mondo*arc June/July 2015 - Issue 85

Page 1

mondo*arc magazine


#85 2015



issue 85 * June/July 2015



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[jun/jul] Front cover pic: UK Pavilion, Milan Expo 2015 courtesy of UKTI

050 Interview Mrinalini Ghadiok discovers the secert behind Babu Shankar’s success.

DETAILS 022 Editorial Comment Lighting design well represented at Milan Expo 024 Postcard Courtesy of Factorylux and Light Collective. 026 Headlines The latest industry news. 028 Janet Turner Tribute Paul James and others pay tribute to a lighting industry legend. 030 darc awards Entry period completed. 032 Eye Opener Waterlicht, Museumplein Amsterdam. 034 Drawing Board Our preview of proposed projects. 044 Briefing We talk to Paul Beale, founding director of Electrolight. 046 Snapshot Presenting Illuminate Lighting Design. 048 Lighting Talk Marco Amosso of Lombardini22 talks lighting. 059 Garbh To Griha We bring you part two of our special report from the first issue of mondo*arc india. 170 Inspirations Designer Moritz Waldermeyer.



096 Milan Expo 2015 A number of the pavilions put independent

122 Case Studies

lighting design even more on the map. 114 Los Angeles Opens Its Heart of Compassion Cliff Garten’s most recent sculpture in the heart of Koreatown. 116 Light Garden Claudia Paz, Nicholas Cheung and Cesar Castro bring out the child in everyone. 120 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light.

lighting including: Leonardo da Vinci’s The Last


A selection of projects featuring innovative Supper (p122); Rivers and Bridges of Ornan (p126); Green Apple Books (p128); Franconian Gallery (p130); Al Rafaa Wedding Hall (p131). 134 Designers With Light Forum A look at this years forum during IstanbulLight, providing a debate for British and Turkish lighting designers. 136 Geoff Archenhold When Geoff Archenhold met Dr Shuji Nakamura. 140 Bench Test David Morgan looks at Cooledge’s SQUARE. 142 LightFair International Review A selection of the best on show at Lightfair. 151 IALD Awards A look at this year’s award winners. 158 Euroluce Review A selection of the best on show in Milan. 160 New Product Guide In with the new... All that’s shining bright! 168 Event Calendar A round-up of all the leading must-attend

Pic: Jeremy Green

tradeshows and events in the industry.


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[jun/jul] Online Take a moment to watch the opening ceremony for the lighting of the Fori Imperiali.

Pic: Vittorio Storaro




068 LWL Museum, Münster Its re-opening included a renovated lighting scheme by Licht Kunst Licht that guides visitors through a millennium of art and culture.

078 Cumberland Art Gallery, London History and prestige meets design and technology in Hoare Lea Lighting’s strategic illumination at Hampton Court Palace.

090 National Theatre of Iceland, Reykjavik Lighting designers Verkis Engineer Consultants, upgrade the lighting from incandescent to LED.

076 Sorae Sushi Sake Lounge, Ho Chi Minh Interior designers LW Design and lighting designers ASA Studios put their heads together

082 Gerber Mall, Stuttgart Pfarré Lighting Design illuminates the mall’s interior, providing clarity and sophisticated minimalism.

094 Scottish Parliament Main Hall, Edinburgh KSLD integrates lighting into new timber coves creating a warm and welcoming scheme for the main hall.

to create a dining experience to remember.


086 Quaglino’s Restaurant, London Into Lighting and Russell Sage Studio create bespoke details and ambient lighting for the re-launched restaurant. 088 Bearys Global Research Triangle, Bangalore Collaborative Architecture transforms the lobby space with a custom made and intelligently designed waffle slab lighting system.

Pic: Marcus Ebener




[editorial] Paul James, editor, writes: Before I go on about the wonder of the Milan Expo, I have to say that I think we have reached the point in history when there is so much inequality with the world that we should seriously consider holding a moratorium on such temporary ‘vanity projects’, if just for a year. The Expo website reads: “Participating countries... will show the best of their technology that offers a concrete answer to a vital need: being able to guarantee healthy, safe and sufficient food for everyone, while respecting the planet and its equilibrium,” but imagine if all the money and resources that went into the six-month Expo and other such events around the world went into doing more to end world poverty and hunger. You may say I’m a dreamer, but (I’m pretty sure) I’m not the only one, etc. Political point out of the way I was delighted to see lighting design being so well represented in so many of the pavilions. I was fortunate enough to be a guest of iGuzzini on a press trip to Milan to see the Expo, as well as getting an exclusive viewing of da Vinci’s The Last Supper (see page 122). From what I could see in the morning I had at the Expo, I was blown away by many of the pavilions, particularly those of the UK and UAE. It was great to witness the lighting designers there on the opening day taking the plaudits as fully fledged members of the creative teams that brought these exemplars of architecture and design to the adoring public (and the critics). BDP (UK) and David Atkinson (UAE) have done fantastic jobs collaborating with Wolfgang Buttress and Foster + Partners respectively. Huge, international events like this can only put independent architectural lighting design even more on the map. I just wish there were less of them. Helen Fletcher, deputy editor, writes: When you start browsing through the projects of this issue of mondo*arc you will start to notice that every one of them has been entered into the darc awards. The quality has been so good that we have decided to dedicate the project sections to a selection of the entries whilst recognising that we have already covered other entered projects in previous issues (eg, the cover stories of Heathrow Terminal 2; Sea Mirror in Sydney; Energy Tower in Roskilde, Denmark). We have genuinely been blown away by the response and by the time you read this the entry deadline will have passed and the judging will have begun in earnest... BY YOU! As long as you are an independent lighting designer you can vote for your favourite projects and products. As this is the inaugural awards, projects can date back to January 2014 giving entrants an 18 month period to choose their best work. The product categories (two architectural and one decorative) date back to January 2012 so that the winners, as voted on by the lighting designers, will be their true favourites, not just the very latest product innovations. I do hope you will participate to make this the democratic process it is designed to be. As an added incentive, anyone who does vote qualifies for a free ticket to darc night, the awards ceremony taking place in London on September 24th during London Design Festival. There will also be a free bar and streetfood - no added extras like a really expensive hotel bar at the end of the night. What more can you ask for? I hope you have entered and I hope you will vote. You’d be mad not to.



Publisher / Editor

Amy Wright

Paul James




Deputy Editor Helen Fletcher

David Bell



Editorial Assistants

Mel Robinson

Femke Gow



Dan Seaton

Laurence Favager





Damian Walsh

Advertising Manager


Jason Pennington

Finance Director

( Advertising Sales

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Credit Control

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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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[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.

#6 Fulton Centre

© Corbis

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

We can’t believe it’s the end of the Natural Light In Architecture series - it’s been a year and eleven amazing cards and now its time for the last one. We decided to open up the choice of the this one to the readers of mondo*arc and darc. We picked the suggestion from Gary Thornton to complement the Light Collective picks showing buildings that are architecturally iconic in their use of natural light. We love what FactoryLux and Prelogram did with this image and think it’s a fitting end to the series. We hope you managed to collect them all and now have a beautiful set of individually numbered and unique prints. If not, the first five full size prints are now available for anyone who missed the indiegogo campaign and the second five (including this one) will be on indiegogo in a few weeks, so email Factorylux to join the waiting list. This building is different to the others in the series as it has only just completed and has recently graced the cover of mondo*arc. The last card is the Fulton Centre in Lower Manhattan, New York City, a transit hub and retail complex located at the corner of Fulton Street and Broadway. Its part of a $1.4 bn project by the Metropolitan Transportation Authority designed to enhance the experience of 300,000 commuters each day. Although it officially opened in November 2014, it looked brand new and was still waiting to fill out with retail tenants when Light Collective visited at the start of May. The Fulton Building (part of the Fulton Centre) consists of a three-story, 36-metre high atrium clad in a transparent glass façade, with an angled glass oculus orientated to the southern sky at the top, that draws in natural light into the main building. The design was created by a partnership consisting of Grimshaw Architects, James Carpenter Design Associates and Arup. The piece of NLIA interest is the Sky

Reflector-Net, a light harnessing device, as seen from the centre of the Fulton Building looking up. Located at the centre of the oculus, the Sky Reflector-Net uses hundreds of aluminium mirrors to provide natural sunlight reflected and modulated from the 16-metre diameter skylight to an underground area four stories deep. Each mirror panel is CNC-cut to a slightly different shape and size, and each has a different angle of exposure to the oculus and a different degree of opacity, which is a factor of each panel’s perforation. The panels nearest the bottom of the sculpture are the most perforated and the size of the perforations decrease with each subsequent row of panels. The top of the sculpture thus appears brighter because its panels face the sky more directly so that it reflects more light, and it is nearest the skylight. The aluminium panels have an anodised surface which is approximately 95% light reflective. The main concept is about creating a complete contrast to what it normally feels like to be underground - dark, claustrophobic and unconnected to the sky. This combination of part art installation, part daylighting device presents a constantly changing view of the New York sky and connection to the elements for commuters should they choose to look up. James Carpenter likens the effect of the net to “folding the sky down into the station.” If only the daily commute was filled with natural light for all of us... We’ve loved curating the #NLIA series - a brilliant mash up of art, architecture, light design, print & branding. We’re grateful to mondo*arc for the global distribution, Prelogram for the amazing printing and Factorylux for setting up and funding it all, Gary Thornton for curating the final print and you the reader for sharing the trip thank you!

R1 R2 R3 R4 R5 R6 R7 R8 R9 R10 R11 R12 R13 R14 97.1 98.7 95.8 94.0 97.1 97.0 96.8 97.7 98.3 98.2 91.7 93.9 97.4 96.8 Colour Rendering Index (CRI)




news headlines darc awards sponsorship now complete

LED Linear UK appoints new Director of Sales

(UK) - Lumino completes the line up of manufacturer partners who will be involved in lighting installations during darc night in London on September 24th. Read the full story online...

For the latest news stories, head online:

(UK) - Rob Anderson takes on Director of Sales position for LED manufacturer and distributor. 1

Read the full story online...

Occhio opens London showroom (UK) - German manufacturer opens showroom in Shoreditch area featuring modular luminaire and spotlight systems. Read the full story online... 2


SGM expands (Denmark) - As a result of ongoing expansion, SGM has established a new subsidiary - SGM Nordic. Read the full story online... 4


Acolyte opens Middle East office

Lumino cycle to Lumino

(UAE) - Acolyte and Progen team up to offer support to lighting designers, architects and distributors by opening office in Dubai’s Media City.

(UK) - Essex lighting company mark 30 years in business by embarking on tough charity cycle trek 1,200km away.

Read the full story online...

Read the full story online...

BUME wins IALD Radiance Award (USA) - First Chinese winner of IALD’s top accolade signals a watershed moment for lighting design in the region. Yongqi Lighting achieves Excellence Award. Read the full story online... In pictures


the latest news online


scan QR code to link to


1 darc awards sponsorship complete. 2 Occhio opens London showroom. 3 LED Linear appoints new Director of Sales. 4 Acolyte opens Middle East Office. 5 SGM establishes

SGM Nordic. 6 Lumino cycle to Lumino. 7 BUME wins IALD Radiance Award.




: Y O


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13/05/15 16:50



[tribute] Paul James leads the tributes to an inspirational woman who took the lighting industry by storm and launched the careers of many designers.

JANET TURNER 29 SEPTEMBER 1936 - 7 APRIL 2015 I first met Janet in 2000, not long after she had left Concord. We had a laugh together at some event or other in London when she modestly told me she was involved in lighting design. I didn’t know her from Adam having come from a different background. Later in the conversation she told me about her history with Concord which was suitably impressive. It was only later that I realised how highly she was thought of by everyone and how many careers she had helped, including the people following me on this page. ‘Legend’ was the word bandied about. She was always a supporter of mondo*arc and we worked on several articles together - the most substantial being her amazing work with Will Alsop on the Medical School Building, Queen Mary University, London that we published in 2009 (issue 30). It’s still on our website. She certainly enjoyed life and was a fascinating person. She will be greatly missed. Paul James, editor, mondo*arc “After joining Concord more than 40 years ago Janet soon became regarded as the outward face of the company, respected and trusted and liked by all in the architectural and design community. In fact some people have told me that they were inspired to get into lighting purely because they attended one of Janet’s lectures when they were students.” Tony Lawrence, Design Development Manager, Concord by Havells Sylvania “I feel very privileged to have known Janet since the mid ’80s when Rotaflex brought us together in Concord Lighting in City Road near Old Street. I was doing international approvals from the basement (complete with real rats and a company cat to keep them down). Janet was the design director looking after the showroom upstairs where they had luxuries such as windows… It was a dynamic time for me having moved from the strange world of northern lamp factories to the glamour of architectural fittings design in London, my father was an architect and I had an affinity for Janet’s world and all her amazing contacts, she seemed to know everyone that mattered. With takeovers over the years (by GTE Sylvania, then SLi, then CML… etc!), things did change a lot but Janet always retained her drive and enthusiasm often having differences of opinion and always winning. The setting up of the Concord showroom in High Holborn after her time in the wilderness of Hammersmith was for me her ‘tour de force’, the frequent changes in the artwork of all kinds shown in the gallery space made it fascinating. She understood better than most what interests all kinds of specifiers, be they architects, interior or lighting designers. We worked well together for international business, red Janet always made an impression wherever we went and she helped open up many new markets. She became my secret weapon against the competition, the ultimate USP!

She continued to be very supportive of my new ventures long after I left Sylvania and well into her retirement. The last time we had a meal together in the borough market about 18 months ago she arrived dressed in the obligatory leopard print cat suit set off by her scarlet red hair, the memory will always make me smile.” Fred Bass, Director, Neonlite International “I first met Janet in 1987 when I was interviewed for the position of lighting designer at Concord Lighting, subsequently I got the job and worked for Janet until around late 1990’s when she departed Concord. I remember when we finally moved into the new Concord showroom in High Holborn after leaving City Road, Janet giving a speech from the spiral staircase, we had an amazing launch party, the first of many showroom parties. The new showroom was testament to Janet’s vision and tenacity, it was an amazing facility to be working as a young designer. Janet would arrange frequent functions and stunning window displays at the Holborn showroom. At Holborn we had many young designers, all in our 20’s and 30’s and Janet was like mother hen to all of us. She had an office downstairs and the lighting design department was upstairs on the mezzanine level, sometimes we would dangle Janet’s favourite dark chocolate over the edge of the balcony in front of her office and she would try and grab the chocolate from the piece of string it was attached to while we pulled it away from her grasp, we always relented in the end with Janet seizing the prize. We worked hard but also played hard when it was appropriate. Janet was a true inspiration, a character who was available if we needed to discuss work or personal matters, she was always a good listener. Occasionally she was stern especially when we all made too much noise upstairs and she would shout up to tell us to quieten down. Of course I look back on these times with great affection and many happy memories.” Simon White, General Manager International Sales, Paviom “Designers need great clients. Clients that understand the concepts and their potential and are willing to champion the design through all the stages. I came to Concord with a concept of an electromechanical connection, which evolved into a track lighting collection and went on to win awards in the UK and Germany. It was the beginning of a long relationship. The two people that championed my work within Concord Lighting were Tony Lawrence and Janet Turner. Janet knew and understood lighting like few other people and she was passionate about it and that passion was contagious. Always warm, friendly and colourful in more ways than one. She fully understood the emotion of light and contributed to the theory and practise of lighting design, yet never forgetting where human beings fit in and it is that special human side that she will always be remembered for.” Terence Woodgate, industrial designer


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28/05/2015 10:23



[darc awards] The darc awards, organised by mondo*arc and its sister publication darc in collaboration with Light Collective, entry period has now been completed. All entries are being displayed on the website So the entries are in and now it’s time to choose your favourites. The website (www. is now displaying project and product entries that have come 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, Griven, Zumtobel and Lumino. Technical partner is XL Video. The sponsors will 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, Arup, 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 - Indian Heritage Centre, Singapore by ONG&ONG; KPMG Manchester, UK by Troup Bywaters & Anders, Light + Lighting Solutions; and Frozen Desert in Linköping, Sweden by Luxera



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 Waterlicht, Museumplein Amsterdam As a country underwater, internationally renowned Daan Roosegaarde’s Waterlicht perfectly captures what The Netherlands would look like without the innovation in flood prevention and waterworks prevalent throughout Dutch history; a submerged seabed home to millions. Waterlicht consists of wavy lines of light made with the latest LED technology, software and lenses, appearing as ocean waves overhead. Free for all to experience, Waterlicht is on show between 10pm and midnight at Museumplein, adjacent to the Amsterdam’s Rijksmuseum. Inspired by the Rijksmuseum’s recent acquisition of Dutch painter Jan Asselijn’s 17th Century depiction of the 1651 Amsterdam flood, both works reflect The Netherlands’ interaction between man, nature and technology. The classic painting joins in conversation with the modern Waterlicht that spans across the grass plane in the heart of Amsterdam. Waterlicht serves as an immersive exhibition for the Dutch to experience the potential of their landscape, receiving high appraisal from the Amsterdam waterboard and the Rijksmuseum. Known for his social design and energetic appearance, Waterlicht is no exception to Roosegaarde’s pool of technopoetry with interaction, technological innovation and beauty at the centre of his designs. Pic: Pim Hendriksen




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

LIGHT THE WAY With energy consumption in mind, LDPi are designing a fully LED scheme for the Future Energy World Expo 2017 project in Astana, Kazakhstan. Working with the fabrication of structures, the architectural lighting for façades is limited – the nighttime illuminated composition will utilise internal glow via glazing to enhance structures. One area with specialty lighting is the

Energy Hall in which a dynamic interior façade wraps around the auditorium and circulation areas, highly visible from the Expo public realm. The vast feature walls comprise of 5,000 glass modules with integrated LED mesh to allow each module to be individually controlled for performance specific illumination.

As the primary vista towards the Expo sphere, the Energy Hall façade draws the viewer’s eye from the public realm upwards towards the primary architectural feature. The Energy Hall visually nests the architectural massing in the nighttime environment.

It’s time to bury the past. lumenfacade



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.



[drawing board]

LIGHTIVITY’S GOLDMINE Lightivity has recently completed both the exterior and interior lighting design for the new National Bank of Oman headquarters in Muscat, Oman. Working with architecture and design practice LOM, Lightivity has used layers of light to reveal the material texture and stepped form of the building’s dramatic

façade. The National Bank headquarters will occupy one of the most prominent sites in the country on the main Al Sultan Qaboos St, between the airport and the centre of Muscat, diagonally opposite the iconic Grand Mosque. The aim is to create a contemporary Omani landmark head office for the bank and for the city. The building

will provide high quality office space, a large head office bank branch and a striking internal atrium inspired by Oman’s dramatic wadi gorges. Site work is now underway, with the building due for completion and occupation in early 2017.

PERFORMANCE APEX Internationally renowned artist Olafur Eliasson will create the environment in which Jonathon Safran Foer’s ballet, inspired by the book Tree of Codes, will be performed to a score composed by Jamie xx at Manchester International Festival this summer. Safran Foer’s novel is carved from the text of Bruno Schulz’ Street of Crocodiles; words and phrases are cut from the pages to produce an entirely different story. The creative team has worked together over the last two years to make a contemporary ballet that responds to the artwork. This collaboration will see soloists and dancers form the company that will serve as the apex between Jamie xx’s music and Eliasson’s art. The sound and movement of the music will thrive on the movement and space of the visual concept, together creating an atmosphere comprised of international talent.

