Boken Paul Traynor Pernille Krieger Peter Raynham Piergiovanni Ceregioli Rachael Nicholls Roberto Corradini Roger Narboni Roslyn Leslie Shuyu Chen Dr. Simon Simos Stephanie Denholm Susanna Antico Tapio Rosenius Tomasz Klimek Vellachi Ganesan Veronika Mayerböck Prof. Dr. Werner Osterhaus Ya-Hui Cheng 150306_MondoArc_PLDC2015.indd 1

Rome Professional Lighting Design Convention

28. – 31. October, 2015

- an educated decision 71 paper presentations More than 1500 attendees expected Latest know-how and research findings Exhibition of leading manufacturers Gala dinner and PLD Recognition Award Marketplace for the PLD community Excursions Pre-convention meetings Cities’ Forum Experience rooms Social events The Challenge: Round IV Self-running poster presentations

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[apr/may] Front cover pic: Light in Water, Lumières - Play of Brilliants by Emmanuel Donny

052 Interview Vilma Barr takes a look at the wonderful work Cindy Limauro is doing with budding lighting students.

DETAILS 022 Editorial Comment mondo*arc india launches. 024 Postcard Courtesy of Factorylux and Light Collective. 026 Headlines The latest industry news. 028 darc awards Now open for entries. 030 Eye Opener Plumen 002, Design Museum Tank, London. 032 Drawing Board Our preview of proposed projects. 036 Spotlight A selection of brand new projects from around the world. 046 Briefing We talk to John Dudley, President of EPS and chair of IYL 2015. 048 Snapshot Celebrating NDYLight Lighting Design’s 25th anniversary. 050 Lighting Talk Eric Carlson of Carbondale talks lighting. 060 Garbh To Griha We bring you a special report from the first issue of mondo*arc india. 178 Inspirations Lighting designer Lara Elbez.

ART & DESIGN 128 Lumières - Play of Brilliants An immersive light show from Light Collective, on display at the Eléphant Paname in Paris. 136 Story of Light A pilot lighting project showing promise. 138 L’Espace Des 4 Éléments Artist Yann Kersalé creates an immersive experience on the avenue des ChampsÉlysées. 140 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light.


TECHNOLOGY 142 Case Studies A selection of projects featuring innovative lighting including: The Compuware Builiding (p142); Eden Fine Art Gallery (p144); Bory Mall (p146); Sheraton Doha Hotel (p148); Deutz / Messe train station (p150); Media Saturn Head Office (p152); Theatre Royal, Glasgow (p154); Lyon Airport (p156); Aachen Cathedral Treasury (p158); AF Lighting building (p160). 162 Bench Test David Morgan looks at iGuzzini’s Trick range, which continues to impress. 164 Geoff Archenhold Geoff Archenhold reacts to Rogier van der Heide’s ‘Briefing’ interview from the last issue. 165 Tech updates The latest lighting technology launches. 166 LightFair International Preview A selection of must see items on show in NYC. 168 New Product Guide In with the new... All that’s shining bright! 176 Event Calendar A round-up of all the leading must-attend tradeshows and events in the industry.


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[apr/may] Online Take a moment to watch the making of the Wuhan Han Show Theatre in action.




084 Dorsett Shepherds Bush, London Once an Art Deco inspired cinema, today a modern hotel can be found thanks to Flanagan Lawrence Architects and EQ2 Light.

098 Imperial War Museum, London Fosters + Partners works with George Sexton Associates to highlight timeless stories of the museum.

118 Ham Yard Hotel, London LDI works with Kit Kemp to bring an eclectic yet cosy feel to this boutique hotel.

092 Square Inc, San Francisco Banks / Ramos Brings a community feel and maximum daylight exposure to Square Inc’s headquarters.

112 Obagi Skin Health Institute, Laguna Beach Rosemarie Allaire Lighting Design creates a dance of light and shadows.

124 American Express Invites Lounge, The O2, London Into and Platform Group work to emulate the theatrics and celebrity experience for VIPs.






[editorial] Paul James, editor, writes: I had the pleasure of attending the launch of mondo*arc india in Mumbai last month. I have to say I was genuinely impressed with the scale and professionalism of the event from our Indian partner, STIR. If this is anything to go by then I know that the publication will be a huge success. Indeed, it is immediately apparent from the first edition that mondo*arc comes to India at a time when the economy is flourishing and its design and lighting community is brimming with innovations and ideas. mondo*arc india is the first magazine in the country dedicated to designers with light. A combination of mondo*arc and darc magazines, it promises to deliver an international publication with greater Indian context - pertaining to industry professionals, brands prevalent in the market, research and development initiatives as well as the local lighting design fraternity. Just to whet your appetite we’ve published some of the articles from the inaugural edition. The quality of journalism from mondo*arc india editor Mrinalini Ghadiok in her ‘Garbh to Griha’ article is of the highest standard. We are delighted to partner STIR in this exciting venture. mondo*arc india will serve the growing community of architects and designers in India with inspirational and informative articles about designing with light. With the expertise and passion of the team in India, I know that mondo*arc india will be a huge success. • Entries are now flying in for the darc awards and a venue has been chosen for darc night on September 24th so take a look at at the projects and products displayed so far and get involved! Helen Fletcher, deputy editor, writes: The fun never stops at mondo*arc! As well as putting this issue together, there’s been lots of other things going on to keep the team out of trouble... While Paul jetted off to Mumbai for the mondo*arc india launch party, entries for the darc awards started to come in thick and fast ahead of September’s main event. We’ve found an amazing space we feel is worthy of hosting the awards, but you’ll have to watch this space for the official announcement in coming months - we guarantee you won’t be disappointed! In other mondo*arc news, you’ll remember that last issue we ‘said goodbye’ to our editorial intern Femke... Well, it seems she can’t get enough of us and has joined the team permanently as our new editorial assistant following Rob Leeming’s move to The Big Smoke. If you didn’t catch her at the darc night party, keep your eyes peeled at Euroluce - this will be her first official outing representing the magazine. As for projects in this issue, make sure you take the time to read about the Dorsett Hotel in Shepherds Bush, London which sees a 1920s cinema restored to glory for modern day use and has a spectacular lighting scheme in the lobby by Mark Hensman’s EQ2 Light.



Publisher / Editor

Amy Wright

Paul James




Deputy Editor Helen Fletcher

David Bell



Editorial Assistant

Mel Robinson

Femke Gow



Dan Seaton

Editorial Intern


Laurence Favager



Damian Walsh

Advertising Manager


Jason Pennington

Finance Director

( Advertising Sales Executive

Amanda Giles

John-Paul Etchells



Credit Control

Advertising Sales Andy White (

Donna Barlow (

mondo*arc magazine ltd Waterloo Place Watson Square Stockport SK1 3AZ United Kingdom T: +44 (0)161 476 8350 F: +44 (0)161 429 7214 Printed by Buxton Press, Palace Road, Buxton, UK Annual Subscription rates: United Kingdom £30.00 Europe £50.00 ROW £65.00 To subscribe visit or call +44 (0)161 476 5580

mondo*arc, ISSN 17535875, is published bi-monthly by Mondiale Publishing, Waterloo Place, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Waterloo Place, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.

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Buried uplights offer great design advantages, but also a number of installation challenges if not managed correctly. We took a different approach with the Lumenfacade Inground, designing the luminaire for stress-free installation, best-in-class performance and unmatched versatility.



[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.

#5 Hotel El Camino Real

© Corbis

* Missing your Factorylux limited edition card? Then contact for a replacement.

The first time we stayed in Mexico City, it was in an American corporate style hotel - lots of marble, polished brass, compact fluorescent lamps and the absolute minimum amount of character possible. During that visit, we had the pleasure of visiting the home and studio of famous Mexican architect, Luis Barragán. When he died in 1988, his self-designed home and studio were turned into a museum that can be visited only by appointment. He was an amazing architect who had an innate understanding of natural light. He used materials, openings and colour to amazing effect to distribute light and shadow around his architecture and a visit to the house is a must do for lovers of daylight design ( However, this month’s card is not a print of Casa Barragán but a building that is related to it. The day after seeing his studio we left our drab hotel and went for a wander around the streets of Mexico City. Literally around the corner, we found the Hotel El Camino Real - a stunning piece of phenomenally coloured architecture that played with light in a way that reminded us of the studio and architecture of Luis Barragán. The architect of the hotel was Ricardo Legorreta who had been a protogeé of Barragán. Ricardo Legorreta was born in 1931 and died in 2011. He carried Barragán’s ideas to a wider realm. Barragán’s work is mostly limited to domestic architecture and one of the important contributions of Legorreta has been carrying forward the Barragán aesthetic in other building types such as hotels, factories as well as in commercial

and educational buildings. A love affair with the Hotel El Camino Real began. The next three times we had to work in Mexico City, we stayed here. We even made a short film to share our thoughts on: Sunlight and daylight is introduced into the common areas, corridors and gardens in numerous ways. Perforated screens filter light into the corridors tracking the passage of the sun in slowly moving shadows and creating an oasis of light in the distance as you enter these often forgotten spaces. Gold and silver surfaces and sculptures are used in some areas to create reflections of light from the exterior and draw the presence of daylight deep into the space. Water and light wells are also used in key areas to create another exploration of light and colour. Some of the ways in which natural light is an integral part of this space are beautifully subtle, and maybe not even openly perceived unless you are looking for them, but they lend an ever-changing dynamic to the surfaces in the space. The response of the intense colour within the space to sunlight and daylight, however, cannot be missed. Deep, saturated pink, blue and yellow covers many of the various walls and when daylight hits them they just pop in response. El Camino Real is a phenomenal visual feast, you cannot help but smile as the intense blocks of colour saturate your brain. FactoryLux have helped to replicate the feel of the building with the colour process in this print. We hope you agree with this choice.

out of darcness comes light...

welcome to darc night

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


technical partner


entries now being accepted on

member of


news headlines

For the latest news stories, head online:

ConTech Lighting appointed Megaman North American distributor

darc awards now open for entires (UK) - You can now enter your projects and products into the darc awards, the international lighting design awards.

(USA) - Megaman partners with ConTech Lighting as exclusive distributor throughout North America.

Read the full story online... 1

Read the full story online...

mondo*arc india launched to critical acclaim (India) - Launch event in Mumbai attracts almost 400 designers and architects ready for a high quality lighting design magazine for the Indian market. Read the full story online... 2


Flos aquires Ares (Italy) - Flos joined by Ares’ specific knowhow to compete in outdoor lighting sector on global markets. Read the full story online...



Nordeon-Group acquires Griven

Light Touch PLD Dubai celebrates five years and opens London office

(Italy) - Italian architectural lighting manufacturer joins Hess to form a strong architectural lighting portfolio for German based lighting group.

(UK) - Howard Lee-Smith to head-up London consultancy for Light Touch PLD.

Read the full story online...

Read the full story online...

Electrolight opens London studio (UK) - Founding Director Paul Beale joined by Christopher Knowlton to run London office. Read the full story online... 7 In pictures

the latest news online


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1 darc awards open for entries 2 mondo*arc India launches first edition. 3 ConTech Lighting and Megaman join in partnership. 4 German Griven headquarters. 5 Italian light

designers Flos teams with Ares. 6 Howard Lee Smith. 7 Electrolight opens studio in London.


What goes up, must come down. This is the principle that the HELIOS LED light embodies in a surprising and equally simple manner. Through patented prism technology, its exceptionally flat, innovative light head allows for both upward and downward directed light for individually configurable lighting situations: Direct light for the immediate surroundings and at the same time harmonious ambient light through indirect ceiling illumination. Even when not illuminated the HELIOS design creates a noticeable visual impact: When switched off the circular reflector prism is transparent and most surprisingly visibly invisible.


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[darc awards] The darc awards, organised by mondo*arc and its sister publication darc in collaboration with Light Collective, has officially launched with entries now being displayed on the website Following the launch party for the darc awards, the website (www.darcawards. com) is now displaying project and product entries that are flooding in from as far afield as Iran, Australia, New Zealand, Iceland, Peru, USA, UK and UAE. Paul James, awards director and publishing editor of mondo*arc and darc, commented: “I’m absolutely delighted with the response so far. 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. 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 independent lighting designer a vote, making this the only truly peer-to-peer lighting design awards in the world.” Each award is 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, will become a comprehensive online lighting design resource that can be used by designers and clients alike for inspiration. There are also product categories (two architectural and one decorative) that 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 on September 24th, 2015 during London Design Festival. 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, Reggiani, Cooledge and Griven. Technical partner is XL Video. 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. Lighting design practices who will be involved include Speirs+Major, dpa, Light Bureau, Michael Grubb Studio, Elektra, Paul Nulty Lighting Design, BDP, Design In Progress, LDI and Troup Bywaters + Anders 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.

Just three of the entries to the darc awards so far - BCP Affinity in Lima, Peru by Claudia Paz Lighting Studio (Peru) and Nicholas Cheung Studio (UK); ‘Hanging Forest’ in Brussels, Belgium by Gilbert Moity (France); and Brilliance in Palo Alto (CA), USA by Creative Machines (USA).



DARC AWARDS CATEGORIES 1 Best interior scheme - low / high budget 2 Best exterior scheme - low / high budget 3 Best landscape scheme - low / high budget 4 Best decorative lighting installation 5 Best light art installation 6 Best architectural lighting product interior / exterior 7 Best decorative lighting product 8 Best lighting concept



eye opener Plumen 002, Design Museum Tank, London Plumen returned to the Design Museum Tank in London showcasing their new energy efficient lamp design in a novel lighting sculpture. The installation, which took place from November 26th 2014 to February 2015, displayed 96 lamps and copper Drop Cap pendants in a dynamic wave-like formation that mirrored the sculptural qualities of the 002 lamp. The tank consisted of four glass walls so viewers could get a good look from every angle. To create a visually striking display, a mirror was placed on the floor to give further depth to the installation. The light reflected off the sides of the tank and the mirror to enhance the sculpted feel of the light itself as it bounced within and escaped from the tank.




[drawing board] The latest exciting works in progress from the world’s most imaginative designers. Indicative CGI, night © Steven Kevin Howson / SelgasCano

PARK LIGHT London’s Serpentine has revealed designs for the fifteenth annual Pavilion. The render by Madrid-based architects SelgasCano shows an amorphous, doubleskinned, polygonal structure consisting of panels of a translucent, multi-coloured fabric membrane (ETFE) woven through and wrapped in webbing which will be lit at night. Visitors will be able to enter and exit the Pavilion at a number of different points, passing through a ‘secret corridor’ between the outer and inner layer of the structure and into the Pavilion’s brilliant, stained glass-effect interior. Serpentine Galleries Director, Julia Peyton-Jones and Co-Director Hans Ulrich Obrist said: “We are proud to work with SelgasCano in this, the 15th year of a commission unique in the western world that continues to showcase some of the boldest and innovative designs in contemporary architecture internationally. In keeping with their reputation for playful designs and bold use of colour, SelgasCano’s structure will be an extraordinary chrysalislike structure, as organic as the surrounding

gardens. We can’t wait to go inside to experience the light diffused through the coloured panels like stained glass windows. It will be a place for people to meet, to have coffee and to experience the live events we put on throughout the summer.” Since the commission was launched in 2000 by Director Julia Peyton-Jones, the annual Serpentine Pavilion – unique in terms of its conception, delivery and funding model – has been designed by some of the world’s greatest architects, including Zaha Hadid, Oscar Niemeyer, Rem Koolhaas and Cecil Balmond, Frank Gehry and Jean Nouvel. Projects have ranged from SANAA’s floating, aluminium cloud in 2009 to Peter Zumthor’s zen-like garden enclosure in 2011 to Smiljan Radić’s shell-like structure in 2014. In keeping with the criteria of the commission, this will be the first built structure in England by SelgasCano. The architects describe their design: “When the Serpentine invited us to design the Pavilion, we began to think about what the structure needed to provide and what materials should be used in a Royal Park

in London. These questions, mixed with our own architectural interests and the knowledge that the design needs to connect with nature and feel part of the landscape, provided us with a concept based on pure visitor experience. We sought a way to allow the public to experience architecture through simple elements: structure, light, transparency, shadows, lightness, form, sensitivity, change, surprise, colour and materials. We have therefore designed a Pavilion which incorporates all of these elements. The spatial qualities of the Pavilion only unfold when accessing the structure and being immersed within it. Each entrance allows for a specific journey through the space, characterised by colour, light and irregular shapes with surprising volumes.” AECOM, in collaboration with David Glover, will again provide engineering and technical design services.



[drawing board]

BOURNE IDENTITY Michael Grubb Studio has been appointed as lighting designers for Bournemouth Pier Approach. The Studio, which is based in Bournemouth, will be working alongside CEC and MeiLoci, with Poynton Bradbury Wynter Cole Architects, Hydrock Engineers, and Ustigate Water Feature Designers to deliver the £3.3m public realm project. The project is currently onsite with completion due soon. The team was appointed in March 2014 to take forward this prestigious project from conceptual design stages developed by Gillespies and Studio Fractal to detailed design and implementation, working closely with Bournemouth Borough Council, Mouchel and Willmott Dixon. Proposals for Pier Approach focus on water

features and landscaping to reconnect the Lower Gardens with the beach for the first time in over 100 years. The initial lighting concept for the project has been reconceptualised so that it aligns and enhances the new lighting philosophy for Bournemouth’s Lower Gardens, which was developed by Michael Grubb Studio back in 2013. The concept celebrates Bournemouth’s history with light, which dates back to 1896 when Empress Eugenie was advised by her physician to visit Bournemouth that was at the time famed as a Health Spa resort. During her stay a groundskeeper took it upon himself to light thousands of tea lights and place them in honey pots throughout the Lower Gardens to enable the Empress to

find her way down to the sea at dusk. The event is still commemorated to this day. The historic candlelight narrative is at the very heart of the new lighting scheme. Michael Grubb Studio has designed bespoke wooden lighting columns with an internally illuminated lit finial, which will have the ability to colour-change and sequence on special occasions. The default day-to-day colour will be warm (candle) white light. Additional spotlights and gobo-projectors have been incorporated and will be used to celebrate special events and occasions. All of which is remotely controlled by a sophisticated system that will operate all of the lighting through the Lower Gardens and on to Pier Approach.



[spotlight] The latest projects with the wow factor from around the world. Pics: Paul Friedlander

WAVES OF CASCAIS Cosmic bodies of light serve as the culmination between art and science in the kinetic light sculptures of Manchester-born artistic physicist Paul Friedlander. In September 2014, Portugal’s Lumina Light Festival featured his ethereal works of art in the ancient port of Cascais. As the first town in Portugal to install electric street lighting, Cascais served as the perfect connection to innovation in light for Friedlander’s Wave Garden installation. A group of four kinetic waveforms stretched overhead in an open

space on the waterfront, accompanied by music composed by Laurie Spiegel entitled ‘The Expanding Universe’. The festival’s visitors followed a route to the Wave Garden and 20 other installations on a map, taking them through the town centre and past the waterfront before emerging into the festival grounds, transforming a visit to a park into a mysterious and magical experience. Having obtained a BA Physics and Mathematics from the University of Sussex, followed by another in Fine Arts from Exeter

College, Friedlander’s use of light that changes colour faster than the eye can see is considered interactive art in new media on a monumental scale, a view reflected in its international recognition. His pioneering works have previously won the USHIO America Award for Innovation, the Arts Science Collaborators Incorporated competition, and have been shown in various arts and science museums and festivals across four continents and fifteen countries.


Pic: Jussi Ratilaine

Pic: Minna Hatinen

Pic: Jussi Ratilaine

LET IT OUT Anonymous, a temporary light art intervention designed by Lighting Design Collective (LDC), debuted at the Lux Helsinki light festival from 4 - 8 January 2015. The event, bringing over 200,000 people to the Finnish capital, encouraged spectators to get involved in artworks they could help complete through audience participation. Anonymous answered this brief by allowing visitors to alter and create visual expressions through movement and voice, using a glowing white cube with a microphone inside. Laser light tracked movement and sound, as people expressed themselves in any way from telling

jokes to singing. While providing an interactive platform, the piece also offered viewers the chance to present their own, apparently invisible and anonymous, opinions. Using real-time laser mapping and 3D tracking technologies, the moving silhouettes and voices of participants were projected onto the façade of Finlandia Hall in the city centre, a symbolic building designed by architect and designer Alvar Aalto. RGB wash luminaries created an abstract projection of light and motion on the façade, the colour saturation of which varied from deep reds to clean white depending on the intensity

of the participant’s voice. The light didn’t reveal who was inside the cube, creating a false sense of privacy for the speaker. When the box was on the stand-by setting, a large scale projector displayed a design inspired by the Vitruvian Man, filled with binary representation of phrases related to the concept. Anonymous, a powerful tool for self-expression void of the inhibition of identity and consequence, stands as yet another example of the versatile quality of intelligent light and design.




Pic: Studio Roosegaarde

BENEATH THE SPECTRUM This year, Amsterdam Central Station offers travellers the chance to walk beneath the arch of a rainbow every evening on the station’s east side in another expressive collaboration between art and science from Dutch artist and innovator Daan Roosegaard. Rainbow Station can be seen everyday this year within an hour after sunset, lending brightness and colour to the dark night of passengers’ journeys. In collaboration with astronomers of the

THE PEOPLE’S DOOR Celebrating the founding values of the Italian republic and constitution, light artist Mario Nanni launched La Meridiana dei Popoli, a 21-metre tall iron structure standing as an open door to the city of Lugo, Italy. Nanni’s work historically treats light as architectural matter; a communicative language that plays a role in creating an inclusive society by uniting without restriction. La Meridiana dei Popoli is no exception to these values in its use of light to artistically depict the English, braille and local dialect translations of the Italian Constitution written on one side of the monument, and significant dates in Lugo’s history on the other. A bronze representation of the constitution itself is illuminated in a cove at the monument’s base. The dark blue door surrounded by a white frame illustrates the relationship between Lugo and European values, with a pierced egg placed on top working as a sundial to acknowledge time and social progression through history. Built as part of a competition for the creation of work celebrating the founding values of the Constitution, Nanni’s monument has been realised as a contribution to the social and cultural growth of Lugo.

University of Leiden, Roosegaarde developed a lens filter that unravels light efficiently into a spectrum of colours. Using a new liquid crystal technology developed at the Leiden Observatory, Rainbow Station takes the exact shape of the 45-metre wide station roof, depicting the arch of a perfect rainbow. The innovative and colourful artwork plays with the boundaries between man, technology and space, bringing technological innovation and beauty to the

atmosphere. The monumental station was renovated by NS and ProRail in honour of its 125th year, also marking UNESCO’s International Year of Light. For the 50 million people a year travelling through Amsterdam Central towards national and international destinations, Rainbow Station draws gazes up with a spectrum of colour to enliven the roof and spark a smile in its travellers.

Pic: Pietro Savorelli

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PARISIAN AURORA Northern Lights flashed across Paris’ Jardin du Palais in the modern and sustainable poetic spirit of 35,000 IKEA LEDs. Inspired by the magical appearance of energy and light in nature, artist Aleksandra Stratimirovic brought the northern natural light phenomena to the beautiful surroundings of Jardin du Palais Royal from 2-7 December 2014. Starting with IKEA’s vision of a sustainable

future, Stratimirovic used IKEA’s LED products in a uniform, colour-changing row to unite the Swedish presence of nature with the classic history of Paris as a symbol of interacting cultures. The row of long LED lights crossed through the middle of the Jardin du Palais, with visitors able to cross and revolve around it. The garden could be accessed at all hours of the

day, with the artwork also visible from the garden’s surrounding galleries. In this LED installation, IKEA celebrated its Swedish roots and marked its engagement in sustainability by illustrating the brand implication that home is the first place to adopt concrete and effective sustainable behaviour.



[spotlight] HEALING BURNS Internationally renowned artist and sculptor, David Best engulfed Derry~Londonderry’s hillside in a spectacle of light when his eye-catching Temple piece, made from recycled wood sheets, was burnt to the ground in the name of art. Working with arts charity Artichoke, Best spent two months in Derry~Londonderry working with the local community to build Temple, which was set alight on 21 March. After two years of planning and support from the Arts Council of Northern Ireland, and a raft of sponsors and individual donors, Temple was open to the public for seven days (14-21 March). In this time, over 60,000 people visited the structure, writing personal messages directly onto the interior and exterior walls and pillars, filling the interior with pictures of loved ones, handwritten messages, and symbols of peace in the ancient tradition of healing flames. Commissioned by The Space, Artichoke also teamed up with CultureTECH and artist Adam Clarke to create Templecraft, a digital version of Temple built in Minecraft. Designed by BlockWorks and Sparks, players could explore the structure and leave messages inside, before it too was burnt down.

Pics: Matthew Andrews

NO COW ON THE ICE The paradisiacal snowscapes of Swedish Lapland are now available for all in frozen luxury under the shelter of Iglootel’s seventeen igloos in Arjeplog. The opening ceremony in January 2015 welcomed 200 guests from Germany and Sweden to celebrate onsite the premises of Hotel Kraja, the cooperation partner of Iglootel. Iglootel’s CEO Daniel Knab and Event Manager Stefan Timm were in charge of the project. In collaboration with German light-

Pics: Wibre

ing consultants Licht-Team and exterior and underwater lighting manufacturer Wibre, Iglootel grants this event-location and ice hotel a breathtaking charm. The Iglootel-light concept features LED walls and interactive LED floors, a 360˚ cinema with dome projection, and an illuminated Ice-Bar-Igloo. With the project’s interior design completed by students of the Gut Rosenberg Academy of Craft and Design, ten Sleeping-Igloos and seven Event-Igloos

are connected by corridors built from ice and snow. An ice floe in the entrance area bursts through the wooden floor to resemble climate change, with the igloo’s exterior bearing this year’s motto, ‘Artic Nations’. Saunas, hot tubs and polar-sleeping bags shield adventurous guests from subzero temperatures, while Iglootel provides a memorable experience for guests to get a taste of the Scandinavian way of life. 20 Fenchurch Street, London. Architect: Rafael Vi単oly Lighting Design: MBLD. Photography:




Pics: James Newton

SHADE SHIFTER Immersive, durational light installation, Halflife, created by award winning design practice Speirs + Major, greeted pedestrians of London’s King’s Cross tunnel on 6 March 2015. Delivered in association with King’s Cross Central Partnership, Halflife is a site-specific work using the medium of light to synthesize a digital journey through light and colour. Built upon a construct of digital, ordered cycles, Halflife creates an experiential and

dynamic adjunct to the moving traffic that inhabits the space on a daily basis. The cycles move from light to dark beginning with bold, dramatic steps gradually becoming calmer until they dissolve, leaving just a trace of the former light. The sequence then resets itself to reveal an altogether new cycle in an evolutionary experience where no moment is ever the same. The concept of Halflife reflects British physicist Ernest Rutherford’s principal of

decay by presenting the changing cycles of growth and deterioration through light and colour. Within the tunnel’s 90-metre glazed wall are 180 concealed sources consisting of five elements that create a rich palette of animated colour. The gradual evolution of hue and saturation through these sources are only recognisable across the piece’s entire duration, creating a new experience on each journey and every footstep.



[briefing] JOHN DUDLEY We speak to the the President of the European Physical Society (EPS) and the chair of IYL 2015. EPS contributes to and promotes the advancement of physics in Europe. What is your main goal as President? I assumed the Presidency of EPS in 2013 and will come to the end of my mandate in April 2015. I had several main objectives as President, and I am extremely satisfied with the way these have been achieved. EPS has many ongoing objectives with regard to supporting the physics community through conferences, networking, and scientific publications etc. But these are in a sense ‘easy’ as they involve scientists talking to other scientists. It has been much harder to find willing colleagues able to engage effectively with non-scientific communities. Yet it is communicating outside our traditional ‘captive audience,’ which is more and more essential as science becomes so pervasive in all areas of life. So in this regard, it was essential to devote a lot of effort to ensure that the resolution for the International Year of Light 2015 was passed by the UN General Assembly, and this was indeed the case in December 2013. This has already brought together many different sectors for the first time. Within EPS, the International Year was then a springboard towards a broader agenda relating to improving communication between the scientists and engineers who develop advanced technologies and products, the public who are the end-users, and the political decision makers whose policies influence long term strategies with regard to particular technologies that receive support. So a parallel goal of my presidency was to establish within EPS a programme to influence science policy more in Europe through an office in Brussels. This will begin work in 2015. A common problem in education and funding in Europe is fragmentation. Did EPS make some steps forward in reducing this issue? It is difficult to quickly influence decisions concerning funding policy, as these decisions are taken over very long time frames. However, although EPS has worked hard to argue for continued support of research in science and engineering, have been careful to argue from evidence. In particular, EPS commissioned a detailed report on the Influence of Physics on the Economies of Europe, which clearly outlines the impact that research has on driving growth and prosperity. This report has been delivered at a very large number of forums and events, including the European Commission, OECD, UNESCO, CERN. It is easier for us to have a more direct impact on regional fragmentation, and this we do by various initiatives including support for conferences in particular regions such as central and Eastern Europe. The UN General Assembly proclaimed the IYL under the patronage of UNESCO. Will they actively support the participants’ effort? UNESCO’s leadership was essential in accompanying the scientific community through the various steps of the UN process. It is a reality, but one that many scientists do not wish to admit, that the scientific community is very bad at making contact with political leaders. Now that the year is running, it is the UNESCO-labelled International Centre for Theoretical Physics in Trieste Italy that is hosting the Secretariat of the year. Without this help, we would not be able to coordinate such a large number of activities worldwide. The Opening Ceremony showed the different themes IYL2015. Will the participants accept the challenge to work together and really make a difference to the future? Of course we will have to see to be certain, but I think all the signs are

very positive. The structure of the Opening Ceremony was designed to put different points of view across with the aim of inciting different key players to sit around the same table and discuss how best to solve issues. On the cultural side, we are already seeing interactions between scientists, light artists and filmmakers for example. A panel concluded the ceremony by discussing how policy solutions can address issues of sustainability and development. How could L-RO contribute in this process? There are many different ways in which policy around themes of science can impact positively on sustainability and development, but for a body such as L-RO, I think that it is important to choose just one or two key areas of focus, otherwise efforts are dispersed. In addition, real policy change takes time, and any initiatives begun in 2015 will require commitment from partners well beyond the next twelve months. To give just one example, we know that poor lighting quality and light trespass impact negatively on health, and light pollution robs us of the nightly reminder that our planet is just a small speck in a vast cosmos. Bringing the members of L-RO together during 2015 to identify a subset of partners willing to work to influence policy and standards in these areas in the long term, could be the kind of action that has enduring impact. Finally, would you give any advice to young people who are studying to become researchers or lighting designers? There is a lot of conflicting advice given to the young today about how to prepare their careers for the future, and I think it is hard for them to see any clear message through all this confusion. But for me, the essential career advice is that which one hears consistently from leaders from Einstein to Steve Jobs. Choose something for which you have real passion. Work and career consumes a large part of our lives, and I believe that the best work comes from doing something that you love, whatever that may be.



[snapshot] As international lighting design consultancy NDYLight celebrates 25 years in the industry we take a look at its holistic approach to lighting and the way in which it works to blur the boundaries between what is lighting and what is architecture. CENTRUM CERNY MOST, PRAGUE CLIENT: UNIBAIL-RODAMCO

Adopting a fresh new design approach, Centrum Cerny Most has been reinvented as a luxurious retail destination in Prague. Large circular decorative features run throughout, maximising the mall’s height, while bringing a feel of luxury and airiness to the space. The many bespoke lighting features and installations around the mall create local interest zones and reflect the purpose of each space, such as the colourful playful pendants located in the children’s play area. The largest and most impressive feature is the webbed ribbed feature that spans across the entire ceiling plane within the food hall, allowing shoppers to enjoy the play of light and shadows created by direct sunlight. Low glare lighting was designed to supplement and maintain visual comfort to shoppers navigating through the space. Within the new mall extension, flexible, dynamic twin runs of cold cathode are hidden delicately within carefully designed coves. These change during the day from a cool colour temperature, mimicking daylight, slowly transitioning into a warm and luxurious environment towards dusk.


Working closely with architects Elenberg Fraser to translate their very specific vision for this project into a reality, NDYLight created several, very specific, lighting installations that required careful consideration and prototyping, but with a delicate balance between ambient and feature lighting. A key element of NDYLight’s design scope was to provide a solution that used as many of the original luminaires as possible; changing fittings for cost-neutral solutions and providing new solutions where necessary. The end result is a sophisticated and striking foyer within this landmark residential building.



The Penguin Display at Underwater World houses both King and Gentoo penguins in a sub-zero environment featuring a specialist designed lighting system that mimicks their local habitat. Produced by varying the intensity of the lighting subject to the time of day, allowing for the in-tank time of day to be vastly different to that outside, irrelevant of the season, the lighting is located within a plenum that runs along the front edge at high level. This plenum houses individually controlled luminaires that range from 200W to 1,000W halogen, 150W to 400W metal halide to provide lighting levels that vary from two lux up to 3,900 lux via 70+ lighting preset scenes representing a specific time of day. To prevent the transition from one scene to the next being visible, a fade time is applied to seamlessly blend the different scenes together.


Rather than taking a typical approach to a facility such as Medibank, four collaborating design firms were approached to develop the floor into four separate zones. As a tenancy designed around Activity Based Working settings, the lighting for Medibank was designed and modelled to each setting type to ensure the lighting suited user requirements for each of the spaces. Alongside NDYLight, Russell & George, KPDO and Chris Connell Design worked closely to deliver an integrated lighting approach to suit both the visual intent for the spaces, and the functional requirements for each setting within it.


The refurbishment of this building involved relighting the main office floors and new entry space with low energy lighting. A canopy feature was developed with integrated lighting built-in to visually link the interior spaces to the external streetscape. A series of canter-lever arms extend through the interior lobby and are brought together to form a canopy at the entry point on the streetscape. Adjustable lighting offers the facility for varying coloured presentations; while a set colour balance is used at most times in a static mode, for special occasions the colours, tone and brightness can be set to different levels. The lighting controls utilise a wireless DMX protocol due to the complex nature of the building and the tight voids.

NDYLIGHT • CEO: Ian Hopkins • DESIGN DIRECTOR: Steve Brown • SENIOR LIGHTING DESIGNER: Nicholas Burnham • HEAD OFFICE: Melbourne, Australia • SATELLITE OFFICES: Sydney, Brisbane, Perth, Canberra, Adelaide, Darwn, Gold Coast, London, Auckland, Wellington, Christchurch, Dubai • ESTABLISHED: 1988 • CURRENT PROJECTS: Melbourne Cricket Ground, Melbourne; State Library of Victoria, Melbourne; Centrum Cerny Most, Prague; Stonehenge Visitor Centre, UK; Rod Laver Arena, Melbourne; Barangaroo project, Sydney; Aurora Tower, Melbourne; Adelaide Oval, Adelaide; the SAHMRI project, Adelaide.



[lighting talk]

This issue we talk to Eric Carlson who heads architectural practice Carbondale Paris.

COULD YOU TELL ME... … what made you become an architect? I’ve always loved to draw and ever since I can remember I’ve been cognisant about how places and spaces feel, but it’s hard to really know what architecture is at a young age. When I began to design at university I knew this profession was for me. ... how important is lighting to your designs? Lighting is everything. We can discuss ideas for form, space and materials but none of these exist without lighting. Lighting’s importance cannot be overstated as natural and artificial lighting determines if and how architecture is fundamentally. This applies for all of our work whether it’s a house, museum, office or store. In our work with luxury brands such as Louis Vuitton [1] and Longchamps [2] we focus on creating unique customised designs that respond to the different contexts and cultures, but it’s often the qualities of lighting such as colour temperature, intensity and distribution that creates the thread of continuity that defines the brand. ... about the role lighting plays in the light of the city? How do you contribute to that? Even at the urban scale of the city, lighting is the principle component in determining it’s atmosphere literally and figuratively. Daylighting from the aubergine skies define Paris as much as the Haussmannian architecture. The fluctuations between the foggy diffused morning daylight with the sharp afternoon sun characterises the perception of San Francisco. The list of cities that are defined by their natural lighting is extensive: London, Rio, New York, New Orleans and so on. The same is true for the role of artificial lighting in urban environments defining their nighttime personalities. When we designed (along with lighting designer Franck Franjou, Paris) the Tiffany & Co. building in Tokyo’s Ginza district with its dazzling night lighting using a minimum of sources we transformed the building’s facade of brushed stainless steel tracery into a giant architectural flame with a vertical lighting system that began as warm 2,000° kelvin colour temperature wash gradated upwards to a 6,000° kelvin colour temperature. ... how do you approach lighting a building through architecture? At Carbondale our first step when beginning a project is to identify a good lighting specialist with whom to work. Lighting, like acoustics in architecture, remains inexact and having a lighting designer as a creative collaborator who is also technically capable and up-todate is essential in decreasing the unknown variables. The other indispensable aspect in our approach to designing with light, is prototyping. Whether it’s for the night lighting of a facade, or an interior space or a small display counter we build a portion of each element at full scale with the actual materials and the lighting fixture. From the prototypes there is always learning and changes to be made and it’s only then that we fully understand how the lighting will be. A good example of our design approach with regards to lighting can be found in our store design for the pearl company Paspaley [3], based in Australia. Working with the lighting design firm Mindseye, based in London, we realised that ‘the pearl’ was essentially a

spherical mirror that reflects all it’s surroundings especially light sources. After a process of in-depth research and testing we identified the ideal techniques for light and finishes for a pearl in a showcase, but we soon realised that when the jewellery was removed from the showcase the qualitative effect was lost. We then decided to apply the showcase lighting concept to the architecture of the space. So, the lighting design became the driving conceptual direction for the store design. ... about the importance of shadows and the balance of darkness and light in your work? For me lighting is like a material, and like materials, there is no good or bad lighting, only the right lighting for the right situation. The goal is finding the appropriate lighting to reinforce the ideas and intentions. From that perspective there are times when the mystery created by heavily shadowed spaces is the appropriate response such as for our design of the 360° watch museum [4] in Switzerland (with the lighting design practice George Sexton Associates, Washington) where the space seems to evaporate in the darkness and only the shifting sparkles from the watches materialise. In contrast, our design for the BMW George V Paris showroom [5] we created a special VIP area called the ‘White Room’ where diffused natural and artificial lighting combine with the matt whites floor, ceiling and wall surfaces create a shadowless cloud-like atmosphere. ... about the best and worst illuminated spaces you have visited? I live and work in the centre of Paris and I walk through La Cour Carrée of the Louvre in the morning on my way to work and in the evening on my way home. By day the direct sunlight accentuates the heavy relief of the facade’s stonework and by night the artificial lighting is positioned to replace the sun recreating a similar daytime shadowing effect. However, because of the brain’s expectations the daytime lighting effect when seen at night remarkably transforms the facade into a surreal theatrical stage set. It’s more difficult to give you an example of the worst illuminated spaces as there are so many and when they’re bad. There’s nothing worse.

Pic: J. Cohrssen


Pic: V. Knapp

Pic: Jeffrey Leung

Pic: Stefan Jannides

Pic: O. Brunet

Pic: Chidi Onwuka



Pic: Louis Stein



Lighting designer and educator Cindy Limauro succeeds in her quest to introduce architecture students to lighting of the built environment. Words by Vilma Barr.

Cindy Limauro didn’t approach the 691 architecture students at six US universities who attended her oneday workshops garbed in armour and carrying a battle banner. Unlike the legendary Joan of Arc, Maid of Orleans, who successfully battled the British in the early 15th Century, Limauro set out in 2013 to accomplish what no one else - woman nor man - had done before. Get architecture students excited about lighting by participating in an all-day, hands-on learning experience. Limauro is a professor of lighting design at Carnegie Mellon University’s School of Architecture and School of Drama. In

2012, she applied to the Nuckolls Fund for Lighting Education for a $20,000 grant to develop and present a condensed lighting design workshop program to upper-class undergraduate and graduate architecture students. The Nuckolls Fund, established in 1989 in honour of lighting designer and educator James L. Nuckolls, has so far given $895,000 for the advancement of lighting education in North America through an annual distribution of grants and awards to educators, design professionals, and students. In applying for the Nuckolls Fund grant, Limauro says her primary objective was to inspire and excite architecture students

about lighting as she has done during her 25 years of teaching at Carnegie Mellon. The idea to apply for the grant, she said, came from Paul Gregory of Focus Lighting, a longtime friend and Nuckolls Fund board member, who approached her about submitting a proposal for teaching a lighting workshop at universities around the country. “Knowing my passion for teaching and promoting architectural lighting design, I immediately got excited about submitting a proposal,” Limauro said. The Nuckolls Fund board awarded Limauro a $20,000 grant to cover preparation and presentations at four universities



Top left The Hunt Library illuminated in festive red and green in time for Christmas celebrations. Top right The Gulf Tower co-designed with Christopher Popowich. Left Hall of Dinosaurs, Carnegie Museum of Natural History. Right The Randy Pausch Memorial Bridge co-designed with Christopher Popowich.

during 2013-2014. She contacted deans at selected universities around the country with degree programs in both architecture and theatre. Limauro requires stage lighting fixtures on site such as those used for theatrical lighting training for her hands-on workshop. Four schools were selected to host her visits: University of Texas / Austin; Northeastern University, Boston; California Polytechnic State University, San Luis Obispo; and the University of California, Berkeley. “The student response was nearly quadruple what I expected,” she reported. “At Carnegie Mellon, I limit the class size to 24. The average workshop attendance was over 80.” “I could foresee establishing a framework for introducing some of the visual effects that can be created by application of lighting techniques. Most architecture students have had little or no exposure to lighting design as part of their course work,” Limauro said. “In my experience,

designers involved with spatial relationships need to think about lighting from the beginning. It’s difficult for a design student to grasp lighting concepts without a light lab. The transition to the real world comes when they can touch and feel light. With a well-equipped light lab, students can comprehend form, intensity, and movement, and apply them to virtually anything they design,” she indicated. Limauro’s workshops include case studies and hands-on examples. On the first day of her visit, she hangs and focuses the light plot in the studio theatre. On the second day, her initial lecture to students covers ‘Learning to See Light’ demonstrating intensity, angle, colour, and movement. Then the class is divided into sections in the afternoon with each group using its own independent set-up of fixtures to experiment with a sculptural arrangement to achieve a specific visual objective, including solutions to lighting that create

time, place, and mood. “Another objective was to provide a template for the faculty to create a lighting design course with the workshop format as a basis,” she noted. Limauro has been invited back to present the workshop at UT-Austin by Professor Keith Simon and at Cal Poly by Professor Sandy Stannard as a prelude for their taking over the teaching of the workshops as part of future curricula. Based on the enthusiastic first year’s reception to Limauro’s workshops, the Nuckolls Fund agreed a second $20,000 grant for 2014-2015. The University of Michigan and Arizona State University were added to the campuses visited for the second round of workshops. Limauro evolved her career as lighting designer and teacher of lighting design at Carnegie Mellon, by becoming a one-woman producer / director / group leader and took her intense single-day workshop on the road. “I never did theatre in high school and


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Students experiment with different types of LED sources, comparing white LEDs with colour-changing LEDs and exploring different approaches to lighting the building. The projects Limauro assigns to students are aimed at creating big conceptual ideas that are then explored through lighting mock-ups.

when I went to the University of Michigan, I enrolled in the creative writing program,” she explained. “Then the legendary playwright, Arthur Miller, came to meet with our playwrighting class, and his passion for the theatre really inspired me. I decided right then that I would become a double major in creative writing and theatre. “I gravitated to lighting design because I felt it had the same emotional qualities as writing in telling a story. I’ve always been fascinated by the beauty and magic of light,” she said. After graduation, Limauro worked for two years in the theatre to make sure this was the right path for her... It was, so she went on to receive an MFA in Lighting Design from Florida State University and has worked in lighting ever since. Opportunities arose that brought her to Carnegie Mellon University’s School of Drama in Pittsburgh. The lighting program that Limauro created at Carnegie Mellon embraces theatre, opera, dance, television, concert lighting,

entertainment design, and architectural lighting design. She also designs lighting for theatre, opera, and dance performances. “I transitioned into architectural lighting after an architect saw my lighting for an opera and wanted a more dramatic approach to lighting of his projects,” she said. Together with her husband, lighting designer Christopher Popowich, she established C&C Lighting in Pittsburgh. This led to the teaching of an architectural lighting design course in the School of Architecture, bringing in drama students as collaborators. To create a hands-on approach to architectural lighting, Limauro directs her students in preparing full scale lighting mock-ups on buildings on campus and eventually at sites in downtown Pittsburgh and other neighbourhoods. “When I started teaching, the first thing I instituted was a lab space equipped with lights and a control system so that students could experiment with light 24/7

on class projects or productions they were designing. It requires them to work with light every day to really master the art of lighting,” she pointed out. In 2005, Limauro was invited to teach a lighting workshop at the Henry van de Velde Higher Institute of Architectural Sciences in Antwerp, Belgium. Based on positive results of the first group of students, she convinced a lighting manufacturer to donate lights and a computer console to create a permanent light lab in the school for the use of faculty and students. Her success was noticed by the Mayor of Antwerp. “It led to a fantastic design opportunity for the students to design the relighting of the front of the Royal Museum of Art,” she related. “It’s a beautiful building but was lit poorly with a couple of floodlights.” With husband Chris Popowich, they guided the students who had never designed with light on this scale through the process. The students made a presentation to the city that included

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HIGHLIGHTS Projects that you would like to change I would love to re-light all of the downtown bridges in Pittsburgh. It would transform the city’s image both as a city of art and a city of bridges. Projects you admire Any project designed by Paul Gregory of Focus Lighting in New York, and the late Jonathan Speirs of Speirs + Major in the UK. I’m also a fan of James Turrell’s lighting installations. Projects you dislike Anything where lighting is an after-thought or lacks a cohesive design intention. Lighting hero My husband and design partner, Christopher Popowich. He is an amazing designer and inspires me every day. Notable project The Gulf Tower co-designed with Christopher Popowich. It receives so much attention and is a focal point in the Pittsburgh skyline. Most memorable project The Randy Pausch Memorial Bridge co-designed with Christopher Popowich. The bridge’s inauguration was attended by Randy’s widow and young children, who were told would magically start the light show by pushing the LED button, along with Carnegie Mellon’s President. When the lights turned on and started changing colours, they ran up and down the bridge in great delight. It was a priceless moment. Current projects Fifth Avenue Place, Koppers Building and the Union Trust Building, Pittsburgh; Daughter of the Regiment and Rakes Progress for Pittsburgh Opera; The Tempest for Pittsburgh Irish & Classical Theatre; All the Names for Quantum Theatre; and The Dance of Death for Kinetic Theatre.

Having designed for theatre, opera and dance performances in the past, Limauro’s lighting program embraces all of these elements. Pictured are her lighting schemes for operas Falstaff and Madama Butterfly.

historical research about the museum and its importance to the surrounding neighbourhood as well as researching design ideas for museum lighting. “Zumtobel partnered with us in supplying lighting equipment and expertise for the installation of full-scale lighting mock-ups on the façade. The city accepted the students’ design over other professionals and the project was realised that summer,” Limauro reported. She continued her association with the Institute for four years. Throughout her career, she has communicated to her students that lighting is fun and with handson participation they will not only learn better but will remember it long after the workshop is over. “I encourage theatre lighting students to think about lighting architecture as a viable career option, that they can easily segue into a career in architectural lighting because of their expertise in light. Every year there are always two to three students interested in architectural lighting design. They’ve gone on to work at Focus Lighting and Fisher Marantz Stone in New York, Lightswitch in San Francisco, Visual Terrain in Los Angeles, Speirs + Major in the UK,

to name a few. Of the students I taught in Antwerp, there were always one or two each year who applied for graduate lighting design programs. “For the student architects, the workshops introduce an understanding of what light can do and how it impacts visual perception and mood,” Limauro continued. “I emphasise how important it is for them to think about light at the beginning of the design process, and hopefully hire a professional lighting designer to achieve their vision for a space. Over the years, there have been one or two architecture students who become excited about light and want to pursue a graduate degree.” For the second visit to UT Austin in November, Limauro was able to add a full-scale lighting mock-up. Students experimented with different types of LED sources on the Student Union building. They were able to compare white LEDs with colour-changing LEDs and explored different approaches to lighting the building. “This is something I would like to expand upon with other schools moving forward,” she pointed out. “The projects I assign to students are aimed at creating big conceptual ideas that are

then explored through lighting mock-ups. The emphasis isn’t on a finished product since we are limited by resources. Instead, I want them to evaluate what they see, what works, and what doesn’t work and why.” Faculty members at universities where Limauro’s workshops have been staged have told her that the workshops have had a great impact in forever changing how the students think about light. “The opportunity for our architecture students to think broadly about their professional role by engaging with an internationally known lighting designer with such interdisciplinary experience was truly eye-opening for many of them,” said Susan Ambrose, Senior Vice Provost for Undergraduate & Experiential Learning, Professor of Education at Northeastern University. “I am very hopeful that my model of teaching can be sustained,” Limauro added. “Thanks to The Nuckolls Fund grant, I can be an advocate for developing lighting education resources and sharing responses from school to school.”





(PART 1)

We bring you the first installment of a special report from the inaugural issue of mondo*arc india, narrating the story of light mapped through time in India - a series of thought-provoking essays and insightful interviews of Indian designers, interwoven with writings by Mrinalini Ghadiok.

In search for answers he wandered In search for the truth he found That in darkness ahead lay yonder In its arms were the answers bound In the depths of the deepest ocean In the densest forests they lay Knowledge gave birth to creation Conceived in the light of day



We commence our voyage from the beginning of time, exploring light in Indian mythology and spirituality. Ancient Indian sacred texts define the process of traversing from dark to light as overcoming evil to gain virtue and surpassing ignorance to seek knowledge. We sit in still meditation concentrating on the depths of our being, seeking the light within. Garbh is the womb that cradles creativity; it is the darkened chamber from which ideas arise.

“(We move) towards darkness, away from the world perceived through the sense of sight, to one within us, which cannot be seen but only experienced.” - Dhruvajyoti Ghose, From Attention to Awareness As we move through the passage of time, we see how classical Indian architecture responds to natural light, as well as the lack of it. Evident in the 12th century temples of Khajuraho, as the first rays of the rising sun bathe the intricate stonework façade, light is pulled into the depths of the temple to skim the residing deity within. The garbh griha, the sanctum sanctorum or the innermost sacred chamber, is usually windowless and sparsely lit, created such to develop an environment conducive to focus the devotee’s mind on the tangible form of the divine within it.

“A well-orchestrated theatrical performance of light and its compositional shades is created as one progresses from the exterior ‘worldly’ space through the transitional ‘meditative’ space arriving at the innermost ‘spiritual’ space.” - Navin Piplani, Classical Compositions in Light Light is transformed from an intangible medium to a physical entity, which defines not only space but also its experience. It becomes a medium to paint a canvas and a tool to pull together or pull apart the built environment. As darkness falls, the moon resurrects into the night watch – guarding, directing and adorning many a scene. Splendid architecture, such as the Taj Mahal and other palaces and forts sprinkled across the Indian countryside are evidences of an amorous past and nostalgic history. The sun, moon and stars eventually gave way to fire and its many avatars. While mashals or firelight torches dotted the streets, candles and diyas (small lamps) were being

used to create enchanting, intimate settings. The Sheesh Mahal, a palace of mirrors in Amber Fort, has been aptly described in Frommer’s India as “a glittering jewel box in flickering candle light.”

“Adults love being lost, following light at the end of a corridor to discover a courtyard, a garden, a fountain or a lotus pond. It is an unexpected treasure hunt where light and dark automatically play hide-and-go-seek, turning everyone to children.” - Aman Nath, Lighting Up The Dark Passages Of Time The play of light and shadow in space has been evident over the years. Whether at the 18th century sundials of Jantar Mantar, which were meticulously constructed to tell time up to a fraction of a second, or the Indian Institute of Management in Ahmedabad that captures daylight in moments and frames them in shadows. As the sun epitomises light and becomes a personification of the force, it carelessly teases and casually dances around space. Shadows follow suite to choreograph a cherished duet.

“Kahn made a deliberate resolve to create profound juxtapositions between light and shade, controlled by the tactile quality of materials and how light bounces off the varying surfaces in the building.” - Brinda Somaya, The Love Affair Between Architecture And Light While spaces are sculpted in response to natural light, artificial light is designed to accentuate given spaces. In the process of capturing light into our own hands and mastering the skill of manipulating it, we have created pieces of art, architecture, sculpture and environment that conform to our specific needs and desires. Yet, we face challenges in comprehending the sun.

“We see and feel the impact of light not only as vision but also as emotions… This phenomenon has always intrigued me as to how we can impart to artificial light the transience of natural light? The most striking aspect of human endeavour is how much it can differ from natural light” - Kamal Malik, Chasing Ra Light is no more limited to the conventional idea of power. Designers are experimenting

with it to breathe life into the otherwise inert historic fabric. Son-et-Lumiere shows are being conceived across the country at various heritage sites, while interactive light art installations are cropping up in more urban landscapes. Light can create, break or enliven a space. Light itself can become an illusion, artwork, or a piercing gaze through time. Light becomes a spectacle, exemplifying emotion and epitomising illusion.

“The transformative qualities of light can challenge one’s choice to either stay true to an element or cheat.” - Sumant Jayakrishnan, Through The Looking Glass Light can either enhance or dissolve, it can accentuate or disintegrate, it can show or even hide. James Turrell, a pioneer in lighting design transgresses boundaries through coloured light in his installations. Colour is an imperative tool for expression of thought and emotion. Coloured light is a multi-dimensional instrument that can create an ambience and depict a mood. In theatre, lighting caters to a short span of functioning time and allows for immense human interaction. The scale of space and time render it difficult for architectural lighting to be treated the same way. However, this dynamism can be achieved through technology such as programmable control systems, tunable lighting systems and other advances, which then create a personalised and emotional connect with the city at large.

“Lighting designers in India spend a fair amount of time explaining what they do, and the lighting industry is constantly discussing the need to educate fellow professionals and the general public.” - Amardeep M Dugar, 2015 – The Year Of Celebrating Light Technology in the lighting industry remains to be questioned – how do we define our existing manifesto and what is the way forward? Declared as the International Year of Light by the UN, 2015 stands as a year full of promise of great things to come.

In order for the light to shine so brightly, the darkness must be present. - Francis Bacon

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HIGH END MAGAZINE FOR A HIGH END CROWD The launch event of mondo*arc india in Mumbai attracted almost 400 designers and architects ready for a high quality lighting design magazine for the India market.

A panel discussion on the importance of lighting and lighting design in India, moderated by Andre Tammes. Panelists included international experts Charles Stone, Chiara Carucci, Babu Shankar, Paul James, and Indian architects Kamal Malik and Abha Narain Lambah.

Dressed to impress, the Jamshed Bhabha Theatre at the NCPA (National Center for Performing Arts), Mumbai stood with pristine glory as nearly 400 guests walked through its doors for the launch of the first magazine in the country dedicated to designers with light. mondo*arc presented the inaugural issue of their Indian edition with much elan and gusto. mondo*arc india, a collaboration between mondo*arc and Indian company STIR, brings the quality of the international magazine with greater Indian context pertaining to industry professionals, brands prevalent in the Indian market, research and development initiatives as well as the local and international lighting design fraternity. Ensuring that lighting is seen as a lifestyle product, which touches the emotional cords of any interior and architectural space, the

publication is a platform for discussion and dissemination of ideas pertaining to light. The Indian avatar of the publication was extremely well received by the invitees, including eminent personalities from the architecture and design fraternity, artists, art collectors, fashion and allied design professionals, developers and hoteliers, top industrialists, corporate executives, as well as the media. The guests were left in awe as they entered the auditorium to find a large-scale cube constructed out of suspending fabric panels adorning the stage. Reflecting in the mirrored backdrop, an interplay of myriad colour light and projections rendered the space in infinity. Balancing this was an incredible maze of threadwork woven around cuboidal frames at the back of the auditorium. Dynamic colour changing lights

penetrated through these towers of thread to accentuate the star-studded ceiling of the theatre. Walking out of the auditorium, the guests were greeted by a larger than life sculpture titled NAAG, brought to life by dynamic projection mapping creating patterns and movement on its undulating surfaces. Sitara Yab, the interactive light art installation pulled people into its tunnel to experience light through personal movement. Paul James, editor of mondo*arc, commented: “I am amazed by the professionalism of the launch. It matches the slickness of the first issue of mondo*arc india. The attendance of so many designers and architects for the launch event bodes well for the future of the magazine and for the high end design specification market in India.�


Top, left to right NAAG, a large scale sculptural installation with video projection mapping by artists Vishal K Dar in collaboration with Gabriel Dunne; Charles Stone; Light art presentation and electronic music by BLOT, accompanied with a Bharatnatyam performance by eminent dancer, Jayalakshmi Eshwar. Above, left to right Chiara Carucci; Sitara Yab, an interactive light art presentation by Quicksand; Mrinalini Ghadiok, editor of mondo*arc india.

Highlights of the event included: • Opening note by Mrinalini Ghadiok (editor, mondo*arc india) introducing mondo*arc india; • Talk by Paul James (editor, mondo*arc/ darc) about the journey of mondo*arc and darc magazines over the past fifteen years; • Introduction to STIR by Andre Tammes (curator and visual planner, Australia); • Talk by Chiara Carucci (Lead Coordinator, L-RO, Italy) about 2015, the International Year of Light; • Presentation by Charles Stone (President, Fisher Marantz Stone, USA) about his lighting design scheme at the World Trade Centre Memorial in New York; • Panel discussion on the importance of lighting and lighting design in India, moderated by Andre Tammes. Panelists included international experts Charles

Stone, Chiara Carucci, Babu Shankar (Principal, ILD, USA), Paul James; and Indian architects Kamal Malik and Abha Narain Lambah; • Talk by Alexandra Mathews (Executive Vice President, Lucifer lighting) about connecting people and the pertinent position of lighting in today’s world; • Talk by Amit Gupta (publisher, mondo*arc india) about mondo*arc india, bringing the world of lighting design together to mark this new initiative; • Set design and scenography by Sumant Jayakrishnan; • Light art presentation and electronic music by BLOT, accompanied with a Bharatnatyam performance by eminent dancer, Jayalakshmi Eshwar; • NAAG, a large scale sculptural installation with video projection mapping by artists

Vishal K Dar in collaboration with Gabriel Dunne; • Sitara Yab, an interactive light art presentation by Quicksand; • Media interaction and interviews; • Social-professional networking over cocktails and dinner. mondo*arc india is a bi-monthly publication. The next edition will be the May/June issue. To request your copy please email






May 5 – 7, 2015


CLASSICAL COMPOSITIONS IN LIGHT Navin Piplani, conservation architect looks at the use of natural light and shadow in classical Indian architecture through a study of the Kandariya Mahadev temple in Khajuraho.