Pic: Olafur Eliasson



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

Pics: James French

FLIGHT OF LIGHT A plethora of colour carries and influences mood in Paul Nulty Lighting Design’s (PNLD) Flock of Birds light sculpture, carrying 16 million permeations of colour across 400 individual LED birds. Bringing art and light to Crawley Mall Shopping Centre in the UK, Flock of Birds pays homage to the Old English translation of the Crawley name, “clearing frequented by crows,” and acknowledges the centre’s proximity to Gatwick in its portrayal of flight. Aiming to create rhythm and a sense of playfulness, PNLD developed a concept that was strong enough to determine itself

as a sculpture in its own right. Flock of Birds captures the form and elegance of airborne birds using colour-changing LEDs that pulse a wash of vibrancy up and down the sculpture, giving varying glowing intensities throughout the day and across the seasons. At 125-metres long, the permeable sculpture draws the eye through the length and breadth of the flight path that meanders through the void, creating depth and filling the large volume without overpowering the space. As shoppers step into the centre, the linear form of the sculpture feels welcoming as it undulates above.

To combat challenges adhering to the project’s low energy concept and maintenance costs, and minimising distraction from the retail brands inside the shopping mall, PNLD used 30W LEDs. As a result, the sculpture requires only a small amount of energy and can last up to 100,000 hours. Flock of Birds strikes a delicate balance between drama and subtlety, as it holds a dynamic energy in its light yet striking form – the perfect piece to keep spirits high during a hard day of shopping.


Pics: Jack Hobhouse

SWEET GLASS Glaze is a multi-coloured jewel-like pavilion from architects Cousins & Cousins’s featured on St. John’s Square in London during May for Clerkenwell Design Festival in collaboration with supplier and manufacturer Gx Glass. Drawing on the heritage of Clerkenwell as a centre of design, Glaze offers a journey through a multitude of glass products that vary in size and colour, creating a walk through a visual wonder. The vibrant panels alternate between opaque and transparent, inspired by Venetian murano glass. Celebrating the various applications in

construction, interiors, installation art and sculpture, a lightweight steel frame holds glass of varied widths and finishes drawing the visitor to the centre of the installation. Fully demountable and reusable, the installation is designed to highlight and celebrate the versatility of glass. Its colour and the surface designs make glass an important medium through which designers and architects can realise their ideas - Glaze carefully and colourfully exhibits these qualities as a prominent feature of this bustling celebration of design for all to experience.

With a variety of talks and workshops hosted throughout the three-day festival, Jelena Cousins, Director of Cousins & Cousins commented: “We wanted to convey the same excitement and interest to the installation as someone would have looking at a jewel or the venetian glass sweet.” Daylight has a kaleidoscopic effect with multi-coloured and patterned panels reflecting on each other and onto the floor, whereas the evening sees the structure glow from within while the public wander through in wonder.





Rajesh Pratap Singh goes beyond his passion for designing apparal into a gallant exploration of light. Simplicity, clean cuts and unassuming pin-tucks give way to exquisite headgear, flamboyant landscapes and fantastical reverie in Pratap’s shows. Designing his own fixtures and illuminating his shows, Pratap creates more than just pret and couture fashion – he crafts environments, builds an ambience, and carves experiences. His decorative installations border sublime entrancement carrying the audience into an enigmatical sphere. Hailing from a medical family, Pratap designed the setting for the Amazon Fashion Week 2015 collection in a show of respect to health workers. Recreating an old-school hospital ward, it began with a surreal murkiness. Intravenous drip-bags fabricated in glass and filled with LED light sources hung aglow from the corners of vintage hospital beds. As models walked out with bandages and holding medical kits, the overhead-suspended lights came on to reveal large operating theatre lights. Beaming down onto the ramp they had been tweaked for technical modifications to cater to the needs of the show.

ANYTHING BUT MONOCHROME Australia’s Museum of Contemporary Art opened its Light Show exhibition in April, following a successful debut at Hayward Gallery, London. Recent works composed of LEDs are displayed in the company of sculptures constructed from recycled lightboxes rescued from city streets, and works using most modest materials such as a single theatrical spotlight. On show until July, Light Show features the work of seventeen artists, including that of Venezuelan kinetic artist Carlos Cruz-Diez. His Chromosaturation exhibition, inspired

Pic: Maja Baska

by the construction of a physichromie structure, was first presented to the public in Grenoble in 1969, and has since been presented all over the world, remaining a much sought after piece today. Chromosaturation is an artificial environment consisting of three LED light chambers of different colours – red, green and blue – that immerses the visitor in a total monochromatic light situation. This experience triggers a disturbance on the retina, creating a physical situation that evolves in time and space unaided by form or any type of support,

Pic: Alex Davies

unencumbered by cultural conventions. In this piece, Cruz-Diez echoes the idea that every culture has always sprung from a primary event, a simple situation that evolves and unleashes a way of thinking, influencing sensibilities and creating myths. In amongst the works displayed at Light Show, Cruz-Diez’s was one to immerse and saturate its viewers in a flood of colour, providing a unique experience for all.

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[spotlight] Pics: Lance Gerber All artwork courtesy of Royale Projects : contemporary art.

TRIPLE TRICKS Continuing American artist Phillip K Smith III’s dialogue with light and shadow, colour theory, and perception, Bent Parallel recently featured as his latest large-scale installation at Untitled International Art Fair, Miami. As part of Californian art gallery Royale Projects’ booth, Bent Parallel stood out as one of the most sizeable offerings at the fair with two monumental hinge-like mirrored parallel LED surfaces creating a third reflected, material-less floating plane of colour. Royale Projects owner Rick Royale worked closely with Smith III to create an installation for Untitled that would operate at both the scale of the show and the intimate scale of the individual. As viewers stepped up to the piece’s mirrored surface, they became

draped in coloured LED light simultaneously as they would grapple to decipher the spatial realities that stood before them. The piece elicited visitors to question whether they were looking through a transparent coloured field to an actual space beyond or whether the visible space was real or reflected space. Smith III commented: “Obviously people are affected by the Bent Parallel installation when faced with a 9 by 21ft mirrored surface of colour. Going a step deeper, it is most likely one of the first times that they have ever been a direct part of the surface or medium of such a substantial work of art.” A less predictable consequence of the installation was the influx of selfie-crazed

art fanatics with a proliferation of selfie commentary attributed to the artwork. Visitors couldn’t help but stop while passing the Royale Projects booth to pose for an #artselfie. Smith III responded to it as an exciting reality to witness: “Selfies have become a generational reality of how we record ourselves in places of moments that excite and affect us. Ultimately the camera invites discovery of the work through one’s own interpretive eye.” The dynamic installation impacted across generations, as an immersive experience that brought together colour perception through light and change to bring the otherwise stationary installation to life with movement and depth.

αbet focus Recessed Spotlight - flexible and extremely high radiant

40° Tilting The inclination angle of the recessed directional projector allows stepless adjustments from 0° to 40°. These adjustments can also be made retrospectively from below. The imprinted scale simplifies a consistent tilting of multiple spotlights to ensure homogenous illumination. @WILA_lighting #TrustWILA

361° Rotating The lighting module can be rotated up to 361°. A rotation lock prevents over rotating the electrical connections and provides safety. The direction of light can be precisely adjusted from below using the scale.





We speak to the the founding director of Electrolight, a specialist high-end lighting design consultancy, with studios in Melbourne, Sydney and now in London. Tell us more about the London studio... In January we opened our London studio in Shoreditch, a hotbed of design, culture and creativity. There seems to be a high demand for good quality lighting design in London and we are super-busy. It’s all very exciting and we have some great projects. Our team is shaping up very nicely - aside from me we have two designers with architectural backgrounds and rising star Christopher Knowlton, who previously worked with us in Australia. Even our accounts and admin person is an Oxford University graduate! You’re from Australia, right? Why did you decide to move to London? I’m actually originally from the UK; it’s just that I’d been in Oz for 16 years. I started Electrolight in 2004 in Melbourne and we opened our Sydney studio in 2012. We have built an excellent reputation in Australia as a result of having passionate and creative people. Electrolight is a collective, not Paul Beale and his disciples. The team in Oz are empowered to lead the firm into new horizons and they are doing a very good job of the task. In releasing the reigns there I was free to explore new opportunities. I consider London to be one of the world’s capitals for design. There are some fantastic lighting design firms here and some of the best architectural practices doing some very interesting work. I like the thought of working alongside some of these great firms and making our own contribution to London’s creative scene. How did you get into lighting? One of the things I love about our profession is the diversity of a typical designer’s background. While we have designers at Electrolight from industrial design, theatre, fine arts, architecture and interior design, I studied engineering after doing an electrical apprenticeship before finding a passion for lighting. I think I was drawn to lighting because it has the power to transform the way a space is perceived and enjoyed. I joined Arup as a graduate and, having declared an interest in lighting, was given lots of opportunities to explore my passion and before long I was doing nothing else other than lighting design. Tell us about your involvement with the IALD. I have just finished a stint on the IALD’s board of directors which was a great experience for me. The IALD is in great shape and is at a defining moment in its evolution as an association. The IALD has been behind the push for lighting designers to gain recognition through an independent credentialing programme. This is excellent news for lighting designers and it was good to see this work unfold during my time on the board. David Becker (Chair of the Certified Lighting Designer Commission and former chair of the task force that let the certification effort) deserves particular recognition in bringing this to fruition. I continue to be involved with the IALD as part of the European Steering Group that is looking to grow the IALD’s presence in Europe and to help support the interests and needs of European lighting designers. Tell us about your community lighting projects.

As a practice we have always been interested in spreading the word about lighting and lighting design. It started in 2007 when the Australian government decided to phase out the incandescent light bulb. In response to this we organised a competition called LightCycle in which we challenged the design community to create a new and sustainable light fixture using the ugly duckling curly compact fluoro lamp. We received about 100 entries to the competition. The response was truly staggering and the diversity of entries was amazing given that everyone has the same brief and everyone has the same entry kit. Melbourne is a genuine design city in that there are lots of talented designers working in all manner of industries but relatively few in lighting. We wanted to inspire them to consider lighting as a career option. As you know, those of us in lighting love it so it can’t be too bad! We set up all the entries in a gallery and displayed them as an event as part of the Melbourne Design Festival - it was all very well received. We have run four LightCycle events since and are thinking of expanding it to Sydney and, who knows, maybe London. It would be interesting to see what the British designers will come up with! In addition to this we have organised all manner of lighting events from walking tours, Ready Steady Light, lecture series and a gobo light projection competition. It’s great fun. What projects are you most proud of? I love all of our projects so it’s hard to single out particular projects but there have been a few stand-outs for various reasons over the years. In 2001 I led the design of Webb Bridge (while at Arup), which was the first project of decent scale and complexity that I had tackled. I still remember the sleepless nights stressing about whether the lighting at ankle level would actually light the bridge deck effectively. Thankfully it all turned out OK and looked great (of course, when you have a structure as beautiful as this, how could it not?). Since then there have been some seminal projects at Electrolight such as MTC Theatre and Recital Centre, Heston’s Fat Duck restaurant in Melbourne and the Crown Towers facade for which we received the IALD International Award of Excellence. What are your thoughts on the future of lighting? There has never been a better time to be part of the lighting industry. The rapid evolution of lighting technology has liberated us from the same tired form factors we were all so used to. With this liberation has come a greater need for technical competence in dealing with issues like lighting quality, colour binning etc. In the next few years lighting designers will play a critical role in navigating the technology minefield associated with LED lighting while simultaneously raising lighting quality. Beyond the technical revolution, the art of lighting has never been more exciting. We can now do more with less and are able to create stunning schemes even in the most challenging of conditions. It’s now up to us as a design community to to ensure that our imagination and conceptual design thinking keeps pushing to create lighting that is relevant and resonant to context.



[snapshot] A constantly expanding and evolving lighting design practice, Illuminate Lighting Design functions out of seven offices strewn across the globe. An intentional recruitment of staff with diverse backgrounds ensures that Illuminate caters to each project with skill, knowledge, expertise and enthusiasm.

KEBAB KHAN, CHANDIGARH This is a fine dining restaurant that claims a unique ethereal environment. Delicately balancing between light and dark, the space is rendered in a dramatic yet subtle play of light. The concealed linear lights form exaggerated strokes on the ceiling, while the almost invisible downlights create pools of deep intimacy on the tables below. Ensuring minimum glare and visibility of the light fixtures; dark spaces are layered with soft light effects to enhance the ambience. Architectural features and textures are subtly highlighted to add another layer of richness. Great care has been taken to warrant adequate light levels, yet keeping the space sufficiently subdued.

TRUMP TOWER SHOW-FLAT, MUMBAI Keeping with the high level of quality, detail and perfection that is demanded of the Trump Brand for their luxurious high-end residential interiors, the lighting scheme is aimed to seamlessly integrate into the design concept. The opulent decor is highlighted with poignant elegance and subtle equability. A 2700k colour temperature has been selected to compliment the richness of the finishes in each room and establish a consistent visual language. While wall textures and ornamental features are accentuated with directed light, decorative light fittings are used to highlight corners and celebrated areas such as the exquisite dining table.


GRAND HYATT, SHENYANG, CHINA This 29 storey, 350-room hotel boasts of a ballroom, meeting rooms, gymnasium, swimming pool, spa, multiple lounges and restaurants of various cuisines. The grandeur of the property is experienced from the moment one steps into the hotel. Plush finishes, impeccable furniture and sophisticated lighting sets precedence for a feckless experience. While the ambient light is soft and elegant, striking decorative light fittings suspended from the ceiling emphasize vital areas, and the eye is drawn towards focal points such as artworks. Each space is rendered differently maintaining its own identity, but is held together by the consistent language of warmth and hospitality.

INDIGO HOTEL, SHANGHAI, CHINA Embodying the vibrant atmosphere of Shanghai, the hotel offers a dynamic and lively experience. Brightly lit coffers welcome guests into the hotel. The colour changing lighting scheme varies with time of day and day of week. Close offset downlights accentuate the curved timber walls and metal hull, both elements being symbolic of Shanghai’s historical shipbuilding industrial past. The living ‘green’ walls are lit with full spectrum lamps in the day to promote plant health, and switch over to a more controllable low voltage source at night, allowing for greater flexibility in creating the appropriate mood. While colour is used extensively, it is kept under control to ensure that the space is not oversaturated and guests are not fatigued by the dynamism of the lighting scheme.

ILLUMINATE LIGHTING DESIGN • PARTNER: Simon Berry, HEAD OFFICE: Singapore • PROJECT DIRECTOR: Sai Tallapragada, LOCAL OFFICE: New Delhi, India • OTHER OFFICES: Dubai, Melbourne, Hong Kong, Shanghai, US • ESTABLISHED: 2009 • EMPLOYEES: Forty-Two • CURRENT PROJECTS: Trump Tower, Mumbai; World One, Mumbai; Six Senses SPA, Pune; Radisson Blu, NCR; Marriott, NCR; Double tree Hilton, Gujarat; Radisson Blu, Tamil Nadu; Victoria Towers, Mumbai; Altius Residential, Kolkata; Courtyard Marriott, Shillong; Courtyard Marriott, Raipur; RB House, Mumbai; Costeria Banquet Hall, Mumbai; Kempinski Summerland, Lebanon; Lodha Sales Gallery, Dubai; Kholset Road Sales Gallery, Mumbai; Manjeera Corporate Tower, AP; Renaissance Hotel, Guwahati.



[lighting talk]

This issue we talk to Marco Amosso, partner at Italian architecture firm, Lombardini22.

Left to right The Lombardini22 partners: Paolo Facchini, Roberto Cereda, Elda Bianchi, Franco Guidi, Adolfo Suarez and Marco Amosso.

How did Lombardini22 come about? Lombardini22 was founded at the end of 2006 by a group of six professionals, coming from different disciplines, sharing the desire to grow and fulfil their human and professional potential. I, myself, worked for Renzo Piano for three years which was a big influence on me. Lombardini22 was named after its address to give the first sign that this company was to become the professional home to a diverse group of people. Not a signature architect venture, but a multi-authorial group of gifted architects, sound economists and expert engineers. Innovation in relations with the client, service orientation, design thinking, trust and candour, obliquity, value creation: these words have been important in our evolution and still resonate with us. We have found a niche in the market that was not fully served. Clients want to be reassured by professional groups of a certain size and solidity, especially if their projects run for multiple years. Clients also need professionals that work together well, in one company or in different companies, and are able to connect and build successful (for the client) relationships. Clients want professionals, who are able to listen and understand their desires and objectives, before challenging them with fresh and innovative ideas and approaches. In 2009 Lombardini22 acquired and integrated the Italian branch of DEGW, the famous workplace consultancy firm, founded by Frank Duffy with Eley, Giffone and Worthington. Thanks to this acquisition and successful integration, the company grew rapidly and is now ranked number four in the list of Italian Architect Firms in terms of turnover. We focus our activities on retail, hospitality and office buildings with a special focus on workplace consultancy for primary international tenants. Our range of clients include most Italian real-estate developers and investors and international groups like CBRE Global Investors, Invesco, Blackstone, DEKA, Multi, Neinver, Sonae Sierra, Allianz, Deutsche Bank, Nestle, Alcatel Lucent. Our turnover mainly comes from Italy with 25% from abroad, mainly in the Mediterranean and the Middle East.