Multiple reflections lighting up stone surfaces in the interior of the temple

Architecture, the art and science of building, would be incomplete and irrelevant without the ability to see it, enjoy it and experience it. By architecture, the author is referring to not only a composition of structure and materials, but also the articulation of internal and inner spaces that are bound within this material fabric. One of the key essentials is the medium to view architecture in its full and complete creation. This essential medium is ‘light’. This article is primarily concerned with natural light as we receive it from its source – the sun, though there are several other sources and forms of light. An articulate use of light, shade and complete darkness has played a key role in defining the architecture in India, and particularly the sacred architecture in India. The progression of space from outside to inside has been so immaculately guided by a diminishing presence of light. The external surface and its articulation in the form of engraving, inlay, textural chiselling and colour was done keeping in mind the nature and degree of light that the surface would be exposed to. A special consideration was kept in the mind by the traditional masterbuilder or sthapati for different times of the day, seasonal variation in temperature of both material surface on which the light would fall and of the light particle itself, micro-climatic conditions and so forth. In addition to these material and physical aspects, the awareness of light (particle) and its subtle presence within a space in relation to a dark space was also quite evolved. Light, and the absence of it, in classical Indian architecture lies at the core of design conception, building execution and spatial experience. The way light, as a phenomenon, is understood by the traditional Indian master-builders is yet to be fully investigated. The ancient stone temples in different parts of the country,




Magical experience of light ray falling on the innermost garbh griha in the temple

Light and dark stone surfaces in the interior of the temple

particularly the central, southern and eastern regions, are living witnesses to this ingenious understanding and integration in the creative design process. There are detailed references on the use of light in buildings in ancient texts and treatises on architecture in India.This article will discuss one such classical Indian temple, now a World Heritage Site – Kandariya Mahadev temple in Khajuraho, Madhya Pradesh. Khajuraho is situated in the Chattarpur District of Madhya Pradesh. This place is dotted with stone temples built during the 10th – 12th century AD by the Chandella rulers, who were great warriors and devoted patrons of art and architecture. These stone marvels of varying form and size are adorned with sculptures and carvings dedicated primarily to Lord Shiva and Lord Vishnu. Medieval Indian temple architecture flourished during this period and the Kandariya Mahadev temple marks the culmination of this style of architecture. Though there are several interesting aspects related to art, culture and architecture that could be examined here, the article will focus on the understanding and use of light as a physical entity, an experiential phenomenon and a spiritual medium.

LIGHT AS A PHYSICAL ENTITY The scale and magnificence of the structure is revealed as soon as the first ray of light falls on its surface and the surrounding area. The temple structure emerges elegant and supreme in the wilderness around, its sharp silhouette cutting through the darkness of night. As the light begins to descend and the golden hue ascends in the horizon covered with a twinkling blanket, the shikhara (spire) of the temple stands erect and solid guarding the world. There is a subtle light that is reflected off the temple structure, making its presence real, or rather surreal. A closer view of the innumerable sculpted figures all around the exterior façade of the temple reveals how the degree, angle and depth of light rays create an interesting play of shade and shadows around these figures, transforming them from mere stone sculptures to living beings. The messages that these stones imbibe within are conveyed clearly and subtly using light as a physical entity.

LIGHT AS AN EXPERIENTIAL PHENOMENON The progression and intimacy of space is built upon as light travels through the enclosed inner spaces of the temple. This

is done in more than one creative way thus articulating the intensity, degree and inclination of light that falls on the stone carving, sculptured figures, dressed floors, embellished ceilings and most importantly the inner-most sacred space – the garbh griha. A well-orchestrated theatrical performance of light and its compositional shades is created as one progresses from the exterior ‘worldly’ space through the transitional ‘meditative’ space arriving at the innermost ‘spiritual’ space. The experience of exploring the depths of this spiritual progression from the world to the atman (soul) is not a linear progression from the most lit up space to the darkest space, as indeed is present in many other sacred places and as one would normally expect. Here instead, it is the modulation of light and a magical play of its presence and absence at various points inside the structure, at various times of the day that deconstructs the notion of linear stability in life, and exposes the recurring uncertainties of life-experiences. Light, as it touches the interior architecture of this space, is made to bring alive the understanding of the eternal journey of a ‘being’ – life-deathre-birth, finally achieving ‘moksha’. There are several paths to achieve ‘moksha’, as



illustrated in ancient Indian mythology and theology. This is just one of them.

LIGHT AS A SPIRITUAL MEDIUM The faith and meanings imbued in the stones are deepened as millions of light particles embrace them – some get absorbed, some get reflected and some lose their way. In these dark inner spaces, the abode of gods, light plays the most crucial role by its mere presence or absence. Whilst the innermost garbh, filled with darkness, holds the silhouette of self-consciousness; the outer circumambulatory paves the spiritual path guided by a soft magical touch of light on fine carvings, sculptures, engravings and profiles. The light that fills the outer space, providing a medium for spiritual awakening and meditation, focuses itself on the innermost and defining moment of enlightenment or nirvana. At first instance, it creates a sense of wonder as to how these inner obscure parts of the temple receive a ray of light. Conventionally speaking, it is made to understand that natural light can travel up to a limited depth of room. At this site, we are talking about a distance, which is much beyond this figure. We attempt to understand this phenomenon with the help of a few analytical sketches and images. It is argued that the location of the garbh (core), orientation of the griha (temple) and size and alignment of openings are designed to allow light rays to enter deep into the building, though only at specific times of a day, month and year. The calculations to achieve this effect integrate physics, astrology, cosmology, mythology and climatology. It is aweinspiring to see the outcome of this holistic scientific thinking. One could explain this phenomenon as follows: • Singular movement of light falling straight on the material surfaces • Multiple reflection of light rays on to opposite and adjacent surfaces • Amplification of the linear path with additional intermediate sources Each of these techniques creates a specific effect, medium and experience. A combination of these techniques integrated with architectural, artistic and aesthetic principles lead to the creation of a highly evolved physical, experiential and spiritual impact on the visitor, the one that we see at the Kandariya Mahadev temple at Khajuraho. In conclusion, light is a critical component in a building activity. An imaginative use and articulation of light forms the basis of how the content, fabric and space in any building are to be viewed, appreciated

Exterior view of the temple showing play of light on delicate stone sculptures

Plan and sections showing an analysis of light movement through the temple structure

and experienced. Light in architecture is a challenging subject, and it needs to be investigated from several perspectives – physical, cultural, spiritual, scientific, aesthetic and experiential. This article illustrates some of the key aspects of understanding light in an ancient Indian context, where the affection between light

and architecture is epitomised; where light as a medium pulls the outer, inner and innermost spaces together; where ancient Indian treatise on temple architecture (vastu shastra) embraces this natural phenomenon to reveal the secrets, conducts and meanings of life.




LIGHTING UP THE DARK PASSAGES OF TIME Breathing life into ruins to create spatial nostalgia, we talk to Aman Nath, co-founder of Neemrana Hotels about preserving history, recreating memory and surreptitiously infusing the dark with light.



Neemrana Fort-Palace

As Ra, the sun god awakens from slumber and disrobes to unleash his auroral brilliance, the shadowed skies injected with crimson are achromatised and left bleached in resilience. In the light of day, people functioned – they worked, they sowed, they reaped, they rode. In the land of palaces and forts, the city was coloured with life while the sun bathed its streets and filled its heart with warmth. As twilight emerged, business rolled back and people receded into their homes. Daily life functioned on the basis of a solar clock and fell to torpor as darkness set in. Twilight shrouded the city with inertia. While stars created a twinkling veil above, the flicker of fire lamps dotted the city below. Life spanned from sunrise to sunset, defining an austere sanctity to daylight. The solemnity of natural light was evident in all respects of daily functioning. While marriages were consecrated under the sun, the advent of night assured rest, retirement, and the promise of concord. As the moon rose in the sky, functionality was expelled by enigma and the mundane gave way to intimate moments in open dance. Charbaghs, moonlit paradise gardens configured in quadrants, came alive with floral romance. The pragmatic shifted to the personal and the personal to the visceral. While the sun propagated uninterrupted life in light, darkness instilled enigma, enchantment and emotion in the absence of light. In an attempt to preserve the inviolability of daylight and the charisma of an unassuming life in the 15th century, Aman Nath, writer, historian and restorer, along with Francis Wacziarg, a French diplomat with a passion for Indian heritage, set off to renovate the Neemrana Fort-Palace located just outside of Delhi. Nath relates his story about the transformation of a dilapidated and decrepit property into an alluring and quixotic experience of nostalgic romance.

Passionate about antiquity, culture, art and crafts, Nath turned to the restoration of havelis and forts to perpetuate his love for history and its physical forms, for others to enjoy and value. When he first set foot in Neemrana, a fort built in 1464 and discovered by him in the early 1980s, it was in ruins. He saw life there but perhaps not to the extent to which it has now been woken up. Referring to ambitious aspirations, he says, “Sometimes to dream too far is to create so daunting a picture that it may scare one into acting. One must dream big but with ones eyes open - step-by-step or sequenceby-sequence.” The quality of light in the fort then was varying. Nath recounts envisioning the entire façade with its lime-plastered walls lit in a hue of golden-orange during the sunset. Some of the most exciting and fascinating spaces were the multiple terraces, alluring as light and shadow danced upon them, choreographed against the hills in the backdrop. The most interesting challenge however, was to make the fort glow in the dark, almost like a pop-up page in a children’s fairytale book. The predominant design intent for Neemrana Fort-Palace was to work from the inside out. The exteriors remained the same, except for some changed apertures for views. The interiors first had to be re-done for a ruin to become habitable. With respect to defining spaces within the fort, Nath mentions that there are preordained functions in a historic building. However, when Neemrana practices its restoration and revitalisation for a changed end use, that sanctity has to be broken at times. They recycle wasted architectural ruins that are ‘unlisted’, so there is no obligation to retain functions in spaces, or keep a kitchen as a place to cook. The existing cooking area may become a residential suite, and the new defined kitchen could be sunk underground or hidden between two walls. Therefore, decisions are based on the functionality of a space, but its aesthetic value is always given its due course.



The ingenious approach to reinstate these derelict, but promising properties was discussed in much detail in our conversation with Nath. He uses the Neemrana Fort-Palace to illustrate his design intent and define the process followed to transform the once lifeless fort into a quintessential symbol of romance. How important was the existing quality of daylight of a space while defining its functionality? Due to the fact that Neemrana Fort-Palace is located in the hot and arid desert climate of Rajasthan, apertures given in the building structure for light were always small. These openings would also allow warm air into the building, which would then escape from the slit ventilators given above, somewhat cooling the room. Light was filtered through archways around the courtyards, which we had to enclose to create rooms. We used glass inside and latticed wooden grilles on the outside to do this. In some cases, stone grilles with faceted geometrical designs were used. Thus, the starkness of glass was harnessed and not rendered jarring with respect to the heritage context of the fort. Also, hanging white voile curtains in the archways further diffused the light inside. While archways were cordoned off to enclose space, walls that were removed have revealed fascinating architectural elements hidden in time. An obscure and dimly lit birthing room was later transformed into a bar. During the process of refurbishing this medieval space, emerged extraordinary lime-work arches embedded with niches. Neemrana as a brand symbolises history and culture and as a series of hotels, it epitomises romance and intimacy. How does your design intervention work towards achieving that emotive quality in space? We treat each building according to its age and historical connection. But we can’t forget that a 15th century space has to be relived-in today, and by our contemporaries. For them a basic idea of lifestyle is far beyond the best of the days gone by. Airconditioning, warm water, en-suites, mosquito-proof doors and windows are a given. Once these are addressed in a Neemrana property, we then work to make it ‘Rajput’ or ‘Maratha’ or ‘Sikh’ or ‘Tamil’. Within our set of properties, we have historic French, British, Scottish, Portuguese, Danish and Dutch buildings, which have been restored and revitalised into heritage hotels. How did you adapt given spaces at the Neemrana Fort-Palace to transform them into a hospitality unit, enlivened with tradition, performances, wedding functions and the like? Open spaces lend themselves naturally to an open interpretation. The idea is to not hide the sky and turn all spaces into similar rooms, as in a corridor hotel. If given a choice between a nondescript Room No. 232 and a room titled ‘Badal Mahal, the

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palace of clouds,’ which would one prefer? When you experience an exhilarating performance in an open-air amphitheatre lit with fire torches, the experience is far above being in an auditorium. How do you achieve a specific quality of light in space? Is light used as a design tool to create a mood or ambience through the Neemrana Fort-Palace? We light our spaces intuitively, discreetly and functionally. I am happiest when the fittings don’t show – as if the past itself was glowing. In large spaces, using the concept of up-lighting is very effective. For areas like the ramparts, we use sodium lights, which warm the Aravalli stonewalls to a luminescent golden-orange. Neemrana Fort-Palace is layered with a multitude of shades and woven in a web of light and dark. Darkness becomes as critical as light in achieving this play of light and shadow. How do you romanticise darkness with light? We work intuitively, not by designing on the drawing board. If we see that a particular silhouette looks marvellous against a dramatic sky, we may backlight it so that the finials of the chhatris (dome shaped pavilions) look prominent. However, it is not a conscious effort to impress, but rather implemented to increase functionality. The intrinsic beauty of a village face shows up without going to a beauty parlour. These forts have a number of open courtyards that act as light wells, pulling light into the interiors. Hallways and corridors on the other hand are typically dark. While public spaces are open to sunlight, private quarters are dimly lit. How much of this was retained during the restoration? We have retained most of the original experience of walking through the labyrinth of the 550-year-old Neemrana Fort-Palace, which is also an organic map of history. Adults love being lost, following light at the end of a corridor to discover a courtyard, a garden, a fountain or a lotus pond. It is an unexpected treasure hunt where light and dark automatically play hide-and-go-seek, turning everyone to children. During the design process, was there a conscious attempt to retain the original location of light sources, or was the lighting scheme drawn to cater predominantly to the new layout? We have done both. However, we need to realise that there was no up-lighting in the 15th century. If an oil lamp was put in a niche, we cannot simply replace it with a bulb. We worked with lighting engineer, Yeshwant Thakur from Surya Kiran to produce rampart lighting. He got weather proof lights from Korea and Germany, with filaments that flicker intermittently to look like oil lamps, and also have the same flame effect. They are charged in the day through solar panels and then lit after dark defusing our dependency on diesel power when power failed. It was a very expensive proposition and we also were guinea pigs in this experiment! While the architecture of the Neemrana Fort-Palace presents itself in conscious regality, the lighting scheme breathes a sense of historicity into the space. Light is used as functionally as it is to evoke theatrical sentiment and inspire emphatic reflection. Darkness exemplifies the soul, articulates the unknown and reveals the mystified. Nath has transformed the lifeless into wistful creations of emotive exuberance. The Neemrana properties stand to express a delicate balance between light and dark, sun and shade, intimacy and romance; they embody a sense of historic ethereality.

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Exclusive meeting of architecture with light !

02 03 04 JUNE 2015

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BETWEEN ARCHITECTURE AND LIGHT In conversation with renowned architect Brinda Somaya, we discover the romantic nuances of shade and light, the intrinsic response of design to light, and the intimate dance of space with light.

As we begin to talk about light and lighting, it is first essential to distinguish the two. For architect Brinda Somaya, light is more than lighting, it is light itself. It has always been something very spiritual, and is intrinsic to a space because it provides the spiritual quality to that space. From historic times, we see an interesting interaction between light and architecture. The Indus Valley Civilisation was a careful construct of spaces in response to daylight. While streets were oriented in the east-west direction, the erection of lofty walls created shaded lanes along the axis. Entrances to buildings were usually off secondary streets and through courtyards, which again allowed light to filter into the building through transitory spaces. The complexity of design and an instinctive response to the existing light conditions, allowed for an interesting layering of light to create shadows. This is evident in the research carried out by Somaya to design a museum for the Indus Valley Civilisation. Unfortunately, it never materialised, but the specific ideas of design that were identified are not peculiar only to that time, but very much a fundamental

part of any architectural design ideology. In Vers une Architecture (Towards a New Architecture), Le Corbusier writes: “Architecture is the skillful, accurate and magnificent play of volumes seen in light.” Architects have an understanding of natural light, without which they cannot design a space. They have an ability to respond to light, which needs to be considered a fundamental element from the beginning of the design process. It is not something that can be added later, said Somaya. Architects need to envision their environments at different times of the day or year, with varying light conditions that can create a changing dynamism in their space. “Light casts a shadow, and the shadow becomes Light.” - Louis Kahn Louis Kahn was a visionary architect with an inherent understanding of the magic woven into space with light. Having won the competition for the restoration and upgradation of the historic buildings of the Indian Institute of Management in Ahmedabad (IIM-A), Somaya said about the master architect’s work: “Kahn designed the campus with geometric forms and strong axes. The plan




Left and above Indian Institute of Management, Ahmedabad

is simple to read, but once we leave paper and walk the ground, the brilliance of Kahn comes through, as the three-dimensional structures take on highly complex forms. These spaces can mystify and disorient visitors but to those that are there to stay, it becomes a maze of light and silence that he intended the spaces to be.” The critical mass of the IIM-A campus is composed of iconic structures created through a masterful sense of space and light. Kahn designed a series of spaces that are a feast of light and shade, vistas and views, and connections and transitions. This became a natural corollary of the way he worked and designed; wherein he was able to create these spiritual places. Kahn made a deliberate resolve to create profound juxtapositions between light and shade, controlled by the tactile quality of materials and how light bounces off the varying surfaces in the building. Working with brick, he created a new language of architecture – that of archways and geometrical openings. Kahn rose to the challenge of blocking the harsh Ahmedabad sun and taming it on its way into the building. Creating a dark interior, he illuminated it by filtering light through layers of transitory spaces. Omissions in the façade opened onto intermediate covered spaces rendered in shadow, softening the light that eventually entered the building. Therefore, creating a natural gradient of light through the building section. The punctures were also positioned to act as light wells and a natural cooling system, protecting the interior from the desert climate. While the porous façade filtered sunlight and encouraged

ventilation, the porosity allowed for the creation of new interstitial spaces – ideal for the congregation of students and faculty. The IIM-A campus is thus an experience. Moving through its spaces is the unfolding of a theatrical play between light and shadow. Each moment in time becomes a play-let and each moment in space therefore a shadow-let. “Louis Kahn spoke about matter in spiritual terms. Nothingness mattered to him. Silence mattered to him. The enigma of light mattered to him.” - BV Doshi While Kahn spanned the spectrum of greys between light and dark by creating sweeping gradients in his building, Brinda Somaya personifies light as dancing through space in ways that you sometimes cannot even imagine. Located in Vadodara, not far from Ahmedabad, the Nalanda School faced similar issues of a hot climate, along with the fundamental design brief of not air-conditioning interior spaces. Somaya’s primary concern of building an eco-friendly school in a space that was going to be very hot in summer was addressed through controlling heat by a control over light. Dotted with small and large courtyards, light is diffused before it enters the interior of the building. Brick walls in interesting configurations respond to the varying conditions and needs for light. While solid walls block the harsh sun, perforated partitions or jalis filter the light through. Trees are planted in close proximity to the building periphery, which further act as additional brise soliel. A



Nalanda School, Vadodara

number of transitory spaces are created to dim the light as it makes its way in. Recounting her visit to the ancient Nalanda University in Bihar as a child, Somaya was inspired to become an archaeologist. Over time, extensive travel through the country instilled an interest in the built environment. A distinct memory etched in her mind, is of walking down tree-lined avenues, bathed in dappling sunlight filtered through the intermittent foliage. Deriving inspiration from moments like those, she creates an interesting play of light and shadow at the Nalanda School. Students lost in music and entranced in dance are freckled with splattering light that peeks through the open brickwork. The courtyards house playful activities through the day, carrying in its arms students as they follow the path of the sun. In winters, they settle into well-lit patches and move with the moving light. In summer, they hide in the shade and seek respite in the shifting forms of their shelter. The Nalanda School epitomises waltzing with light and flirting with shadows. As the love between built space and illumination heightens,

and the passion between the mysterious and known swells, the transformation from daylight to darkness intensifies. Interestingly, Somaya points out that we witness a very short twilight in most parts of India. Daylight fades to darkness rather suddenly, robbing us of the romance of dusk. With darkness emerge other sources of hope - the moon, the fire and electricity. Artificial light rekindles the comfort of warmth but renders space with a distinct quality. There is a difference in how artificial and natural light respond to buildings, says the architect. The experience of a space is altered by the quality of light in it. Buildings and light together play a very important role in the city. Light and architecture together become a powerful force - to communicate, to imply beauty and to emote a sense of dwelling. “Silence, the immeasurable, desire to be, desire to express, the source of new need, meets light, the measurable, giver of all presence, by will, by law, the measure of things already made, as a threshold which is inspiration, the sanctuary of art, the treasure of Shadow.� - Louis Kahn





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It was imperative the lighting was beautiful with fantastic colour. Controlled shadow play and gentle modelling were key to the lighting scheme.

ART DECO ASSEMBLY The Grade II listed Pavilion building in Shepherds Bush, London once stood as an Art Deco inspired cinema. Today, thanks to considered architectural design and complementary lighting schemes, it has been transformed into a modern-day, luxurious four-star hotel that mixes the old with the new. The Pavilion is a Grade II listed building dating from 1923. Designed by Frank Verity and originally constructed as a 2,900seat cinema, the building was awarded the RIBA London Street Architecture Award for the best London façade. After heavy damage caused by a V1 flying bomb during World War II, the building was vacant until 1955 when it was restored and reopened as a bingo hall. Before the recent redevelopment of the building into a hotel, the building had been disused for over a decade and had fallen into a state of disrepair. While the front elevation maintained much of its original design intent, the original interiors had largely

been demolished and the rear façade had been extensively added to and adapted over its lifetime. The idea of converting this dilapidated building into a four star, 300-room hotel presented an ideal opportunity to give a much loved, but neglected building a new lease of life while revitalising and securing the retention of this important heritage asset and landmark on the Shepherds Bush Green. Brought on board by Kosmopolitan, Flanagan Lawrence Architects’ proposal recognised and preserved the Pavilion’s external civic character by retaining the special features of the building while generating new elements from the original

architecture. The design concept was derived from a detailed understanding of the building’s history and context rather than simply forcing a new use to work within the existing shell. The result is an elegant and balanced response designed to complement and refine the original character of the building. The final scheme retains the original award-winning brick façade, with minor alterations to ensure natural light within the hotel rooms behind, and recreates the original roof form using modern materials. The use of glazed ‘shingles’ as opposed to the original use of bitumen roofing for example, allows light



Looking at the interiors of the foyer and entrance, there is a circular feature that has been recessed up into the soffits but below that, there’s a repeat of the original feature on the floor, which has become a real focal point of the foyer.

within the upper floors of the scheme, which would have previously been un-usable space. Architect Jason Flanagan explained further: “As the building had been used as a cinema it was effectively a solid brick box so we had to take the façade and roof down which were either solid brick or bitumen for the roof and replace them with materials that would allow light and views in the hotel rooms. We created a number of new openings in the façade but they’re very discreet so they don’t compete with the original architectural features. This was the main challenge - coming up with

solutions that would allow for hotel rooms to function behind the façade while keeping the appearance of solidarity – this was the trickiest bit of the whole design.” The rear of the building, having retained little architectural merit, was replaced with a simplified interpretation of the main front façade, using similar materials however, visibly discernible from the retained façade. From the offset Flanagan and his team were very clear on what should be expected of the design, both in the architecture and the lighting: “What we’ve tried to do with the appearance of the building by day and by night, is to present the original form – but

then there’s something very interesting that starts to happen to the building as the sun goes down, you get a very strong sense of the original architecture in how it is washed with light, but then you also get this very subtle layering as the building becomes transparent,” said Flanagan. “So behind the terracotta you see this random pattern of the rooms, which repeats itself behind the glass roof. You get a rich composition through the way the lighting portrays the architecture.” While the hotel’s façades are a balanced composition of old and new, so is its interior. To incorporate the new hotel

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For the exterior lighting EQ2 Light had to consider that the building is competing with a very bright surrounding ambience so used cooler colour temperatures to act as a contrast against the warmer colour temperatures of surrounding buildings.

functions, the interior of the building was mainly removed. However, the new interior architectural sequence is derived from the hierarchy of space in the original design and begins with the triumphal arch, which has been formed as a quarter dome to mirror the form of the corners of the external roof. This leads into a lower foyer, arranged in a similar configuration to the original cinema foyer, including a reference to the original circular floor decoration, which marked the centre of the foyer and entrance to the cinema. “We tried to take the geometry and form of the outside and bring it indoors,” said Flanagan, “so in particular we utilised the curved form of the arched entrance, curved form of the roof corners and so on. We

JAPANESE Flanagan Lawrence設計事務所との協 業により、EQ2はロンドンのニュー・ドー セット・シェパーズ・ブッシュホテルの照明 デザインを担当しました。求められている ものは非常に明快で、 ホテル全体の外観 と雰囲気を独創的で他に無いデザインに したい、 数多くの暗い天井と仕上がりによ り親しみやすい雰囲気を出したいという ものでした。建物内部の照明は非常に重 要でした。光の色と制御された影による 穏やかなモデルが示される一方、 エネル ギー効率と保守コストの優位性も重要と されました。 これら全ては人々の目には触 れませんが、 多数の細かい線や要素が全 体に駆使されています。建物のファサード

stumbled across a photograph that featured circular detail on the floor, which we picked up on and recreated. If you look at any of the interiors of the foyer and entrance, there’s this circular feature that we’ve recessed up into the soffits but below that, there’s a repeat of the original feature on the floor and that’s become a real focal point of the foyer.” The theme of ‘golden age cinema’ is also picked up in a series of art deco inspired curved roof vaults in the foyer space, while vertical circulation to the upper bedroom floors is located in a similar position to the original circulation core at the west end of the tower. The atrium opens off the foyer and rises to the full height of the building creating an impressive focal point

部分はドーセット・シェパーズエリアに非 常に多くの環境光による照明が採用され ているため、EQ2は過剰照明に対して配 慮する必要がありました。慎重に光量の 制御を行うことで、光を外に漏らさず、景 観を壊しかねない過剰照明による光害 防止に努めました。

CHINESE 伦敦新谢泼兹布什帝豪酒店璀璨夺 目的灯光设计由 EQ2 携手 Flanagan Lawrence 建筑师事务所完成。从远 处,即可被建筑令人叹为观止的外观 设计所震撼——酒店的整体外观和感 官设计新奇不凡,众多暗色天花板和 室内摆设营造出一种温馨的感觉。内 部灯光采用重要的奇幻色彩,并别出

for the hotel around which the upper floors are wrapped in a series of golden hoops, mirroring the external roof form. For Flanagan, the relationship between the Pavilion’s architecture and lighting design is intrinsic, with the two elements working as an integrated solution. Having worked together on previous projects, Flanagan asked Mark Hensman and his team at EQ2 Light to come on board once more for the Dorsett project. “It’s a question of understanding the layering and hierarchy,” said Flanagan, “working very collaboratively with Mark and his team so that all of the key building features inside and out reflect light. The exterior lighting was a relatively straightforward conversation because we

心裁地营造出可调式的阴影和柔和的 造型设计,并做到了低能耗和低维护 需求——所有这些都是公众无法直接 看见的;另外,建筑整体使用了直线 细节和元素设计。建筑外立面设计了 巨大的环绕光层,EQ2 还必须致力于 符合光污染的要求,因此,实现适当 的光学控制尤其重要,这样可以控制 灯光,不会形成大量恼人的光污染。

FRANÇAIS Travaillant aux côtés des architectes de Flanagan Laurent, l’entreprise EQ2 prit en charge l’impressionnante conception de l’éclairage du nouvel hôtel Dorsett Shepherds Bush à Londres. Dès le début, une vision très claire de ce qui devait être créé existait ; la présentation

générale de l’hôtel devait être typique et inhabituelle, arborant plusieurs plafonds sombres et des meubles foncés recréant des ambiances intimistes. Quant à l’éclairage intérieur, l’intégration de couleurs féériques, de jeux d’ombres contrôlés et d’un doux modelage s’imposa, respectant ainsi efficacité énergétique et faible maintenance. Tout ceci devait rester imperceptible pour le grand public ; donc beaucoup de détails et d’éléments linéaires furent utilisés. Bien qu’il y ait une forte luminosité ambiante autour de Shepherds Bush, EQ2 devait tout de même prendre en compte les exigences de pollution lumineuse pour la façade du bâtiment, donc le bon type de contrôle optique devait être atteint afin que la lumière soit contenue et ne crée pas une quantité démesurée et déplaisante de pollution lumineuse.


The theme of ‘golden age cinema’ is picked up in a series of art deco inspired curved roof vaults in the foyer space, while vertical circulation to the upper bedroom floors is located in a similar position to the original circulation core at the west end of the tower.

knew what we were dealing with when it came to the external architecture – it was very much about a hierarchy of key features. It’s all about revealing the principle levels and order of the building – allowing the upper levels to be more discreet and light themselves from within, it was a simple elegant piece of townscape lighting. “The question was then, what do we do inside? In the original planning schemes there were layouts of what the insides were, but this didn’t really evolve until we started working with the Kosmopolitan team. We had to think about what’s important, so the majority of the wall surfaces in the foyer are very dark and recessive because we wanted all the focus

DEUTSCH EQ2 hat mit Flanagan Lawrence Architects zusammengearbeitet und war verantwortlich für das fantastische Beleuchtungsdesign im neuen Dorsett Shepherds Bush Hotel in London. Von vornherein stand genau fest, was geschaffen werden sollte - die komplette Optik und Atmosphäre des Hotels sollte ein unvergleichliches und ungewöhnliches Design aufweisen, mit zahlreichen schwarzen Decken und Einrichtungsgegenständen für eine intime Stimmung. Als es um die Innenbeleuchtung ging, war neben der Energieeffizienz und einem geringen Wartungsaufwand die Berücksichtigung von fantastischen Farben, kontrollierten Schattenspielen und sanfter Modellierung wichtig – gleichzeitig sollte sie für die Öffentlichkeit unsichtbar bleiben. Deswegen wurden überall zahlreiche lineare Details und Elemente eingesetzt. Für die Gebäudefassade

to be on the key ceiling features. It was our aim to have a series of recessed ceiling coffers that Mark could uplight. These would be the principle lighting surfaces giving the glow that we were looking for in the foyer.” It was at this point that the project evolved from an architectural form to an environment made up of gold and dark interior finishes. It was Flanagan’s vision that the building should be comfortable and acoustically pleasing, allowing people to sit and converse without having to raise their voices – meaning acoustic absorption panels were implemented. This in turn, brought about the idea of using lighting behind the panels that would result in a warm glow from within - this is where EQ2 developed

musste EQ2, obwohl die Intensität des Umgebungslichts rund um Shepherds Bush sehr stark ist, im Sinne der Lichtverschmutzunganforderugen arbeiten. Aus diesem Grund war es wichtig, dass die richtige Art der optischen Kontrolle erreicht wurde, damit die Beleuchtung in Grenzen gehalten und eine zu starke Lichtverschmutzung vermieden werden konnte.

ITALIANO Lavorando fianco a fianco con gli architetti Flanagan Lawrence, EQ2 si é occupato della splendida progettazione luci presso il nuovo hotel Dorsett Shepherds Bush a Londra. Ancor prima che il progetto prendesse forma, c’era una visione molto chiara di quello che stava per essere creato: l’intero look e l’atmosfera dell’ albergo dovevano essere distintivi ed insoliti nel design, con molti soffitti scuri ed arredi che rendessero l’atmosfera piú intima.

the detail. “There was a very clear view on what was to be created,” said Hensman, “it had to be distinctive and unusual. For the exterior lighting we had to consider that the building is competing with a very bright surrounding ambience so we used cooler colour temperatures to act as a contrast against the warmer colour temperature of the surrounding area. “When we moved inside, Jason and his team had the basic framework in place and we pushed for dark ceilings and lots of dark furnishings so we could give the hotel an intimate feel. The early brief direction focused on how the shapes and forms of the building would allow this to happen.” As the Dorsett is a hospitality environment,

Quando si è arrivati all’ illuminazione interna, sono stati presi in considerazione non solo la scelta del colore fantastico, che é stata molto importante, il controllato gioco di ombre e la sua delicata modellazione, ma anche l’efficienza energetica e la bassa manutenzione (pur rimanendo invisibile al pubblico), quindi, sono stati utilizzati molti dettagli ed elementi lineari in tutto il progetto. Riguardo la facciata dell’edificio, per quanto ci fosse molta luce naturale nella zona di Shepherds Bush, EQ2 doveva ancora lavorare ai requisiti che riguardavano la contaminazione della luce, quindi era importante ottenere il giusto tipo di controllo ottico in modo che la luce potesse essere contenuta ed evitare di risultare sgradevole.

ESPAÑOL Al trabajar en conjunto con los arquitectos Flanagan Lawrence, EQ2 fue responsable del imponente diseño

de iluminación en el nuevo hotel Dorsett Shepherds Bush en Londres. Desde el comienzo hubo una visión clara sobre lo que crearía - todo el aspecto y la sensación del hotel tenía que ser característico e inusual en su diseño, con muchos cielorrasos oscuros y amueblamientos que generaran una sensación de intimidad. Cuando se trató la iluminación interior se tuvo en cuenta el color exorbitante, el control de las sombras y el diseño suave, junto con la eficiencia energética y el poco mantenimiento - todo ello permaneciendo invisible al público general; de manera que se utilizaron muchos elementos y detalles lineales. Para la fachada del edificio, mientras que hay un gran nivel de luz ambiental en la zona de Shepherds Bush, EQ2 aun así tuvo que trabajar dentro de los requerimientos de la contaminación de iluminación, por lo que fue importante obtener el tipo de control óptico correcto para que la iluminación pudiera contenerse y no provocar una gran cantidad de contaminación desagradable de iluminación.



The relationship between the Pavilion’s architecture and lighting design is intrinsic, with the two elements working as an integrated solution.

PROJECT DETAILS Dorsett Shepherds Bush Pavilion, London, UK Client: Kosmopolitan Architects: Flanagan Lawrence Architects Lighting Design: EQ2 Light

LIGHTING SPECIFIED Cube DDR18 LED downlights Cube DDR30 LED downlights Cube Fluxline HP linear LEDs Contardi Manila TA table lamps Fagerhult FL Linear pendant luminaires Fagerhult Relay Power LED striplights Concord Myriad LED downlights Lucent 143 LED wall wash downlights Lucent 140 LED downlights Lucent 100 LED downlight Lucent 103 LED downlights Lucent Focus 90 LED downlights Philips Master LED lamps Radiant Architectural 3D Flex System 40 / 100 LED projectors Wila ceiling recessed LED downlights

it was imperative the lighting was beautiful with high quality colour properties. Hensman told mondo*arc how he was looking for controlled shadow play and gentle modelling - all the things that make an environment feel warm and comfortable. “We’re always looking for light sources that have great colour and quality and there’s a precision that we work to,” he said. “The lighting had to be energy efficient and maintenance effective as well, while being discreet and invisible to the general public. And so what you find at Dorsett Shepherds Bush is linear detailing and linear elements in the atrium and public areas and a lot of down lights tucked away in the ceilings.” Commenting on challenging aspects

of the project, Hensman continued: “Dorsett is a very successful hotel brand, especially in south east Asia and they know their market very well. So there was a particular challenge in trying to marry that operational knowledge with the particular way UK and European markets work. This was always an interesting part of the project because we had to work hard to make sure we delivered what would work within the context of the Dorsett brand and European tastes. “I love the interior design of this building,” he continued. “Shepherds Bush is genuinely different to a lot of other projects we’ve worked on and I think it’s partly related to the fact we had a clear vision from the

architect. There aren’t that many hotels that have the depth of darkness to them that Dorsett does – it’s very relaxing.” According to Hensman, there was a painstaking amount of work that was key to the way the building now presents itself - all related to the lighting and interior design integration, as mentioned before. The former cinema was and still is the most imposing building on the Shepherds Bush Green. It is a building exhibiting a finite form rather than a mere perimeter building - a careful balance of old and new, acting as a catalyst for the continuing regeneration of the area.

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IT’S HIP TO BE SQUARE Square Inc.’s new headquarters in San Francisco began as a vast blank canvas. With help from architects Bohlin Cywinski Jackson and Banks/Ramos Architectural Lighting Design, a community feel and maximum daylight exposure was achieved.


Top The elegant boulevard is lined with floating cabana retreats. Above The floating lobby ceiling is emphasised by T5-fluorescent cove lights.

Square Inc started with the simple idea that every business should have access to the same tools that larger businesses do. A mobile payments company, Square Inc is dedicated to adding new, innovative ways to simplify and streamline the world of commerce through its Square Register product. For its new headquarters in Market St, San Francisco, the idea was simple; despite covering 175,000 sq ft and spanning the length of an entire city block, the space needed to feel hospitable yet consider company growth and expansion.

Architects Bohlin Cywinski Jackson were asked to create an office interior that echoes the company’s core values of modern and functional design. Lighting designed by Claudio Ramos, Hiram Banks, Erin Sudderth and Matthew Landl of Banks|Ramos Architectural Lighting Design – works to determine way finding and helps to define communities within the expansive space, while providing the feeling of daylight throughout the floor plate. It was imperative to the client that all of the design team comply with LEED Gold level certification requirements. With this

in mind, only high efficacy lighting sources were specified, ensuring a sustainable design that minimised energy and maintenance costs. Starting in the welcome lobby and reception area, line voltage track lighting featuring current-limiters is seamlessly integrated into the stretched acousticalfabric ceiling. Amerlux Lighting’s Hornet LED 15W adjustable accents highlight the space while quietly providing task lighting at the reception desk; and custom detailed T5-flourescent cove-lights emphasise the architecture’s floating ceiling. Adjacent



Diagram: Daylight penetrates halfway throughout open-offices, uniformly triggering daylight sensors. Daylight harvesting reduces electric lighting consumption down to 65% in open-office areas when daylight is at its brightest.

JAPANESE Square Incは大企業と同じツールに全てのビ ジネスがアクセスできるべきだというシンプルな アイディアの下、設立されました。 スクエアレジス ター製品により、 コマースの世界をシンプル且つ スムースにする革新的な方法を提供することに 取り組んでいます。サンフランシスコのマーケッ トストリートの新しい本社はに関するアイディア は、175,000平方フィートもの広さの町のブロッ クまるまる一つに広がっているのにも関わらず、 ホスピタリティを感じられるだけでなく、 これから の社の成長と拡大も考慮してあるという、 シンプ ルなものです。 Bohlin Cywinski Jacksonは、 会社の現代的で機能的なデザインという本質的 な価値観を反映するオフィスインテリアを創造 するよう依頼されました。Claudio Ramos、Hiram Banks、 Erin Sudderth ならびに Matthew Landlによってデザインされた照明は、広

いスペースの中でも、案内路を確認しコミュニ ティを特定する助けとなり、同時にフロアプレー トから日光が差し込んでいるような感覚も与え ます。 クライアントにとって全ての設計チームが LEEDゴールドレベル認証資格の条件を満たし ている事は必須でした。 これを踏まえ、 エネルギ ー消費とメンテナンスコストを最小限に抑えるサ ステイナブルなデザインを実現する、高い効率性 を誇る光源が採用されました。

to the reception and lobby is an expansive lounge area featuring Vibia Vol decorative pendants to provide human scale to the large lounge area. Moving through to the main office space, which consumes more than 100,000 sq ft (large enough to cover two football fields), stringent California energy-codes and the desire to be green, resulted in a lighting power density (LPD) of 0.64 W/SF. Daylight penetrates halfway throughout open-offices, uniformly triggering daylight sensors, while daylight harvesting reduces electric lighting consumption down to 65% in the open-office areas when the daylight is at its brightest. Asymmetrical distribution of linear fluorescent Peerless Lightedge indirect pendants are mounted adjacent to structural beams in the main office; the high-efficiency goals led to two 28W T5lamps also being specified in cross-section - bi-level switched for daylight control. The shelf like fixtures are spaced 24ft, on-centre and disappear into the expansive office spaces. As well as this, two T5-flourescent asymmetrical uplights adjacent to the structural beams are bi-level switched and controlled by photo-sensors to regulate the power consumption during the daytime. As you move down the building, customdesigned 12ft LED linear, suspended, Vode Lighting pendants - spaced 10ft apart, oncentre with dimmable 3,500K LEDs - march down the 500ft building axis, defining the boulevard with elegant cadence. These linear suspended pendants use low-output LEDs to reduce unnecessary brightness and glare, while limiting the power density. Fixtures are spaced and dimmed to provide


舒适感,同时考虑到公司未来的发展和扩 张。建筑师 Bohlin Cywinski Jackson 应邀设 计内部办公空间,其设计与公司的现代和实 用性设计核心价值观相互呼应。照明由 Claudio Ramos、Hiram Banks、Erin Sudderth 和 Matthew Landl 设计,他们共同确定方式并 帮助划定此宽广空间内的群体区域,同时带 给人日光穿透建筑的感觉。对客户来说,整 个设计团队达到 LEED 绿色建筑金级认证要 求尤为重要。鉴于此,只能指定非常高效的 光源,确保可持续设计将能源与维护承包降 至最低。

Square Inc 公司的创立理念非常简单,那就 是每个企业都能用上大企业用到的工具。作 为一家移动支付公司,Square Inc 致力于开 发创新型支付方式,并通过其 Square Register 产品简化商业活动。公司的新总部位于旧 金山市场街,虽然占地 175,000 平方英尺, 在长度上横跨了整个城市街区,但办公场所 的设计理念却很简单:赋予内部空间以热情

Le concept de Square Inc démarra de la simple idée que toutes les petites entreprises devraient avoir accès aux mêmes outils que les grandes entreprises. Une société de paiements mobiles, Square Inc, souhaite intégrer des moyens nouveaux et innovants afin de simplifier et de


rationaliser le monde du commerce grâce aux produits de son « Square Register » (registre de produits). Pour son nouveau siège sur Market Street à San Francisco, le concept était simple ; l’espace de 175 000 pi², de la taille d’un pâté de maisons, devait être accueillant, mais devait également envisager la croissance et l’expansion des entreprises. On demanda au cabinet d’architectes Bohlin Cywinski Jackson de créer un intérieur de bureau faisant écho aux valeurs fondamentales de la société en matière de design moderne et fonctionnel. L’éclairage, conçu par Claudio Ramos, Hiram Banks, Erin Sudderth et Matthew Landl, souligne la signalisation et définit les différentes communautés dans ce vaste espace, tout en offrant la sensation qu’une lumière du jour jaillit des planchers. Le client contraignit toute l’équipe de conception aux exigences de la certification LEED de niveau or. De ce fait, seules des sources d’éclairage hautement efficaces ont été demandées, assurant ainsi une conception durable qui réduit au minimum les frais d’énergie et d’entretien.


Below Team rooms are emphasised with Pinnacle Lighting, while the central boulevard links break out spaces. Right and below Vol decorative pendants are featured in the lounge area.

adequate and uniform light levels along the entire boulevard. Floating cabanas, wrapped in fabric panels with linear LED slot detailing from Aion’s 8024 LED Series, line the boulevard creating a softly illuminated retreat for employees. The central boulevard also works to link open office areas with break out spaces, such as the coffee place. Daylight flows through the windows in the space, transitioning into even illumination deep within the building footprint thanks to the indirect pendants, asymmetrically distributed in each openoffice bay. Square Inc’s headquarters also feature transparent glass cube team rooms that are emphasised with staggered TF-fluorescent lensed linear light from Pinnacle Lighting. Additionally, small aperture 19W LED recessed accent lights from Tech Lighting

DEUTSCH Square Inc begann mit der einfachen Idee, dass jedes Geschäft Zugang zu denselben Tools wie größere Geschäfte haben sollte. Ein mobiles Zahlungsunternehmen, Square Inc, ist dazu bestimmt, neue, innovative Wege hinzuzufügen, um die Handelswelt durch ihr Square Register Produkt zu erleichtern und zu modernisieren. Für ihren neuen Firmensitz in Market St, San Francisco, war die Idee ganz einfach. Zwar muss eine Fläche von 175.000 Quadratfuß abgedeckt und die Länge eines gesamten Häuserblocks überbrückt werden, dennoch sollte der Raum ein Gefühl von Gastfreundlichkeit vermitteln und gleichzeitig das Wachstum und die Expansion des Unternehmens berücksichtigen. Die Architekten Bohlin Cywinski Jackson wurden beauftragt, die Innenausstattung der Büroräume vorzunehmen, die die Grundwerte des Unternehmens eines modernen und funktionellen Designs wiedergeben. Die Beleuchtung wurde durch Claudio Ramos, Hiram Banks, Erin Sudderth und Matthew Landl konzipiert, unterstützt die Orientierung und die Definition von Gemeinschaften innerhalb des großzü-

gigen Bereichs und verschafft ein Gefühl von Tageslicht auf der gesamten Bodenplatte. Für den Kunden war es zwingend notwendig, dass sich das gesamte Designteam nach den LEED Gold-Level-Zertifizierungsanforderungen richtet. Mit diesem Gedanken im Hinterkopf wurden ausschließlich hoch effiziente Lichtquellen festgelegt, die ein nachhaltiges Design gewährleisten, das die Strom- und Wartungskosten auf ein Mindestmaß senken.

ITALIANO Square Inc é nato con l’idea che ogni business dovrebbe avere accesso agli stessi strumenti a cui hanno accesso i business piú grandi. Una compagnia di pagamenti mobili, Square Inc é dedicata per aggiungere nuovi ed innovativi modi per semplificare ed alleggerire il mondo del commercio attravero il suo prodotto Square Register. Per la sua nuova sede operativa in Market St. a San Francisco, l’idea era semplice: invece di coprire 16.250 metri quadrati e abbracciare per esteso un intero isolato della città, lo spazio doveva servire a sentirsi ospitali considerata l’espansione e la crescita della compagnia. Agli architetti Bohlin

work to increase light levels, while providing additional layers and control / scene options. The team rooms are also equipped with occupancy sensors for energy savings and adhere to Title 24 Californian energy compliance standards. Artwork is featured throughout and is illuminated with linear LED pendants from Litelab. The pendants, which are also used to illuminate company signage, continue seamlessly through floating wood ceiling slats that double up to conceal suspended lighting tracks. Featured in the tracks are adjustable LED retrofit MR16 7W lamps from Litelab’s Jewelers Collection, focussed so that they illuminate the art and signage appropriately. As you move upstairs, an employee dining space can be found – doubling up as a space for weekly meetings, with layers of lighting

Cywinski Jackson era stato chiesto di creare l’interno dell’ufficio che rispecchiasse l’anima della compagnia dal design moderno e funzionale. L’illuminazione, progettata da Claudio Ramos, Hiram Banka, Erin Sudderth e Matthew Landl, lavora per determinare il modo per trovare ed aiutare a definire una comunità all’interno di uno spazio cosí grande, mentre si fornisce la sensazione della luce del giorno attraverso il pavimento. É stato imperativo da parte del cliente che tutto il team di progettisti lavorasse con dei requisiti di certificazione Leed Gold. Considerato questo, erano state solamente prese in considerazione delle fonti di luce ad alta energia, che assicurassero un design sostenibile che minimizzasse i costi dell’ energia e del suo mantenimento.

ESPAÑOL Square Inc comenzó con la simple idea de que todo negocio tendría que tener acceso a las mismas herramientas a las que tienen acceso los negocios más grandes. Una compañía de pagos móviles, Square Inc, se dedica a agregar nuevas e innovadoras maneras de simplificar y modernizar

el mundo del comercio a través de su producto Square Register. Para sus nuevas oficinas centrales en Market, San Francisco, la idea era simple; a pesar de cubrir una superficie de 16.2580 metros cuadrados y de abarcar la longitud de una cuadra entera, el espacio necesitaba parecer acogedor, incluso considerando el crecimiento y la expansión de la empresa. Se le solicitó a los Arquitectos Bohlin Cywinski Jackson que crearan un interior de oficina que repitiera los valores centrales de diseño moderno y funcional de la empresa. La iluminación - diseñada por Claudio Ramos, Hiram Banks, Erin Sudderth y Matthew Landl – funciona para determinar la señalización de la orientación y para ayudar a definir comunidades dentro del espacio en expansión, mientras se provee la sensación de luz natural a lo largo de la placa del piso. Era imperioso para el cliente que todo el equipo de diseño cumpliera con los requerimientos de la certificación Gold Level LEED. Con esto en mente, se especificaron únicamente fuentes de iluminación de alta eficacia, asegurándose un diseño sustentable que minimizase los costos de energía y mantenimiento.



PROJECT DETAILS Square Inc. Headquarters, San Francisco, CA Architect: Bohlin Cywinski Jackson Lighting Design: Banks | Ramos Architectural Lighting Design

Aion LED 8024 Series linear striplights Aion LED 4024 Series linear striplights Amerlux Lighting Hornet High Power LED track heads Artemide Tagora 80 Suspension pendants Birchwood Ashley linear fluorescent cove lights LIGHTING Delray Lighting ST4SPECIFIED Series linear T5 pendants Focal Point Infinite 3 recessed linear slot lights Ledalite Shine recessed T5 lights Ledalite Chopstick indirect fluorescent wall mounts Ledalite Chopstick linear pendants Lightolier Lytespan Alcyon Series LED track heads Lightolier Alcyon Mini Cylinder track heads Lightolier Basic Lytespan tracks Litelab Museum Collection LED track heads Litelab BusRun Busway linear pendant tracks Litelab BusRun recess mounted tracks Litelab Jewelers Collection track heads with LED MR16 lamps Mark Lighting BiFocal Series flouorescent slots Peerless Lightedge linear fluorescents Pinnacle Lighting Edge 2A Series wall T5 linear slots Pinnacle Lighting Edge 4A recessed linear slot lights Pinnacle Lighting Edge E4SA Series recessed slot lights Pinnacle Lighting Edge EX4S Series linear T5 pendants Pinnacle Lighting Edge EX2 lineaer fluorescent pendants Prudential Snap linear pendant mount striplights Tech Lighting Element recessed LED downlights USAI Lighting BeveLED 2.0 recessed square LED downlights Vibia Lighting Vol decorative pendants Vode Lighting Race Rail LED linear suspended fixtures Vode Lighting Double Box linear LED up /downlights Vode Lighting Wing Rail System fluorescent lights

Left Upstairs, in the employee dining space and servery a floating wood ceiling is featured. Below left artwork and company signage is lit with linear LED pendants from Litelab. Below right layers of light provide flexibility for the servery.

providing flexibility for the task at hand. Pinnacle Lighting Edge Series fluorescent pendents feature, along with recessed T5 linear fluorescent cove lights to provide an internal glow to the space. In the wooden banquet spaces, linear LED uplights and a recessed 19W Tech Lighting LED downlight at each table bring detail to the space. Servicing the dining room is a full commercial kitchen and servery. The space is illuminated with 12ft linear fluorescent Pinnacle Lighting pendants and continuous track using 16W, warm-white 3,000K LED

track heads detailed within the floating wood ceiling. Recessed high output 33W lensed, square aperture, LED downlights from USAI Lighting provide required light levels for food service. Overall, the energy efficient building system and sustainable operations make Square Inc’s headquarters one of the most environmentally friendly office spaces in the US.

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London's Imperial War Museum pieces together stories of those whose lives were shaped by World War I. The museum was refurbished in a thorough collaboration between Fosters + Partners and George Sexton Associates to highlight the timeless stories held within it. Amid the commemorations of World War I, the Imperial War Museum, London, marked the centenary of the start of the Great War with the opening of its new atrium designed by Fosters + Partners and lit by George Sexton Associates. The atrium, housing the museum’s biggest displays, now has an extra floor floating over it. Part of this floating floor’s job is to mitigate natural light levels but it also provides a surface for carefully focused track and spot lighting to meet the challenge of illuminating displays, including a Battle of Britain Spitfire, a V2 flying bomb and a Russian T-34 tank, that are visible from almost every angle.

“The approach to the atrium, in which we have inserted a new ‘floating’ floor at the top of the space, was designed to bring down the natural light levels," said Foster + Partners senior partner Michael Jones. “They were previously too high from the existing barrel roof for conservation purposes. The new floor acts as a lighting baffle. It has enabled us to open the central space to the adjacent galleries, allowing a broader cross-section of the collection to be displayed alongside, and in curatorial context with, the large objects in the atrium – these light sensitive objects include textiles, works on paper and other objects with organic pigments. This was a

fundamental objective of the museum and has allowed for new readings, angles and perspectives on some of the major objects, such as the Spitfire.” The Imperial War Museum, described by King George V in 1920 as “a lasting memorial of common effort and common sacrifice", opened in 1917 but moved to its home in Southwark in 1936. In 2010, the first phase of a £40m transformation began and today, the whole space has been reconfigured to make moving from one gallery to another logical and intuitive. Foster’s long-term strategy for the museum’s interior is based on three themes: clarity and circulation, chronology, and


The atrium has a new floating floor, which acts as a lighting baffle. This has enabled the museum to open the central space to the adjacent galleries.

consolidation. Foster designed the vertical circulation to enable visitors to move through the exhibition floors in chronological order from the new lower floor World War I Galleries up to the first floor World War II exhibits and the post-1945 displays intended for the floor above. The redesign retained the existing glazed barrel vault over the atrium. “The space was very dramatic and loved by people but restricted what we could display because we were getting thousands of lux and everything we displayed has to be very robust,” said Ann Carter, the museum’s head of exhibitions. “So, as part of the architectural development, we have

introduced a new floor high up under the barrel vault that allows the light to flow down, but in a more controlled way. This also gave us more exhibition space and we hire it out.” The transformation also included opening up views from a new lower ground floor, level zero, which includes a cafe and shop; a new opening into the floor of the central hall provides a visual connection to the different levels and draws in daylight deep into the space below. “Fundamental to this approach was the opening up of the side walls to reveal galleries and allow views out to the park – this changes the way visitors see the collection and improves the visibility of

galleries and objects from the central space,” said Jones. “This move has the effect of drawing visitors to explore all parts of the building and discover the whole collection. Circulation throughout is designed to be intuitive – visitors increasingly want galleries to have the added dimension of relationships with each other and the wider setting, rather than isolated spaces. This makes the experience richer, less overwhelming and more accessible. This also enabled us to open the museum up to the park – for the benefit of both.” “Daylight has to be a part of the design vocabulary both technically and aesthetically. Fosters is a big proponent



Above Precision Lighting's PICO LED spotlights are mounted to a lattice of cables in the cafe. Below Precision Lighting EVO spotlights feature throughout the shop in a similar way.

of daylight and we agree that it is an important consideration in any architectural project – and any museum setting,” said lighting consultant George Sexton. “Typically we like to do physical modelling of a space but the budget, time constraints and design process did not allow that, so we used design software that that we have had a lot of success with in the past, to create a very detailed computer model.” “One of the exciting things about the atrium space is that visitors are seeing things from so many perspectives,” he added. “It was very challenging. You rarely get to light objects in 360º, where every aspect is on view, as opposed to theatrical lighting, for example, where the viewer is in one position and has a very specific vantage point.” Throughout the public space, carefully focused track and spot lighting from ERCO and Flos play a major role in lighting displays, guiding visitors and underpinning the logic of the architecture. LED spotlights, floods and washes provide the bulk of the lighting although the scheme also uses linear fluorescents from Encapsulite and XAL and accent lighting from AlphaLED and Viabizzuno. "The track lighting is integrated into the folds and reveals of the architecture and we used LEDs from an energy point of view and for low maintenance," said Sexton.

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The new events level on the top floor of the museum features DR8 3-Circuit LED spotlights from Remote Controlled Lighting attached to the curved metal frame.

The cafe comprises a distinctive waffle ceiling which, while visually impacting, hinders the ease at which an effective and aesthetically pleasing lighting system can be installed. While conventional track is used in the atriumin, in the cafe and shop the lighting is on specially designed lattices of cable track, with small luminaires positioned at each of the intersections, custom built by Precision Lighting. The cafe ceiling comprises a matrix of domes originally, these were to be painted a light colour and up-lit but it was then decided to paint them black. The ceiling is crisscrossed with a web of cable delivering low voltage to 176 customised Precision Lighting PICO LED spotlights, now reversed as downlights. “The original design created volumetric lighting but when the paint colour was changed, up-lighting a dark ceiling did not

JAPANESE ロンドンの帝国戦争博物館では、第一次世 界大戦により命を落とした人々の衷心と犠牲 の記憶をとどめています。博物館は1917年 に設立されてから、1936年に現在の所在地 であるサザークに移転し、二つのギャラリー を有していました。2010年博物館は、館内に 保管されている時間を超えた物語を強調す るため、Fosters + Partnersと照明デザイナ ーであるGeorge Sexton Associatesとのコ ラボレーションを通じてリニューアルされま した。博物館は、ErcoとFlosによるトラック型 およびスポット型照明や、Encapsulite、AlphaLED、ViabuzzunoおよびZumtobelに よる線型蛍光、ダウンライトおよびモザイク により光が当てられたアトリウム、ショップと カフェを併設しています。 これに加え、 ビルの トップフロアにある新しいイベントエリアで

make sense,” said Sexton. “But changing to downlighting with same sparkle and comfortable light level was both logical and easy. When you are in a design process you adapt to the optimum conditions of the design and a good infrastructure is adaptable for the long term.” Ambient lighting in the cafe was provided by the glowing pendant orbs mounted to Precision's lattice of cables, enabling the interspersed Precision spotlights to add an element of brilliance to the scheme. “All of our lighting is LED-based,” said Carter. “The shop has a network of Precision Lighting EVO spotlights providing downlight and using long snoots to avoid glare. Both areas are lit with a colour temperature of 3,000K. The shop space you want as bright and as desirable as possible. They used the same type of ceiling lattice lighting on level zero and the main seating

は、Remote Controlled Lightingのスポッ トライトで光があてられた、曲線のメタルフレ ームワークのドームの下でトークやワークシ ョップ、 カンファレンス等が行われます。 これら リノベーションにより、帝国戦争博物館は現 代の戦争の歴史に対する知見を提供すると 同時に、絶えず変化する現代世界に歴史を 刻みました。

CHINESE 伦敦帝国战争博物馆 (IWM) 是对受第一 次世界大战影响的后方普通民众和前方烈 士的永远纪念。该博物馆最初于 1917 年 开业,1936 年迁至现在的南沃克 (Southwark) 的两间画廊内。2010 年,博物馆在 著名建筑师事务所 Fosters + Partners 和照 明师协会 George Sexton Associates 的合 作下重新修整,以突显出馆内收藏的不朽 故事。博物馆内设有中庭、购物店和咖啡

area in the cafe, supplemented with a range of other suspended lamp fittings. In the serving area, we have suspended and some wall mounted fittings. Plus, we opened up the windows on to the park from the cafe. We have reduced the number of fittings but I don’t think we changed the concept at all.” The new events level at the top of the building is lit with Remote Controlled Lighting DR8 spotlights attached to the curving metal framework below the glazed dome, using custom mounting brackets. The space has a number of uses and staff can refocus or adjust the lighting using handheld controllers to suit parties, seminars or temporary shows. The new World War I Gallery designed by Casson Mann has lighting by DHA Designs and this area faced a different challenge. It has some 1,600 exhibits within just 1,050

厅,采用 Erco and Flos 的活动式投射灯 和聚光灯照明,荧光灯管、射灯和马赛克 灯由 Encapsulite、AlphaLED、Viabuzzuno 和 Zumtobel 提供。此外,博物馆建筑 顶层新建的活动中心可举办各类座谈会、 研讨会和会议,顶层上方为雕刻金属框架 圆屋顶,采用 Remote Controlled Lighting 的聚光灯照明。有了这些改进,帝国战争 博物馆在为参观者提供学习和了解现代战 争历史的机会之时,博物馆自身也在这个 不断变化的当代世界留下一笔浓墨重彩。

FRANÇAIS Le Musée impérial de la guerre de Londres est un monument commémoratif durable glorifiant les efforts communs et le sacrifice de ceux dont la vie fut façonnée par la Première Guerre mondiale. D’abord ouvert en 1917, le musée déménage dans deux galeries du présent lieu à Southwark en 1936.