At the end of 2014 Lombardini decided to enter the physical branding business by acquiring FUD Brand Making Factory, a consultancy boutique dedicated to branding and marketing activities. How important is lighting to your designs? We see Architecture as an experience. Lombardini has launched a programme called Empathy of Space, in order to understand how the new frontiers of neuroscience can help understand how to design better buildings. We have been focusing on architecture as a kind of embodiment, a sensation you feel with all of your senses. And light is obviously crucial in this respect. Obviously, it is an extremely important aspect of our work and we can never find enough time to devote to what is such a fundamental aspect of space and how it is perceived and experienced. Most significantly, it is important for a company like ours, which handles such miscellaneous projects as offices, retail spaces and hospitality, to adopt various different approaches to lighting, according to the type of project we are working on. For example, offices call for a technical, ergonomic and extremely normative approach in terms of laws (dazzle, the amount of lux on desktops, health at the workplace etc.). The conventional approach is rather standard: the setting is a man-made functional box in which the perception of time tends to be gauged to the idea of a regular pattern of work with no distractions caused by light. In actual fact, it is possible to play around with different degrees and accents of light within confined spaces, even in settings like this, or introduce spotlighting or customised lighting at workstations, which is the direction in which we are now moving. It is a very different matter when it comes to retail spaces, where fewer rules and regulations leaves more room to manoeuvre: here there is a different purpose and the real aim is to create stimulating atmospheres suitable for communal spaces, such as a town square or inner-city shopping street etc. We also try to reproduce the specific spirit of a place (even though shopping malls are believed


Left to right The Alcatel-Lucent Headquarters in Vimercate (MB), Italy completed in 2014; the Nestlé Group new headquarters in Milan, Italy completed in 2014; Holcom New H.Q. in Beirut, Lebanon due to be complete this year.

to be the ultimate non-places). For example, in a successful project like Palermo Forum, plenty of attention was focused on conveying natural light down towards the mall plazas from up above, filtering it through architectural patterns capable of toning it down, like the man-made or natural screens found in Palermo’s old-fashioned markets (the Flee Market, which is sheltered beneath the foliage of trees, alleyways covered by tarpaulins, undulating features evoking the sea). The hospitality industry is a different matter and here the values to be conveyed by means of light include: luxury, comfort and a certain kind of modernity. In this case the lighting and lighting appliances have more obvious decorative features and the overall project is designed rather like a home environment. We are constantly moving between these two extremes: the indirect and shadow-less neutrality of a workplace and the spotlighting and carefully focused lighting of retail facilities (and everything that lies in-between). How do you contribute to the role lighting plays in the light of the city? Again architecture is an invitation to move, to act. Lighting is key in attracting and defining where to go and what to look at. Light is an important choice. In this case the architecture needs to be interpreted in a nocturnal key and it is actually possible to work in terms of similarities or contrasts: i.e. either turning the architecture into something else or asserting its design through the light illuminating it. In any case, it becomes a monument interacting with the city and no longer serves merely internal purposes. It is more representational, so in the case of a tower block for offices, for instance, it turns into a kind of urban totem. Alternatively it might act as a landmark for its surroundings. We pay very careful attention to the communicational side in the redevelopment projects for shopping malls we often work on or in the patterns of illuminated windows and ground-floor shops we often design for civil buildings in old city centres (this is the case in the Brera district of Milan). How do you approach lighting a building through architecture? If I have understood the question properly, then it is a matter of treating architecture as a structure that conveys and controls the natural light inside it (in the same way air circulates without forced ventilation), and it is actually defined by how the light strikes it in a certain location. So our approach starts with the location, the micro-climate that the light belongs to. The place itself is important because designing in a brightly lit place like a Mediterranean country, where even a minor protrusion on the facade can cast an extremely powerful shadow is quite different from working with the diffused light found in a Scandinavian country. So designing an entrance canopy, aligning the windows inside or outside a facade, carefully

arranging structures with their spaces and solid sections, are all design features that do not merely serve utilitarian purposes but are also connected with the light, which determines the particular structural design you wish to give a building. What is the importance of shadows and the balance of darkness and light in your work? Let’s work on the assumption that, in our culture, there is a very powerful hygiene-related paradigm: light is valuable in itself, it is synonymous with health and affects the value of real estate. There is no need to mention Tanizaki’s ‘In Praise of Shadows’ in order to point out that light can also violate space (and the people inhabiting it). That is why we never adopt a standardised approach to light in our projects, but always try to play around with its intensity, varying from a minimum to a maximum and everything in-between. This allows different depths of lighting to be incorporated, enhancing how designed premises are perceived and experienced. Our offices epitomise this approach: we have an open-space area pleasantly flooded with natural light, while the meeting rooms alongside them are much more intimate. There is also a black room when real concentration is required, more softly-lit administration offices, a terrace with a pergola that looks like a Mediterranean garden, an under-roof area in the half-light that we use for bigger meetings etc. Where possible, in all our projects we try and replicate the kind of variety characterising our everyday work. It is also worth pointing out that, in order to achieve this, we draw on the specific aid of lighting designers, who, in our opinion, are extremely high profile independent professionals, whose expertise is irreplaceable. Just like any other experts (and we have lots of them in our company), we believe that the complexity of our work as architects derives from coordinating a combination of different skills, helping them interact constantly in order to achieve the very best results possible. What are the best and worst illuminated spaces you have visited? Bearing in mind that it never rains but it pours, let’s ignore the worst. On the other hand, we would like to mention a number of very different examples that are emblematic of how to use both artificial and natural light. One might be Dubai Mall, a very recent and fashionable construction, and then, of course, there is definitely Soane Museum in Lincoln’s Inn Fields, London: perhaps the very beginning of modernity in the broadest meaning of the word, with all its skylights and dotted slabs allowing light to rain down from above and shine across the walls, mirrors dissolving in the corners, suspended planes and interplay of compressed and dilated space (and hence also light) on the inside. It is a constant source of inspiration.



NOURISHING CULTURES THROUGH LIGHT In conversation with Babu Shankar, Principle of Integrated Lighting Design, Mrinalini Ghadiok discovers the secret behind over six hundred projects, in thirty-three countries, having won numerous accolades. Babu’s accommodating nature, eternal passion and incessant perseverance has awarded him with the recognition as one of the most venerable lighting designers today.

Pic: Mitsun Soni




Pics: Integrated Lighting Design

Top Avasa Hotel, Hyderabad Bottom The Park Hyatt, Chennai and The Park Hyatt, Hyderabad

After exchanging a series of emails, I finally had the pleasure of meeting Mr. Babu Shankar at the launch of mondo*arc india earlier this year. Sitting across the table at a press conference, we didn’t get to speak much. Then at dinner, he seemed to escape before I could initiate a conversation. The next I saw of him was during the panel discussion, where he eloquently spoke about the lighting industry – as passionate about the bygone era as he was excited about what the younger crop had to offer. I finally managed to exchange a few words with him when he came up to me and insisted on subscribing to the magazine, even though it was offered to him compliments of the team. That is Mr. Babu Shankar. Our brief chat that day was followed by a series of in-depth, long distance telephone conversations; where we talked about his adventures as a young architect, him being thrown into the deep end of lighting and surfacing to be not only an expert,

but an impassioned professional who has dedicated his working life to lighting the world. I slowly discovered the nuances of what makes Mr. Shankar the man he stands as today. I now take the liberty of calling him Babu, a self made man, with a humble upbringing that imbibed in him a sense of responsibility and respect for those around him. Unassuming in his outlook and unassertive in his appearance, he is a lighting designer who commands a presence and respect much deserved. Babu moved with his family from India to the US in 1969, where he obtained his undergraduate degree at Howard University in Washington DC. Thereafter, he put himself through a post graduation in architecture from Virginia Tech, Blacksburg VA, by taking up multiple part time jobs. During his first semester of graduate school, the professor that he was working under suddenly passed from a stroke, leaving Babu in a state of financial conundrum. Unable

to fund himself anymore, he got a position as a draughtsman in a lighting fixture company called Hubbell. The Engineering Manager, Michael Siska, liked his work and soon enough called Lesley Wheel, of Wheel Gersztoff in New York City. On his exceptional recommendation, Babu was immediately hired to work with Lesley Wheel as an apprentice, which marked the beginning of his protracted career in lighting design. In the new office, Babu found himself faced with a small project that no one else cared much for – the renovation of the Roosevelt Hotel lobby in New York City. Grappling in the dark, Babu approached the work by poking his colleagues, asking unending questions and spending every lunch hour at the site. Five months later, the lobby was lit, and how – he surprised himself with how beautiful it looked and stood in disbelief that it was his own work, his first own work. Working in Lesley Wheel’s office, Babu


Kaya Kalp Spa, Agra

was privy to some of the top architectural firms of the time. At the age of 28, he was astounded sitting in I.M Pei’s conference room, working on a mixed-use project called Warwick Post Oak in Houston, Texas. Nostalgic of that moment, he says, “I felt like I had snuck into the room while no one was watching.” Such is the destiny of a hardworking man, who again came face-to-face with a project in Kuwait that no one else wanted to undertake. In 1984, Babu travelled to Kuwait to work with architectural firm, PACE on the corporate headquarters of Arab Banking Corporation in Bahrain. Till date, PACE remains one of Babu’s steady clients. His work at Lesley Wheel’s office paved his way for specializing in high-end hotels, resorts and restaurants; and as his mentor and initiator into the world of lighting, Leslie taught him the fundamentals of lighting design that he still stands by today. Establishing his own design practice,

Integrated Lighting Design (ILD) in Los Angeles, California, more than three decades ago, Babu became the first Indian lighting designer to practice in both India and overseas. With more than 35 years of experience in the field, Babu says that the industry has been very good to him. “As a second generation practicing lighting designer, I had the good fortune to work in around 33 different countries, including India. I started working in India in 1993 and at that time, I was only one of about 3-4 practicing lighting designers.” A strong desire to work in India brought Babu in contact with Hong Kong based interior designer, Mr. Chandu Chadha, who was at the time pursuing multiple highend hotel projects in the country. Babu first worked with him on the Oberoi Hotel, Chennai, which unfortunately never saw the light of day. However, it did open new doors and Priya Paul of Park Hotel invited Babu to design her first boutique property, The

Park Hotel in Chennai. The rest was history, as all other Park Hotels, in Bangalore, Hyderabad, Kolakatta and New Delhi were later illuminated by ILD. Working with large scale, prestigious projects, Babu says that the quality of architecture and interiors provided a great canvas to work with. He always felt that good architecture lights itself. With limited lighting vendors in the country and few fixtures at hand, they had to bring samples from overseas and would have local vendors replicate them. Without much understanding of optics, glare control, cut offs and quality of reflectors; what was lacking in technology was made up in individual craftsmanship. That was an era of bespoke vernacular technique, which eventually produced some wonderful fivestar properties. Even though India failed to be a growing market at the time or the most coveted place to work in, Babu nurtured his



Top left The Park Hotel, New Delhi Top right Zen Restaurant, Kolkata Center right Blue Ginger Restaurant, New Delhi Bottom Left The Park Hotel, Bottom right Muthoot Heritage, Trivandrum

connections and till date continues to undertake projects here. With respect to the evolution of the design and lighting industry over the last 20 years, he is amazed at the substantive growth that India has seen, giving rise to numerous designers and design practices here. On questioning him about the current design culture prevalent in India, Babu responds with mixed feelings. Acknowledging that there are great opportunities here, he laughs about how him and his contemporaries had to wait for a decade or maybe two to even come close to some of the projects that the younger designers are doing today. Babu goes on to elaborate that even though India’s lighting design

industry is thriving and growing in leaps and bounds, there are both opportunities and challenges for these young designers. While the community today is considerably flexible, without many restrictions on formal education and qualifications, he feels that there is an imperative need to ensure professional standards and good ethics. With a growing acceptance for less than ethical tactics, Babu puts the onus on poor compensation and high competition for the work available. Sharing words of wisdom, he talks about the need for employee retention, production of quality products and maintaining excellence. Young, inexperienced designers produce great presentations and renderings, but

where they lack is in execution of these said plans. “You can create a great design, but the design is only as good as its implementation.” Citing his own example at ILD, Babu emphasises that we must establish and promote credibility and expertise. “We offer full service that goes beyond design and documentation, and I feel that has been the backbone of our success. The site team wants to do the right thing and follow your design, but unless they understand your design intent and your willingness to work through the site’s situation with them, the project just does not succeed to everyone’s satisfaction.” I ask Babu about the nascent Indian

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HIGHLIGHTS Projects that you’d like to change/ rework in India: There is always something that can be perfected on every project. Lighting heroes: Howard Brandston, Richard Kelly, Paul Marantz, Jonathan Speirs, Paul Gregory, Motoko Ishi Notable projects: Park Hyatt, Chennai; Trident Hotel, Hyderabad; JW Marriott, Mumbai Sahar; Bhushan Steel Headquarters, New Delhi Memorable projects: The Willard Intercontinental Hotel, Washington DC, originally built in 1905 and located a block away from the White House, was restored in 1985. After having worked for only 5 years in the industry, Babu won his first IES Award of Excellence for lighting this project. He also enjoys working in Japan. “Whatever they do, they do well. It is the only country that I know where our projects actually turn out better than our design; and this is because of the scrutiny and the coordination theproject teams go through.” Current projects: ITC Hotel and Residences, Colombo; IREO Grand Hyatt mixed-use project, Gurgaon; Grand Hyatt Hotel, Cochin; high-end residences, Chennai and Bangalore Awards: • Initiated as Fellow member of IALD, 2005 • IES Award of Excellence - Grand Hyatt Hotel, Maui; ANA Hotel, Tokyo; Willard Intercontinental Hotel, Washington DC • IALD Award of Excellence – Willard Intercontinental Hotel, Washington DC • Los Angeles Historical Conservatory Award Historical library renovation, North Hollywood, CA

Top Park Hyatt, Chennai, Bottom Trident Hotel, Hyderabad

lighting industry that today comprises of professionals hailing from varying backgrounds and practicing lighting design. He responds with solemn clarity, albeit encouragement, stating how some designers bring with them experience in architecture or engineering, while some have worked with manufacturers and suppliers. These diverse paths have opened the doors of opportunity, allowing many to work in the industry. He goes on to say, “In a country of one billion people, there is room for everyone in an industry that is growing and evolving. One common thing is that all these young designers have a passion for lighting, and some of them are actually delivering world class designs right now.” I argue that being such a new economy;

we are still finding our feet and taking shape. I question whether there is a need to organize the industry and categorize designers by certification, which seems to have become the norm. Do we need an organisation that can identify ‘designers’ or certify them? Is design not too subjective a field of interest? Waiting for an impatient retort, I am surprised by Babu’s humility once again. “Some of your questions are valid and I don’t have the answers,” he says. He goes on to explain that professional organizations such as IALD, which are internationally recognized, create forums for lighting designers to meet and exchange ideas. In fact, this year the IALD is starting a process of certifying qualified lighting designers.

Besides the ups and downs, the faults and peaks, Babu repeatedly returns to India for work. His passion for light is relentless, and no matter how much I poke the walls of zeal, they seem infallible. So I end the many conversations by asking the obvious questions - What do you make of yourself as a designer and what does your future hold for you? And in the same calm voice, aching with fervor, I am told, “I feel that I am a good designer, not a great designer; but once in a while I land a project that brings out the best in me and gives me a lot of satisfaction at the end. I still aspire to be a great designer and will keep striving until I just can’t any more. Who knows when exactly that might be…”

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(PART 2)

We bring you the second 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





CHASING RA Architect Kamal Malik describes the power of light and challenges the comprehension of the sun.

Sitting in padmasana on the deck of my residence, my gaze focuses on the first ray of the sun as it rises from behind the hill. This single ray becomes the object of my concentration and has literally become a guiding light for me in meditation. Einstein soon after his ‘quantum’ theory

said: “I will spend the rest of my days reflecting on what light is.” I am convinced that this quest can only be one, whether it is scientific or spiritual. To even minimally comprehend the subject of ‘light’ I feel that we need to explore its facets and dive into the depths of what

constitutes it. Light to me, as a subject is an eternal and complex matrix. We see and feel the impact of Light not only as vision but also as emotions. We have never really bothered to even scratch the surface to see what lies beneath, to comprehend or to



understand. This matrix certainly emanates from nature and comprises predominanty the sun, moon, stars and lightning among other elements, the last layer being that of human endeavour. If you try and amalgamate the cumulative qualities of this quad, one quickly realises that it is nothing short of a miracle. However, what is at the core of this phenomena? It simply echoes the very nature of existence as a continuum. The entire cosmos is in perpetual evolution, where nothing is constant. In the process of our work we attempt to study the sun, as well as the other elements, but each time to my surprise and wonderment the sun reveals that it is a far more complex phenomenon than we can ever comprehend fully. Imagine if we only factored one element, the sun, and worked our design concept

around it, following its orbit as it moves through the day and as it morphs through the seasons. Orientations, thicknesses of walls and fenestrations would be precisely aligned to harmonise with the sun. Having been witness to the magic of the Jantar Mantar, Jai Singh’s observatory in Jaipur, I was overwhelmed. The fact that here the sun had been used to read time to 1/10th of a second was absolutely astounding. This realisation threw open new doors for me. At the Jaipur Cancer Center we attempted to depict this aspect of time as a metaphor, expressed through a hybrid of the Jantar Mantar observatory and the Hubble telescope. The very sun itself is experienced by us on earth as we orbit around it. The entire phenomenon of natural light therefore is completely dynamic, constantly evolving and never static. Why then at the very

moment that we conceive artificial light, does there emerge a ‘fixity’ in complete contrast to what nature does during the day? 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. While the sun is essentially an overhead source, we on the other hand have an endless array of possibilities to position our light source in a 360º ambit, from ground to ceiling. If we allow ourself to comprehend the combination of nature and the sun with scientific research, adding to that the fact that we have unlimited flexibility of placement of the light source, lighting in the future can certainly offer competition to the sun.

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Projection Tunnel


Light exemplifies emotion and epitomises illusion. In conversation with scenographer, Sumant Jayakrishnan, we talk about the ‘lightness of being’. “On your tiny planet, my little prince, all you need do is move your chair a few steps. You can see the day end and the twilight falling whenever you like.”

- Antoine De Saint-Exupery, The Little Prince As the sun slips into his covers, and the night pulls down her shades, darkness envelops the senses. Sumant Jayakrishnan

is a scenographer, designer and installation artist; but most interestingly he is someone who plays with light, moulding and sculpting to give it physical form. Our



James Bond Tunnel

conversation darts across the map, from theology to theatre, from traditional to technical. We question the transformative qualities of light and challenge the choice to either stay true to an element or cheat. “What you light is what you see, “ says Sumant. This is very true of performance spaces where light is being used as the source to create mood, highlight structures, maybe simulate the time of day and imply a passage of time, whether short or long. The most extraordinary spaces and designs can disappear into darkness or get bleached into the ordinary without the play of light. In his very first theatre piece the stage had a black fabric backdrop of white

painted banners depicting the New York cityscape. Details of the cityscape along with specific words were painted in UV paint. During scene changeovers, as props moved across the stage, the glowing UV lines created their own enigma as a tool of transformation. This love for the magic of black light exists to this day where Sumant recently erected a UV painted tensile tent for a cocktail event in the middle of the Dubai desert. Usually seen at music festivals like “Tomorrow land” or “Burning Man”, it was refreshing to transform the use of this psychedelic tent for a formal event. The process of transformation can be

further described in “A Midsummer Night’s Dream” – a multilingual play directed by Tim Supple. The stage floor was earthen, covered initially with a giant piece of silk. The backdrop was a double layered wooden scaffolding covered initially entirely in paper for the opening court scene. A bridge was cantilevered (also covered in paper), on which Oberon the king, would frequently appear. Careful lighting highlighted the revelation of the earthen floor as the giant silk shimmered away while Puck pulled it along and off the stage as an enormous train. Clever lighting allowed the paper backdrop to resemble a stone surface. This paper was then dramatically ripped open by fairies with a burst of light to create a shredded appearance, which artfully transformed it into a forest. Subsequently the paper was ripped off the scaffolding completely by the fairies. Vertical down lights highlighted the bare bone structure of the scaffolding transforming it into a glowing sculpture. Performers then appeared and disappeared magically through the darkened woodwork, allowing it an infinite depth. During our conversation, we chance upon James Turrell, a pioneer in transforming spaces with light. He uses light as a material to create and dissolve boundaries. His works are astounding – emotive to the extent of numbness. Sumant describes his experience in a ‘Turrell-ed’ space. “One of my inspirations has always been James Turrell, who is the master of using light as an isolated and almost tactile substance. I first saw an opera To be Sung



where he had created a large light box within which there were performers. The box appeared infinite within, with no beginning or end. It allowed us as the observer to not consider what is being lit but instead contemplate the nature of light itself, its transparency or opacity, its volume, and its colour, which was perceived as changing, thus adding a temporal aspect to the experience.” Working with myriad material, would light be counted as one, to create form, images, experiences or even moments? How does light transform material, space and the scale of space? Materiality can be illustrated in a recent project for the India Art Fair, wherein I used one of my favourite materials - yarn, in about 32 different colours. The reason I love yarn or filament in any form is for its transformative possibilities. This simple, almost invisible material can become very effective and architectural in the presence of light. At the art fair I layered and twisted

yarn to create abstract sculptures. Washes of warm white light were used to enliven the sculptures, yet stay true to the colour of the material. I also derive inspiration from architectural icons, one being the Jantar Mantar observatory. In one project, I used ribbon on a metal skeleton to create a transparent abstraction of the Samrat Yantra (the biggest sundial in Jaipur), and titled it the “Stairway to Heaven”. The steps were made of clear acrylic and highlighted by rows of candles. I also worked with gold and silver metallic ribbon that is highly reflective. Using LED to program sequences of selected colour washes; the ribbon was transformed architecturally. Light in these cases not only transforms material, but also transforms space and the scale of the space. In your work, light begins to take varied forms – accentuating an object or sometimes becoming the object itself. How do you shift between using light as a design tool and a design element?

In performance one is generally looking at light with an external eye. However in art projects, architectural and event spaces, one inhabits the space. The rules of lighting then become more complex as you are within the experiential space. In these situations very often light itself becomes the object and the design element. When we refer to the scale of space and objects, bulbs have been a source of excitement. I have used naked bulbs to create sculptures that one interacts with, or even a landscape that you walk through as an audience. Recently I worked with tiny LED bulbs at a very large scale, outlining architectural metal structures to create a translucent fairyland that you can walk within. We programmed the bulbs in a manner that creates different moods at different moments. For Swarovski’s 10th Anniversary event in Delhi, I worked with light and reflectivity differently. The entrance was a large mirrored kaleidoscopic space filled with suspended crystal strings leaving an opening


Crystal tunnel


Third Eye

“A Midsummer Night’s Dream”

big enough only for a single person to enter. However, the space was lit with hidden sources in a way that the crystals reflected multifold into infinity in the kaleidoscope, creating a moment of wonder. Expanding the scale of an object like the kaleidoscope and controlling light is one of the key elements that create drama in a moment. How does the dynamism of daylight affect your design intent? As day falls to night and the universal light gives way to artificially positioned point sources, does space contort to the specificities of its light? Daylight changing through time, from dusk into the night, is one of the biggest challenges in the design of an event space. The slow addition of artificial light as dusk deepens, transforms a space experientially and psychologically. The larger universe disappears gradually and shrinks into the lit space. And to mark this momentous change, I almost always present it with a natural flame. At times we light bonfires and torches, or even candles, diyas and oil lamps. Dusk is the autumn of the day and usually inspires a lowering of energies and mood. To combat this, the ritual of lighting the lamp to ward of evil energies and depression becomes very symbolic. As the skies turn dark, the moon appears brighter. I have used self-lit helium balloons in some of my work, which radiate an incandescent glow to often lift the mood and spirit.

Colour is a powerful tool to define moods and ambience, but it also carries on its shoulders the weight of multiple cultural connotations. How does your work straddle the idea of colour with light? Colour is one of the most important choices that one learns to make in an ephemeral space. The understanding of how colours mix can enhance or extract certain details of a design, sometimes the smallest details becoming the main focus. Light is inherently very emotive. Warmth and sensuality can be implied very obviously through warmer tones of light pinks, ambers, reds and yellows. Coolness, freshness, modernity, and the contemporary can be imagined very often through the use of cooler tones of light, in shades of blues, greens and purples. Often a cold winter night will feel warmer with the use of warm colours, and a summer evening can be cooled with cooler hues. The fun part of course is to break the rules sometimes and yet make the exception work. Colour is sometimes very closely connected to the cultural space. A traditional Indian event is generally associated with warmer tones, and with Fire. An orange flame contrasts well with blue light, however, we refrain from using that, as it tends to denote nature and a moonlit night. An indoor fireplace or a sacred fire inside a temple would need to be represented in a different way. With the advent of the Internet however, differences in meaning

are now narrowing. Cultural connotations are dissolving and paving way for empathy. Another important reason that the use of colour has increased drastically is due to the advancement in technology. Earlier lights were limited to the availability of gels in a restrained colour range. With the coming of newer and more flexible, programmable lighting systems with variable colour options and moving heads, people have the choice to experiment more. This flexibility has allowed for more expansive and dramatic lighting, which many purists may not agree with. Lighting technology further extends into the space of lasers, projections and video mapping. These are all very exciting mediums if used innovatively and conceptualised intelligently. A recent set design project demanded the use of laser to create Shiva’s third eye. In any of these projects one is creating a universe, complete in itself. It is a fragile space where many skills and emotions come together to create the whole. Light is the invisible performer and the most important one of them all. Light can become a medium to express thought, articulate ideas and even reflect memory, but what light does most is, create an ambience, and satiate the emptiness of time and space. It can shape or destroy, it can enrich or reduce, it can modulate or even dissolve. Like Shiva’s third eye, light is a power.



Pics: Marcus Ebener

BACK TO THE FUTURE LWL Museum's re-opening revealed a new addition to the 20th Century building with a rennovated lighting scheme by Licht Kunst Licht that guides visitors through a millennium of art and culture. Extended by Staab Architekten through a new construction connected with the existing building from 1908, the LWL Museum for Art and Culture in MĂźnster, reopened in September 2014 - now displaying its collection in 51 exhibition spaces - is

flanked by a library, auditorium, access and relaxation zones, as well as a bookshop and restaurant. The carefully structured lighting concept by Licht Kunst Licht (LKL) offers flexible exhibition illumination, while orchestrating the architecture. Light

is integrated into the architecture and new visions of an interconnection between the museum and its neighbourhood open up from within. Regardless of the perspective - inside or out - openness and clarity undeniably prevail in this building, with the


lighting concept underlining these qualities. Consequently, LKL opted for a stringent integration of all light sources, with the light effect at the focus of the design. Entering through the new extension, visitors are welcomed by a three-storey foyer spanned by a glazed skylight and a membrane ceiling below - creating an interesting play of light and shadow that shapes the space. In order not to encumber

the ceiling surface's visual effect, the foyer illumination has been fully integrated into hidden wall recesses throughout. For the adjacent courtyard, ERCO downlights have been integrated into the vertical façade surfaces, illuminating the patio and orchestrating the sculptures and objects on display. The light sources remain concealed as visitors pass the staircase connecting the foyer and exhibition spaces on the second

and third floor. Nevertheless, the sculptural character of the staircase is emphasised by light emanating from the linear ceiling recess – appearing as a dark groove from below. Moving through to the new exhibition spaces, a unique lighting solution has been specifically developed. A ceiling integrated artificial lighting frame creates a calm ceiling impression and provides



flexible light. The light frame creates a particularly homogenous illumination of the wall surfaces, achieved through a precise arrangement of dimmable fluorescent lamps behind the translucent membrane. Artificial light frames and projectors work to form a versatile duet in the exhibition space. Following the groove between the lighting frame and the central ceiling area is an ERCO track, which allows for the flexible adaptation of Gallery LED cc spotlights from Eigenart Leuchten. Moving up through the building, artificial and natural light is carefully matched through the use of five skylight spaces. Large, centred daylight ceilings allow the dynamics of natural light into the interior space, but in order to avoid the detrimental effects of direct sunlight, a laminated glass sandwich has been fitted with a micro-prismatic layer. The amount of light can be further reduced through a roller blind, while another layer allows

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daylight sensor on the museum roof. Moving through to the historical building, a filagree lighting profile has been implemented so the visual disruption of the listed arcade space is not interrupted. In spite of its small cross section the profile accommodates three lighting functions - fluorescent lamps for the indirect component precisely illuminate the vaults above the transverse arches while the profile’s lower section contains LED miniature projectors.

for a complete blackout, and a translucent membrane ceiling facing the interior acts as an additional filter. In order to achieve artificial light identical to that of the other exhibition areas, a combination of the aforementioned light frame and trackmounted spotlights has been implemented. The luminous flux emitted by the ceiling integrated light frames is automatically dimmed by a daylight harvest control, with the data required for this provided by a



された芸術作品と共に建物自体も照らし、 来場者を西洋の芸術と文化の千年間に誘

ドイツのミュンスターにあるLWL芸術文化 博物館は、 照明デザイナーのLicht



Licht と建築事務所Staab Architektenと の協力により改築を行いました。Bega、Erco、Mawa、Meyer、Rentex、Selux、Zumtobelの建築照明を特色とする新しいコンセ プトは、照明を建物と一体化させており、新 たに建築した部分を歴史的建造物と共存さ せています。古典的なアーケードの回廊から 新しいホールの彫刻の階段までを日光と光 の天井が照らす照明のコンセプトは、 見事に 調和しています。 同時に、 この古く新しい建物

CHINESE 照明设计公司 Licht Kunst Licht 与建 筑事务所Staab





通力协作, 艺术文化

For the central staircase, decorative pendant luminaires are suspended from vault apexes, while the uppermost floor of the staircase has been fitted with additional direct illumination by ERCO Quintessence downlights. The library has abundant daylight intake through the patio, but the high mobile library shelves require good vertical illumination of the book spines. Two Selux pendant luminaires have been suspended,


Architekten. Présentant un éclairage architectural


de chez Bega, Erco, Mawa, Meyer, Rentex, Selux et


Zumtobel, le nouveau concept intègre l’éclairage à


l’architecture, avec sa section nouvellement constru-


ite agissant de juxtaposition moderne au bâtiment an-


cien. Des couloirs classiques en arcades aux escaliers


sculpturaux du hall d’accueil moderne, la lumière du


jour et les plafonds lumineux illuminent l’ensemble,



auquel le concept d’éclairage est harmonieusement adapté. La nouvelle et l’ancienne construction invitent toutes deux les visiteurs vers un millénaire d’art et de

Le Musée régional d’art et d’histoire culturelle (LWL)

culture occidentale, guidés par un éclairage intelligent


de Munich en Allemagne a subi une rénovation com-

et soigneusement intégré qui éclaire les œuvres d’art


plète de sa collaboration par le concepteur d’éclairage

du musée, ainsi que la beauté historique du bâtiment.


Licht Kunst Licht et le cabinet d’architecture Staab



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PROJECT DETAILS LWL Museum, Münster, Germany Client: Landschaftsverband Westfalen Lippe, Munster Architect: Staab Architekten Lighting Design: Licht Kunst Licht Project Manager: Martina Weiss Exhibition Design: Space4 Scenographic Exhibition Lighting: LDE Belzner Holmes

LIGHTING SPECIFIED New Construction Atrium & Patio: ERCO adjustable downlights Bookshop: Xal showcase lighting & ERCO downlights Galleries: Eigenart Leuchten Gallery LED cc track-mounted spotlights Library: Selux pendant luminaires & ERCO adjustable downlights Restaurant: Flos downlights, Graypants & Filumen pendant luminaires, Proled LED light strips ERCO tracks Rentex luminous & daylight ceilings Exterior: Bega step lighting & Meyer gobo projectors Historical Building Arcades Arcade corridors: Zumtobel Supersystem pendant luminaires Staircase illumination: Mawa Humboldt Uni pendant luminaires & ERCO Quintessence downlights

while vertical displays are highlighted by flush recessed downlights. For the ground floor access areas and recreational zones, flush ceiling recessed downlights have been implemented to create directional light as well as a calm light atmosphere, while for the auditorium flush recessed ERCO LED and HIT downlights create resonant light and dimmable LED luminaires create an atmospheric ambience. Moving outside, wall recesses in the new

DEUTSCH Das LWL-Museum für Kunst und Kultur in Münster, Deutschland, wurde in Zusammenarbeit zwischen dem Beleuchtungsdesigner Licht Kunst Licht und dem Architekturbüro Staab Architekten renoviert. Das neue Konzept mit Architekturbeleuchtung von Bega, Erco, Mawa, Meyer, Rentex, Selux und Zumtobel umfasst die Beleuchtung in der Architektur, mit einem neu gebauten Museumsbereich, der als moderne Gegenüberstellung zum historischen Gebäude fungiert. Von den klassischen Arkadengängen bis zur skulpturalen Treppe im modernen Eingangsbereich sind überall Tageslicht und Lichtdecken vorzufinden, an die das Beleuchtungskonzept harmonisch angepasst

building’s façade have been fitted with wall washers in order to illuminate the facing historical building homogenously and softly. The public square on the new building’s opposite side is orchestrated by various lighting elements, along with recessed orientation Bega step lights. The focal point of the museum’s exterior façade illumination however, is Otto Piene’s refurbished light sculpture Silberne Frequenz, integrated carefully into the

wurde. Zusammen führen das neue und das alte Gebäude die Museumsbesucher durch ein Jahrtausend der westlichen Kunst und Kultur, geführt durch die intelligente und sorgfältig integrierte Beleuchtung, die die Kunstwerke des Museums sowie das Kunstwerk des Museumsgebäudes an sich beleuchtet.

ITALIANO Kunst Licht in collaborazione con lo studio di architettura Staab Architeken. Dotato dell' illuminazione architettonica di Bega, Erco, Mawa, Meyer, Rentex, Selux e Zumtobel, questo nuovo progetto integra la luce nell' architettura con una parte del museo che é di nuova costruzione e che funge da giustapposizione moderna all' edificio storico. Sia

exterior lighting concept. With the museum’s cultural artifacts reflected in the building’s historical architecture, LWL Museum is a wellorchestrated hub of anthropological significance. LKL’s detailed lighting scheme intuitively guides visitors through 1,000 years of Western art and culture in this defining reconstruction.

i classici corridoi con le arcate che le scalinate scultoree nel foyer moderno, dispongono di luce naturale e soffitti luminosi per cui il concetto di illuminazione é abbinato armoniosamente. Isieme, il nuovo e l'antico edificio, portano i visitatori del museo attraverso un millennio di arte e cultura occidentale, il tutto guidato da un' illuminazione intelligente ed accuratamente integrata che illumina le opere d' arte ospitate nel museo e l' opera d' arte costituita dall' edificio del museo stesso.

ESPAÑOL El Museo de Arte y Cultura LWL en Munster, Alemania, recibió una renovación mediante la colaboración entre los diseñadores de iluminación Licht Kunst Licht y la firma de arquitectos Staab

Architekten. Al presentar iluminación arquitectónica de Bega, Erco, Mawa, Meyer, Rentex, Selux y Zumtobel, el nuevo concepto integra la iluminación en la arquitectura, con una parte nueva construida del museo que sirve como una yuxtaposición moderna al histórico edificio. Desde los clásicos corredores con arcadas hasta las escaleras esculturales en el moderno hall, existen cielorrasos luminosos y con luz natural de punta a punta, a los que el concepto de iluminación le combina armoniosamente. Juntos, el estilo nuevo y el viejo, llevan a los visitantes del museo a través de un milenio de arte y cultura Occidental, guiado por una iluminación integrada inteligentemente y con cuidado, que ilumina las obras de arte albergadas en el lugar, y la obra de arte que es en sí mismo el edificio del museo.



Pics: Lighting Design International

Pics: Sorae Sushi


ON CLOUD DINE Interior designers LW Design and lighting designers ASA Studios put their heads together to create a dining experience to remember at Ho Chi Minh's Sorae Sushi Sake Lounge.

Sorae is a Japanese sushi and sake restaurant/lounge at the heart of the bustling district of Saigon, Vietnam. Situated on the 24th and 25th floor of AB tower overlooking magnificent panoramic views of Ho Chi Minh City, the space takes eating and dining to an exciting new place. The lighting scheme from ASA Studios utilises a contrast between light and darkness, creating a dramatic atmosphere for diners to experience unique, authentic Japanese cuisine, culture and heritage. The lighting, which makes use of products from Philips, Osram, NVC and ELEK, is designed

with the idea of creating a floating effect, giving the impression of dining up in the sky. The ceiling is softly illuminated and accentuated by glowing clouds to mimic the clear evening sky found after tropical rain in Saigon. This idea connects seamlessly with the sky outside, which is reflected in the large glazing - offering amazing views of the city nightscape. Well lit, open kitchens and cooking counters have been designed as a stage for chefs to perform the art of Japanese cooking. Every feature and display has been selected with care and features well integrated lighting

technique which focuses on presenation rather than detail. The combination of light, food and music makes for an unforgettable dining experience up in the sky above the streets of the city below.

PROJECT DETAILS Sorae Sushi Sake Lounge, Ho Chi Minh City, Vietnam Client: District 1 Concept Interior Design: LW Design Lighting Design: ASA Studios Lighting Suppliers: Philips, Osram, NVC, ELEK



Pics: Historic Royal Palaces


History and prestige meets design and technology in Hoare Lea Lighting's strategic illumination of the new Cumberland Art Gallery at Hampton Court Palace.

Commissioned by Historic Royal Palaces, Hoare Lea Lighting has designed the lighting for the Cumberland Art Gallery at Hampton Court Palace. The new space for artworks from the Royal Collection allows visitors to view artwork in a gallery setting, which reflects the palace’s history as a destination for the work of renowned artists, such as Holbein, Van Dyck, Rembrandt, Caravaggio, Bassano and Gainsborough. This meant displaying artworks in new and interesting ways and lighting them creatively.

The gallery occupies a newly restored suite of rooms designed by architect William Kent in the 1730s. The Cumberland Suite is at the heart of Hampton Court, where Tudor meets Baroque. Five of the ten rooms that make up the apartment, together with lobbies and corridors, now form the Cumberland Art Gallery. The brief given to architects Purcell and Hoare Lea Lighting was to return the Cumberland Suite to Kent’s original scheme, representing the rooms in their historical context.

Understanding the architectural heritage of the space, while creating a contemporary lighting solution using modern technology, was crucial to the project’s success. The project required close collaboration with the Historic Royal Palaces and design teams. Simon Dove, Associate, Hoare Lea Lighting explained: “Working within a listed building such as Hampton Court, inevitably presented unique challenges, mock-ups were used to explore the implications of introducing new bespoke light fittings and communicate design ideas.” Hoare Lea


Picture rails by Raylight power LED spotlights to highlight artwork in the gallery's many rooms.

Lighting’s CGI product, the LightSIM, was used to create a virtual reproduction of the space; this proved highly effective when discussing the proposed scheme with stakeholders. While remaining faithful to the original architecture and finishes, the intent was for the environment to have the feel of a gallery and the lighting immediately announces that this is a different type of space. Picture rails from Raylight supply power to LED spotlights, which highlight the paintings, while avoiding fixings to the panelling. Although Tungsten has often been used in gallery settings, LEDs have now developed to a point where the quality of white light produced together with other benefits, such as energy efficiency, small size, high-colour rendering of 95+, warm colour temperature, ease of dimming and

the lack of ultraviolet light created, made LED an ideal choice for this environment. The look of each fitting was carefully considered to ensure the scheme complemented the space during the day and enhanced it at night. These fittings, developed in favour of the traditional linear picture lights usually specified in heritage buildings, give a contemporary elegance to the rooms. To incorporate flexibility, achieve the precise lux levels on the art required, and create the desired visual impression, individual dimming control of every fitting was important. Dove explained: “It was a key requirement to dim each luminaire from within the space, rather than from a remote location or via a complex lighting control system. We wanted to ensure that when a new hang is set-up, the Palace

could do this without having to ask the lighting control supplier to attend site.” This is demonstrated by the ceiling rosettes used to light a number of rooms. The disc-shaped rosette is suspended from the ceiling above the chandelier. Miniature spotlights mounted on the disc accent the artwork. Each spotlight is fully dimmable, mechanically adjustable and can be moved within the disc and angled to light, for example a painting or an architectural feature within the room. Fittings are linked to a Lutron architectural lighting control system; this uses simple scenes, and allows switching for security and cleaning purposes. To the left of the lobby is the Wolsey Closet. A surviving Tudor room, this wood panelled closet features an ornate gold ceiling and a sequence of vivid



painted panels. Adjustable uplights by TM Lighting installed in the window sill light the ceiling, while a custom antique brass finish fascia ensures the fittings blend seamlessly with the architecture. Floor-standing LED uplights, also by TM Lighting, infill the gold ceiling and light the paintings that line the room at high-level, creating a diffuse light. The LED modules are installed above head-height, to avoid direct glare. Housing Rembrandt’s Self-Portrait in a Flat Cap, the Presence Chamber features a beautiful William Kent ceiling. The visitor’s eye is drawn to the white plaster ceiling and its details, which are picked out by LED spotlights discreetly integrated into seating in the centre of the room. Background lighting is provided by decorative wall sconces, supplied by Historic Royal Palaces. A number of lamps were tested before an LED candle lamp by Heritage Lighting was selected. As Dove explained: “These look good, dim beautifully to a very low level and were available in a warm colour temperature.”