En 2010, afin de mettre en évidence les histoires intemporelles détenues en son sein, le musée fut rénové grâce à une minutieuse coopération entre les architectes de Fosters + Partners et les designers d’éclairage de George Sexton Associates. Le musée comprend un atrium, une boutique et un café, tous éclairés par un circuit de projecteurs de l’entreprise Erco et Flos, tandis que Encapsulite, AlphaLED, Viabuzzuno et Zumtobel ont fourni les tubes fluorescents linéaires, les plafonniers et les lampes mosaïques. Depuis, l’étage supérieur du bâtiment du musée accueille des événements originaux et variés comme des entretiens, des ateliers et des conférences sous un dôme de charpente métallique courbe, éclairé de projecteurs de chez Remote Controlled Lighting. Ces rénovations concèdent aux visiteurs du Musée impérial de la guerre la possibilité d’étudier et de comprendre l’histoire de la guerre moderne, dans un monde contemporain en constante évolution.


Visitors view exhibits from a number of perspectives in the atrium, something that challenged the lighting design.

sq metres of gallery with more than 300 lights due to low ceiling height, mainly Havells Sylvania Beacon Muse spotlights. “That space was particularly problematic, it is a very complicated space with a low ceiling and the services running across make it tricky,” said DHA Designs Director Jonathan Howard. “Although it seems counterintuitive, the lower the ceiling, the greater number of lighting positions you need because your lighting positions become more critical. You are doing detail work. Particularly when you are dealing with low light objects and you are closer with the light source, the inverse square rule starts fighting against you because every part of the object is a radically different distance from the light source.” Carter added: “The World War I gallery has cases with internal lighting but in the

DEUTSCH Das Imperial War Museum in London ist ein dauerhaftes Denkmal für die gemeinsamen Anstrengungen und Opfer derer, deren Leben durch den Ersten Weltkrieg geprägt worden ist. Das Museum, das erstmals 1917 eröffnet wurde, zog 1936 um nach Southwark, wo es sich noch immer befindet und wo es anfangs in zwei Galerien untergebracht war. 2010 wurde das Museum in koordinierter Zusammenarbeit zwischen den Architekten Fosters + Partners und den Beleuchtungsdesignern George Sexton Associates renoviert, um die zeitlosen Geschichten in ihm aufzuzeigen. Das Museum umfasst ein Atrium, eine Boutique und ein Café, beleuchtet mit Leuchtschienen und Spot-Beleuchtung von Erco und Flos, während Encapsulite, AlphaLED, Viabuzzuno und Zumtobel lineare, fluoreszierende Downlights und Mosaike bereitstellen. Darüber hinaus finden im neuen Events-Level des Museums im obersten Stockwerk des Gebäudes zahlreiche Vorträge, Workshops

atrium we have to rely on the track lighting to light almost everything, the space the exhibition and the labelling, providing enough light for visitors to move around safely without lights shining in their eyes. The lighting designers worked very hard to get that right.” “Although the luminaires are strategically placed to achieve object / glare balance it took constant shifting and trimming. It was a long process,” said Sexton. “But without a flexible system we would not have been able to shift lights on the infrastructure for optimal effect. If the exhibition evolves or displays are rotated or changed, the track is there, so there is no problem refocusing and no additional construction work is needed.”

und Konferenzen unter einem Dom eines schwungvollen Metallrahmens statt, der durch Remote Controlled Lighting Spotlights beleuchtet wird. Mit diesen Renovierungen liefert das Imperial War Museum Untersuchungen und Verständnis über die moderne Kriegsgeschichte und profiliert sich in der stets wandelnden Welt von heute.

ITALIANO L' Imperial War Museum, a Londra, é un longevo memorial degli sforzi e dei sacrifici comuni che sono stati fatti da coloro le cui vite sono state strappate dalla I guerra Mondiale. Originariamente aperto nel 1917, il museo si é trasferito a Southwark, dove si trova attualmente e dove, nel 1936, é stato ospitato in due gallerie. Nel 2010 il museo é stato restaurato con la collaborazione perfetta degli architetti Fosters + Partners ed i progettisti luci George Sexton Associates per mettere in risalto le storie senza tempo che sono rappresentate al suo interno. Il

PROJECT DETAILS imperial War Museum, London, UK Client: Imperial War Museum Architect: Foster + Partners Lighting Design: George Sexton Associates World War I Gallery: Casson Mann | DHA Designs

LIGHTING SPECIFIED ERCO spotlights / floodlights / wall washers Flos compass spot lighting fixtures Encapsulite linear fluorescent battens Havells Sylvania Beacon Muse spotlights Zumtobel Panos Q HG fluorescent downlights Viabizzuno linear fluorescent accent fixtures AlphaLED Nimble Washer accent fixtures XAL Corner 65 linear fluorscents Precision Lighting Custom PicoLED fixed uplights Precision Lighting EVO 16 LED Monopoint spotlights Precision Lighting PICO spotlights Remote Controlled Lighting DR8 spotlights

museo include un atrio, un negozio ed un bar illuminati da faretti su binario della Erco e Flos, mentre Encapsulite, AlphaLED, Viabuzzuno e Zumtobel hanno fornito faretti lineari fluorescenti e a mosaico. Oltre a questo, il piano dedicato ai nuovi eventi del museo (all'ultimo piano dell' edificio) ospita vari dibattiti, workshop e conferenze sotto una cupola con una cornice curva metallica illuminata da faretti della Remote Controlled Lighting. Grazie a questi rinnovamenti, l'Imperial War Museum é importante per lo studio e la comprensione della storia della guerra del '900 mentre dà il suo contributo nel mondo contemporaneo che é in perenne cambiamento.

ESPAÑOL El Museo de la Guerra Imperial en Londres es un homenaje perdurable del esfuerzo y sacrificio común de aquellos cuyas vidas tomaron forma con la Primera Guerra Mundial.

Inaugurado originalmente en 1917, el museo se mudó a Southwark, su casa actual, en 1936 donde el museo se levantaba originalmente en dos galerías. En 2010, el museo fue remodelado en una minuciosa colaboración entre los arquitectos Fosters + Partners y los diseñadores de iluminación George Sexton Associates para resaltar las historias atemporales albergadas en él. El museo cuenta con patio interior, un negocio y un café, iluminado con pistas y focos de Erco and Flos, mientras que Encapsulite, AlphaLED, Viabuzzuno y Zumtobel suministraron fluorescentes lineales, luces descendentes y mosaicos. Además de esto, el nuevo nivel para eventos del museo, en el piso superior del edificio, alberga varias charlas, talleres y conferencias debajo de un domo con infraestructura curva de metal, iluminado con focos de Remote Controlled Lighting. Con estas renovaciones, el Museo de la Guerra Imperial mantiene el estudio y el entendimiento de la historia de la guerra moderna, a la vez que deja huella en un mundo contemporáneo de continuos cambios.



WUHAN WONDERMENT Using ground breaking technology, the Han Show Theatre and Wuhan Movie Theme Park have become cultural focal points in the Hubei Province thanks in part to the commited team at Stufish Entertainment Architects.

Pics: Copyright Stufish 2014


Developed in conjunction with Dalian Wanda Group, the Han Show Theatre and Wuhan Movie theme park are the creation of London-based Stufish Entertainment Architects. Both buildings represent the first permanent buildings to be designed by the late Stufish founder Mark Fisher, best known as the architectural mastermind behind some of the most seminal entertainment stages in history, including sets for Pink Floyd, Rolling Stones, Madonna, Tina Turner and The Queen’s Diamond Jubilee event. Having started on the project in 2010, Fisher sadly passed away in 2013 just eighteen months before the project’s completion and as such, the Han Show Theatre and Wuhan Movie theme park were left in the capable hands of the Stufish team to carry out to fruition.



A colour palette of gold and white has been used to help emphasise the idea that light is pouring out of the bottom of the lantern of the public lobby.

HAN SHOW THEATRE Purpose-built for Franco Dragone’s ‘Han Show’ the theatre’s façade is covered in 18,000 red aluminium LED disks resembling the ancient symbolic Bi Disks from the Han Dynasty. The building, which benefits from a fantastic lakeside site, features a transformable auditorium able to seat 2,000 and one of the world’s largest moveable LED screens, which is mounted on three robot arms fixed to backstage columns. According to Stufish Architect Jenny Melville, the team knew from the outset that as well as providing an appropriate symbol for the ambitious show within, the building form and façade would need to work on many different levels, i.e. from across the lake as well as from the more intimate plaza approach from the subway station. The façade’s Chinese paper lantern concept came early on during the design stage but was subject to many changes before the team arrived at the simple looking solution seen today. “It was felt that the lantern idea perfectly symbolised the nature of the building from within,” said Melville. From the outset it was important that the building didn’t feel inward - rather,

celebratory and accessible to all. “The lighting design of the theatre’s façade was absolutely critical to the concept’s success,” continued Melville. “It was important that the ‘lantern’ could be lit up at night – signalling that the theatre is open and the show is taking place.” In the Stufish version of the Chinese paper lantern, the bamboo superstructure is reinterpreted as eight intersecting tubular steel rings, suspended in orbit around the theatre fly tower. The paper (or silk) surface is suggested through a series of minimal surface cable nets, hung and tensioned within the lattice of trapezoidal voids generated by the intersecting rings. Each of the 18,000 cable net structural nodes supports a Han Dynasty inspired red concave aluminium disk. The lantern light is enabled by a circular array of red LEDs at the centre of each disk that illuminate the dimpled concave surface. The light across each disk is split into four zones, each individually addressable using DMX control. The end lighting result can host a video image of approximately 600 by 120 pixels across its surface. “As the evening sets in and the performers prepare for the first show, the lantern

surface comes to life running video footage reflecting into the lake and onto the facetted façade,” said Melville. “Much of the content on the lantern surface offers abstract previews of themes and key scenes from the show. “The podium under the lantern further accentuates the concept,” continued Melville. “The public lobby faces the plaza and a colour palette of gold and white has been used to help emphasise the idea that light is pouring out of the bottom of the lantern. In contrast, the auditorium itself is entirely finished in black textures – as a counterbalance to the bright lobby.” Naturally, all projects come with challenges and for the team at Stufish, the Han Show theatre presented its own unique issues. “Getting the circular LED array within the disk’s central node to light the disk correctly was our biggest challenge,” Melville told mondo*arc. “Obtaining an acceptable even light across the concave disk surface was also difficult, as there was a tendancy for the light to be too bright in the middle. We went through many prototypes with the local designers in China, trying different louvre / diffusion fascia plate solutions in front of the LED



The team at Stufish went through several versions of decoration on the concave aluminium disks, from ornate figurative patterns to simple geometric ones - as they wanted the lighting (both natural during the day and LED at night) to give the disks some texture.

array to distribute the light in a controlled manner. The node itself was further complicated by the fact that it is also the structural support for the disk – so the final design works hard to achieve both the lighting and structural requirements.” The team at Stufish also went through several versions of decoration on the disks themselves, from ornate figurative patterns to simple geometric ones – as they wanted the lighting (both natural during the day and LED at night) to have some texture to highlight on the disks. “It was important to find the correct level of detail and texture as the disks are

JAPANESE 大連萬達集団との協業によって中国 の武漢市に建てられたHan Showシ アターと映画テーマパークは、 ロンドン に本部を置くStufish Entertainment Architectsの作品です。 草分け的技術 を用いて建てられたこの2つの建物は 湖北省の文化の中心的役割を担って おり、Stufishの創設者である故Mark Fisherが設計した最初の恒久施設で もあります。 Han Showシアターのファ サードは18,000枚の赤色アルミLED 円盤で覆われ、漢王朝時代の屋根瓦 を象徴的に模しています。 この武漢映

viewed from many different distances,” said Melville, “from across the lake where they become viewed as one, to just metres away from inside the adjacent hotel rooms. We ultimately opted for a dimpled surface which reflects some of the earliest Jade Bi disks.” Summing up her experience of working on the Han Show theatre, Melville said: “During the concept design stage we had discussed having white LED lights on the back of the disks. These would have been individually programmable and seen through the lobby atrium and glazed roof down to the lobby balcony floor. However, at the time, the

画テーマパークは、多層階に渡る動く アトラクションを持つ数少ないテーマ パークの一つであり、10,824枚の特 注幾何学模様アルミ板が使用されて います。建物のファサード部分は全体 が線状のLEDで照明されています。

CHINESE 与大连万达集团合作开发的汉秀剧 场和武汉电影主题公园位于中国武 汉,是伦敦设计师事务所 Stufish Entertainment Architects 的力作。这 两座建筑均采用开拓性的技术,汇 聚了湖北的文化精髓,也是已故的 Stufish 创始人 Mark Fisher 的最后

structural solution that was to hold up the lantern skin was different and consisted of hundreds of spokes tying it to the theatre drum - the idea with the lighting on the inside of the disks was to highlight this feature. “It would have been interesting to see how this would have changed the lantern lighting effect from the outside,” continued Melville. “I think it would have altered the apparent transparency of the lantern skin and perhaps made it look more lightweight - although it may have also reduced the simplicity of the impact it currently has.”

一批建筑作品。汉秀剧场的外立面 采用 18,000 支源自汉代的古朴红色 铝质 LED 碟片,而武汉电影主题公 园是一座造型动感的堆叠型多层建 筑,外观采用 10,824 片定制几何铝 制面板构成。该建筑的外立面全部 采用直线 LED 灯管照明。

FRANÇAIS Conçus en collaboration avec le groupe Dalian Wanda, le théâtre Han Show et le parc à thème Wuhan Movie, à Wuhan, en Chine, sont la création du cabinet d’architectes Stufish Entertainment basé à Londres. Ces deux bâtiments issus d’une technologie révolutionnaire

forment le point de coordination de la culture pour la province du Hubei et représentent les premiers bâtiments permanents conçus par Mark Fisher, le défunt fondateur de Stufish. La façade du théâtre Han Show est recouverte de 18 000 disques à diode électroluminescente en aluminium rouge ressemblant à d’anciens disques bi, symboles de la dynastie Han, tandis que le parc à thème Wuhan Movie est l’un des seuls parcs à thème présentant des attractions dynamiques disposées sur plusieurs étages et présentant 10 824 panneaux géométriques en aluminium fabriqués sur mesure. La façade de l’immeuble est illuminée dans son intégralité de chaînes linéaires composées de voyants DEL.


A movie inspired theme park, containing animated visuals, the lighting had to reflect its purpose and so it was only appropriate it was animated at night.

WUHAN MOVIE THEME PARK The Wuhan Movie theme park is a $690m project that sees the world’s first entirely indoor theme park stacked with dynamic attractions over multiple storeys. Using over 10,000 bespoke geometric golden aluminium panels, the building’s façade is lit in its entirety with linear LED channels that are fastened behind said panels in every 100mm gap of the 700m tall façade. Nicknamed ‘The Golden Bells’, based on the 2,000-year-old local symbol of the bronze musical bells ‘Bianzhong of the Marquis Yi of Zeng’, Stufish architect Maciej Woroniecki told mondo*arc of the project’s beginnings:

DEUTSCH Han Show Theatre und Wuhan Movie Themenpark in Wuhan, China, wurden in Zusammenarbeit mit Dalian Wanda Group konzipiert und ist die Kreation von Stufish Entertainment Architects, die in London ansässig sind. Beide Gebäude wurden mit bahnbrechenden Technologien geschaffen, bilden kulturelle Mittelpunkte in der Provinz Hubei und repräsentieren die ersten dauerhaften Gebäude, die durch den verstorbenen Gründer von Stufish, Mark Fisher, konzipiert wurden. Die Fassade des Han Show Theatre ist mit 18.000 roten LED-Scheiben aus Aluminium bedeckt, die altertümlichen, symbolischen Bi-Scheiben aus der Han-Dynastie ähneln,

“We were approached by Wanda to propose a concept for the Movie theme park during the design phase of the Han Show theatre. The initial brief called for an iconic design that would reference symbols of Hubei province, while also push to express the nature of the content of the theme park movies.” The façade of the Wanda Movie Park is set 300mm proud of a standing seam surface. This gap, according to Woroniecki, was utilised as a diffuser and lit in order to create a low resolution screen along the entire façade surface. “As there are 50mm gaps between every

während der Wuhan Movie-Themenpark zu den wenigen Themenparks gehört, der dynamische Attraktionen über mehrere Etagen verteilt hat und der 10.824 maßgeschneiderte, geometrische Aluminiumplatten aufweist. Die Fassade des Gebäudes wird komplett mit linearen LED-Kanälen beleuchtet.

ITALIANO Sviluppato in collaborazione con Dalian Wanda Group, i parchi a tema Han Show Theatre e Wuhan Movie di Wuhan (Cina) sono stati creati dalla londinese Stufish Entertainment Architects. Realizzati attraverso l’utilizzo di una tecnologia innovativa, entrambi gli edifici costituiscono dei punti focali culturali nella provincia di Hubei e rappresentano i

golden façade panel, there exists enough resolution to run live content along the façade to support both the internal attractions and the geometry of the façade itself, through a variety of different animations,” said Woroniecki. The theme park’s original lighting scheme focused much more on amplifying the building’s form rather than animated content. According to Woroniecki, the one drawback from playing live content on the façade at night is the reduction in contrast between the physical façade volumes, as the delineations of the façade begin to blend separate surfaces into one another.

primi edifici permanenti ad essere stati progettati dal defunto fondatore della Stufish, Mark Fisher. La facciata del The Han Show Theatre è coperta da 18.000 dischi a LED rossi in alluminio che sembrano antichi (dischi simbolici della dinastia Han), mentre il parco a tema Wuhan Movie è uno dei pochi che presenta attrazioni dinamiche sovrapposte su più piani e dispone di 10.824 pannelli geometrici di alluminio fatti su misura. La facciata dell’edificio è illuminata nella sua interezza con canali LED lineari.

ESPAÑOL Desarrollados junto con Dalian Wanda Group, el Teatro Han Show y el Parque Temático Wuhan Movie en Wuhan, China son creación

de Stufish Entertainment Architects, con base en Londres. Habiendo sido creados con tecnología revolucionaria, ambos edificios conforman puntos culturales en la Provincia de Hubei y representan los primeros edificios permanentes en ser diseñados por el difunto fundador de Stufish, Mark Fisher. La fachada del Teatro Han Show está cubierta de 18.000 discos de LED de aluminio rojos los cuales se parecen a los antiguos y simbólicos discos de la Dinastía Han, a la vez que el parque temático Wuhan Movie es uno de los únicos parques temáticos con atracciones dinámicas “apiladas” sobre varios pisos con 10.824 paneles geométricos de aluminio hechos a medida. La fachada del edificio está iluminada en su totalidad con paneles LED lineales.



Nicknamed ‘The Golden Bells’, based on the 2,000 year old local symbol of the bronze musical bells ‘Bianzhong of the Marquis Yi of Zeng’, the façade of the Wanda movie park is set 300mm proud of a standing seam surface.

“One of the biggest challenges was securing a consistency in the spread and orientation of lighting between each housing,” said Woroniecki, “as any slight deviation from the required orientation would have become incredibly apparent from ground level.” As the building is a movie inspired theme park that contained animated visuals, it was imperative the lighting reflected its purpose and so it was only appropriate that it was animated at night and while the resolution of the lighting is not able to directly represent the different content of the attractions, it promotes the general

presence of an indoor theme park. Summing up the Stufish experience, Woroniecki continued: “Unfortunately the requirements of the programme and the restrictions of the site dictated how expansive the building could be - in how far the façade could push away from where it met the ground. “Had the site restrictions been less, moving the volumes apart to create indoor / outdoor spaces would have benefited the general layout and overflow areas. If the volumes could have shifted further apart from one another there would have been more potential for larger variations in the

sizes of the façade forms – creating a much more striking and dynamic architectural proposal. Both the Han Show Theatre and the Wuhan Movie Theme Park buildings have been created with ground-breaking technology and act as cultural focal points in the Hubei Province, the east-central region of China.

PROJECT DETAILS Han Show Theatre / Wuhan Movie Theme Park, Wuhan, China Client: Dalian Wanda Group Architect: Stufish Entertainment Architects Lighting specified by contractor


‘LIGHT SOURCE OF THE YEAR’ — Lighting Design Awards 2015

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and whites. With these exceptional LEDs, SORAA makes products with perfect colour

semiconductors defied conventional wisdom to create GaN on GaN™ LEDs with PERFECT crystalline structures. And because it’s perfect, the LED they created attains a quality of light unmatched by any other: full-visible-spectrum light with unprecedented rendering of colours

and perfect beams. And it seems that we’re not the only ones who think so. At the Lighting Design Awards 2015, SORAA’s new Optical Light Engines were awarded ‘Light Source of the Year’, with judges describing them as a STEP CHANGE IN LIGHT QUALITY.



BEACH LIFE BEAUTY At Laguna Beach Obagi Skin Health Institute it was important that the building worked within its surrounding landscape while reflecting Dr Zein Obagi’s lifelong passions through considered design and lighting concepts.

Pics: Steve Lerum




Left The entrance announces the building name with internally lit Obagi signage. Right The exterior staircase leading to the parking lot offers a slice view of the ocean and features vertically mounted 2ft tall alight T5 flourescent flush step lights.

The latest Obagi Skin Health Institute has opened in Laguna Beach, California. A contemporary boutique-style health facility, Obagi focuses on creating and maintaining lifelong healthy skin rather than just treating it with various products. Overlooking the Pacific Ocean, the institute’s architecture is bold yet sleek, making a noticeable design statement within the beach community. Heading up the Obagi brand is MD and dermatologist Dr Zein Obagi. It has been his lifelong passion to help people achieve, enhance and maintain healthy skin and for his most recent institute it was important

JAPANESE 生涯を通じて健康な肌を作り維持すること に専心する、現代的なブティックスタイルの ヘルス施設である、最新のObagiスキンヘ ルス・インスティチュートがラグーナビーチ に設立されました。Horst Architectsによ って設計されたこの建築物では、 リサイク ル素材が特徴的に使用され、随所にフレキ シブルなデザインが採用され、スペースが 開放されることで実際よりも広く感じられま す。照明デザイナーのRosemarie Allaire はビル全体にあふれる自然光を利用し、建 築物のデザインを補完するようなミニマル で絶妙な、 エネルギー効率の良い照明を創 造するように取り組みました。T5線形蛍光 およびコンパクト蛍光光源をビルの建築要 素に統合しました。 これらすべてはスペース ごとにモードを変えたり、光の影のパターン

that this passion was reflected in both the building’s design and lighting choices. The building, designed by Horst Architects, makes prominent use of recycled and recyclable materials. A sculptural, accenting exterior wall features contours of silver Travertine limestone, recycled from mineral-spring deposits, while a contemporary illuminated glass sculpture features as part of a street-level entry garden that is visible street side and from the boardwalk. With local zoning dictating site constraints in Laguna Beach, interior design and lighting challenges involved making the

ある動きを作ったりできる調光システムによ り管理できます。 プロジェクトを通じて使用 される材料の選択により、Obagiがもつサス テイナビリティおよび、 タイムレスな形状を特 徴とした現代的なデザインコンセプトに対す る関心を反映できました。

CHINESE Obagi 皮肤健康研究所最近在加利福尼 亚州拉古纳海滩开业,这是一家现代的 精品医疗机构,致力于打造和维持终生 健康的皮肤。该建筑由建筑事务所 Horst Architects 设计,重点使用可回收材料, 以整体灵活设计为特色,开放性空间让 人感觉整体空间比实际更大。灯光设计 师 Rosemarie Allaire 努力打造环保照 明,白天自然光透过建筑,使灯光的

building feel open and larger than it actually is - all in just 1,661 sq ft of space. Design flexibility was essential for client accessibility and procedures, such as skin exams, laser treatments and highly specific skin-product application that takes place under multiple, dimmable, glare-free light sources that accurately define each person’s present skin colours and conditions day or night. Additional client functions at Laguna Beach’s Obagi Skin Health Institute include customised, formulated, corrective skin treatments for clients and educational group lectures that are fully accommodated in an inviting, crisply designed, low-energy

使用降至最低,与建筑整体设计微妙融 合。她将 T5 荧光灯管和小型荧光光源融 入建筑的设计元素当中,所有照明由一 个灯光控制系统控制,并能随着建筑内 气氛的变化营造出光影交错的效果。整 个项目中材料的选用反映了 Obagi 对现 代设计中可持续性元素的重视,同时凸 显出永恒之感。


Le tout dernier Institut Obagi pour la santé et la beauté de la peau a ouvert ses portes à Laguna Beach. Ce charmant établissement de santé contemporain œuvre à la création et au maintien d’une peau saine pour toute la vie. Conçu par le Cabinet d’architectes Horst, le bâtiment affiche clairement l’utilisation de

matériaux recyclés et une conception plutôt flexible dans l’ensemble. Les espaces ouverts donnent également l’impression que le lieu est plus grand qu’il ne l’est en réalité. Du fait que la lumière naturelle pénètre dans tout le bâtiment, la conceptrice d’éclairage Rosemarie Allaire créa un éclairage écoénergétique plutôt minime et subtile, complétant joliment le design du bâtiment. Elle intégra des tubes fluorescents linéaires T5 et des sources lumineuses fluorescentes compactes aux éléments architecturaux, le tout contrôlé par un système de gradation générant différentes ambiances, ainsi que des effets de danses d’ombres légères. Le choix des matériaux utilisés pour tout le projet reflète le respect que porte l’institut Obagi au développement durable dans le design moderne, et l’envie d’y intégrer des formes intemporelles.


Lighting designer Rosemarie Allaire worked to create energy efficient lighting that works with the natural daylight flowing through the building.

two-storey space. With natural daylight flowing throughout the building, lighting designer Rosemarie Allaire worked to create energy-efficient lighting that exceeds the State of California energy code requirements, while remaining minimal and subtle to complement the building’s design. Allaire created a dance of light shadows by integrating LED linear strips, TF linear fluorescents and compact fluorescent light sources into the building’s architectural elements, all of which are controlled by a dimming system allowing different moods in the space. The building’s entrance, set off the Pacific

DEUTSCH Das neueste Obagi Skin Health Institute wurde in Laguna Beach eröffnet, eine moderne Gesundheitseinrichtung im Boutiquestil, die darauf ausgerichtet ist, lebenslang eine gesunde Haut zu schaffen und zu bewahren. Das von Horst Architects entworfene Gebäude verwendet Recyclingmaterial und weist ein umfassendes, flexibles Design auf mit offenen Bereichen, das den Eindruck von mehr Größe als tatsächlich vorhanden vermittelt. Mit dem natürlichen Tageslicht, das durch das gesamte Gebäude fließt, wollte die Beleuchtungsdesignerin Rosemarie Allaire eine energieeffiziente Beleuchtung schaffen, die minimalistisch gehalten wurde und das Design des Gebäudes unterstützen soll. Sie hat lineare T5 Leuchtstofflampen und kompakte fluoreszierende Lichtquellen in die architektonischen Elemente des Gebäudes integ-

Coast Highway, announces the building name with internally illuminated Obagi signage, while skin care products appear to float on custom made floor-to-ceiling suspended shelving in the entrance window, with Evo-Lite LumiSheet LED panels illuminating the products. As you move further into the building, the ground floor combines multiple light sources working in concert with one another as they also serve individual purposes. Eureka recessed lowwattage fixtures provide display / accent lighting, while alight recessed T5 linear fluorescent lights are used for wall wash. Evo-Lite LumiSheet LED display lighting

riert, die alle durch ein Dimmersystem gesteuert werden, die verschiedene Stimmungen und einen Tanz von Lichtschatten schaffen. Die Wahl des im gesamten Projekt verwendeten Materials schaffte es, das Interesse für Nachhaltigkeit von Obagi als modernes Design-Statement widerzuspiegeln und gleichzeitig zeitlose Formen aufzuweisen.

ITALIANO L’ultimo Obagi Skin Health Institute é stato aperto a Laguna Beach; una struttura contemporanea sulla salute (stile boutique) che si occupa di creare e mantenere a vita la salute della pelle. L’edificio, progettato da Horst Architects, fa molto uso di materiali riciclati e si caratterizza per il suo design flessibile che é onnipresente, aprendo lo spazio e facendolo sembrare piú grande di quello che é realmente. Con la luce naturale del giorno che si propaga per tutto l’edificio, la pro-

panels also feature throughout the public space, along with Edge Lighting recessed task lights and Obagi Blue coloured squares backlit with LEDs – these are featured in the staircase to the second level. Once upstairs, suspended, decorative, Ameba luminaires from Vibia are featured - providing warm, ambient, dimmable illumination adjacent to a skylight, which filters cooler daylight naturally and dims sunlight through additional electric shade control. A combination of controlled natural daylight and low-energy artificial light is used throughout the public space, exam rooms

gettista luci Rosemarie Allaire ha lavorato per creare un’illuminazione a risparmio energetico che rimanesse minimal e sottile che si rifacesse al design dell’edicifio. Lei ha integrato, negli elementi architetturali dell’edificio, delle fonti di luci fluorescenti lineari T5 e delle luci compatte fluorescenti lineari, tutte controllate da in sistema dimming che permette di creare diverse atmosfere nello spazio (creando un gioco di luci ed ombre). La scelta dei materiali usati per tutto il progetto riflettono l’interesse di Obagi nella sostenibilità come un concetto del design moderno che incontra forme senza tempo.

ESPAÑOL L’ultimo Obagi Skin Health Institute é stato aperto a Laguna Beach; una struttura contemporanea sulla salute (stile boutique) che si occupa di creare e mantenere a vita la salute della pelle.

L’edificio, progettato da Horst Architects, fa molto uso di materiali riciclati e si caratterizza per il suo design flessibile che é onnipresente, aprendo lo spazio e facendolo sembrare piú grande di quello che é realmente. Con la luce naturale del giorno che si propaga per tutto l’edificio, la progettista luci Rosemarie Allaire ha lavorato per creare un’illuminazione a risparmio energetico che rimanesse minimal e sottile che si rifacesse al design dell’edicifio. Lei ha integrato, negli elementi architetturali dell’edificio, delle fonti di luci fluorescenti lineari T5 e delle luci compatte fluorescenti lineari, tutte controllate da in sistema dimming che permette di creare diverse atmosfere nello spazio (creando un gioco di luci ed ombre). La scelta dei materiali usati per tutto il progetto riflettono l’interesse di Obagi nella sostenibilità come un concetto del design moderno che incontra forme senza tempo.



Top left Obagi Blue squares backlit with LEDs are featured in the staircase. Top right The office uses dimmable indirect alight indirect T5 linear fluorescent suspended pendants. Left Even illumination at high foot candle level for skin assessments was required in the examination rooms. Right The second floor features organic-shaped Vibia Ameba fluorescent luminaires.

and office space. For the examination rooms, Obagi required even illumination at high foot candle level for skin assessments and so, the rooms feature a combination of three light sources that are dimmable the Leucos Black P29 T5 linear fluorescent wall sconce; linear LED Edge Lighting under the cabinet for task lighting; and recessed alight T5 fluorescent fixtures that provide a wash of light along the Silver Travertine – creating visual, textural interest as a main feature of the room. With a view of the Pacific Ocean to its horizon, the office uses dimmable indirect alight T5 fluorescent, suspended pendants, providing even illumination and unobstructed views, as Obagi wanted glare-free environments without veiling reflections for reviewing patient documents. The kitchenette also uses a single, dimmable, alight indirect T5 flourescent suspended pendant, in conjunction with Edge Lighting under-cabinet task lighting, to

provide even lighting and an open feeling in the compact space. Externally, the Obagi Skin Health Institute makes a statement on the busy Pacific Coast Highway with its soft glowing fins and illuminated architectural interiors, highlighted by Obagi Blue products. The Silver Travertine is bathed in warm LED inground uplights from Hevi Lite, illuminating the rectangular side wall signage and providing a splash of light on one of the principle walls of the building’s second level, to create the right mix of light and shadow. The exterior stairwell leading down to the parking area features a slice view of the ocean; illumination is contained by vertically mounted 2ft tall alight T5, flourescent flush step lights providing a path of light for egress. The parking area under the building features uniform alight recessed T5 linear flourescent lighting. Overall, the choice of materials used

throughout this project aimed and succeeded in reflecting Obagi’s interest in sustainability as a modern design statement, while featuring timeless forms.

PROJECT DETAILS Obagi Skin Health Institute, Laguna Beach, California, USA Client: Dr Zein Obagi Architect: Horst Architects Interior Design: Aria Design Lighting Designer: Rosemarie Allaire Lighting Design

LIGHTING SPECIFIED alight recessed flourescent lights alight recessed T5 linear lights alight recessed T5 vertical lights alight suspended indirect flourescent lights Edge Lighting recessed LED LCMW fixtures Eureka recessed HID accent lights Evo-Lite LumiSheet LED panels Hevi-Lite recessed LED uplights Leucos Block P29 wall sconces Vibia Ameba compact flourescent lights





Pics: Lighting Design International

RIGHT UP YOUR ALLEY Interior Designer Kit Kemp of Firmdale Hotels brought in Lighting Design International to work on boutique project, Ham Yard Hotel, serving as an eclectic yet cosy, high end version of your friend's house.


Ham Yard Hotel in London is the result of an inspired and eclectic vision from Kit Kemp of Firmdale Hotels. In a space that feels more like a friend's house than a hotel, Lighting Design International (LDI) was brought on board by the hotel group to work on this latest boutique project, having previously worked on The Potting Shed restaurant at Firmdale's Dorset Square Hotel. LDI worked to create a combination of concealed lighting effects to complement the decorative elements without dominating the space. Architectural lighting in the form of Lucent Prospex 90 pinhole LED50 downlights, were discreetly integrated into ceiling slots and joinery wherever possible throughout the public spaces - allowing the feature chandeliers and quirky neon



Top left The dining space at Ham Yard features an art installation using ceramic vases lit with Toshiba E-Core lamps. Above A combination of concealed lighting concepts work to complement the decorative lighting featured throughout the hotel.

light art to make a statement on the design as a whole, adding depth to the spaces by complementing the vibrant colourful interior finishes. With large pieces of art featured throughout the hotel, particularly the retro film posters that hang beneath a triple height ceiling, the project was a challenge to light. Notably, in the Dive Bar and meeting room breakout lobby, single and twin custom LED DR7 downlights from Remote Controlled

JAPANESE ホテルグループ・ファームデールのキット・ケ ンプは、次のブティックプロジェクトである ハムヤードホテルに取り組むため、Lighting Design International (LDI)を採用しまし た。 ボーリングレーン、大きなレトロ感あふれ るポスターそして屋外のまばゆい光の川、 ハ ムヤードホテルはこれらにより、控えめで前 衛的、 そしてハイエンドのSOHOホテルとい うよりは友人の家の様な感覚を感じるよう 作られています。LDIは空間を占有すること なく装飾性のある光を補うような間接照明 の効果のコンビネーションを作りだすよう、 ケンプのプロジェクトに取り組みました。高 い装飾性を主張するシャンデリアや風変り なネオンライトを生かせるように、建築照明 は慎重に天井のスロットや建具に組み込ま

Lighting are used to illuminate the tall spaces. For the oversized artwork featured in the meeting room breakout lobby, iGuzzini Palco MT58 LED spotlights featuring a 10˚ angle and barn doors are used for framing purposes. As you move through to the brasserie and bar, Tryka 2,700K linear LED fixtures are used in the coffers and integrated into the banquette and bar fronts, shelving and bottle backlighting. Then, in the

れ、 インテリアの力強い印象の仕上がりを補 う事で空間に深みを持たせています。本プロ ジェクトに携わった建築照明製造会社には Remote Controlled Lighting、Iguzzini、 東芝、Feeling’s Flame、Lucent、Xicato およびCubeといった企業が含まれていま す。装飾性の高いライトと建築照明の間で の本当の意味でのコラボレーションを実現 した御蔭で、 ホテルは全体として素晴らしい 出来になりました。

CHINESE Firmdale Hotels 酒店集团的 Kit Kemp 邀 请国际照明设计 (LDI) 参与下个精品店 项目——Ham Yard Hotel 酒店。保龄 球馆、巨型复古海报以及外部闪耀的灯 帘,Ham Yard Hotel 给人谦逊、前卫之 感,更像是朋友家,而非高端 Soho 酒

dining space, a Firmdale-designed art installation of ceramic vases, fitted into wall niches, features on the restaurant's back wall. It was agreed to uplight the vases from within, creating a soft warm glow and to achieve this, a Toshiba E-Core GLS wide 7W dimmable lamp was fitted in each niche.Each ceramic vase is hollowed in the base and mounted on top of the lamp and the lamp cap and heat sink are sunken to avoid shadowing. The result is

店。LDI 与 Kemp 协作打造出隐蔽的复 合灯光效果,辅助装饰性照明的同时又 不占空间。建筑照明巧妙地收入天花板 狭缝中,射入角度重点影射出枝形吊灯 和稍显奇怪的霓虹灯的装饰效果,与活 泼的内部装饰一起增显空间深度。本项 目的建筑照明厂商有 Remote Controlled Lighting、Iguzzini、Toshiba、Feeling’s Flame、Lucent、Xicato 和 Cube。总而言 之,酒店真正实现了装饰性照明和建筑照 明之间的相辅相成,相得益彰。

FRANÇAIS Le responsable du groupe Hôtelier Firmdale, Kit Kemp, invita l’entreprise Lighting Design International (LDI) à participer au projet de l’hôtel Ham Yard. Une piste de bowling, des affiches rétro surdimensionnées et une rivière scintillante de lu-

mières à l’extérieur donnent à l’hôtel Ham Yard un air moderne sans prétention, où celui-ci ressemble plus à une maison d’amis qu’à un hôtel haut de gamme de Soho. À la demande de Kemp, LDI créa un ensemble d’effets lumineux dissimulés pour compléter l’éclairage décoratif, sans pour autant trop dominer l’espace. L’éclairage architectural est discrètement intégré aux renfoncements des plafonds et de la menuiserie là où il est possible de le faire, permettant ainsi de souligner des lustres et des œuvres d’art en néons assez excentriques, et de rajouter de la profondeur aux espaces tout en complétant un fini intérieur aux couleurs assez vives. Les fabricants d’éclairage architectural du projet sont les entreprises Remote Controlled Lighting, Iguzzini, Toshiba, Feeling’s Flame, Lucent, Xicato et Cube. Dans l’ensemble, l’hôtel doit son succès à la véritable harmonie entre les éclairages décoratifs et architecturaux.



Tryka LED has illuminated more than 5000 projects in over 55 countries worldwide. Working with internationally recognised lighting designers and architects, from London’s Tower Bridge and Trafalgar Square Fountains, to the Jebel Ali Airport in the UAE, India’s Mumbai Airport and the new Marriott Ballroom in Manila; new or old, iconic projects have all been enhanced by the powerful and dynamic range of Tryka LED products.

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Left The bowling alley features Feeling's Flame electric candle bulbs and candle sleeves in each brick niche. Right A river of lights recessed into the ground create a winding stream through the arcade to the courtyard.

a warm understated lighting element that complements other features in the space. Ham Yard also comes complete with a bowling alley, which makes use of lit brick wall niches at the end of the bowling lanes; lit up to create the effect of moving glowing candles. After much discussion and testing of fibre optic and LEDs, the glowing candle effect was achieved by using LED Feeling’s Flame Bulbs and the Ultimate Beeswax Candle sleeves. Large prints by artist Howard Hodgkins decorate the bowling alley, all of which are lit by Lucent Prospex Plus wallwash trimless fixtures and Xicato XSM Artist Series LED modules. Moving outside, the courtyard terrace is a public thoroughfare in the heart of bustling

DEUTSCH Kit Kemp der Hotelgruppe Firmdale Hotels brachte Lighting Design International (LDI) ein, um an dem nächsten Boutiqueprojekt, dem Ham Yard Hotel, zu arbeiten. Mit einer Kegelbahn, überdimensionalen Retro-Postern und einem funkelndem Lichtstrom im Freien wurde das Ham Yard Hotel so konzipiert, dass es schlicht und gleichzeitig hochmodern wirkt, eher wie das Haus eines Freundes als ein hochwertiges Hotel in Soho. LDI arbeitete mit Kemp, um eine Kombination aus indirekten Beleuchtungseffekten als Ergänzung zu der dekorativen Beleuchtung zu schaffen, ohne den Raum zu dominieren. Die architektonische Beleuchtung ist diskret in die Schlitze und wo möglich Verzierungen der Decke integriert, damit die spezifischen Leuchter und die eigenartige Neonlichtkunst ihr dekoratives Statement zum Ausdruck bringen und dem Raum Tiefe verlei-

Soho, drawing people through the arcade into the hotel courtyard by creating a river of lights recessed into the ground. For this, Cube marker lights in a winding stream pattern, that goes through the arcade to the courtyard, are featured. Above, warm white ERCO cylinder façade luminaires are found while under-canopy DAL Ambiance X100 Directional ID44 LED Xicato downlights in cool ambience surround the entrance to the hotel apartments. On the whole, the design of the hotel owes its success to a true collaboration between decorative and architectural lighting, which leaves guests with the impression of being in a truly unique environment, which is fun, cutting-edge and unpretentious.

hen können, indem sie die lebendige Innengestaltung ergänzen. Die Hersteller der architektonischen Beleuchtung, die an diesem Projekt beteiligt waren, umfassen Remote Controlled Lighting, Iguzzini, Toshiba, Feeling’s Flame, Lucent, Xicato und Cube. Insgesamt verdankt das Hotel seinen Erfolg einer echten Zusammenarbeit zwischen dekorativer und architektonischer Beleuchtung.

ITALIANO Kit Kemp, della catena alberghiera Firmdale Hotels, ha voluto la Lighting Design International (LDI) per lavorare al prossimo progetto chiamato Ham Yard Hotel. Con una pista da bowling, dei cartelloni giganteschi posti sul retro ed un fiume di luce scintillante all'esterno, l'Ham Yard Hotel é stato creato per essere modesto ma al tempo stesso incisivo, piú affine ad un'atmosfera familiare piú che ad un Soho Hotel superlusso. La LDI ha lavorato con Kemp

PROJECT DETAILS Ham Yard Hotel, London, UK Client: Firmdale Hotels Interior Design: Kit Kemp Lighting Design: Lighting Design International

LIGHTING SPECIFIED Cube marker lights ERCO façade up and down lights Feeling's Flame LED Electric Candle Bulbs Feeling's Flame Ultimate Beeswax Candle sleeves iGuzzini Palco MT58 lighting fixtures Lucent Lighting Prospex 90 pinhole LED 50 downlights Lucent Lighting ProSpex Plus Wallwash Trimless wall washers with Xicato XSM Artist Series LED modules Remote Control Lighting custom LED DR7 twin & single LED downlights Tryka 2,700K linear LED fixtures Toshiba E-Core GLA Wide 7W dimmable lamps DAL Ambiance x100 Directional IP44 LED downlights (Xicato)

per creare una combinazione di effetti luce celati per completare la decorazione luminosa, ma senza dominare lo spazio. L'illuminazione architetturale é discretamente integrata nelle fessure del soffitto e nelle parti in legno dove é stato possibile mattere i caratteristici lampadari e le strambe luci a neon (fatte per decorare ed aggiungere profondità agli spazi insieme alle vibranti finiture degli interni). I fornitori dell' illuminazione architetturale coinvolti in questo progetto sono: Remote Controlled Lighting, Iguzzini, Toshiba, Feeling's Flame, Lucent, Xicato e Cube. Ma in realtá il successo di questo Hotel é dovuto alla combinazione tra l' illuminazione decorativa e quella architetturale.

ESPAÑOL Kit Kemp, del grupo de hoteles Firmdale Hotels, trajo a Lighting Design International (LDI) para trabajar en el próximo proyecto boutique, el Ham Yard Hotel.

Con una pista de bolos, posters retro demasiado grandes y un centelleante río de luz afuera, Ham Yard está hecho para parecer modesto e innovador, más semejante a la casa de un amigo que a un lujoso hotel del Soho. LDI trabajó con Kemp para crear una combinación de efectos de iluminación ocultos para complementar la iluminación decorativa sin dominar el espacio. La luz arquitectónica se encuentra discretamente integrada, donde es posible, en los cielorrasos y ebanistería, para permitir que las arañas y el arte estrafalario de las luces de neón aporten decoración, agregando profundidad a los espacios, complementando las vibrantes terminaciones interiores. Entre los fabricantes de iluminación arquitectural involucrados en este proyecto, se encuentran: Remote Controlled Lighting, Iguzzini, Toshiba, Feeling’s Flame, Lucent, Xicato y Cube. En general, el hotel le debe su éxito a la verdadera colaboración entre la iluminación decorativa y la arquitectural.


As simple as it sounds

Introducing the new Director® DR8 MK2 LED, the next generation of remote controlled luminaire from RCL. Individually adjustable in pan, tilt and dim level using a simple handheld controller, the Director® DR8 MK2 is ideal for double height spaces due to its

high output and precision floor level adjustability. Bold styling and high versatility set this spotlight apart, while its compact design allows for seamless integration into troughs just 200mm wide. Available in a choice of beamwidths including a very narrow 8° with a peak intensity of 51,000cd and a colour rendering of CRI 92 as standard.



Pics: Jim Stephenson


VIP TREATMENT Aiming to recreate the excitement of a backstage green room, the VIP lounge at The O2 London required thoughtful lighting consideration that emulated the theatre and celebrity experience. Thanks to Into and Platform Group, this brief was achieved. The American Express Invites Lounge (AEIL) recently opened to members following a ÂŁ2.6m investment. Into, appointed as lighting consultant to work alongside interior design company Platform Group, created a dramatic new look for this VIP venue. The lighting design brief was to realise the vision of Platform Group and the client for an exclusive venue for VIP members, which truly emulates the theatre and excitement of the green room celebrity experience and after-party atmosphere. The lighting was to be fully flexible to suit any VIP event, allowing for separate zone control of the bar, lounge and restaurant areas. The lighting was to help create intimacy at low level within such a vast venue. On entering the venue the uplit ten-metre long by seven-metre high feature wall acts as a dramatic backdrop to the space. Stage rigging ropes running vertically floor to ceiling, and a high output lensed RGBW colour-change light trough runs along the length of the wall uplighting the rigging rope and creating an interesting shadow effect. A bespoke honeycomb louvre detail minimises glare when viewed from both

ground and first floor levels. The RGB rope wall can be quickly programmed to suit any themed or branded event, be it for a band or corporate private hire. The venue has varying ceiling heights of up to seven-metres, which made it challenging to create an intimate ambience at low level. Track-mounted AR111 LED spotlights provide the theatrical lighting for the main space along with larger Par64-style LED spotlights clamped onto truss hanging from the overhead walkways. The truss-mounted spotlights were adapted to take Ar111 LED engines and provide the visual aesthetic of large scale stage lighting. The suspension of light fittings at around four-metres along with the use of deep honeycomb louvres and barn doors creates theatrical lighting with low glare, despite the ceiling heights. Darren Orrow, Director at Into commented: "This was a unique project in terms of scale and brief and allowed us to really go to town on the theatrical lighting effects to ensure we created a high impact backstage feel.� The central cocktail bar on the ground floor has LED spotlights clamped to a cage above. Suspended halogen lamps hang at varying



Top left Large Par64-style LED spotlights are clamped onto truss hanging from the overhead walkways. Top right Moooi Juuyo Koi Carp Tatto pendants add a decorative element. Left bespoke two-metre diameter aluminium rings with black finish and E14 incandescent lamps mounted on the inner edge are featured. Centre Urban Cottage Industries Red Cage pendants bring a design element to the lounge. Right Contardi Oops floor lamps fill the space.

heights from the cage and create a visual impact together with a warm glow around the feature area. Bar nosing, shelving and back bar details throughout the space have integral lighting details to create an impactful and layered light effect to bar areas. The details utilise warm white LED tape. A number of bespoke feature lights were designed by Into and Platform Group for the venue, including large two-metre diameter aluminium rings with a black finish and 24 E14 incandescent lamps mounted on the inner edge. Terry Routledge, Creative Director at Platform Group added: “It was great fun working on the VIP lounge. Creating the backstage glamour and excitement while accommodating the practical needs of the lounge and bar area were the key elements of the brief, while at all times ensuring it remained visually an amazing space. VIP’s to The O2 have a treat in store.” On the first floor, fluorescents with colour filter sleeves between each banquette, light

up the brick walls with a twin-coloured light wash. LED tape to bar gantry and nosing on this level, and the back of the banquette seating, creates an intimate yet layered light effect. Stairs and all walkway bridges are lit with tight beam downlights and track spotlights to allow ease of passage without over lighting circulation areas. Rebecca Kane Burton, General Manager at The O2 summed up the project: “With our new look lounge and membership I believe The O2 is taking the VIP experience to a new level. No other venue can provide the best in music, comedy and sport and give VIP’s the feeling that they and their guests are the stars in their own backstage area. The design team understood immediately the need to treat VIP’s as the stars and have created a space which reflects the excitement, entertainment and pure exhilaration that guests experience when coming to The O2.”

PROJECT DETAILS American Express Invites Lounge, London, UK Client: The O2 Interior Design: Platform Group Lighting Designer: Into

LIGHTING SPECIFIED Abstract AVR linear RGBW wall wash profiles Autobahn wired King floor lights Contardi Oops floor lamps EncapSulite MT50 35W surface mounted linear luminaires Enigma three circuit suspended track Enigma emergency lighting Enigma bespoke 2M Dia ring pendants Photec Pro-star-LED recessed fixed downlights Photec Pro-star-LED-A recessed adjustable downlights Photec Tri-pin-LED track mounted adjustable spotlights Photec 10329J1SP truss mounted adjustable spotlights Mode Lighting controls and programming Moooi Dear Ingo pendants Moooi Juuyo Koi Carp Tatto pendants Moooi Construction floor lamps Nyta Tilt pendants in black Orlight Led pinhole downlights Orlight warm white 2,700K LED tape Urban Cottage Industries Red Cage pendants

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MESMERISING MOMENTS Lumières - The Play of Brilliants is an immersive light show from Light Collective. On display at the Eléphant Paname in Paris, it aims to surprise, amaze and move visitors. Lumières - The Play of Brilliants is an immersive light show and the latest project from Light Collective, supported by Concord. The unique three-month exhibition experience is on display this spring at Eléphant Paname, an avant-garde dance and arts centre in Paris. Running until 31 May 2015, Lumières - The Play of Brilliants is an original exhibition curated by Sharon Stammers and Martin Lupton of Light Collective, which

brings together a collection of thoughtprovoking and dazzling artworks by ten internationally-acclaimed artists working with light. Each piece has been selected to relate to the space in which it is located. The artworks have been carefully selected, with creative consideration for how each one relates to the others. The exhibition comprises artworks to gaze at, artworks to experience, and artworks to interact



with. Given the eclectic mix of artistic approaches that have been adopted for the exhibition, Light Collective has curated an opportunity for every visitor to be surprised, amazed or moved. Explaining the philosophy behind this latest initiative, Stammers said: “It is the fantastical element of light; the part that enchants, excites and charms us that will be explored in this exhibition. The installations have been crafted by international artists, designers, architects and engineers who aim to tap into visitors’ imagination and curiosity.” This highly-sensory and emotional exhibition pushes the boundaries between art, design, architecture, science, technology and industry; throwing into stark focus the astonishing capabilities and importance of light in the 21st century. Lumières - The Play of Brilliants differs from other light art exhibitions because the artworks occupy a location which is evocative in itself; a real architectural space and not a traditional white-walled gallery or a blacked-out room. Eléphant Paname is steeped in history having been erected under the reign of Napoleon III, and embodies several architectural feats of the époque. It provides the perfect backdrop for this unique exhibition. Florence Chollet, Secretary-General at

Eléphant Paname said: “We’ve crafted a show which will not only demonstrate the basic physics of light (such as refraction and diffusion), but will also push boundaries and explore how light can be a source of information. The eleven installations work perfectly within the space at Eléphant Paname and each take visitors on an emotional experience, allowing them to discover light’s fascinating characteristics.” The ‘play of brilliants’ theme weaves its way through the exhibition, giving visitors the opportunity to experience the different properties of light; those which create dynamism, life and atmosphere in our world. The artists and designers explore the interplay of light and space, form, surface, texture, colour, shadow, darkness and human interaction through a series of mesmerising artworks. They demonstrate how light does more than merely surround us; it has a spiritual quality and no matter who we are, it can create a memorable and personal experience for all of us. Architectural lighting specialist, Concord by Havells Sylvania is the official sponsor of Lumieres - The Play of Brilliants. This is the second time the company has worked with Light Collective – continuing its involvement with cutting edge lighting artworks as seen in the One Beam of Light initiative at the Institute of Contemporary Arts, in London,

in 2013. The company is also a Gold sponsor of the UNESCO International Year of Light initiative which explores and celebrates the importance of light and optical technologies. Concord has also lit the gallery itself with a lighting scheme designed by Temeloy. Tiphaine Treins, founder of Temeloy, described the fascination with light: “Light can infuse your spaces with a multidimensionality that is felt, but almost impossible to adequately describe. Your eyes are seeing more than your mind can grasp. Thinking stops, you become captivated. Even though you know you are in a finite space, there seems to be an incomprehensible vastness. The ordinary has become the extraordinary.” Speaking as the exhibition opened, Dave Warburton, Strategic Business Manager at Concord Lighting said: “This show is truly extraordinary. As a Gold sponsor of the 2015 global initiative, we want to share expertise and help grow society’s understanding of light and its capabilities. This exhibition will provoke many conversations around the subject which is extremely exciting, and we’re so pleased to be part of it.”

CIRCULAR ARTIST: WHITEvoid, Germany Three lighting rings, with each ring a representation of eternity, manifesting something that is never-ending. Here, it is also a symbol of a unification source, a symbol of wholeness or completeness. In a ring, we see the circular pattern of life. Space, object, sound and interaction are the key elements of this artwork.


PRIMARY ARTIST: Flynn Talbot, Australia A three-sided wall installation illuminated by three LED light sources, with reference to the primary colours of light - red, green and blue (RGB). The cardboard structure fragments the light and shows how coloured light is mixed. Light and object are intrinsically connected. A ten-minute light show and soundscape create a real feeling of movement and fully immersive experience. Supported by Phillips Selecon.

IMPLIED CANDELABRA ARTIST: GNI Projects, UK Conceived by Ingo Kalecinski and Graham Rollins to reflect the historic environment this gallery space provides. Laser lines are contained within an invisible skin of a traditional chandelier. Implied Candelabra uses light vectors to sketch an imaginative, non-physical yet grand piece of traditional design into the space above the viewer’s head.

MING ARTIST: Moritz Waldemeyer, UK Inspired by ancient oriental vases, Waldemeyer recreates the shape with a pair of interactive vases embedded with LEDs. Different animations, inspired by fire and water, are custom programmed into each light. Each vase is made of pieces cut from metalised materials that when fastened together, become a pair of threedimensional vases.



TELESCAPE ARTIST: United Visual Artists, UK Inspired by the first images captured by the original Lunar Orbiter missions, 1966-1967, prior to the Moon Landings. Light reveals the shadows of the data; the unseen landscapes in the photographs, hidden by perspective. Telescape turns these historical photographs into relief, bringing the unreachable within reach, highlighting the invisible.

OROSHI ARTIST: Haberdashery, UK Made in collaboration with UK ceramist Jasmin Rowlandson, this configuration of handmade ceramic leaves with 18-karat gold lustre surfaces reflect light throughout their surroundings. It is inspired by a strong wind blowing down the slope of a mountain.

DISCO DISCO ARTIST: Haberdashery, UK A programmable light sculpture collaboration between Haberdashery, creative entrepreneur Alex Asseily and Goodwin Hartshorn. It reacts and calibrates to sound created by the audience, generating tonal patterns of dappled light and shadow. It is inspired by the aesthetic of the humble disco ball.

BEACON MUSE LED HI-OUTPUT 26W A SOURCE OF INSPIRATION Concord’s award-winning Beacon Muse LED range is set to receive further accolade with the announcement of a 26W version. This new design retains the breakthrough light control – it provides for a variable beam angle; from 65° to 10° – with high efficacy of its 13W counterpart, but gives higher output, thereby extending the scope of LEDs for accent and display spotlighting. Available in 3000K or 4000K colour temperatures, built in dimming (including DALI), a typical CRI of 97, and a lifespan of 50,000 hours.

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UNWOVEN LIGHT (SECTION OF) ARTIST: Soo Sunny Park, USA The woven form of a chain-link fence, fitted with iridescent Plexiglas diamonds, unweaves the light that illuminates it. Light no longer merely reveals the sculpture’s elements: it is one.

ARTIST: DGT., France A unique and immersive experience. DGT. creates a magical space with a wall of light, where multiple layers of water curtains are constantly transformed as a result of the effect of countless LED lamps. The installation explores and demonstrates how new technologies create new value.

LUMIÈRE CHEVAUCHEMENT ARTIST: Laura Bayliss, UK An exploration of what makes up the magic and brilliance of light, demonstrating glow, sparkle, shimmer, sheen, refraction, reflection, luminosity, projection, translucency, shadow and more. The geometric forms created seem to jump forward only to be held back by another line, rectangle or dribble of paint. No one form sits on top of the whole surface, but they are all held in balance.

BLACK BOX COSMOS ARTIST: Laurent Fort, USA A clean, black, polished monolith, capable of generating ever-changing scenery. The Black Box Cosmos interacts with the environments, captures the minimum air movements and translates them into the light of a thousand shades. It is an unending dialogue, a theatrical magic box, bursting into the space.



THE CONFLUENCE OF ART AND SCIENCE The Story of Light, a festival celebrating light - kicked off 2015 in India, aligned with the International Year of Light and Light based Technologies declared by the UN. Here, we take you through the highlights of the event. 45 installations testing and manipulating the possibilities of light - as ray, wave and particle - cropped up across Panjim in Goa, and most spectacularly on its beaches, flooded with sunlight by day and moonlight by night. Pioneered by Jaya Ramchandani, who has a background in astronomy and Nash Paul D’Souza, a designer, the premise of the festival lay at the convergence of their backgrounds. It was an effort to envision what lighting will be in the future, and located itself at the intersection of science and art, with content that was both experiential and educational.

Pic: Mitwa A.V

Pic: Mitwa A.V

Pic: Mitwa A.V

PHOTOPOESIS ARTISTS: Jaden Hastings and Melanie King This installation used the photographic printing technique of cyanotype, which produces cyan blue prints through the reaction of chemicals when exposed to light. This public installation invited people to physically interact with a chemically treated fabric to create the world’s largest cyanotype print, breaking all existing records. Working with sunlight, the possibilities of light became a physical, as well as visual experience for the public, while familiarising them with the process of cyanotype making. The work was an extension of the artists’ existing practices, which explore the philosophical implications of art and science.