Due to the historic nature of the space, particularly the Kent ceiling, finding locations for luminaires to light the artwork was difficult. The solution was to mount the spotlights to the rear of the picture frames, a technique often used in these environments. The Bed Chamber features portraits by Holbein of Sir Henry Guildford and Thomas Howard, Duke of Norfolk, which are displayed in a glass case. The portraits are lit by LEDs located at the top and bottom of the case. Within a number of the rooms, the stone windows have been lit with LED uplights discreetly located on the window sills. Although providing a subtle wash these add tremendously to the lit scene, preventing the windows becoming black holes at night. On display within the Duke’s large light closet are twelve Grand Canal views of Venice by Canaletto. Miniature spotlights mounted on the ceiling rosette above the chandelier highlight the paintings and provide general illumination. Commenting on the project’s success, Mark

Hammond, Partner of Purcell and head of the practice’s cultural sector work said: “We always enjoy working with the creative and conservation teams at Historic Royal Palaces. The carefully conserved rooms have been brought as closely as possible back to their Georgian appearance, while new technology has been sensitively incorporated to provide a rich experience for the Palace’s many visitors. The new lighting was designed to provide beautiful illumination of the paintings using the latest LED technology, but minimising the impact on the sensitive building fabric. The result greatly enhances the artwork and the room’s architectural features.”

PROJECT DETAILS Cumberland Art Gallery, Hampton Court Palace, London, UK Client: Historical Royal Palaces Agency Architect: Purcell Lighting Design: Hoare Lea Lighting Lighting Suppliers: Raylight, TM Lighting, Heritage Lighting

The carefully conserved rooms have been brought as closely as possible back to their Georgian appearance, while new technology has been sensitively incorporated to provide a rich experience for the Palace’s many visitors.

Photography: James Newton



Pics: Sander & Bastian, André Schimschal and Alec Bastian


MINIMALIST VISION Pfarré Lighting Design worked to illuminate the Gerber Mall's interior, providing clarity and sophisticated minimalism. Located in the city of Stuttgart, the Gerber Mall is a multi-functional space with high urban significance; a major shopping destination in the capital of the federal state of Baden-Wuertemberg. Pfarré Lighting Design collaborated with architect Quartier 'S' EPA Planungsgruppe & Bernd Albers, and interior designer Ippolito Fleitz Group, in order to take on the sizeable challenge of illuminating the 25,000sqm space. With three entrances on two levels, the mall reflects its complex urban situation and neighbourhood. In the light of a corporate design theme for all entrance areas, 31 Hatec Lichttechnik LED rings have been designed especially for the project. In the basement, the rings are integrated in the ceiling, while freely suspended from the high ceilings at other entrances. A hoola-hoop piece consisting of ten rings with an RGB system for special events, circles around a central column and is reflected in the fountain below, spanning the height of all three shopping floors.

Lightness, clarity and sophisticated minimalism are at the centre of the Gerber Mall interior lighting design. Lead by Gerd Pfarré, the team minimised the visual weight of a one-metre high ceiling package filled with air-conditioning ducts and other necessary technical features by illuminating the white flanks of the generous ceiling openings. To maintain a dynamic experience for shoppers, with a clean, modern feel, spotlights have been integrated into a recessed, matte-black channel system, appearing in clusters across the ceiling to provide a bright, homogenous light throughout. The black channels correspond with the black escalator’s handrails and dividing gaps under the escalators, providing a contrast to the underside of the escalator illuminated by Hatec LED. Glare-reduced, honeycombed metal-halide spots enhance the public space and generate contrast to the ambient light emanating from Hadler Luxsystem SL seamless linear luminaires in the various shops.

A huge skylight allows the daylight to illuminate the enormous space from above. In order to hide the frames, Ippolito Fleitz Group designed a system of white baffles, with a blue LED strip from Hatec Lichttechnik - transforming the skylight into a source of light at night. The modern and dynamic design of this mall reflects the hustle and bustle that flows through it on a daily basis, with the hoola-hoop piece defining the Gerber’s dynamic yet functional character.

PROJECT DETAILS Das Gerber Mall, Stuttgart, Germany Client: Gerber GmbH & Co. KG Architects: Quartier 'S' EPA Planungsgruppe & Bernd Albers / KBK Architekten Interior Design: Ippolito Fleitz Group Lighting Design: Pfarré Lighting Design Lighting Suppliers: Erco, Flos, Gessler, Hatec, Hadler, TDX, XAL, Zumtobel



Pics: Vittorio Storaro

IMPERIAL ILLUMINAZIONE Francesca and Vittorio Storaro have collaborated to shed light on a most historical and majestic landmark - the Fori Imperiali. Located in Rome, Italy the forums have been illuminated in a way that pays homage to the fallen leaders of ancient times. On the initiative of the Comune di Roma Capitale and Mayor Ignazio Marino, the Fori Imperiali (encompassed by the Capitoline, Palatine and Quirinal hills) has become the focus of a major illumination project. This was entrusted to Professor Vittorio Storaro – winner of three Oscars, as the cinematographer of such masterpieces as Apocalypse Now, Reds and The Last Emperor – and his daughter Francesca Storaro, lighting designer on various high-profile international projects. Using lighting solely from ERCO, three sections have been illuminated - the first of which is the Forum of Augustus. The

central idea for its illumination creates the image of a light wave, which rises from the ground, starts to envelop the Temple of Mars Ultor with great luminous intensity and, while slowly fading, rises to embrace the whole perimeter of the wall that surrounds the forum. Augustus was also the herald of the Pax Romana, symbolised by a light coming down from above with a lunar softness. Therefore the area surrounding the Temple is accordingly lit from above with neutral, soft, even lighting that casts the forum as a stage on which an act of the History of Rome is played out.

Just as the illumination of the Forum of Augustus finds its equilibrium amid selective, even and suffused light, so does the lighting of the Forum of Nerva – known originally as the Transient Forum. The right side, which delineates the forum itself, sees a series of lights that, axially provide upward lighting that defines a specific space – that in which the Temple of Minerva was erected. Above the line of the wall, a second series of lights, characterised by the same sense of unity, illuminate the central ground in an even, soft and neutral way. Against this backdrop of lunar uniformity other architectural elements emerge that


A series of fixtures provide upward lighting to define specific architectural elements.

composed the plinth of the Temple of Minerva: the Pronaos and the so-called 'Colonnacce', which are lit from the base upwards, with a specific directional axiality at the columns themselves. Trajan’s Column serves as the focal point of Trajan’s Forum, pushing a wave of light outwards from a centre that embraces the surrounding space. It seems to emit light itself, centrally, through a series of soft lights that trace out the perimeter of its square base. The light continues its journey, rising up the column, thanks to two circles of selective lights that tell the story of the epic accomplishments of the Emperor. While the parallel columns that delineate the Basilica Ulpia are illuminated from below, the centre of the basilica is lit by a series of projectors that appear to rise up from the ground in front of each column. Their luminosity extends to join a similar radiance generated by another series of lights that, in a centripetal attraction, merges with the first, illuminating the floor uniformly. The relighting specifications for the three forums posed a challenge to the lighting

concept. The context stipulated use of the most efficient LED luminaires for maximum luminous efficacy with minimum energy consumption. Equally, Roma Capitale attached great importance to the long life of the luminaires. Its primary thought, next to ensuring a sustainable investment, was to keep maintenance in this archaeologically sensitive area to a minimum. The prime concern for the Storaros, meanwhile, was optimal implementation of their design concept, which required lighting tools with flexible yet precise light distributions. Given these factors, the decision was made to realise the project with ERCO luminaires. The Storaros selected projectors, floodlights and wallwashers – Lightscan, Parscoop, Grasshopper and Beamer – alongside Lightscan and Focalflood façade luminaires from ERCO’s range of outdoor lighting tools. With different levels of luminous flux, the luminaires created a hierarchy of architectural details. Combined with the interchangeable ERCO Spherolit lenses, the result is a differentiated concept that achieves

Trajan's Column emits soft lighting elements.

the standards required by a complex narrative lighting project. Pinpoint lighting accents and the uniform wallwashing of structural elements direct the view of the visitor. Special attention is warranted for the grazing light of Focalflood, which emphasises the texture of the ancient ruins for a 3D effect. Luminaires with neutral white light illuminate the architectural elements particular to each forum, such as remnants of the large temples and the Column of Trajan. Warm white light is used as a contrast for all other objects and surfaces; where ERCO LED technology guarantees optimum colour consistency.

PROJECT DETAILS Fori Imperiali, Rome, Italy Client: Roma Capitale / Sovrintendenza Capitolina Lighting Design: Francesca Storaro, Vittorio Storaro Lighting Supplier: ERCO




Into Lighting teamed up with Russell Sage Studio to bring carefully designed, bespoke details and ambient lighting to the re-launched Quaglino's restaurant in London.

The re-launch of the famous Quaglino’s restaurant in Art Deco style was to involve the creation of a theatrical and multifunctional lighting scheme. Whilst providing for live events, the lighting design by Into, was also required to bring intimacy and atmosphere to the huge basement venue. The famous ‘W’ ceiling at Quaglino’s was retained as a classic design feature and revamped to include updated lighting. One of the biggest challenges was to create a more impactful lighting effect while working with the existing ceiling construction, which was designed around T8 fluorescent lamps. The colour temperature of the light when diffusing through the glass panels needed to match the warmth of the overall lighting scheme and dim to a very low level post-dusk. A number of site mock-ups led to the selection of high output 2,400K LED profiles on a dimming system, while detailed drawings enabled correct positioning and housing for best effect. On the mezzanine level a tailored approach to lighting creates focal points. A bespoke halo detail consisting of a round aluminium heat sink with surface-mounted linear LEDs around the circumference was

integrated as part of the wall design. This detail around globe wall lights creates a dramatic shadow effect through the fret cut screens, emphasising the Art Deco design. An integrated lighting treatment to the bar nosing on the mezzanine washes warm light onto the bar front from a linear LED source, while the red glass back bar is backlit from the top and bottom with LED profiles to create a uniform light effect. The original grand staircase is the focal point of the restaurant and was to be transformed into a light feature with backlit marble-effect amberlite risers. Creating a uniformly lit riser was critical and Into worked within a tight void to develop a bespoke lighting detail incorporating sideemitting LED tape. The design and detailing of the central bar at Quaglino’s was a collaborative effort between Into and suppliers. The challenge was to create an illuminated main feature bar which could be taken apart for special events. The result of precise detailed drawings and wiring schematics is a fully illuminated bar of nine different sections (seven of the bar body, two of the central section). In each section two drivers are connected to the circuitry and provide digital dimming capacity alongside

1-10V rotary dimmers. The drivers can be unplugged from a power source and retain the programmed dimming levels, enabling each segment to retain individual illumination and dimming at different locations. 2,200K LED tape washes the bar front from a nosing detail and the Amberlite bar top is uniformly underlit with Applelec’s LED Light Sheet. The back bar bottle step is underlit with LED, and LED profiles are concealed within bar shelving to illuminate the bottle display and add to a layered lighting concept that uses the full height of the central bar. The Quaglino’s refurbishment involves attention to detail in every aspect of the lighting scheme and the ambience has been created by blending many layers of light with carefully designed bespoke details.

PROJECT DETAILS Quaglino’s, London, UK Client: D&D Interior Design: Russell Sage Studio Lighting Design: Into Lighting Lighting Suppliers: Applelec, Enigma Lighting, LightGraphix, LED Linear, KKDC, Precision Lighting

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UNDER THE CANOPY Pic: Lalita Tharani + Manish gala

The brief was to design a multi-functional public space that could include a variety of areas and a place where intimate and private meetings could take place. Collaborative Architecture approached this, by setting a benchmark for public space design through its innovation and sustainability agenda. The lobby is dominated by a central column, which supports the waffle slab system that spans 32m x 32m, with a height of nine-metres. The front facing sides have structural glazing, while the sides on the back are stacked with services and toilets. The lobby functions nearly eighteen hours a day and is equipped with a BMS using dali ballasts for daylight harvesting. The expansive glazing on two sides allows daylight during any season, meaning the system uses minimal energy during the day. The central column acts as the axis for spatial orientation. From this, the lighting design plays the lead role in the overall architectural identity, and the project succeeds in effortlessly merging the lighting design and architectural space into a unified whole. The project is unique in that sense, making the architectural

Collaborative Architecture has transformed the lobby space of Bearys Global Research Triangle with a custom made and intelligently designed waffle slab lighting system. lighting the raison d'être and the identity, not just in stylistic terms, but in terms of tectonic manipulation of the neutral space. The seating cluster, specially designed for the project, triggers social interactions and creates an undulating topography of contoured volume at eye level, complementing the pattern on the ceiling. The strip light highlights the bottom of the sofa clusters and creates a dynamic pattern that is an integral part of the overall design. The waffle slab system, one of the earliest design decisions and most dominant part, is left exposed to highlight the structural clarity of the space. The pattern of the waffle system acted as a springboard for the design of the customised lighting, which resulted in a highly dynamic space reflecting the geometry of the structural system. As previously mentioned the central column anchors the spatial disposition in the vast lobby. The architectural lighting has been conceived as foliage which stems from this anchoring element. The column has been clad with corian panels, with special details to provide access for maintenance and

service. The cantilevered meeting rooms are added to the existing mezzanine slab to accommodate private meeting rooms. The lobby has five such private meeting rooms, with four located at the mezzanine level as added cantilevered units, projecting into the atrium space. LED light sources have been used for the project. The customised fabric lights have 1,200 long LED tubes, the passage spaces have 600 and 1,200 LED panel lights and 5W LED spots and the waffle has 600 x 600 LED panel lights to supplement the customised lighting and create a pattern in the waffle, which complements the configuration of the fabric lights. The project succeeds in its sustainability agenda with a Platinum LEED Certification.

PROJECT DETAILS Reflected Topography, BGRT, Bangalore, India Client: Bearys Group Architect: Lalita Tharani, Mujib AhmedLalita Tharani & Mujib Ahmed Interior Design: Muneeb A P, India Lighting Design: Collaborative Architecture, India Lighting Suppliers: GE, Trilux

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Left view of the main hall from the stage. Above light cove using the old incandescent bulb series. Below old incandescent bulb series up close.

Pics: XZ, Ágúst Sigurjónsson, Ingólfur Arnarson


Born from a 19th Century independence movement, the National Theatre of Iceland has undergone a lighting upgrade from lighting designers Verkis Engineer Consultants, Ingólfur Arnarson and Guðjón L. Sigurdsson. In 1873 economist Indriði Einarsson presented the first ideas for a National Theatre in Iceland. His ideas were formally published in a magazine article in 1905, but it wasn't until 1923 that they became a reality, when the government introduced an entertainment tax to build the National Theatre. The first architectural drawings for the National Theatre where submitted in 1925 by government architect Guðjón Samúelsson. Samúelsson was also an urban planning enthusiast and took an important role in designing the master plans for the towns of Isafjorður and Akureyri. It wasn't until 1929 that the construction drawings were finished and it then took two years to build the new theatre´s main

structure and exterior walls. In 1932 the government stopped construction works due to financial shortage. Then, in 1941, during the Second World War the British armies occupied the unfinished building as part of a military operation to prevent the German Nazis invading Iceland. The British army returned to the theatre in 1944 and then the Icelandic government put a big effort in to finish construction. The National Theatre was officially inaugurated on 20 April 1950. Originally the theatre had just one of the three current stages. The larger stage was equipped with a rotating platform which is still virtually unchanged. In 1968 an additional house was built as a workshop and today the theatre has three stages in these

two buildings. The main stage seats 445 to 499 people; the box sits around 140 people; and the dome or children’s theatre that can guest 100 people. The main hall displays an architectural feature resembling the basalt column walls that exist in Icelandic nature. In 1990 the theatre was put under crucial renovation works. The lighting design was updated as a part of this renovation to implement creative solutions using the existing technology at that time. Indirect light coves were lit with improvised light series using 40 to 60W incandescent lamps. It is estimated that all of these indirect light coves contained more than 2,000 lamps and the total energy consumption from these installations was around 125kW. Every year

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Top Integrated lighting in steps using LED strips from iGuzzini. Bottom Ceiling light coves using the new LED light series from Agabekov in the lobby area and above the main hall.

hundreds of these lamps were replaced adding considerable costs to the theatre operation. In the spring of 2012 the electric box for indirect and general lighting failed causing a minor fire. A follow up inspection and evaluation concluded that the power charge for the indirect lighting features was extremely high and needed to be changed. As a result the theatre administration then called architects, engineers, lighting designers and maintenance managers to review its overall lighting and find new solutions. Verkis Engineer Consultants, Ingólfur Arnarson and Guðjón L. Sigurðssonto decided to keep the same warm lighting atmosphere

but switch to LED technology to improve efficency. The old incandescent lamp series were replaced with high efficiency LED strips carefully mounted and aimed to ensure the desired lighting effect. All 40W incandescent lamp series were replaced with 1.2W LED series from luminaire manufacturer Agabekov. This first scope of work in 2013 also served as a test to confirm the functionality of the new installation. After a successful result the project was extended to the main hall. In 2014 the main hall's general lighting was renovated using LED technology. As in the public areas, the 60W incandescent lamp series was replaced with 1.2W LED series

from the same manufacturer. Additionally, the integrated step light was completely renovated using LED strips from iGuzzini. The overall power consumption for these light fixtures was reduced from the original 125kW to 10kW and has been running through winter without any problems.

PROJECT DETAILS National Theatre of Iceland, Reykjavík, Iceland Client: National Theatre of Iceland Lighting Design: Verkis Engineer Consultants, Ingólfur Arnarson and Guðjón L. Sigurðsson Lighting Suppliers: Agabekov, iGuzzini, Meanwell




KSLD integrates lighting into new timber coves creating a warm and welcoming scheme for The Main Hall at the Scottish Parliament building. The Main Hall in the Scottish Parliament building is the primary public space within the complex. Apart from being the principle meeting point and reception, The Main Hall also hosts a programme of exhibitions and events. As per the original architectural intent, this is a transitional space before continuing into the very brightly lit debating chamber above. The preexisting lighting scheme was based on track mounted spotlights set into the lowest point of the concrete vaults, the lit result from this was uneven and caused glare problems for many visitors, particularly those with visual impairments. Generally the users noted that

the experience of the space was gloomy. The lighting scheme put together by KSLD provides lighting to the concrete vaults and accents the sculptural 'ame' columns and warm timber surfaces. During the project the team reviewed the architect's original visuals for the space and found it was clear that upward lighting was intended, however the LED technologies which make this simpler to achieve were not available when the building was constructed. Besides the warm white lighting, KSLD incorporated a parliamentary purple scheme to enhance the space during events. Lighting is integrated within new timber

coves with detailing following on from the existing architectural pallet. Although it is now a warmer and more welcoming space, the architect's intent of a visual progression has been maintained.

PROJECT DETAILS Scottish Parliament Main Hall, Edinburgh, UK Client: Scottish Parliament Corporate Body Lighting Design: KSLD Lighting Suppliers: Lumenpulse, Zumtobel, Mike Stoane Lighting, Architectural FX, L&L Luce&Light, Applelec

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

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LEEDING BY EXAMPLE Bringing the planning principles of the traditional desert city to Milan, the UAE pavilion’s interior of self-shaded streets evokes the experience of the the country’s ancient communities, while demonstrating the natural energy efficiency of their compact urban form. Foster + Partners and Land Design Studio (Visitor Experience Designers) required a varying lighting design approach which had to cover several different disciplines from architectural and landscape to theatrical lighting. With extensive experience in theatre and architectural lighting DALD helped create a sympathetic synergy

Pics: Nick Woods

David Atkinson's lighting scheme is just one element of the LEED rated pavilion that is designed by Foster + Partners to be recycled and rebuilt in the UAE after the Expo.

between the architecture and the visitor experience. The pavilion occupies a large site close to the centre of the Expo and is accessed via its main circulation axis, the Decumanus. From here, visitors are drawn into the mouth of a canyon-like ramp space, defined by two undulating 12-metrehigh (GRC) walls. The high walls continue through the 140-metre site in a series of parallel waves, unifying the visitor spaces within a dynamic formal language designed to convey the ridges and texture of sand dunes. After extensive lighting trials with samples

of the GRC wall material, adjustable buried lighting fixtures fitted with 2,700K LED, light straw filters and spreader lenses were chosen to up light the walls, which subtly create soft warm brush strokes of light across the undulating surface complementing the wall pigment. Within the central ramp, as a part of the visitor experience, dynamic interactive displays housed within cubes are supported by glass fins which feature a dot manifestation, which is edge illuminated, creating an interesting ethereal contrast between the spine of the ramp and the walls.


iGuzzini Light Up Walk floods and spots were specified by David Atkinson to graze the exterior walls of the pavilion.



The Light Lab Spectraglass support fins are used as display cases on the external ramp. Each fin is lit from a hidden bottom edge using a 1000ma RGBa LED fitting with four channel individual control to each fitting. This allowed DALD to create blue tones for water and terracotta tones for land. Luce&Light Litus 2.1 fittings are used for pathway lighting.

As the ramp weaves a path, small custom designed buried fixtures fitted with a 2,700K LED and diffusion film up light the walls at the pinch points, effectively creating an interesting perspective vista at night through the canyon-like space. At the top of the ramp a large drum houses a state-of-the-art auditorium and interactive post show space. The external lighting of the drum plays an important part in creating a dramatic focal point to the pavilion. Extensive lighting trials took place in Italy with Foster + Partners to establish what cladding material and light source should be used for the exterior of the drum – a Gold Tecu material was chosen along with a high output linear LED strip fitted with an amber filter. The LED

JAPANESE フォスター・アンド・パートナーズとランド・デ ザイン・スタジオ (ビジター・エクスペリエン ス・デザイナーズ) は、 建築や景観から劇場ま で、異なる分野の照明に対応できるさまざま な照明設計の手法を必要としていました。劇 場や建築照明で広範な経験を持つDALD は、建築とビジター体験の間に共感的相乗 効果を作るためのサポートを行いました。 このパビリオンは本博覧会の中心に近い広 い敷地を占め、 メイン大通りのデクマヌスを 通ってたどり着けます。 ここから来場者は、 起伏のある高さ12mの2つの壁で区切られ た、 クレヨンのような傾斜の口に吸いこまれ ていきます。 この高い壁は並行する波に沿っ て120m続き、 尾根と砂丘の質感を伝えるた めに設計されたダイナミックな形式言語の中 に、 来場者スペースを一体化させます。

strips are positioned at the top of the drum, which uniformly graze the Tecu material, without creating any glare issues. The light in turn reflects off the drum and onto the surrounding GRC walls and perimeter staircase, creating an ambient depth. Within the drum is an auditorium, with a 360º perimeter screen. As the creative design team required the space to be more than just a cinema, but also an immersive experience. DALD chose to use a combination of automated LED wash lights and spots. The automated lighting fixtures are positioned off a large circular truss, which allows for multiple lighting positions for illumination of the perimeter screens, suspended casement roof and the tiered

パビリオンは巨大ですが設計手法はミニマ ルで、 光源の能力を最大限に引き延ばしてい ます。 このパビリオンの設計は、 パッシブとア クティブ技術を備えたLEED原理に従ってい ます。 特に、 建物はリサイクル可能に設計され ており、本博覧会後はアラブ首長国連邦で 再建される予定です。

CHINESE Foster + Partners 和 Land Design Studio( 游客体验设计公司)要求采用不同的照明 设计方法,并必须涵盖从建筑、景观到舞 台照明的几种不同照明领域。DALD 在舞 台和建筑照明领域有丰富经验,帮助展览 馆实现了建筑和游客体验的共鸣和协同。 展馆占据了靠近世博会中心的大块区域, 穿过名为“Decumanus”的主人行轴线就可 到达。从这里,游客会被引入一处峡谷式 的入口空间,该入口由两面 12 米高波状

audience seating block. The perimeter staircases are edge illuminated by custom lengths of LED strip set within an extrusion. After the screening of the film, the visitors enter the post show space, which features a large holographic experience. As with the auditorium, automated lighting is used, which helps to add to the immersive quality of the space. On exiting the post show space the visitors move to the external ‘Oasis’ area, linking the first floor level with the ground floor. The ‘Oasis’ features desert flora planting as well as two large palm trees. By night the space is lit by a combination of sources, which includes the projection of dappled palm leaves and low level accent spots

墙 (GRC) 构成。彼此平行的墙蜿蜒贯穿 140 米的区域,游客空间在展现沙丘曲线 和质感的动态设计语言中得到统一。 尽管展馆面积很大,但照明设计却偏简单 化,从而让光源最大限度地延伸拓展。展 馆设计遵循 LEED 原则,并将主动和被动 技巧相结合。最重要的是,该展馆具有可 回收性,建筑结构能被拆开,世博会之后 会在阿联酋重建。

FRANÇAIS Les concepteurs d’expérience Foster + Partners et Land Design Studio ont cherché une approche de conception d’éclairage variable qui couvrirait plusieurs disciplines différentes, de l’architecture au paysage jusqu’à l’éclairage scénique. Détenant une grande expérience dans l’éclairage architectural et théâtral, l’entreprise DALD a contribué à créer une synergie intéressante entre l’architecture et l’expéri-

ence du visiteur. Le pavillon qui occupe un grand espace à proximité du centre de l’exposition universelle est accessible par son axe de circulation principal, le Decumanus. De cet endroit, les visiteurs sont entraînés vers une rampe surhaussée rappelant un canyon, bordée de deux murs ondulés de douze mètres de haut (GRC). Les hauts murs continuent tout au long des 140 mètres du site en une série de vagues parallèles, réunissant les espaces des visiteurs en un langage formel et dynamique représentant les crêtes et la texture de dunes sablonneuses. Bien que le pavillon soit grand, la conception de l’éclairage reste minimaliste, étirant au maximum le potentiel des sources lumineuses. La conception du pavillon suit les principes de LEED proposant une association de techniques passives et actives. De manière plus significative, la structure est conçue pour être recyclée et reconstruite aux Émirats Arabes Unis après l’exposition.




Above The exhibition space features Tryka 12 Easy-Link LED as well as ETC Source Source 4 Mini luminaires. Above right The show space creates a sense of drama using moving heads from Robe.

set behind planting, creating a sense of intimacy within the ‘Oasis’. Influenced by ancient planning principles, the pavilion’s interior evokes the narrow pedestrian streets and courtyards of the traditional desert city, and its contemporary reinterpretation in the sustainable Masdar masterplan. The first floor level features an exhibition of cultural objects, discretely lit by small linear fittings recessed up between dark slatted ceilings that are almost invisible off axis and a detail which is used throughout the pavilion. A 3000K LED source was chosen to compliment the interior terracotta wall colour. All the curved staircases throughout the pavilion are illuminated by custom designed side emitting diffused LED strips set within the handrail, which when viewed from below appears homogenous. An exhibition on the ground floor of the main drum celebrates Dubai as host city

DEUTSCH Foster + Partners und Land Design Studio (Besuchererfahrungs-Designer) benötigten einen wechselnden Beleuchtungsdesign-Ansatz, der verschiedene architektonische und landschaftliche Bereiche für die Theaterbeleuchtung abzudecken hatte. Mit ihrer umfassenden Erfahrung für Theater- und Architekturbeleuchtung unterstützte DALD die Schaffung einer verständnisvollen Synergie zwischen Architektur und Besuchererfahrung. Der Pavillon befindet sich auf einem großen Standort in der Nähe des Expo-Centers und kann über die Hauptachse, den Decumanus, erreicht werden. Von hier aus werden die Besucher in den Rachen einer canyonartigen Plattform gezogen, die durch zwei wellenförmige 12 Meter hohe (GRC) Mauern definiert wird. Die hohen Mauern setzen sich im 140 Meter großen Gelände in mehreren parallelen Wellen fort und vereinheitlichen somit die Besucherbereiche innerhalb einer dynamischen formalen Sprache, die so konzipiert ist, dass sie die Kämme und die Struktur von Sanddünen vermittelt.

for the 2020 Expo and is lit by a selection of RGB and single colour LED fittings to graphics and design detail. Although the Pavilion is large the lighting design approach is minimalistic stretching the light sources to their maximum potential. The UAE’s National Media Council assembled a world-class team to deliver an unforgettable pavilion experience, not only producing a building design that ‘wows’ visitors but also satisfies the requirement for the pavilion to be environmentally friendly. The use of LED technology is now a given but the pavilion goes several steps further. The design of the pavilion follows the principles of LEED with a combination of passive and active techniques. Most significantly, the building is designed to be recycled and rebuilt in the UAE after the Expo.

Auch wenn der Pavillon groß ist, so ist der Beleuchtungsdesignansatz dennoch minimalistisch und dehnt die Lichtquellen auf ihr maximales Potential. Das Design des Pavillons befolgt die LEED-Prinzipien mit einer Kombination aus passiven und aktiven Techniken. Besonders bemerkenswert ist, dass das Gebäude so konzipiert ist, dass es in den UAE nach der Expo recycelt und wieder neu aufgebaut werden kann.

ITALIANO Foster + Partners e Land Design Studio (Progettatore dell' Esperienza del Visitatore) hanno richiesto un approccio variabile di progettazione luci che doveva coprire le diverse discipline: dall' illuminazione architettonica e paesaggistica a quella teatrale. Con una vasta esperienza nell'illuminazione di teatri ed edifici, DALD ha contribuito a creare una sinergia solidale tra l'architettura e l'esperienza del visitatore. Il padiglione occupa un grande sito vicino al centro dell' Expo e vi si accede attraverso le sue principali assi di circolazione, il Decumano. Da qui, i visitatori sono attratti nella bocca di una rampa che ricorda un

PROJECT DETAILS UAE Pavilion, Milan Expo, Italy Architects: Foster + Partners Lighting Design: David Atkinson Lighting Design Lighting Management: Lighting Assist

LIGHTING SPECIFIED Ground Floor External iGuzzini Light Up Walk flood & spot; Custom Integrated LED Handrail Ground Floor Ramp External Luce&Light Litus 5.0 Lt 5000; Modular Smart Lotis 82; The Light Lab Spectraglass panels + IP65 RGBA LED strip; UFO LDA 5 Articulated LED head Ground Floor Oasis iGuzzini iPro Micro Ground Floor Internal iGuzzini Laser Blade; iGuzzini Deep Laser; iGuzzini HO Flexible LED Strip; Luce&Light ESEM 3.1; iGuzzini Front Light Track spot; iGuzzini DALI Lighting Track First Floor Internal iGuzzini Laser Blade; iGuzzini Deep Laser; iGuzzini HO Flexible LED Strip; Luce & Light ESEM 3.1; Custom Integrated LED Handrail Roof iGuzzini Linealuce Compact Led Strip; CL Gobo Projector 2020 Exhibition PAR 36 S/N + Tryka 12 Easy-Link LED PAR 36 S/N + Tryka 12 Easy-Link LED RGB (30°); ETC Source 4 Mini; MJL Side Emitting RGB LED Strip 1st Floor Show space iGuzzini Deep Laser IP23; MJL Custom LED tread strip; Robe Robin 600 LED Wash light; Robe Robin DLS LED Spot; Robe Robin ParFect 100; Martin AF-2 Fan Post Show space MJL Custom 1200mm x 600mm RGB LED panel; Robe Robin 600 LED Wash light; Robe Robin DLS LED Spot; 1000mm RGB Globe; Martin AF-2 Fan

canyon, costituita da due pareti ondulate di 12 metri di altezza (GRC). Le alte mura proseguono attraverso il sito di 140 metri in una serie di onde parallele, unificando gli spazi del visitatore all'interno di un linguaggio dinamico ma formale e progettato per convogliare le increspature e la trama che ricordano delle dune di sabbia. Anche se il Padiglione è grande, l'approccio progettuale dell' illuminazione era rimasto minimalista tanto da estendere le sorgenti luminose al loro massimo potenziale. Il disegno del padiglione segue i principi di LEED con una combinazione di tecniche attive e passive. Ma la cosa ancora più significativa é che l'edificio è stato progettato per essere riciclato e ricostruito negli Emirati Arabi Uniti dopo l'Expo.

ESPAÑOL Foster + Partners y Land Design Studio (Diseñadores Especialistas en la Experiencia del Visitante) requirieron un diseño de iluminación variado que tenía que cubrir varias disciplinas diferentes desde iluminación arquitectónica y de paisajes hasta ilumi-

nación para espectáculos. Con una vasta experiencia en iluminación de espectáculos y arquitectónica, DALD ayudó a crear una sinergia empática entre la arquitectura y la experiencia de los visitantes. El pabellón ocupa un sitio grande cercano al centro de la Expo y a él se accede por su eje de circulación principal, el Decumanus. Desde aquí, los visitantes son llevados a la boca de un espacio de rampa con forma de cañón, definida por dos paredes ondulantes de 12 metros de altura (GRC, de sus siglas en Inglés, Hormigón Armado de Fibra de Vidrio) . Las altas paredes continúan a lo largo de los 140 metros del sitio en series de ondas paralelas, unificando los espacios de los visitantes dentro de un lenguaje dinámico formal, diseñado para expresar las crestas y la textura de las dunas de arena. A pesar de que el Pabellón es grande, el diseño de iluminación fue minimalista amoldando las fuentes de luz a su máximo potencial. El diseño del pabellón sigue los principios de LEED con una combinación de técnicas pasivas y activas. Lo más importante, el edificio está diseñado para ser reciclado y vuelto a construir en los Emiratos Árabes Unidos luego de la Expo.



Pic courtesy of UKTI

Pic courtesy of BDP

Pic courtesy of UKTI

Integrated into the Hive, 1000 RGBW individually controllable LED pixels (utilising 4W Cree LED chips), custom-made by Stage One and specified by artist Wolfgang Buttress, are bright enough to be seen in daylight and vibrantly pulse at night mimicking the communicative vibrations of bees.

VOICE OF THE BEEHIVE BDP’s lighting designers worked closely with artist, Wolfgang Buttress, to illuminate the critically acclaimed UK Pavilion, that's taking the World Expo by storm.

The UK Pavilion highlights the decline of the world’s bee population and the importance of pollination for food production, looking at how new UK research and technology are helping to address challenges such as food security and biodiversity. Designed by an all British team - Nottingham-based artist Wolfgang Buttress with engineering from Simmonds Studio and the Manchester office of BDP who's lighting team, consisting of Rhiannon West, Chris Lowe and Colin Ball, provided the lighting design - the pavilion is an homage to the ground-breaking UK technology developed by physicist and bee expert Dr. Martin Bencsik. The bees’ activities are monitored from the roof of Nottingham Trent University by Bencsik using accelerometers to detect and translate the vibrations made by bees as they communicate with one another. Visitors meander through an orchard, discover a meadow of wild flowers and

enter the Hive, which pulses, buzzes and glows according to live-streamed signals from a real beehive in the UK. The accelerometers are used to measure the activity of the colony and algorithms are used to convert the bee colony vibrations into lighting effects. The concept, designed by Wolfgang Buttress, consists of 1,000 individually-addressable bespoke RGBW LED pixels (custom-made and integrated into the Hive engineered by UK manufacturer Stage One) allowing the Hive to pulse and glow, acting as a visual representation of bee activity. Rhiannon West commented: “Our lighting vision from the start was integration of lighting within the landscape and architecture. We wanted to be seamless right from day one. We wanted light only where it was required; maintaining incredibly low levels of light whilst ensuring sufficient light is available to all required

tasks.” BDP needed to keep in mind low viewing angles and glare. The journey from beginning to end was intended to replicate a ‘waggle dance’ - a movement bees make to signal the direction of pollen to one another. This route by night comes alive with glowing pathways being the only source of lighting. Following the light takes you on a journey to the pavilion’s main attraction, the Hive.” Due to the low levels of light in the centre of the Hive, BDP took care to reduce ambient light levels and minimise glare. This is achieved through luminaires integrated within details, ensuring that visitors’ eyes adapt as soon as they arrive. The Pavilion has various functions and the lighting design ensures that the systems for the bar, dining and conference spaces, together with the wayfinding and emergency lighting, integrate seamlessly


Pic courtesy of UKTI



Pic: BDP

Top left Mike Staone Lighting (MSL) hexagon extrusions are used inside the pavilion. Due to a strict budget and timeframe, MSL kept things simple, drawing upon familiar materials, practices, trusted sub-contractors and adopted a pragmatic approach towards installability. Left and above 600m of Lumenal Mira aluminium profile, integrated with iGuzzini LED, is used on the walkways and into the handrails to produce a warm, welcoming glow at night.

into Buttress’s vision whilst maintaining incredibly low levels of light. Entering the Pavilion, the orchard’s pathways glow gently leading to the meadow where a series of trees are uplit and visitors are guided past a busy ‘swarm wall’ emanating a slight sparkle. Visitors move around the meadow pathways in the formation of the ‘waggle dance’ all lit from a low level skirting detail. Over 600m of British company Lumenal’s

JAPANESE BDPの照明デザイナーは、 アーティストのウォ ルフガング・バットレス氏と協力して、 2015年 ミラノ国際博覧会のイギリスパビリオンの照 明を担当しました。 同博覧会のテーマは 「地 球に食料を、生命にエネルギーを (Feeding the Planet, Energy for Life) 」 です。 イギリスパビリオンは、 ハチの個体数の減少 と、食糧生産のための授粉の重要性が目玉 です。 イギリスの新しい研究技術が、食料安 全や生物多様性といった課題への取り組み をいかに支援しているかに焦点を当てていま す。 来場者は、 果樹園を歩いた先に野草地を みつけ、 イギリスの本物のハチの巣箱からラ イブストリーミングされた信号に合わせて脈 動し、 うなり、光を発する巣箱に入ります。加

Mira 7mm deep aluminium profile, integrated with iGuzzini LED, is used at ankle level around the honeycomb shaped walkways, the bar areas and into handrails to give a warm, honey like-glow. Below the hive deep recessed, low glare adjustable spotlights from Light Projects (also from the UK) provide pools of light to aid the reading of brochures and offsetting the drama of the animated Hive overhead. Inside the heart of the building lies a

速度計(振動センサー) を使ってハチのコロ ニーの活動を測定し、 アルゴリズムを使って コロニーの振動を照明効果に変換します。 こ のコンセプトもまたウォルフガング・バットレ ス氏が手がけており、個別にアドレス可能な LED照明による構成は、 巣箱を脈動させて光 らせることでハチの活動を 視覚的に表現す ることが可能となっています。

CHINESE BDP 的照明设计师与艺术家 Wolfgang Buttress 携手为 2015 米兰世博会英国馆设计照 明工程。此次世博会的主题为“润养大地, 泽给苍生”。 英国馆的设计是为引起人们对全球蜜蜂数 量下降这一问题的重视,说明蜜蜂授粉对 食品加工的重要性,并探索英国研究与技

decorative beehive-inspired lighting installation. This is a show space for fine dining, conference and government hosting, and the installation offers a variety of flexible lighting for each. An array of hexagonal aluminium extrusions from Scottish manufacturer (still part of the UK, just!), Mike Stoane Lighting (MSL), are scattered in small clusters over the ceiling, each providing a warm white glow with a slight sparkle using 2200K Cree chips.

术如何应对诸如食品安全和生物多样性等 各类挑战。游客们蜿蜒穿过果园进入一片 野草野花丛,然后走进“蜂巢”,“蜂巢”内 的脉动声、嗡嗡声和发光效果都是根据真 正蜂巢中的实况模仿而来。使用加速器( 振动传感器)来测量蜂群的活动,运用演 算法将蜂群振动转化为灯光效果。这一理 念也是由 Wolfgang Buttress 构思,他采用 了独立分布的 LED 灯具让“蜂巢”可以脉动 发光,从视觉上再现了蜜蜂的活动。

FRANÇAIS Les concepteurs d’éclairage de chez BDP ont travaillé en étroite collaboration avec l’artiste Wolfgang Buttress afin d’éclairer le pavillon du Royaume-Uni à l’exposition universelle de Milan 2015, dont le thème est « Nourrir la planète, une énergie pour la vie ».