PANJIM RAINBOW HUT ARTISTS: Tsuneo Sekiguchi and Giulia Moiraghi Tsuneo Sekiguchi made his first rainbow-hut on Anjuna beach over two decades ago. Since then he has been attempting various renditions in different scales, exploring the potential of rainbows generated by an interaction of sunlight, water and mirrors. His idea is to bring people together in a spiritual and philosophical communion. The rainbows created inside the space of the hut function like the glow of the fire that brought people around it in ancient times, for ideological meditations and discussions. In this daylight installation, the mirrors immersed in water act as a prism to split light rays into its constituent colours, which are received in the interior of the hut, creating a magical space.

Pic: Mitwa A.V

STORY OF LIGHT: A SPECTACLE ARTISTS: Madhulika S Madhulika, the founder and president of Adhya Educational Society, a not-for-profit, has been applying innovative pedagogical experiments - using art to teach children mathematics, science and history. An extension of her ongoing work, this collaborative project between the children and herself, creates an overwhelming spectacle out of the relevance of light in civilisational history, culture and time. This public installation communicates the story of light in an interactive format integrating indigenous histories, folklore and tales from traditional performances in India with the dominant Western discourse on the history of light. Thorough research and innovation went into this project that managed to weave in contemporary issues with the human imagination and the experience of light in its various forms, be it the sun or fire, creating an educational as well as enthralling experience for all its spectators.

Pic: Roheet Hede

Pic: Roheet Hede

WAVELENGTH ARTISTS: Ragini Bhow and Treeya Brooks  A series of installations on Miramar beach explored the reflective and refractive properties of light on surfaces, edges and shapes. In sunlight, the artists created streams of rainbows reflected on the sandy beaches by interacting the omnipresent light with iridescent material and mirrors. At night, the installation responded to a single artificial light source to draw a remarkable line of light disappearing into the still waters. The artists, having worked frequently with immersive environs, were able to explore the experiential value of an observer in contemplation of the present moment with light as the natural demarcation of time.

Pic: Tinka Kalajzic Ines

WAIT A MINUTE ARTISTS: Ritika Karnani In this interactive work, the artist recognises how man’s perception of time has always been distinctly visual, even when time as a quantity is hardly visual in nature. From sundials to the modern electronic watch, time has always been ‘read’. Time is also defined against the motions of the sun, the primary source of light. Here the artist tries to identify other sensorial passages into one’s idea of a single minute, by encouraging participants to measure the passage of time under the influence of stimuli such as distinct odour, white noise and so on. This immersive experience references light through its absence; the participants are all blindfolded and the process becomes a meditation on other senses.



FOUR ELEMENTS OF SPACE Artist Yann Kersalé has created an immersive experience for L’ Atelier Renault’s latest exhibition on the avenue des Champs-Élysées. Pic: © OMG

L’Atelier Renault is the international showroom of French car manufacturer Renault, located on the avenue des ChampsÉlysées, Paris for more than 100 years. Renault was the first vehicle manufacturer to create a store on the world's most famous avenue and has always treated the site with the reverence it deserves. In 1962, the premises were entirely rebuilt to create the Pub Renault. It was an innovative concept, as the venue was no longer just a showcase for the brand, but also a warm and friendly place with a restaurant that attracted a younger clientele. In September 2000, Renault gave a third lease of life to the venue as part of a major project to modernise the company. The

space now welcomes an average of 6,000 people a day attracted by the unique and original exhibitions of the brand. The latest installation, L’Espace des 4 éléments by light artist Yann Kersalé (24th January - 17th May), is an immersive, sensory experience for the visitor based on the four elements: • WATER: recreating oceans and their vegetation; • SKY: the materialisation of skies with its multitudes of variations; • FIRE: reflections of incandescent movements; • EARTH: dialogue between stone and time, animated with the contact of light. Produced by Villadalésia & Co, L’Atelier

Renault’s consultant, the installation is housed in a closed space imagined by the artist. Patrice Baheux, Director of L’Atelier Renault, explained: “Yann Kersalé has been directly inspired by the new Renault Espace to imagine this unique installation. The new Renault Espace places the driver as a true conductor of a multi-sensory driving experience and well-being on board. An experience that can be customised according to each and every one’s wishes. The device, named Multi-Sense, creates sensory scenarios based essentially on light and sound ambiances, an adjustable damping and a four wheel drive chassis.”


Pic: © OMG

Pic: © SNAIK-Yann Kersalé







A beacon for Downtown Detroit’s renaissance improves its energy efficiency through an atrium lighting upgrade from Acclaim, bringing enhanced LED capability and control while easing maintenance concerns. The Compuware Building is a landmark in the heart of Detroit’s thriving technology and central business district. A 1.1m sq ft, seventeen-story headquarters complex and attached parking structure offers corporate offices, street-level retail, restaurant space plus many other facilities. The focal point of the building, its fourteen-story glass atrium used for special events and day-to-dayreception, houses one of the world’s tallest indoor water fountains. Facility operators determined that a lighting-system update was needed to increase illumination of the atrium in the evening. The original system of fixtures was deemed too costly to repair and the quality of light had fallen off over the years. 

For the update, Chris Hewitt, Engineering Manager, Hines/Compuware, worked with Bob Sullivan, Lighting Specialist at Advanced Lighting & Sound. “We wanted a fixture that could punch through the space and add visual impact,” said Sullivan. “Maintenance was a big concern and saving on energy consumption was an added bonus. The key was finding something with a very narrow beam spread and the output necessary to make an impactful difference.” The solution was Dyna Drum HO from Acclaim Lighting; with the fixture meeting the project criteria for performance, quality of light and cost. “Until then we really had not seen a viable

alternative that would fit the budget,” said Sullivan. “We were impressed with the beam spread and output. These fixtures actually allow the lights to effect the space even during the day as they are that bright.” Dyna Drum HO, an IP 66-rated high-powered, quad-colour architectural lighting fixture with a wireless DMX control option, is well suited to facade and large-scale area flood lighting. The fixture features an adjustable yoke with onboard 180° flip inverted digital control display for menu selections and addressing.




New York based Eden Fine Art has opened a gallery on the luxury island retreat of St. Barth, with colour and vibrant space at the heart of the new sustainable hub. On the Caribbean island of St. Barth, Eden Fine Art recently opened its seventh gallery. The international distributor of exclusive and contemporary art by selected artists, aims to create a modern, dynamic, but mostly open space in each gallery, which allows its artists and visitors the full and unique experience of the art collection. Xavier Chabot from CLS dealer Time To Go, and responsible for the installation of the lighting system, was given the task of providing a design that not only accentuates the art, but

also did justice to the interior design. This was the main reason a combination of the CLS Revo Gallery and Revo Compact Gallery were chosen for the illumination of the artwork. To retain the attention value of the artwork, a conscious choice was made for downlights with a lower light output than the Revo’s. In total, 34 pieces of Luxo 3 were installed, in both single and multiple hole mounting plates. The result is a gallery with tasteful lighting, that looks both spacious and inviting where the artwork is the centre of attention. In addition,

it is a sustainable gallery in that the total power consumption of all fixtures combined is less than 1kW. Eden’s corporate identity colours have also been applied to the exterior of the gallery. Two CLS Hylo fixtures accentuate the columns at the entrance in a bright white colour, while Revo Compacts provide the rock themed façade of the building with a red glow.

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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.

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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.

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Photos: Dirk Vogel

SHOPPING UNDER STARS With its fluid and gentle walkways, Bory Mall in Bratislava provides a stimulating shopping experience. ERCO added to the interior focused design by creating a glistening starry sky.

Bory Mall, on the western outskirts of Bratislava has its ceiling updated with ERCO’s Skim downlights to create the image of a starry sky. As its developer and operator, Slovakian financial group Penta commissioned the Italian architectural firm of Massimiliano Fuksas for the project. The mall, which extends over two main levels, was designed with a focus on interior. Rather than arranging the stores in familiar straight lines, the architects devised an organic network of corridors. The winding and meandering mallways narrow and widen in places, offering a variety of stimulating routes through the mall. Numerous openings in the ceiling between the two main levels allow daylight to penetrate through to the lower section.

Fluid shapes nod to the architecture of the 1950s giving the shopping experience a spatial quality. The ceiling area of the corridors and plazas was to be illuminated in a manner that would evoke the image of a starry sky primarily through an irregular arrangement of point light sources. For this, the architects required uniform lighting of at least 300 lux. This is where ERCO’s Skim recessed luminaire came in. The use of Skim downlights meant 20% less luminaires were needed for the illumination, while the operating costs could be reduced by as much as 40%. On the whole, 2,500 Skim downlights with a 28W output of neutral white light at 4,000K were required to illuminate an area of around 20,000 sq metres in the Bory Mall. A

third of these downlights were fitted with oval flood lenses, the other two thirds with wide flood. The Skim downlights with oval light distribution were installed along the display windows to eliminate distracting overlaps with the shop lighting. The lighting tool proved successful with glare control making it well suited for use in shops and offices. During the day, when natural light penetrates through the skylights to illuminate the retail section, only some of the Skim downlights are added. The luminaires are activated as required via an automatic three-stage control setting to ensure optimal illumination at any point.

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Overlooking the West Bay of Qatar’s capital city and the Arabian Gulf, the 5-star Sheraton Doha Hotel, also known as the Pyramid of the Gulf, has recently been restored to its former glory by Griven. An iconic landmark in Doha for over 30 years, the Sheraton Hotel has been revamped by a renovation plan aimed at preserving its original architecture and design, while upgrading operational and technology systems. The renovation was completed in just seven months to re-open in time to host the 35th Summit of the countries of the Gulf Cooperation Council (December 2014). The upgrade included the exterior lighting design of the hotel, providing new nocturnal life to further emphasise Doha’s waterfront skyline. Owing to an urgent schedule, the illumination was a tricky task that couldn’t be simplified by on-site mock-ups. The Al Majlis Congress Center, a secondary lower building with four-sided pyramidal section, needed a coordinated lighting scheme. Its smooth, concrete surface proved difficult to light evenly, as the fixtures could only be installed at a very short distance. The lighting requirements foresaw the

enhancement of the upper part of the hotel and of the side arm from different levels, while avoiding disturbing hotel guests when in their rooms. For both structures, an even colour distribution was required along with pre-selected colour changing scenes. To achieve the best-lit effect, selected LED fixtures with different optics were installed, following a scheme divided into three lighting areas: main façade, waterfront ‘side A’ and waterfront ‘side B.’ The main façade was equipped with twelve Griven Powershine MK2 D RGBW fixtures with narrow and wide optics, installed on the mezzanine floor to wall wash the side arm of the building. Waterfront ‘side A’ was fitted with nine Powershine MK2 D RGBW fixtures with narrow optics, installed on high poles to light up the front part of the reverse pyramid section. Anti-glare shields were installed on selected fixtures to avoid glaring effects. Waterfront side B, as well as the lower hotel terrace, was enhanced by 43 units of Griven’s Zaphir RGBW fixtures,

with wide and medium optics, installed onto the cornice of the roof. To complete the design, four Globe MK2 7000 moving head search lights and the CYM single beam colour changer searchlight, were located on the roof of the hotel to sweep Doha’s night sky. Abstract patterns and images can be projected on the front side of the hotel with the help of Griven’s image projectors, such as the Gobostorm Plus MK2 and Zenith. Even colour distribution on the walls of the Majlis has been achieved by using an array of 89 Powershine MK2 D RGBW units with narrow, medium and wide optics. All LED fixtures are managed by a wireless DMX system from the control room, located on the ground floor. Project Manager Eng. Ammar Jano said: “This was surely the most challenging project I faced in 2014, especially in consideration of the completion schedule and peculiar architectural design of the Sheraton.”

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Photos: WE-EF/ Frieder Blickle


The Koln-Deutz/Messe has, for many travellers, become the gateway to the city with its distinctive, historical station building situated on Ottoplatz. When the time came to redevelop this historic space it was essential the square was brought back to life in a considered and appropriate manner. The Deutz district, just to the east of the Rhine in Cologne, is in the midst of a transformation as its Deutz/Messe train station is becoming an increasingly important entry point to the city. WE-EF has supplied the high-performance exterior luminaires and advanced energy-saving lighting technology, for both the redesigned Ottoplatz and the historic train station building. ‘Real’ Cologners consider Deutz to be on the “schäl Sick” (the wrong side) of the Rhine, but over the years the eastern part of the city has changed dramatically. The Köln Messe conference centre and the huge Lanxess Arena attract visitors from around the world and, thanks to its inclusion as a stop on the Intercity-Express (ICE) train route to Frankfurt, Köln-Deutz/Messe station is continuing to gain importance in the region. For many travellers, this station has become the gateway to the city, with its distinctive, historical station building situated on Ottoplatz, a square dedicated

to Nikolaus Otto, the inventor of the fourstroke engine. Berlin landscape architects Böhm Benfer Zahiri won a competition to redesign this important urban space in 2005. It was not until 2012, however, that their winning design was implemented and, in May 2014, officially inaugurated. The illuminated square and train station facade (including its impressive dome) now shine resplendent with the new renovations – a century after its construction from plans drawn up by architect and railway construction employee Hugo Röttcher (1878–1942). As landscape architect Ulrike Böhm explained, the aim of her design is to “make the square recognisable again as a public urban space and provide an appropriate setting for this grand building.” The design had to take into account the street space, station building and plans for a new, large neighbouring building. The newly renovated Ottoplatz now pro-

vides an enormous sense of open space. The historical steps leading up to the train station have been restored in line with monument conservation regulations; in the square in front of the steps two long bench-like structures, like oversized sofas made of concrete, invite passers-by to sit for a while. The designer’s solution for lighting called for two poles to be installed in the square each just under eighteen-metres in height and featuring a distinctive architectural curve - from which mounted projectors would illuminate both the station facade and the square itself. Describing her vision of the look of the square at night, Böhm explained: “We imagined even lighting across the steps and thoroughfares, contrasted with pointed lighting accents on the square to achieve a vibrant appearance.” Despite the long wait, the Berlin landscape architect finally saw her ideas come to life


thanks to close collaboration with working partner Isaplan, which developed the layout for traffic management at Ottoplatz. Gerhard Kleiker, who heads the Public Lighting Division of Cologne energy provider RheinEnergie, was responsible for the lighting design of the station facade. He commented: “We were able to convince the railway, for example, to incorporate the new lighting not just on the city-facing side of the station’s dome, but also on the platform-facing side as well.” As a result, the dome is now a nighttime landmark from all angles. The facade lighting emphasises the detailed structuring of the baroque and classical stylistic elements of the train station. A targeted, very narrow beam distribution highlights the channelled pilasters made of shell limestone. This lighting includes the eave cornices and marks a defined end of the facade. To call attention to the entire shape and size of the station, especially its

impressive dome, there is a subtle grazing of light across the roof surfaces from projectors mounted on the two poles in the square. RheinEnergie worked closely with Merbeck Projektlicht from Mönchengladbach on the technical implementation of this lighting concept. “WE-EF had the most appealing overall package of powerful, energy-efficient lighting technology, quality, service and cost-effectiveness and therefore stood out for us as a supplier,” explained Rolf Merbeck. Positive reports from WE-EF’s many previous projects also had an influence on their decision because, as he explained: “Especially when you plan to work with inground uplights, which require a lot of installation work, long-term quality and reliability are the key elements.” The ETC130-GB LED gimbal inground uplights feature a very narrow beam distribution as well as power levels tailored for

the various heights of the station facade eaves, in order to achieve an overall uniform illumination. FLC131 LED projectors - mounted out of sight on the station canopy - illuminate the dome. The result is a future-proof, energy-saving lighting solution, featuring maintenance-free LED technology. Twelve FLC240 projectors are mounted on the two poles in the square, with six projectors per pole. The flexibility of the mounting brackets allows for complete freedom to direct light on to the square yet meet the necessary requirements for uniform illumination. The projectors are fitted with metal halide lamps of varying wattage and feature a combination of either [M] medium or [EE] very narrow beam distributions. A colour temperature of 3,000K for both the train station and the area lighting of the square creates a warm atmosphere and a pleasant urban space for its visitors.



Pics: Christoph Mitterm端ller, M端nchen


The foyer of the Media-Saturn Head Office in Ingolstadt, Germany got a touch of lighting genius from homegrown specialists Insta.

Located in Ingolstadt, Germany, the new Media-Saturn building recently had a foyer revamp following the installation of three Instalight Light-cubes; dynamically and colourfully lit with Ledlux planes in the LX variant. The cubes were designed and created specially for this new building, and produced from a noise-absorbent combination of the materials Artex and Helioflon by Koch Membranen in Rimsting, Germany, to create an innovative mesh of light and acoustics.

Careful attention was paid to the construction of the light surfaces, in order to achieve the RGB light effect intensity on all surfaces of the cubes. The prefabricated light surfaces are hermetically sealed so that the light surfaces are not soiled and, even after a long service life, still shine as bright as they did on the first day. The overall effect offers a unique visual experience both during the day and the night. This is achieved via a total of 507 Ledlux Plane LX light modules, measuring 200 x

200mm, across the three cubes, each able to be controlled individually. In addition, Insta Lightment suppplied three prefabricated control cabinets to Ingolstadt. The RGB lighting boasts straightforward operation through the Instalight Control controller, with a KNX link from the existing building control system. DMX-Master and DMX-Ledtrix gateways from the Insta product portfolio were used.




Steeped in show business history, the Theatre Royal in Glasgow is the oldest in Scotland. Reggiani added its own drama to this already theatrical landmark. A total transformation of the Theatre Royal in Glasgow has taken place with the help of the Mosaico range of luminaires from Reggiani. As well as ensuring that the energy-saving lighting solution complemented the new scheme, the brief was to ensure that the new lighting succeeded in showcasing the architectural design of the venue while also affording the necessary flexibility for its varied usage. The Theatre Royal, originally opened in 1867, is the oldest theatre in Glasgow and the longest running in Scotland. Owned by the Scottish Opera since 1974, it is used for a variety of theatrical productions including opera, ballet, comedy, musicals and drama. The recent multi-million pound redevelopment has seen the addition of many new facilities. These include a landmark entrance, spacious foyers, the new Vanilla Black at the Theatre café, improved bar areas and toilets along with a modern box office with

additional terminals. A brand new viewing gallery offers a unique view into the auditorium and the addition of a roof terrace provides a vista across the city. Reggiani was specified by Max Fordham - in its capacity as M&E consultant - with responsibility for the lighting design. The two companies worked closely to ensure they would achieve, not only a sustainable lighting solution of energy-efficient LEDs and metal halide fixtures, but one that would set off the new architectural concept. Reggiani’s twin light source Mosaico recessed luminaires, were installed in the theatre roof terrace area. These fixtures use a mixture of 70W CDM-T G12 lamps with an 88° beam angle and 35W CDM-T G12 lamps with a 74° beam angle. The fitting itself is finished in black and completed with a non-standard, rich gold reflector which serves to lower the colour temperature of the light output and exude the atmosphere

and warmth the scheme designers were seeking. For the new foyer and atrium exit points, black finish Mosaico fittings with 14W LEDs were used and for individual balcony spotlight areas, single Mosaico 14W LED Easy IOS - Reggiani’s Interchangeable Optic System. The IOS system combines a full range of beam widths and the ability to change optical configuration with considerable efficiency. The Mosaico is operated in single or multiple in-line or square configurations with one to four light sources that allow for individual adjustment to achieve the desired lighting effect. Each of the separate light bodies can offer different beams and colours to give the user a varied expression of illumination.


© N. Waltefaulge


Riverbanks in Ornans, France In use : LED linear 5633-Arches in deep blue Light design: Le Point Lumineux

ETC WEATHER REPORT Take the lights you love outdoors

Great lighting will never get rained out, thanks to ETC’s range of durable luminaires that are IP66 rated for all-weather use: from Selador Desire wash lights with flexible x7 colour arrays and amazing colour control, to razor-sharp Source Four XT ellipsoidal zoom spots. For details, take a look at or contact your dealer for a demonstration.










Lyon airport - France’s fourth largest - sees a vast number of passengers bustle through its terminals each day. Its own engineering department teamed up with Tridonic to make the signage more navigable. The signage at Lyon airport, the fourth largest airport in France, has had an upgrade. Up to 34,000 passengers a day now find their way around the airport with ease as information panels are instantly identifiable and easy to read. The passenger sections presented a challenge as the architecture features a large number of glass elements, resulting in alot of natural daylight. Around 1,000 new flight information display panels and direction signs from the French manufacturer SEV Enseignes have been installed throughout the building complex – backlit by 62,000 Tridonic LED modules

controlled by LNU dimmers. The lighting solution operates evenly in areas with large amounts of sunlight and was developed by Tridonic together with the airport’s engineering department. Compared with a standard LED solution, electricity costs are around 40% lower. The TALEXXcontrol LNU dimmers with integrated light sensors fade the connected LEDs automatically to the necessary level according to ambient brightness. The signage therefore remains perfectly readable. Dimming can be set to operate automatically or to suit specific customer requirements. Classic and Select versions of TALEXXchain

Crystal LED modules were used for this application. The Select version offers contrast in areas flooded by light with high luminous fluxes. The LED modules provide uniform illumination and a homogeneous appearance for the display panels and signs. White light with small colour tolerances (MacAdam 5) translates into high quality of light. “For us, a good price/performance ratio also includes technical support which guarantees rapid installation and then zero maintenance”, said Christophe Langlet, Technical Director of Lyon St. Exupéry airport.

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PRESERVING TREASURES Zumtobel shines its lights on the historic treasures of Germany’s Aachen Cathedral Treasury. Zumtobel added a little sparkle to the Aachen Cathedral Treasury in a collaborative LED lighting renovation between architect Helmut Maintz and lighting engineers Photometrik. The project was shaped by stringent conservation issues for the lighting of historic exhibits, with the treasury housing a unique collection from the building’s iconic history where RomanGerman kings were once crowned. With financial support from the German government, the Plan Ing Aachen electrical planning team was tasked with managing the project. The lighting concept had to reduce operating costs and energy consumption while incorporating the latest knowledge about conservation of historic exhibits. This meant excluding daylight from the building to keep ambient lighting to a minimum. Maintz worked

with Photometrik to devise the best possible solution that delivered both effective and gentle accent lighting with minimal UV and IR radiation. The fibre-optic network illuminating the historical objects prior to the renovation was left in place, yet low-voltage light engines were replaced with dimmable LED units. Developed for museums, exhibitions and art galleries, these LED light engines deliver around twice as much light as the old halogen solution. To tastefully accentuate the rich heritage of the exhibits, Zumtobel recommended a combination of Arcos LED contour spotlights, LED Arcos xpert 200 and miniature spotlights from the Supersystem series. The Arcos spotlight range, developed to precisely illuminate objects, is characterised by

minimalist design and clear shapes. A series of 50 Panos infinity fixtures were specified to help lessen the requirements of the basic room lighting. Further to this, the entire cathedral was equipped with occupancy sensors to ensure exhibits are exposed to artificial light for as little time as possible. The light is automatically turned off when no visitors or staff are present. The building stayed open to the public during the two-month period, and resulted in a 70,000kWh cut in energy consumption per year. By taking into account the conservational and energy-efficiency aspects, the renovation blended past and present to preserve the Aachen Cathedral Treasury for posterity.

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Pics: FotogeNicco

GREEN WITH ENVY Taking green to a higher level with SGM’s most energy efficient LED fixtures yet, AF Lighting’s new office building in Gothenburg displays a night of eco-friendly visual delights. The opening of ÅF Lighting’s new office building in Gothenburg was marked by a spectacular light show, putting the 66-metre high building on the map. For one night only the façades of ÅF’s new domicile were painted with a combination of colours, graphical patterns and images expressing the company’s values in a festive manner. Being Skanska’s third most eco-friendly building in the Gothenburg region, and having received platinum environmental certification by LEED (Leadership in Energy and Environmental Design), it was important to ÅF Lighting to further communicate and demonstrate its green values. Selected

for this purpose, were the P-5 wash light and G-Spot moving head from SGM. Frederik W. Borello, Electrical and Lighting Engineer at ÅF Lighting said: “Through lighting calculations in DIALux, we were able to determine the optimum placement of the fixtures. The combination of the P-5 wash light in various beam angles of 15˚, 21˚ and 43˚ resulted in a very strong setting with a uniform lighting level on the entire façade.” A total of 24 P-5 RGBW wash lights, six G-Spot LED moving heads plus another six luminaires were all that was needed for this grand display. “With LED fixtures well suited

for exterior architectural lighting and with a high lumen/watt efficiency, we were able to drive down the number of fixtures to a minimum. At the same time, we utilised the SGM luminaires’ integrated wireless DMX receivers, which proved extremely useful and saved us a lot of cabling,” said Borello. Live Media Group supplied lamps and video materials and also programmed and executed the event. The success of the project has resulted in many new local lighting assignments for ÅF, and it has become a solid reference for the company.



As a leading Italian lighting manufacturer, style comes naturally to iGuzzini. In this latest installment of Bench Test, David Morgan looks at the Trick range, which has not only made a massive impact on the industry since its launch last year, but now features on many a designer’s top ten list.


One of the leading Italian lighting companies began life named after an invisible rabbit. In 1958 iGuzzini began life as an offshoot of the Guzzini plastics company with the original name Harvey Creazioni referencing Harvey, the fictitious rabbit that gave its name to the James Stewart film of that name. Since then the company has gone on to become a leading Italian lighting company working with lighting designers around the world. Although early products were decorative, the very large product range is now primarily technical with around 70% of current sales being LED based luminaires. Over this period iGuzzini has collaborated with famous architects and designers including Giò Ponti, Renzo Piano, Norman Foster, Gae Aulenti, Piero Castiglioni and

Jean Michel Wilmotte. In more recent times, iGuzzini has worked with the Croatian lighting designer Dean Skira on a number of luminaire designs including the semi-circular IP67 buried uplight range Lun up. In 2014 the Skira-designed Trick range was introduced at Light + Building in Frankfurt and made an immediate impact ending up on many designers’ top ten best product lists at the show. According to Skira the idea of Trick came from a desire to have the beam of light under control. “I just wanted to have a continuous straight line of light,” he said. “I began with the light effect, what kind of an effect I would like to achieve in a given space. “The main function of Trick is not to

provide general lighting or provide mathematical solutions to illuminate the space. It is actually something you can ‘play’ with.” The Trick range is based on an LED light engine capable of producing a 180º or 360º output combined with a toroidal lens system that shapes the light into three different types of light distribution. The most popular is the 180º narrow blade of light version that can be used to define window reveals or create patterns of light in space. The second distribution is a radial effect where the toroidal lens is parallel to the mounting surface and creates a gently graduated wash of grazing light from a central dark spot that emphasises surface texture. The third version uses the lens as a wall washer where the luminaire is offset from the lit


surface and produces a gentle wash of light. The secret behind Trick’s construction is the combination of a toroidal convex flat lens with a micro-prismatic surface and an internally screened cover that aims the beam of light correctly and avoids any unwanted dispersion. The lenses are produced in transparent, satin or semisatin finishes depending on the model and application. At the moment there are twelve sizes and types of luminaire in the Trick range including recessed and surface mounted versions, all rated at IP66 for exterior use. There are two sizes of light blade and wall washer and three sizes of the radial effect luminaire. The smallest sizes incorporate 3 x 1W LEDs; the mid size have 6 x 1W LEDs; and the largest radial version has

12 x 1W LEDs. In some cases, drivers are integrated into the base which makes the overall design less elegant but has practical benefits. The remote driver types are visually neater with the small radial type being particularly appealing at only 45mm diameter – like a smooth mushroom growing on the building surface. The LED light engines are thermally integrated with the cast aluminium housing to ensure optimum LED performance and life. Metal work is available in five finishes including polished chrome for the small radial version. The LEDs are only available in 3,000K 80 CRI. The visual detailing of each luminaire type is elegant and minimal so that they blend into the architecture without making a fuss, leaving the light output to make the statement.

The Trick range is only possible due to the miniaturisation of luminaire design with LEDs. The precision of the optics and the lit effects would only work with an LED source at this scale. Dean Skira has come up with another winning design and iGuzzini has developed his design into a very appealing range.

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. Š David Morgan Associates 2015



Technology expert Dr Geoff Archenhold finds Rogier van der Heide’s Briefing in the last issue of mondo*arc a fascinating reading. Here’s his response.