Le pavillon du Royaume-Uni met en lumière le déclin de la population d’abeilles dans le monde et l’importance de la pollinisation dans la production alimentaire, examinant comment les nouvelles recherches et les technologies britanniques aident à relever des défis comme la sécurité alimentaire et la biodiversité. Les visiteurs traverseront un verger, découvriront un pré de fleurs sauvages et entreront dans une ruche qui pulse, bourdonne et s’allume aux signaux transmis en direct d’une vraie ruche située au Royaume-Uni. Des accéléromètres (capteurs de vibrations) mesurent l’activité de l’essaim et les algorithmes convertissent ensuite les vibrations de l’essaim d’abeilles en effets de lumière. Le concept, également pensé par Wolfgang Buttress, se compose de luminaires à diodes électroluminescentes individuellement accessibles, permettant à la ruche de pulser et de briller, agissant ainsi de représentation visuelle de l’activité des abeilles.

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Pic: BDP

Pic courtesy of UKTI

Pic courtesy of UKTI

Above Artist Wolfgang Buttress inside the Hive. Top left A view to the floor through the Hive. Above right The Hive during the day.

Dave Hollingsbee, Mike Stoane Lighting's Managing Director, was clearly buzzing about the project: “We were delighted to be approached by BDP to help with the lighting of the inner hub. The brief was relatively flexible and open to suggestion, providing the result was very rich and warm and in the vein of a honeycomb.” West is extremely happy with how the project panned out: “We developed a great working relationship with Wolfgang and this was fundamental to the success of the scheme. I enjoy focusing on the unique relationship between light and architecture,

DEUTSCH Die Beleuchtungsdesigner von BDP arbeiteten eng mit dem Künstler Wolfgang Buttress für das Beleuchtungskonzept des britischen Pavillons auf der 2015 Weltausstellung in Mailand zusammen, deren Thema ‘Den Planeten ernähren, Energie für das Leben" ist. Der britische Pavillon behandelt den Rückgang des weltweiten Bienenbestands und die Bedeutung der Bestäubung für die Lebensmittelproduktion mit Blick darauf, wie neue britische Forschungs- und Technologieprojekte Herausforderungen wie Ernährungssicherheit und Biodiversität unterstützen. Besucher schlendern durch eine Obstplantage, entdecken eine Wildblumenwiese und betreten einen Bienenkorb, in dem es pulsiert, summt und glüht, gemäß den Live übertragenen Signalen eines echten Bienstocks in GB. Beschleunigungsmesser (Schwingungssensoren) werden zum Messen der Aktivitäten des Volkes eing-

especially developing ideas where the atmosphere and experience of space become more important than the materials. This is a perfect example of that.” The UK Pavilion is intended to be an exemplar of British design quality and ingenuity. It's all-British cast has blazed a trail at the Milan Expo with many critics lauding the pavilion as the most creative concept on site. And all done on time too. It makes one proud to be British!

esetzt und Algorithmen dienen für die Konvertierung der Bienenvolk-Schwingungen in Lichteffekte. Das ebenfalls durch Wolfgang Buttress entworfene Konzept besteht aus LED-Leuchten, die einzeln adressierbar sind und somit den Bienenkorb zum Pulsieren und Glühen bringen, indem sie als visuelle Repräsentation der Bienenaktivität dienen.

ITALIANO del padiglione del Regno Unito all'Expo Mondiale di Milano 2015, il cui tema é "Nutrire il pianeta - Energia per la vita". Il padiglione del Regno Unito mette in evidenza il declino della popolazione delle api nel mondo e l'importanza dell'impollinazione per la produzione alimentare, tenendo in considerazione come la nuova ricerca e la tecnologia del Regno Unito stanno contribuendo ad affrontare sfide quali la sicurezza alimentare e la biodiversitá. I visitatori si trovano a girovagare

PROJECT DETAILS UK Pavilion, Milan Expo, Italy Artist: Wolfgang Buttress Lighting Design: BDP Engineering: BDP, Simmonds Studio

LIGHTING SPECIFIED The Hive custom made RGBW LED pixels by Stage One Honeycomb Hex feature lighting by Mike Stoane Lighting Shadow gap lighting by Lumenal and LEDFlex Downlights by Lumenpulse AlphaLED Tree uplights and below the Hive by Light Projects Office and back of house by Luxonic Lighting

attraverso un frutteto, scoprono un prato di fiori selvatici ed entrano nell'alveare che pulsa, ronza e abbaglia grazie ai segnali di un vero alveare britannico riprodotti dal vivo. Inoltre, vengono utilizzati degli accelerometri (sensori di vibrazione) per misurare l'attivitá dello sciame e gli algoritmi che sono utilizzati per convertire le vibrazioni dello sciame di api in effetti luminosi. Il progetto, anch'esso concepito da Wolfgang Buttress, é costituito da apparecchi a Led che sono direzionabili individualmente, permettendo all'alveare di pulsare ed abbagliare per meglio rappresentare visivamente l'attivitá delle api.

ESPAÑOL Los diseñadores de iluminación de BDP trabajaron de cerca con el artista Wolfgang Buttress, para iluminar el Pabellón del Reino Unido en la Exposición Mundial 2015 en Milán, cuyo tema es 'Alimentando al Planeta, Energía para la Vida'.

El Pabellón del Reino Unido resalta la disminución de la población mundial de abejas y la importancia de la polinización para la producción de alimentos, mirando hacia cómo la nueva investigación y desarrollo del Reino Unido está ayudando a direccionar desafíos como la seguridad de los alimentos y la biodiversidad. Los visitantes deambulan a través de un huerto de árboles frutales, descubren una pradera de flores silvestres e ingresan a la Colmena, la cual vibra, zumba y resplandece de acuerdo con la transmisión en vivo de una colmena real en el Reino Unido. Los acelerómetros (sensores de vibración) son utilizados para medir la actividad de la colonia y se utilizan algoritmos para convertir las vibraciones de la colonia de abejas en efectos de iluminación. El concepto, también diseñado por Wolfgang Buttress, consiste en luminarias LED que son direccionables individualmente permitiendo que la Colmena vibre y resplandezca, actuando como una representación visual de la actividad de las abejas.

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Innovate, don’t imitate - Very high flux in compact designs - Narrow to wide beam angles - Clean beams - Excellent dimming to very low - Dual dim, 1-10V and DALI options - Compatible with intelligent modules - Wide range of accessories - Complete range of versatile 240V and 48V track fittings




BOXED UP Licht Kunst Licht's lighting scheme accentuates the detail and intricacy of a hive of exhibition spaces and the content within with an air of esteemed French elegance.

Subtlety and gentile accents prevail in the agricultural fields of the French Pavilion. Guiding visitors with handrail integrated linear light strips illuminating the path to the pavilion lit by randomly placed iGuzzi Typha light sticks, Licht Kunst Licht ensured a delicate lighting scheme, allowing the entrance of the pavilion to shine as the main event. This allows the three large LCD screens to welcome visitors with poetic animations of real time panoramic images from three different French countrysides. The exhibits, consisting of soft commodity as well as finished products, are placed in the wooden ceiling cassettes. Information about the production process and scientific background are displayed on several screens. Using solely iGuzzini products, the lighting design in the exhibition areas was realised in three layers: soft downlighting front lights ensured safe circulation; spot and aerial uplights integrated above three large TV screens add general lighting to exhibition areas; and PALCO backlights accentuate designated exhibition pieces. The centrepiece, a cluster of dishware, is uplit by a glowing surface evenly lit by LED

strips. Entering on the first floor, visitors are welcomed into the VIP area, designed as a black box. The work of French photographers Bruno Mouron and Pascal Rostain is presented throughout the spaces with iGuzzini’s glare-free downlights providing the general lighting. Additionally, the art displays are lit by iGuzzini Laserblade wall washers, highlighting the photographs. Following through the conference room, the space is a mixture between a white cube and a black box, with the same lighting concept as the VIP area. Leading to the restaurant on the second floor, the stairs are also designed as a black box for exhibiting art with a striking orange floor. Linear fluorescent tubes are mounted to the inner core wall of the staircase to provide light to the photos as well as general lighting. The restaurant itself is guided by a series of Octavio Amado Single Bro pendant light objects, which leads visitors to the bar. Adjustable and dimmable for intimate table lighting, iGuzzini PALCO narrow spotlights hidden in the wooden construction of the roof, light the restaurant

area. The roof terrace is illuminated by exterior rated spots, which are mounted on the chimneys and the outer wooden panels to mimic the ambience of the restaurant. The French Pavilion is a showcase of that familiar delicacy and perfection. Without a kicking and screaming glare, the outdoor agricultural theme brings tranquility to the inner exhibition and dining spaces, evoking a simple elegance only the French would know how to capture.

PROJECT DETAILS French Pavilion, Milan Expo, Italy Lighting Design: Licht Kunst Licht

LIGHTING SPECIFIED External iGuzzini Typha Exhibits iGuzzini Front Light, iGuzzini Castello, iGuzzini PALCO bare LED-light retrofits First Floor iGuzzini Laserblade Second Floor Restaurant Octavio Amado Single Bro, iGuzzini PALCO



Pics: Š2015 - Balich Worldwide Shows photo by Koert Vermeulen

NATURE'S FINEST ACT lighting design injected life into World Expo 2015 through an iconic, interactive installation - Tree of Life a representation of nature as a source of life, while symbolising the roots of Italian excellence. As part of Expo 2015 ACT lighting design was commissioned by Balich Worldwide Shows to create and develop the visual and lighting design of an iconic installation, Tree of Life - Albero della Vita. Designed by Marco Balich and Studio Gioforma, artistic director of the Italian Pavilion of Expo 2015, Balich was inspired by the drawing Michelangelo Buonarroti created for the piazza del Campidoglio in Rome. The structure was built by Orgoglio Brescia and Koert Vermeulen joined the creative team as Lighting Designer / Director of Mise-en-Scene. The tree with it's vertical, symbolic gesture is both an Italian and international icon representing nature as a source of life, but also symbolising the many roots and metaphorical branches of the

Italian excellence. This iconic structure symbolically offers its seeds and fruits to Italy and the entire world. Placed in front of the Italian Pavilion, the monument was installed in the middle of Lake Arena, where visitors were immersed into breathtaking events. The Tree of Life interactive structure, with an inner skeleton made of steel and an outer cover in wood, is over 30-metres high and on top of the gigantic trunk stands a hat that simulates the intertwined branches of a tree, with a diameter of 45-metres. Visitors were able to not only enjoy the spectacle from the exterior, but also had the chance to climb inside the structure to discover more surprises. For this monument, with its advanced technology, constantly illuminated with LED

lights, Koert Vermeulen and ACT lighting design created an original visual scenography to produce genuine dynamic effects through a play of light, video, water, fireworks, as well as bubbles and sounds. The Tree of Life also changed as the hours went by, truly becoming the centre for many of the events in the Pavilion's extensive schedule.

PROJECT DETAILS Tree of Life - Albero della Vita, Lake Arena, Milan, Italy Concept: Marco Balich Design: Marco Balich & Studio Gioforma Lighting Design & Direction of Mise-en-Scene: Koert Vermeulen & ACT lighting design Technology set-up: RTI AgorĂ , Bridge over troubled Water & Ternana Impianti Made possible by: Orgoglio Brescia, Coldiretti and Pirelli Lighting Suppliers: Showtech & Techlumen

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EASTERN BLOCKS A glimpse at three of the pavilions from the East that feature creative lighting schemes.

CHINA LIGHTING DESIGN: LEOX LIGHTING SUPPLIER: iGuzzini The inspiration behind the China Corporate United Pavilion is the power released when a seed sprouts and breaks through the ground. The structure was designed by the Architectural Design and Research Institute of Tongji University (Group). The lighting project, created by the LEOX lighting designer studio in Shanghai, follows the pavilion's architectural design. iGuzzini Linealuce Mini and Compact products illuminate the internal structure of the facades with a grazing effect underlining the power of a growing seed. Maxywoody spotlights highlight the details and texture of the pavilion's 'DNA structure' while Primopiano luminaires light the display areas. Light Up recessed luminaires, installed in the exteriors of the structure, underline the soft shape of the pavilion and attract the attention of passers-by.

JAPAN LIGHTING DESIGN: Lighting Planner Associates LIGHTING SUPPLIER: Stanley Electric Kaoru Mende's Lighting Planners Associates (LPA) was, naturally, responsible for the shadow-like ‘Yugen’ (traditional Japanese aesthetics for profound grace and subtlety) lighting design style of the Japan pavilion. The façade, a three-dimensional wooden grid, is uplighted from the bottom by custom-made narrow spotlights by Stanley Electric designed in collaboration with LPA, making it appear as if it is glowing internally. At the same time, this makes the outer surface of the wooden grid appear in silhouette.

RUSSIA LIGHTING DESIGN: SPEECH LIGHTING SUPPLIER: iGuzzini Covering an area of over 4,000sqm, the structure's concept and lighting design have both been developed by SPEECH. The roof doubles as a terrace that rises gradually to create a canopy about 30-metres from the main entrance. When visitors look up they can see their own reflections in the mirrored roof that is lit with iGuzzini iRound recessed luminaires. On entering the pavilion, visitors first encounter a welcome area lit with recessed, adjustable Pixel Plus luminaires that are ideal for the wave-like effect of the ceiling. The exhibition hall and conference room on the first floor are illuminated with iPlan and iPlan Easy products to guarantee visual comfort. The VIP room is lit with Pixel Plus luminaires installed around the perimeter and Reflex Easy devices positioned to create a cosy, comfortable atmosphere in the traditional food area. The terrace is lit with iPro spotlights installed on the railings.

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Pics: Jeremy Green

SPIRITUAL SIGNIFICANCE LA's Koreatown gets a welcomed nod to its heritage through Cliff Garten's most recent sculpture.

Renowned international artist Cliff Garten has transformed what could have been an ordinary parking garage at The Vermont residences on Wilshire Boulevard in LA, into an extraordinary new work of art. His new sculpture, titled Los Angeles Opens Its

Heart of Compassion, comprises a 20fthigh, suspended sculpture and transparent 75ft by 45ft, undulating, illuminated screen that graces the parking garage faรงade at this new 464-unit, luxury apartment complex in Koreatown. The laser-cut

aluminum sculpture represents a lotus flower - a nod to the Korean community. Visible from a major transit hub across the street, the US$1.6m installation has elevated the garage and the plaza it fronts, to a neighbourhood destination.


Cliff Garten's sculpture graces the parking garage façade of The Vermont residences in Koreatown, LA, with the laser-cut aluminium sculpture representing a lotus flower, a nod to the Korean community.

Visual studio Lightswitch worked closely with Garten to design the lighting for the piece. After creating mock-ups based on detailed and exact pre-visualisations, Lightswitch partnered with Martin Professional and systems integrator 4 Wall, from the specification phase through to the final focus, to make sure that the lighting matched the mock-ups. Lit from the front, side and back with lensed, wash fixtures, the undulating screen is washed with vibrant, saturated

colour, while the screen provides the perfect backdrop for the sculpture, which is precisely illuminated from the front, side and back with crisp, white light. Great care was taken to ensure that no light spilled from the sculpture to the wall and vice versa, maintaining colour purity for each element. Thanks to Lightswitch’s use of previsualisation, Garten was able to understand and revise the design before the lighting was ordered. By effectively

communicating with the fixture manufacturer and systems integrator, the Lightswitch team could seamlessly execute Garten’s vision without any surprises during the installation. The resulting combination of art, architecture and lighting has created a signature identity for The Vermont and has transformed a functional structure into public symbol that the whole neighbourhood can enjoy.



Pic: Paz&Cheung


FLORAL NOTES A creative mix of production specialists, sound engineers and lighting designers came together under Claudia Paz, Nicholas Cheung and Cesar Castro’s vision to bring out the child in everyone. The Plaza Norte Mall in Lima, Peru, has been transformed into an interactive landscape of light and sound, where families are transported into a magical world inspired by childhood stories from Lewis Carrol, Hans Christian Anderson and J M Barry. Light Garden is a playful combination of suspended flowers, projected floor petals and surreal sounds, where colourful shapes bounce off the glossy floor creating threedimensional patterns of light. The installation features multiple layers of lighting effects. With the flower motif design originating from the Plaza Norte logo, interweaving the client’s message into the experience. On the plaza floor, 150 individual petals are projected - realised through a powerful LED gobo inside a hanging flower. In the middle of the space, 30 giant sculptural flowers of different sizes hang down, using RGBW LED light to change colour through a multiple colour palette. On the ceiling, multi-coloured patterns of light are created using ten gobo fixtures with RGB LED. These elements combine with reflections off the glass walls and marble floors to create a flowery kaleidoscopic landscape. To create a social experience, six interactive

games - all with differing lighting and acoustic experiences - have been designed and intertwined into the installations’ lighting and acoustic shows. These games provide unique experiences using interactive programming, which intelligently responds to the number of people it senses inside the installation. • The Spinning Experience: Petals and flowers animate in circles and the interactive audio suggests a field of flowers. • The Jumping Experience: People feel the sensation of floating or walking across water with the lilies opening with a touch from each person. • The Growing Garden: Each person is allocated their own colour and collectively creates a garden of colourful flowers. • The Path of Light: Trails of light trace the individual's path as they run across the space. A flute composes a melody as they pass and the flowers on the floor float into the air creating a canopy of flowers. • The Shy Petals: Petals disappear at the slightest touch, responding with a meditative tone as they fade away. • The Petal Confetti: A mosaic of colourful petals flying through the air. People magically collect all the colours to create a

white flower. The supporting multichannel sound system drives ten loudspeakers, providing localised audio for each moment of interaction. The sounds are designed with three layers of audio - nature sounds followed by interactive sounds, which then mingle with a base track to create a unique composition. The control system consists of an interactive computer and a DMX lighting controller. These are closely integrated with tracking cameras, providing live lighting control output to the flower sculptures and multichannel sounds to the audio system. The interactive sensors consist of 30 cameras allowing the installation to respond with different levels of complexity, depending on the number of people present in the installation. The suspended flowers respond in an individual and collective way as people step on the petals, but all the technology melts away to create a natural experience where a person's imagination is transported into the real world and they can escape from daily life and open up to a playful moment.




Architectural design competition No.8@Arup inspired an LED life form - the Sentiment Cocoon born through collaboration between architect Mauritz Behrens and lighting designer Konstantinos Mavromichalis.