ZUMTOBEL’S GAIN... Rogier van der Heide’s ‘Briefing’ interview in the last edition of mondo*arc, following his move from Philips to Zumtobel Group, was really interesting on so many levels. It definitely felt like Rogier was openly critical of companies not being bold enough with technology choices and the fact that many companies in the marketplace seem to lack a cohesive portfolio of innovative products. I certainly concur with his feelings on this point as the larger companies tend to have to set strategic directions that don’t deal with technologies themselves but focus much more on market and geographic share as demanded by shareholders (alongside earnings growth of course). Smaller companies tend to be significantly more inventive and fleet of foot but don’t have the global experience, market knowledge or resources to deliver a coherent plan to enable sufficient confidence to gain traction, so there is a general mismatch between innovation processes and market reach. This scenario isn’t limited to the lighting industry of course and happens in all other sectors, hence why large companies acquire smaller entities so they can absorb the technology innovations into their product portfolio. Having some experience in the automotive sector (and the aerospace industry) there is one aspect they do very well which is to utilise the experience of their strong supply chain to develop and push forward technology advancements. For example, if you are Ford, GM or Volkswagen you wouldn’t design the rubber compounds that go in tyres or steering rack or Engine Management Electronics but instead would commission the supply chain to deliver their vision. Maybe the lighting industry should learn more from these other sectors to allow significant supply chain integration

and cohesion moving forward. The second aspect of creating an ecosystem for the Zumtobel group is a sensible decision to pool the resources for the group, although the timescales to successfully integrate large organisations’ innovative thought processes is not easy and will take many years to embed across the brands. Just look at how Sony is struggling with it. One issue with building an ecosystem is you need to not only contain all of the required parts but have them integrated so the experience is seamless from an end-user’s perspective. For example, look at the two competing ecosystems in the mobile technologies area from Google and Apple. Google has a low cost licencing model for its Android operating system and allows many manufacturers to use the ecosystem and Google generates revenue through the Play store and search advertising. However the experience is poor due to the fragmentation of the operating system with manufacturers placing different front ends and apps on different phones. The relatively closed ecosystem offered by iOS from Apple has been far more successful due to a super smooth user experience whether you want to purchase a book, music or film through iTunes or just switch from an iPhone or iPad to an iMac. The difference in a great ecosystem is that users are retained continuously and they purchase more and stay with the brand, so I think a focus for all lighting companies is to concentrate on the user experience from start to finish. The question is which way will

Zumtobel go, open or closed ecosystem and will that sit well with lighting designers and end-users? I felt that Rogier’s idea of stating Zumtobel needs to “build relationships in which the continuous exchange of ideas gets established” is a breath of fresh air and I hope this extends to beyond the three internal brands and to the wider supply chain. Unfortunately, many companies feel that if an idea or concept is brought in externally then it’s not a good one and the NIH (Not Invented Here) syndrome occurs and the idea or concept is quashed (only to be resurrected ten or 20 years later by someone saying they did this years ago but it wasn’t taken up). Of course today the technology challenge is outside of even the largest companies and so collaborative supply chain working is even more essential to create an advanced ecosystem to allow a company to gain a strategic advantage. Look at the issues with Apple and the Quartz glass manufacturer GT Advanced which was developing the Quartz production line for Apple. The fact that the contracts were completely one-sided actually harmed Apple in the long run (and killed GTA by sending it into administration) as it couldn’t launch Quartz glass products to market when it wanted. Therefore, the moral of the story is that one needs to look after the supply chain market for long term success, as a healthy supply chain means a healthy outlook. One issue to be aware of before creating relationships with the exchange of ideas is to make sure the IPR aspects are completely agreed before the sharing as this can be an immediate killer of the relationship when something great emerges from a creative exchange and a dispute arises. Therefore, the first creative idea should focus on how all parties protect any inventive step and profit by it! In terms of making lighting catalogues more relevant then I have a slightly different take on this as the future of lighting and in fact total building management will be driven by legislation and as such lighting catalogues will eventually (in ten or 20 years) be replaced by


TECH UPDATE The latest lighting technology launches...

fully electronic integrated solutions. For example, Building Information Modelling (BIM) is a process involving the generation and management of digital representations of physical and functional characteristics of places. While we are only at the start of the BIM integration process you can see that within the next decade BIM will be fully integrated with Virtual Reality (VR) and anyone will be able to walk around a building in VR and do anything to the environment from installing a lighting system (as BIMs have 3D models of fixtures) to maintaining them virtually or even switching lights on and off virtually. Therefore, lighting designers are going to be really fortunate that through VR they will be able to design lighting schemes and visit them from a user’s perspective before a drop of concrete is even spilled and I don’t mean with some poorly rendered graphics from a 1980’s Spectrum or Amiga game but in full UHD in real-time using cloud rendering solutions and fast broadband access! Finally, having intelligent connected light is where the market is but I would like to say that it isn’t just the physical connection or security therof but actually what do we mean by intelligent! Answers on a postcard to tell me what you think the Intelligent in intelligent lighting really means. 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. Geoff will be presenting his paper, ‘Issues in developing a highly secure wireless lighting control system’, at the Smart Lighting conference in Berlin on May 20th. Rogier van der Heide will present his paper, ‘How we make The Internet of Things The Internet of People’ on the same day.

Dichroic-effect LEDs launch Verbatim unveils dichroic-effect LED lamps as cost-effective replacement for dichroic halogen lamps. Using technology developed by parent company Mitsubishi Chemical Corporation, Verbatim has provided an energy-efficient alternative to the MR16 and PAR16 halogen lamps popularly used for track lighting, pendant fixtures and retail display lighting to produce a unique, surround lighting and glitter effect. Verbatim’s new high quality dichroic MR16 and PAR16 lamps deliver a high quality beam without any noticeable heatsink in sight and as a result fit neatly into standard fixtures while providing all the energy saving benefits of LED lighting.

XHP hits market Cree has expanded its XLamp XHP family - the first commercially available LEDs to take full advantage of Cree’s SC5 Technology Platform. The XLamp XHP50 and XHP70 LEDs offer significantly advanced light output, colour consistency and design flexibility, and deliver up to 2,546 lumens at 19W from a 5.0 x 5.0mm package and up to 4,022 lumens at 32W from a 7.0 x 7.0mm package, respectively.

Optical Light Engines are here Soraa has officially launched Optical Light Engines - a small, low profile series of light engines. From narrow spot to flood, incredibly high CBCP is produced, while the engine’s optical design provides flawless beam definition, smooth beam edges and remains customisable with the company’s SNAP System. Designed for seamless fixture integration, the Optical Light Engines are compatible with a wide variety of industrystandard LED drivers and are perfect for use in enclosed, non-ventilated indoor and outdoor fixtures.

Osram increases blue LED chip efficiency Osram Opto Semiconductors has achieved one of best forward voltage values in world for blue high-current chips, leading to increase in efficiency up to 8%. Optimised InGaN chips (Indium-Gallium-Nitride) featuring UX:3 chip technology are the basis for blue or white LEDs. The blue Osram Oslon Square (LD CQAR) now has a typical forward voltage of just 2.87V instead of the 3.05V specified so far. At 85°C, 2.78V can be achieved in the component; depending on the operating point this translates into an efficiency increase of 6-8%, which can be transferred to the entire UX:3 chip family.



EMPIRE STATE OF LIGHT We take a look at some of the noteworthy attendees at this year’s upcoming Lightfair show.

Lightfair International 2015 This year, Lightfair is expected to attract over 25,000 design, lighting, architectural, engineering, energy, facility and industry professionals from around the world. At least 500 of the world’s leading manufacturers will showcase their latest technologies and innovations in over 200,000 sq feet of exhibit space. For more than 25 years, Lightfair International has been a source for new solutions, knowledge and practices - presented in the world’s largest annual architectural and commercial lighting trade show and conference. The LFI trade show floor consists of six pavilions showcasing product-specific manufacturers; a conference offering 200+ hours of accredited education, and courses ranging from 90 minutes to two-day immersion sessions at every level, from foundational to advanced as well as general courses on retrofitting existing buildings, managing LED costs, sources updates, and more.

Kick Architectural Area Lighting

MK2 D Griven

The clean and sleek minimalist design of Architectural Area Lighting’s Kick makes a true statement and seamlessly integrates with square pole designs. Featuring an innovative fully shielded optical system; the Kick achieves an angled design with zero uplight. Available in a four-inch square profile with 6,500 lumen output or a five-inch profile with 13,000-lumen output, AAL’s new contemporary urban luminaires are the perfect street and pedestrian fixture up mounting heights of 25 ft.

MK2 D uses 192 powerful RGBW, warm, cold or dynamic white LEDs and is available with a choice of optics for maximum lighting design flexibility. Owing to its double cluster configuration, which offers full independent control of each LED bank, this wall washer allows absolute freedom to create matching or divergent effects on formerly prohibitive large-scale facades and remote spots. The combination of RGBW LEDs provides an impressive white light output quality, as well as a variety of intermediate colour hues for a broader range of applications.

Highlighter Series GVA

Dyna Drum HO / QW Acclaim Dyna Drum HO / QW are Acclaim Lighting’s newest energy-efficient, IP 66-rated high-powered, quad-colour architectural lighting fixtures with a wireless DMX control option. Well suited to facade and large-scale area flood lighting, they feature an adjustable yoke with onboard 180° flip inverted digital control display for menu selections and addressing. A 100-277-V AC internal power supply consumes just 270W in replacing traditional outdoor 400W discharge fixtures.

Vero Series Bridgelux The Bridgelux Vero LED packaged array technology offers new advancements in design flexibility, ease of use, and energy efficiency. It also offers a platform for integrating smart sensors and wireless communication technology for smart building control systems. It can operate from 400 to 16,000 lumens and is available in four different LES configurations with colour temperatures from 2,700K to 5,000K and a variety of CRI options.

Highlighter Series is a system of modular LED lighting products suitable for large-scale installations. Typical applications include architectural delineation where long runs are necessary and limited power feeds are available, such as skyscrapers, bridges, airports and shopping malls. The products feature GVA Lighting’s proprietary power and control system, Infinity, which allows installation in long runs of up to 300m, with a single power and data feed.


ArcheType X Kim Lighting Bringing flexibility to the lighting world, Kim Lighting’s new ArcheType X is an outdoor luminaire featuring independently adjustable LED emitters named LEAR (Light Engine Adjustable Ready) modules. Paying homage to classic Kim Lighting styling, the ArcheType X family is designed to unify the brand’s recognisable housing design while adding a modern twist to distinguish its appearance from any other floodlight on the market.

Sympholight Traxon & e:cue

Aether WAC Lighting

Developed with superior usability in mind, e:cue Sympholight is a simple yet powerful lighting control software with an intuitive graphic user interface. Based on advanced timeline programming, Sympholight combines easy fixture and project set-up, content creation, automation and execution control in one single application. With powerful scripting capabilities, automation by triggers and actions, and remote control via any web browser, Sympholight enables simple and fun design experience for sophisticated dynamic lighting and media applications.

Designed to fit shallow plenums above ceilings in residential and light commercial settings, the new Aether downlight from WAC Lighting is engineered with a low profile 3.5-inch LED shallow housing that fits into ceilings ranging from 0.5 to 1.5-inches thick. The housing is well suited for installation inside buildings with complex HVAC ducts and heating/ water pipes that are located between the floors.

Hexahedron Unilamp Lumenalpha Clear Nano Lumenpulse The Lumenalpha Clear Nano is an adjustable (+/- 20° tilt), high-performance LED downlight for commercial, residential or hospitality applications. Delivering up to 2,000 lumens from a 1.75-inch (45mm) optical aperture, the luminaire provides a more durable, flexible alternative to halogen, with a choice of outputs, beam angles, colour rendering options, trim shapes, and accessories. An IP54-rated version for bathrooms and other wet locations is also available. It has a lumen maintenance of 90,000 hours (L70 at 25°C).

Built with versatility in mind, Hexahedron is a design element for urban illumination. Built for strength, its aluminium construction means the product can be used in areas with high vandalism. Hexhedron is also an eyecatching object being low glare and contemporary in style. Illumination is via Tridonic LED modules and drivers, utilising 3,000k and 4,000k options and a CRI of >80. Finished with an architectural material granito ceramic top this is a versatile and rugged product.

XIM Xicato The Xicato intelligent module combines controls, communications, sensors and software. Bringing critical electronics together in an LED module offers many advantages, including: affordable, flicker-free dimming; increased lifetime security via electrical and thermal feedback; installation savings via internal DC drivers and a contribution towards accurate building services evaluation via retrievable module performance and operational data. XIM is a part of the smart building industry. It has an awareness of environment and reacting so it ensures human comfort at minimum energy consumption.



IN WITH THE NEW A selection of newly released products on the market.

Surface Range Azimut Industries The comprehensive and versatile Surface spotlight directional range allows projector adjustment of 180° or 360° (depending on the lamp) without any gimbals, thanks to the magnetic Azimut system. The metal housing disguises the electronic system and is available in mono, duo or quatro models; wall and ceiling, pendant or track fitting; warm LED, halogen or HID bulbs. Colours available are white, black and grey, with 20° and 45° beams available in dimmable or non-dimmable versions.

UEL 240-A1Z Fuhua Suited to LED street lighting, high bay lighting, flood and landscape lighting, the UEL 240-A1Z outdoor driver has a range of beneficial features.With an output voltage of 24-56V DC, it is IP67 rated for outdoor application, meets 4kV surge immunity (IEC6100-4-5) and can be regulated externally. With a lifetime of up to 50,000 hours, UEL 240-A1Z also protects against short circuiting, over current, over loading, and over heating, while also being CQC, TUV-GS, UL, CE certified.

Starpoint Range ERCO

Source Four Mini ETC

The Starpoint range is available as a pendant, wall-mounted, surface-mounted and recessed luminaire. The pendants and wall / surface-mounted luminaries feature an extra wide flood characteristic and offer high functionality with subtle decorative effects; the wide, uniform beam creates an intimate atmosphere with good visual comfort. With its complex yet compact lens system, the recessed version is designed to be as small as possible and produces brilliant and uniform light for accentuation, wash and ambient lighting.

The Source Four Mini from ETC aims to deliver superior optics, crystal-clear projection and a bright, even field packed in a fixture that’s just 23cm long. Available in 3,000K tungsten and 3,000K, 4,000K or 5,000K LED versions, the Source Four Mini has built-in framing shutters, is available in four field angles: 19°, 26°, 36° and 50° and is portable, canopy or track-mounted. An E-size pattern holder is also included.

High Lite Grupo MCI High Lite is the new modular LED fixture for suspension or ceiling applications, with a flat luminaire for large areas, focussing on energy-saving, long lifespan, and greatly reduced maintenance costs. This fixture is suited to lighting malls, supermarkets, sport centres, industrial buildings, factories, or any work area with high ceilings. The luminaire is available in four lengths, two optics (lens or reflector) and different beam angles and can be easily installed and adjusted.

Mercury Lighting Control Hamilton Litestat The Mercury Lighting Control provides multi-scene lighting control, with control plates featuring high quality switch plates and sockets. On show at this year’s May Design Series, the control system is available in numerous finishes including four sophisticated shades of bronze. The panels encompass eighteen unique plate collections available in metal, plastic, wood and glass.


Instalight Stripe Insta Instalight Stripe is a universally applicable light tool providing solitary or in-line, through-wired, linear 230V light bands. It can be surface mounted, built-in or suspended with two different DALI dimmable light inserts and 3,340lm/m or 1,670lm/m, offering an optimal light range for various applications. The cover profile with general diffuse can be installed into the luminaire housing of extruded aluminium either flush or with defined protrusion, lighting lines with sharp contours or a smoothly shining aura.

Pearls Illumination Physics Pearls is comprised of strings of LED pearls, which are individually programmable and capable of displaying 3D graphic content. The use of RGB LEDs provides an even colour mix within a diffused sphere the size of a golf ball. This full RGB product can produce up to sixteen million colour variations if desired. Strings of up to 10-metres can be supported from the driver, each of which can drive two strings of up to 50 pearls.

4660-Corsica LEC Lyon An eco-designed LED projector specifically made to up-light wide vertical surfaces, ideal for wall washing and fixable on either a façade or mast. Equipped with 42 Superwatt LEDs, available in 1W or 3W and a 360° rotating LED block, it can be used with a DMX control system and has an aluminium body measuring 410 x 180 x 60 and adjustable aluminium arm, both thermo-lacquered with a RAL of preference. The 4660-Corsica is resistant to vibration and certified IP67.

LED-Handrail Leccor This LED-handrail from Leccor features a rectangular stainless steel profile (Diadalos U-Profile) and provides a continuous light output which is protected by polycarbonate / acrylic glass. Equipped with single or double row-LED strips (4.8W 9.6W/m, 530/1,060lm/m), it is available with symmetric or asymmetric beam angles and is IP54 / 65 / 67 class rated and electrical safety class: 1 / 2 / 3 rated, with the profile certified for public constructions.

VarioLED Flex AMOR LED Linear Awarded the Red Dot product design award 2015, AMOR is an opal encapsulated, IP67 protected, flexible LED design light line. With a very small cross section of only 5mm by 13mm and a high degree of flexibility, AMOR can be easily integrated into particleboard with a thickness of only 19mm, due to a depth of only 13mm. It is suitable for applications in the areas of drywall, furniture, decorative, accent lighting and exterior facade.

LD Line 15 LightGraphix New from LightGraphix is the LD Line 15, a miniature, exceptionally shallow, 24V light fitting with no LED spotting. It is ideal for the indirect illumination of shelves and steps, and for retail and bathroom applications. With a depth of only 15mm this linear light fitting is perfect for installation in shelves as shallow as 30mm and comes with a range of fixing options for both interior and exterior applications. IP54 and IP67 versions are available.



Invader Family Prolicht Urbano LED LUG Urbano LED, a modern LED street and area lighting fixture, is suited to lighting new infrastructural projects as well as the modernisation of already functioning street lighting in conventional technology. The luminaire is equipped with a specialised optics system, which, combined with high quality LED light sources, allows for optimal street and area lighting to increase the safety and comfort of all infrastructure users. It is a product that caters to modern roads, incorporating light management control systems with high quality lighting.

The Invader is one of the most versatile products that Prolicht has to offer. In addition to the most common mounting types, it provides five extra types of recessed mounting, covering everything from asymmetric to swivel-mount, while four different types of illuminants and 25 unique Prolicht colours make the Invader a true master of individualisation within the Prolicht assortment.

Trybeca Reggiani The dimming version of the Trybeca recessed mounting fixtures is ideal for diffuse downlight applications in hotels and restaurants, wellness facilities and residential buildings. This is the first in a series of upcoming products in Reggiani’s catalogue that changes the colour temperature of the light. The luminaire can be dimmed from 2,000 to 3,000K, keeping a high and steady CRI (up to 97) and providing a light that satisfies both lighting design and interior decorating choices.


Oviso Ribag Ribag’s new Oviso range of pendant, wall, table and mounted lamps combines light quality and design to produce a range of products applicable to all spaces. The mounted lamp with control gear can be fitted directly on the wall or ceiling and is available in aluminium and polycarbonate housing. As are all products within this range, its service life is 40,000 hours with 70% luminous flux, with all products available in other colours at request.

The R-2 is adaptable to specific environments. A sensor connected to the system activates a light sequence that attracts attention to highlighted areas. Interaction is via a displayed QR code, which when scanned with a smartphone, will allow the user to gain control with predefined areas. Via the built-in system intelligence, operations around the globe can be programmed with the same light settings that can be changed from the brand headquarters. This ensures a coherent corporate identity.

Transformer Series StrongLED The Transformer Series TF3A floodlights feature eight LED models with a power range of 40-400W in eight form-factors (square, rectangle, and linear) to meet varied floodlighting applications. The Transformer Series is available in a range of whites and RGBW, narrow to mid beam angles, brightness control of 256 and 10 bits contrast control levels for stable, smooth and consistent colour change effect. The floodlights also feature precision die-cast aluminium housing with unique anti-glare cover over deep-seated light emitters.

Product: LD Line 15 / 3000K LED / IP54

C r e a t i v e

L i g h t i n g

S o l u t i o n s



LD Line 15

Miniature high power line of light


- Very low profile - Ideal for thin shelving applications - Internal reflector - Range of fixing options - No LED spotting - IP54 as standard, with optional IP67 version - Range of white LED colours - Custom made lengths as standard Please see our website for more information

Tel: +44 (0) 1322 527629 Email:

Architectural, Marine and Display 30 years of design and manufacturing in the UK



DG-914C Titan

Linetik Zumtobel

The DG-914C comes with a 60Âş beam angel, simple installation and IP44 protection, as well as a series of cut out sizes which can present a comfortable lighting experience for hotels, bathroom, kitchen, and many commercial applications. The DG0914C is durable and has an elegant style making the most of LED technology.

The Linetik freestanding LED luminaire uses minimal resources to provide maximum visual comfort. Easily integrated into any office environment, its slim body (24 x 24mm cross-section) and compact base ensures precise lighting without glare. A newly developed reflector significantly contributes to the drastic reduction in the material footprint of the product. Direct and indirect lighting elements can be individually controlled and an integral motion sensor ensures the luminaire is off when workers are absent.

Puk Line Top Light The Puk Line from Top Light covers a wide range of lighting options and includes wall lamps, ceiling lamps, pendants, floor lamps and outdoor lamps. Making use of LED technology, the range is ecological and modern while also available in different lamp sizes, colour filters, glasses and lenses.

ADVERTISERS INDEX Acclaim............................................. 149 Aion LED............................................ 97 Anolis.................................................. 11 Architectural Area Lighting............... 179 Architonic........................................... 16 Artemide............................................. 33 Aurora................................................ 4-5 Bridgelux............................................ 47 ChapmanBDSP................................. 174 CLS....................................................... 8 Concord............................................ 133 darc night........................................... 25 David Morgan Associates................... 91 Dial................................................... 159 Edison............................................... 161 Electron............................................ 159 Encapsulite....................................... 127 ETC................................................... 155 Fuhua Electronic .............................. 161 Griven................................................. 19 Grupo MCI....................................... 145 Guangzhou Int’l Lighting Exhibition. 173 GVA.................................................... 59 Hacel.................................................. 57 IALD.................................................. 117 Illumination Physics............................ 63 Insta.................................................... 15

Into Lighting..................................... 174 Kim Lighting......................................... 2 KKDC........................................... 43,174 Lamp................................................... 41 LEC-Lyon.......................................... 155 Leccor............................................... 159 LED Linear........................................ 180 Lee Filters .......................................... 77 Light Alliance.................................... 175 Lightfair International......................... 66 Lightgraphix..................................... 171 LpS.................................................... 135 Lucent................................................. 87 Lucifer................................................. 21 LUG.................................................. 147 Lumenpulse........................................ 23 Lumibat............................................... 78 Luminus.............................................. 83 Lunoo.......................................... 39,174 Mawa Design.................................... 175 May Design Series............................. 6-7 MBN................................................... 13 Nicolaudie............................................ 9 Orlight.................................................. 1 PLDC.................................................. 10 Precision lighting.............................. 101 Prolicht................................................ 35

Pulsar.................................................. 12 Recolight.......................................... 145 Remote Controlled Lighting............. 123 Ribag.................................................... 3 Rising Dragon Technology................. 14 SAT................................................... 157 Seam Design.................................... 175 Seoul Semiconductor....................... 149 Serenity Lighting.............................. 153 Signcomplex..................................... 143 Soraa................................................ 111 StrongLED.......................................... 71 Studio 29.......................................... 175 Studio Due......................................... 17 Times Square Lighting...................... 157 Titan.................................................. 153 Top Light.......................................... 147 Traxon & e:cue.................................... 45 Truelux................................................ 81 Tryka................................................. 121 Unilamp.............................................. 69 WAC Lighting................................... 107 Wibre.................................................. 91 Wila.................................................... 75 XAL..................................................... 27 Xicato................................................. 55


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









UK KKDC is an international manufacturer of high quality LEDs and LED luminaires. understated; we are experiencing phenomenal growth and expect continued success. The UK sales function is key to that success, so we are keen to build a team of capable and loyal individuals. There will be pressure to succeed and targets but there will also be high reward and enjoyment taking these KKDC products to a growing market.

Senior Lighting Designer required Award winning architectural lighting consultants with extensive portfolio across mixed use, commercial and development sectors.

Senior Sales Engineer Reporting directly to the Sales Director your responsibilities will include:

ChapmanBDSP is an owner led business multi-disciplinary design consultancy. Reporting to the Head of Architectural Lighting Design, you will be responsible for operational delivery and enhancing the quality of our service offering.


l l

Raising market awareness of the company and identifying projects to tender/quote for.

In order to succeed in this role you must be a self-starter, willing to establish the sales a consistent history of sales and business development operating at the highest level of selling architectural lighting products. You will be able to support clients through the sales process as well as act as project manager during the technical build and implementation phase. You should hold a full driving license as you will need to travel by car. Sales Support The role is principally to assist the UK sales team with project work and client liaison, this is to enable greater time for the sales team to generate new client contacts as well as continue with excellent servicing of existing clients. You will be directly accountable to the Sales Director but will be involved with all members of the team. You should have excellent communication skills, being able to correspond with

ME Hotel, London with Foster + Partners

Interested applicants should send their CV and a covering letter to Kathryn Cox. For a full job description, go to our ‘Join Us’ page on the website.

experience. You should have a pro-active attitude, be well organised and have a willingness to learn about the company’s products and industry. Remuneration package and commensurate with experience and ability. Package includes company pension scheme, life assurance scheme, and private health care.

Please email your application with CV to

+44 (0) 207 618 4800

Mondo ad_KKDC_110x145.indd 1

Looking for



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


You will be at present a Senior Lighting Designer with a minimum of five years of experience in an independent fee-based lighting consultancy [two of these in a senior role]. You are now looking to further your career, take on greater responsibility and use your creativity to drive projects. You will be experienced in working on a wide range of projects internationally and able to run large-scale projects from conception to completion. You will be an effective communicator at both board and contractor level and able to manage, guide and inspire a team of lighting designers. Alongside excellent creative and technical skills, you will have extensive knowledge of all relevant software packages. We are offering a highly competitive remuneration package, commensurate with experience. This includes profit share, company pension scheme and private healthcare. All applications will be treated with the utmost confidence. Please apply in writing to Sophie Gibson –

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

// Interested? Please contact Mr. Sven Callewaert +32 56 676 128 the lighting company


For more information visit

agenten2.indd 1

3/02/15 15:46

We are a mid-sized company with more than 30 years in the marketplace. Our core competence for more than 15 years has been the design, development and production of lighting. With our extensive material and product knowledge, we design and produce lighting for the mawa design collections and custom lighting for businesses, public buildings and sophisticated private clients.

Technical ProducT designer / develoPer (m/f) To strengthen our team at our production facility in Ebereschenring 12, 14554 Seddiner See, we are presently looking for a (m/f) Technical Engineer, Design Engineer, Designer or Architect. Requirements Have you completed your course of study in Architecture / Product Design / Engineering and completed training in a technical / skilled trade with professional experience? Do you possess a good command of English and have the necessary desire to design things? Do you have experience with VectorWorks, Solid Works, Adobe Photoshop / Illustrator / Indesign, Word and Excel?

We look forward to receiving your informative application: Tina Krauß · · mawa design GmbH · Neu-Langerwisch 36 · D - 14552 Michendorf SEAM is seeking talented, highly-motivated and personable lighting designers or architects with strong lighting sensibilities to join our busy studio. We are an enthusiastic, creative and ambitious design office specialising in architectural lighting design, and have expanded our reach to south-east Asia and Australia with a growing portfolio of notable projects worldwide. Current projects include large mixed-use leisure developments, lifestyle projects and iconic towers in the UK, Middle East, Thailand, Australia and Moscow with high-end residential and hospitality projects in London and other areas in the UK. Requirements: - Intermediate lighting designer/engineer with four to six years of professional experience, however Part-I and Part-II architects with special interest and/or experience in lighting will be considered for this position. - Must hold relevant design qualification - Excellent design sensibility, communication skills (verbal and visual) and personal initiative are desired. - Excellent graphic and 3D modelling skills are desired. - Proficiency of Autocad, Rhino, Photoshop, Illustrator & InDesign are required. 3D Studio Max, Dialux/Relux & Revit a plus. - Seeking short term to permanent placement in the London office - The position would suit someone who is keen to grow with our studio Please send a CV, portfolio, and a cover letter addressing your skills related to the above to (<5MB files)

LIGHTALLIANCE are currently recruiting for our Dubai studio We are looking for talented, creative designers with relevant lighting design experience and excellent communication skills. Full Time, Part Time and Flexible working arrangements are available. Applicants must be able to freehand sketch and should be experienced users of Photoshop, InDesign, lighting calculation and rendering packages (such as Dialux / Relux / Radiance / AG132 / 3D Msx / Studio 4D / ), Sketch Up, Revit and AutoCAD (or similar 3D drawing package). Applications sent should identify relevant experience of working with daylight, functional lighting and enhancement lighting (including examples of original work and showcasing the skills highlighted in the role description above). Strictly no Agencies. Candidates should apply to


technical partner

in collaboration with


Lumibat June 2-4 Lyon, France

Lightfair International May 5-7 New York City, USA

member of

Light Middle East October 6-8 Dubai, UAE

sparc May 27-29 Sydney, Australia

LightingTech Qatar May 4-5 Doha, Qatar


darc night September 24 London, UK

LED Expo May 21-24 Bangkok, Thailand

LIGHTEXPO AFRICA May 2-4 Nairobi, Kenya

A unique new event from

Hong Kong International Lighting Fair October 27-30 Hong Kong, China

LpS September 22-24 Bregenz, Austria

Smart Lighting May 20-21 Berlin, Germany

China Lighting Expo April 22-24 Beijing, China

Interlight Moscow November 10-13 Moscow, Russia

Acetech October 28 - November 1 Mumbai, India

PLDC October 28-31 Rome, Italy

IALD Enlighten Americas October 8-10 Baltimore, USA

London Design Festival September 19-27 London, UK

May Design Series May 17-19 London, UK

IstanbulLight April 16-19 Istanbul, Turkey

Shanghai International Lighting Fair September 23-25 Shanghai, China

Iluminotronica October 8-10 Padua, Italy

Guangzhou Intl Lighting Exhibition June 9-12 Guangzhou, China

LEDTEC Asia May 7-9 HoChi Minh City, Vietnam

Euroluce April 14-19 Milan, Italy




We are fortunate in the world of lighting to have an abundance of lovely creative people who are passionate about light. This means that we can always find someone to share their inspiration with us for the back page. This issue we approached our Spanish friend Lara Elbaz to share what inspires her about light. She says: “I made a list of all the aspects of light that trigger my imagination and make me feel something special or unexpected: a particular colour, a surprising reflection, sun light, a shadow, light art, attending a concert, a new city, people… How and where I get inspiration and how I then use it in my work is what made me think of using my everyday personal visual diary to explain it. I’m always alert to capture that special ‘light moment’. My camera is always ready and I take dozens of photos every week. It can happen anywhere, anytime... Collecting those moments is a way of acknowledging the magic around me. My Instagram account is so far private and only visible to friends and family but sharing those special moments of my life with them is my way of sharing my own vision of the world; what I see when I look around me and my love for light.“

Two sizes: 4” and 5”

kick_mondo_5.15.indd 1

Up to 12,800 lumens

Up to 103 lumens per watt

Zero uplight

4/2/15 10:20 AM

mondo*arc Apr/May 2015 - Issue 84  

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

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