Pics: Arup

What better to fill an architectural firm’s atrium with than a 20-metre tall cocoon, wrapped in plastic by an endearing robot named Einstein? That’s precisely what Arup thought when the group encountered architect Mauritz Behrens and lighting designer Konstantinos Mavromichalis’s Sentiment Cocoon entry in the third year of its annual competition, No.8@Arup. Aiming to highlight new talent and innovative thinking within designers and emerging architectural practices, the theme for this year’s competition was 'Designing for People', with the installation design required to reflect the need for occupants to be placed at the heart of the design brief. The Sentiment Cocoon precisely fits the bill by capturing people’s emotions depicted through LED lights. Behrens commented on the suitability of the cocoon for the inclusive atrium space: "The cocoon like translucent and interactive light sculpture turns the

Arup atrium into a vibrant stage for social encounters, where employees, clients and visitors come together. The notion of an Atrium as the social centre of a building is fostered through interactivity with the sentiment interfaces." Each day, Arup employees can share their sentiments via one of the dashboards installed on each of the five office floors, using an individual swipe card. As an individual approaches the dashboard, they can choose which mood they are in by turning a dial to happy, sad or indifferent. Once they've selected their sentiment, they then use their Oyster Card, or any RFID enabled swipe card to submit this to the Sentiment database. The time of day and floor number are recorded into the system, along with the unique RFID number and sentiment itself. A sophisticated algorithm feeds participants’ feelings through the dashboard, which are

then projected into a light field created by moving LEDs that form the spine of the cocoon. The LEDs are four continuous lines comprised of 4,800 pixels generating complex patterns and gradients of colour. Overtime, the patterns will become recognisable and people working in the office will experience the overriding sentiment of the day within the office. Running the entire height of the Cocoon, the LEDs create an enigmatic, lively form emanating through the plastic. A prominent yet soothing structure, the Sentiment Cocoon brings a previously absent dynamic to the atrium. Arup's Business Development Leader Farrah HassanHardwick commented: “The office is well designed, with natural sunlight pooling into the atrium from the skylights, yet the space had not yet been imaginatively used.” The Sentiment Cocoon changes this, allowing for a rich interaction of varying forms of light


diffused through the skin of the cocoon, allowing it to take on an organic life of its own with the flow of natural light and shadow. Beherens commented on the inclusivity of the structure: “The cocoon like translucent and interactive light sculpture turns the Arup atrium into a vibrant stage for social encounters, where employees, clients and visitors come together. The notion of an Atrium as the social centre of a building is fostered through interactivity with the sentiment interfaces." With the final product remaining very much in line with the original concept, the Sentiment Cocoon serves as an example of technological thinking used to produce a robotic, responsive outcome. Mavromichalis commented on this blend of digital thinking and feeling: “We are exploring the emotional side of architecture by manifesting digitally captured interactions into animated light

that is blended with a built physical form. What interests me about an atrium is that it is a sensory space that joins together all the spaces adjacent to it - we hear ambient sounds, and we catch glimpses and echoes of conversation. This is the perfect context for the Sentiment Cocoon, whose function is to visualise how the occupants are feeling at any given time of day.” Unlike the previous winners of No.8@ Arup, where pieces have been built over the weekend to surprise Arup employees come Monday morning, the Sentiment Cocoon was built during the week in situ. As the cocoon was too large to fit through the building's doors, it was constructed in the atrium, allowing everyone to witness the production of the project from start to finish; from jellyfish-like LEDs dangling in the initial stages, to Einstein wrapping layers of clingfilm to lend a curve to the angular structure.

As the most aesthetically pleasing design, and that which was most accurate to the original concept, Behrens and Mavromichalis have set the tone for future competitions. Arup's Group Leader of Building Engineering London Nigel Tonks contemplated how the competition might evolve: “The independence of Arup allows our practice to invest in young designers, giving them a chance to put themselves on the line, to really be the designer. As they are constantly influenced by innovation and new technology, the competition brief will grow as technology advances to push young designers in new directions. Just as the cocoon evolves with its surroundings, the competition will hold richer connections, occupy more space, and serve as the apex for anthropocentric design within architecture."






JAPANESE iGuzziniは、世界的に有名なイタリアの傑 作、 レオナルド・ダ・ヴィンチの最後の晩餐を 採用しました。iGuzziniとミラノ建築景観遺 産事務所の発案によるこのプロジェクトは、 著名な芸術作品を文字どおり 「採用」 しまし た。 つまりiGuzziniは最先端の照明を特長 とする新しい照明設計を提供し、 ダ・ヴィン チの傑作の豊かな色と詳細をより良く鑑賞 できるようにしました。照明産業における急 速な技術の発達を考えると、iGuzziniは今 後、同遺産事務所のサービスで当社リサー チセンターの能力をさらに生かすことになる でしょう。 これは高度保存修復研究所に準 拠して行われます。 また設置場所の照明品 質を改良することで、作品を保存・展示する 最良の方法を追求します。

15年前に設置された現在の照明システム は、特別な機能を備えた、高品質で技術的 にも進化し画期的LEDシステムを持つ照明 と交換され、作品内部の微細な環境条件を 根本的に改良します。

CHINESE iGuzzini 接手蜚声世界的意大利天才画 家— 达芬奇代表作《最后的晚餐》的照 明工程。该工程由 iGuzzini、Milan Architectural 及 Landscapes Heritage Office 合作构思,其中涉及对这幅著名艺术作 品的“改造”。换言之,iGuzzini 采用最先 进的照明设备,为达芬奇的这幅杰作重 新设计灯光,以更好地展现出它丰富的 色彩和细节。考虑到照明行业科技的飞 速发展, iGuzzini 未来将利用研发中心的 各项技能为 Heritage Office 服务。这遵从

了高度保护及修复研究所 (High Conservation and Restoration Institute) 的一贯宗 旨,同时也是致力于通过提升灯光效果 来找到保存和展览画作的最佳方法。 目前的照明系统为 15 年前安装,现在已 替换为全新高质、工艺先进且富有创新 性的 LED 系统,并配备一些特殊功能, 让画作内部的微观环境条件得到极大改 善。

FRANÇAIS La société iGuzzini a choisi l’œuvre hautement symbolique du génie italien Léonard de Vinci, La Cène. Conçu par iGuzzini et le Bureau du patrimoine architectural et paysager de Milan, ce projet a littéralement « adopté » la célèbre toile. En d’autres termes, iGuzzini a élaboré une nouvelle conception de l’éclairage en utilisant la dernière

génération de luminaires qui permettront de mieux apprécier les riches couleurs et tous les détails du chef-d’œuvre de Léonard de Vinci. Compte tenu de l’évolution technologique rapide qui a lieu dans le secteur de l’éclairage, iGuzzini mettra également les compétences de son Centre de recherche au service du Bureau du patrimoine. Dans le respect des règles de l’Institut supérieur de restauration et de conservation, les concepteurs ont déterminé la meilleure façon de conserver et d’exposer le chef-d’œuvre en améliorant la qualité de la lumière le mettant en scène. Le système d’éclairage actuel, installé il y a 15 ans, a été remplacé par un nouveau système à la fine pointe de la technologie, composé de diodes électroluminescentes de haute qualité et équipé d’éléments spéciaux qui offriront une nette amélioration des conditions micro-environnementales à l’intérieur de la toile.


A FEAST FOR THE EYES iGuzzini has relit Leonardo da Vinci’s masterpiece, The Last Supper, giving it a new lease of life.

iGuzzini’s PALCO LED luminaires have replaced the old fluorescent lighting system, installed fifteen years ago, resulting in a more vivid interpretation of the painting.

DEUTSCH iGuzzini hat Leonardo da Vincis Das letzte Abendmahl, einem der weltweit bekannten Symbole für das italienische Genie, adoptiert. Dieses durch iGuzzini und der Oberaufsicht für architektonische und landwirtschaftliche Kulturgüter von Mailand konzipierte Projekt umfasst das berühmte Kunstwerk, das buchstäblich “adoptiert” wird. Anders ausgedrückt, iGuzzini hat ein neues Beleuchtungsdesign bereitgestellt, das über die allerneueste Beleuchtungsgeneration verfügt und durch das die reichen Farben und Details des Meisterwerks von Leonardo noch besser zu Geltung kommen. Angesichts einer rasanten technologischen Entwicklung, die der Beleuchtungssektor verzeichnet, stellt iGuzzini die Fähigkeiten seines Forschungszentrums auch in Zukunft in den Dienst der Oberaufsicht für Kulturgüter. Dies erfolgte in Übereinstimmung mit dem Institut für Konservierung und Restaurierung, um die beste Möglichkeit zu identifizieren, das

Meisterwerk zu konservieren und auszustellen, indem die Qualität des Lichts, mit dem es gezeigt wird, verbessert wird. Das derzeitige, vor 15 Jahren installierte Beleuchtungssystem wurde durch ein neues, qualitativ hochwertiges, technologisch ausgereiftes und innovatives LED-System ersetzt, das mit besonderen Merkmalen ausgestattet ist und das somit eine deutliche Verbesserung in Bezug auf die Mikro-Umweltbedingungen im Gemälde verschafft.

ITALIANO iGuzzini e dalla Soprintendenza Per i Beni Ambientali e Architettonici di Milano, questo progetto prevede letteralmente “l’adozione” della famosa opera; in altre parole, la iGuzzini ha fornito un nuovo progetto di illuminazione con apparecchi di ultima generazione che consentiranno di apprezzare meglio i colori intensi ed ai dettagli del capolavoro di Leonardo. Considerando i rapidi sviluppi tecnologici che stanno prendendo piede nel settore dell’

It was clearly meant to be. In a match made in heaven for the Italian manufacturer, iGuzzini is now responsible for enhancing the extraordinary beauty of The Last Supper by Leonardo da Vinci following an adoption agreement with the Milan Architectural and Landscapes Heritage Office. As part of the International Year of Light and coinciding with the Milan Expo, iGuzzini has relit the painting by developing a system that uses its PALCO LED system and air filters to reduce the average temperature in the room by 90% and lessen humidity. To achieve this iGuzzini designed a new lighting system over six months with the latest generation luminaires that highlight the rich colours and detail of da Vinci’s masterpiece. The choice of the LED tonalities and therefore the colour spectrum, was carefully calibrated and adapted to the pigments of the various mural paintings realised both a fresco and on a dry wall, on rough and smooth surfaces. The Last Supper is located in the refectory of the Santa Maria delle Grazie Convent in Milan that was once the seat of the Court of Inquisition. The work is presumed to have commenced around 1495 and was commissioned as part of a plan of renovations to the church and its convent buildings by da Vinci’s patron Ludovico Sforza, Duke of Milan. The painting represents the scene of The Last Supper of Jesus with his disciples, as it is told in the Gospel of John, 13:21. da Vinci has depicted the consternation that

illuminazione, iGuzzini in futuro metterá anche le competenze del suo Centro di Ricerca al servizio della Soprintendenza per i Beni. Ció é stato fatto in conformitá con l’ Instituto Superiore per la Conservazione ed il Restauro ed ha cercato di individuare il modo migliore per conservare ed esporre il capolavoro, migliorando la qualitá della luce che viene visualizzata. Il sistema di illuminazione attuale, che era stato installato quindici anni fa, é stato sostituito con uno nuovo di alta qualitá che é tecnologicamente avanzato ed utilizza un innovativo sistema a Led, dotato di caratteristiche speciali che consentiranno un netto miglioramento delle condizioni micro-ambientali del dipinto.

ESPAÑOL iGuzzini ha adoptado a La Última Cena, de Leonardo Da Vinci, uno de los símbolos del genio italiano, reconocido mundialmente. Habiendo sido concebido por iGuzzini y la Oficina de Patrimonios Culturales Arquitectónicos y de Paisajes, este proyecto

involucra a la famosa obra literalmente siendo “adoptada”. En otras palabras, IGuzzini ha suministrado un nuevo diseño de iluminación presentando luminarias de última generación que permitirán apreciar mejor los ricos colores y detalles de la obra maestra de Leonardo. Teniendo en cuenta los rápidos desarrollos tecnológicos que tuvieron lugar en el sector de iluminación, iGuzzini también pondrá las habilidades de su Centro de Investigación al servicio de la Oficina de Patrimonios Culturales en el futuro. Esto fue realizado de conformidad con el Instituto de Conservación y Restauración y ha buscado identificar la mejor manera de conservar y exhibir la obra maestra mejorando la calidad de la luz que se muestra en ella. El sistema de iluminación actual, instalado hace 15 años, ha sido reemplazado por un nuevo e innovador sistema LED de alta calidad y con tecnología de avanzada, equipado con características especiales que generarán un mejoramiento neto en las condiciones micro-ambientales dentro de la pintura.



Comparative tests indicated that the iGuzzini PALCO luminaires were 4° cooler than the fluorescent sources previously used. The enriched chromatics and overall perception from the new lighting were also evident during the testing. Thermal tests on the light sources were also carried out on the luminaires used to illuminate the entire Refectory room. The total energy consumed with the new system was dramatically reduced from 1368W/hour to 120W/hour thus increasing the period of time the painting could be viewed by the public.

occurred among the Twelve Disciples when Jesus announced that one of them would betray him. Following the collapse of the ceiling and main walls, the only walls left standing were the end ones with The Last Supper on the right, and Donato Montorfano’s Crucifixion on the left. When painting this masterpiece, da Vinci decided against the traditional, resistant fresco techniques that meant the paint had to be applied quickly while the plaster was still wet. Instead, he chose to experiment with a new method that would allow him to continue perfecting the details of the painting even after the plaster had dried. Unfortunately, da Vinci’s experiment proved to be far from ideal and the painting soon began to deteriorate. Over the centuries, this has caused the painting to be restored on numerous occasions. In 1999, the latest restoration project (which took over 20 years to complete) finally unveiled what is left of the original painting having carefully removed the clumsy attempts at restoration made previously. The new LED lighting system brings richer colour to The Last Supper while also guaranteeing better light distribution control and the correct conservation of the paintings thanks to unchanging light levels and a consistent reduction in the heat dissipated inside the room. Thermographic assessment and spectramorphic survey values have been achieved that are 30 times lower than the levels stipulated by Italian and European standards for highly sensitive artworks. 3,400K PALCO floodlights fitted with the lat-

est generation CoB LEDs operated by DALI control gear and installed on a track, have been chosen to replace the old fluorescent lighting system. The human eye perceives light radiation on the margins of the visual spectrum up to approximately 740nm. Natural light and incandescent and flame-based sources all produce a powerful emission throughout the range of reds. Common LEDs on the market dampen their emission almost completely to approximately 680nm, thereby limiting the spectrum response on natural colours that express their chromatic character in this specific visual region. The new lighting systems for the artworks and their environment improve energy efficiency and reduces absorbed power (more than 80%) by helping conserve these masterpieces in the best way possible. The decision to replace halogen lamps with new LED products has reduced the power dissipated by the system from 3,400W/h to 570W/h and will allow the painting to be seen by many more admirers in the future. Alberto Artioli, Lombardy Region Secretary Minister of Cultural Heritage and Tourism, commented: “The new system brings back an image of The Last Supper that perhaps we did not remember and also, thanks to the latest generation LEDs, significantly reduces the heat emitted in the exhibition area, therefore not disturbing the thermohygrometric parameters in the refectory which is of extreme importance when we think of everything else done to keep the painting in the best possible environmental conditions for long-term conservation.”






Rune Marki, Managing Director, Osram UK


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


EASY TO INSTALL 0.1 – 100%



-D I M M



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.

Steven Reed, Marketing Manager, GE Lighting


John Storey SBU Director, Havells-Sylvania

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

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

0845 601 7749



Pic: Nicolas Waltefaugle

FRANCHE GLOW Le Point Lumineux’s lighting scheme glows with a hint of modernity through LEC Lyon’s illumination of the picturesque rivers and bridges of historical French town Ornan. Ornan, famous throughout Europe as the birthplace of French Realist painter Gustave Courbet, is a cultural hub with a rich heritage nestled in the French region of Franche-Comté. When night falls, Le Point Lumineux’s lighting scheme provided by LED lights manufacturer and urban lighting specialist LEC Lyon highlights the town’s riverbanks, footpaths, and bridges, aiming to illuminate the river like a footprint in the town. The designer’s concept symbolises the Loue flowing through the town and is based on four lighting effects – deep blues for the corbelled houses, iridescent cyan for the public spaces bordering the river, a generic blue inviting strollers to the river, with white light for steps and edges. Aiming to create evocative lighting, this project was realised in a close collaboration between Ornan’s town council, Le Point Lumineux and LEC Lyon. LEC’s technical proposal was a series of 75 strip lights each

consisting of six 3W LEDs, installed along approximately 800-metres of riverbank. The strips were specially adapted by the company, using lenses that gave the Le Point Lumineux total freedom of light output. The solution provides harmonious output with uniform colours and maximum coverage. Each unit installed underneath the houses delivers a randomly changing experience of colours and intensities from cold white to deep blues, symbolising the swells and ebbs of the river. The steady white light gives the bridge a sophisticated glow with shimmering reflections off the water. To ensure the strips were as unobtrusive as possible, a series of hot-white strip lights were attached to the top of each side of the bridge. Further to this, as the Loue floods periodically, the strips had to be suitable for immersion and resistant to mechanical impact. The curvature of the arches is illuminated

by two sets of two-strip lights attached to a base unit at the top of each arch. The LED strip lights have all the technology to withstand environmental and weather conditions. LEC Lyon also sandblasted the lenses to produce a more uniform light to eliminate harsh reflections off the stone at Le Point Lumineux’s request. Working from the designer’s drawings, LEC Lyon developed a tailored crown light that does full justice to the bridge and meets the town’s requirements. Fitted with eight 3W LEDs, the crown lights bathe the bridge’s footings with a white light that contrasts with the stone of the bridge. LEC Lyon has given Ornan an ethereal glow from below. With its varied and subtle lighting concept, the town’s picturesque homes and bridges along the river Loue are highlighted with an air of modernity in a historic cultural centre.



Pics: Nick Otto


Bridgelux and ByteLight have combined LED and Bluetooth technology to transform a beloved San Francisco bookstore - Green Apple Books - into a modern shopping experience.

Green Apple Books, a San Francisco bookstore for almost 50 years, recently opened a second location. Bridgelux has partnered with ByteLight to demonstrate how brick and mortar retail is making a comeback through embracing new technologies. This included a new LED lighting array and Bluetooth connected sensors that delivered in-store deals to shoppers’ smartphones at Green Apple Books. This project is the first installation of its kind to feature the Bridgelux Décor Series Class A LED array. The series reflects Bridgelux’s human-centric approach to product development and colour targeting by using Gamut Area Index (GAI) to measure how light and colour appeal to and is perceived by the human brain. It provides natural, bright, vivid, and more vibrant lighting. At a time when many brick and mortar

bookstores are closing due to online sales, Green Apple Books sees bookstores as adding vibrancy and flavour to neighbourhoods where people still care to shop locally. The store was in the process of remodeling the new space when it was approached by Bridgelux to feature the new technologies as they upgraded the lighting. Bridgelux installed 120 fixtures in the 2,400sqft store, dramatically increasing the amount of high quality lighting in the store. In addition, Intense Lighting upgraded from oversized fluorescent to an energy efficient, streamlined track system. A bookstore is an ideal choice for this technology as quality lighting not only highlights book covers and other products, but creates warm and inviting areas where customers can read and feel comfortable. ByteLight then added approximately two

dozen beacons throughout the store integrated on Bridgelux’s LED light fixtures. The beacons alerted customers, who opted-in, on their smartphone to nearby deals when they were physically in the store. To some industry players, LED lighting is an unexpected technology enabling the reinvention of retail. In-store networks made possible by connected LED technologies are emerging as a method to provide a more personalised and convenient experience for shoppers, and to deliver insightful analytics for store owners. Bridgelux Décor Series Class A delivers a high-end visual experience by appealing to people’s natural perception of light, helping to drive improved aesthetics, and increased visits, customer purchases and revenue per square foot.

One light engine, unlimited possibilities You can transform your Source Four速 LED Series 2 into the right tool for any application, simply by attaching a Source Four LED CYC or Fresnel adapter, a zoom or fixed-focus lens tube, or an accessory. See the possibilities at








Pics: Alexandra Lechner

RENAISSANCE REVISITED Lighting design practice lichttransfer has teamed up with ERCO to shed some new light on old masters in the Franconian Gallery. The Fränkische Galerie (Franconian Gallery) is housed in the Rosenberg fortress that dominates the historic district of Kronach, Germany. Its collection comprises some 200 masterpieces of painting and sculpture from the late Gothic and early Renaissance periods – including paintings by Lucas Cranach the Elder (1472–1553). As part of a recent upgrade of the exhibition rooms, Katrin Söncksen from lighting design practice lichttransfer in Berlin devised an energy efficient lighting concept that is configured precisely to the requirements of the artwork while creating focal points. Much like a subtle guidance system, the

light directs visitors through the exhibition rooms in the museum. A choreography of high-contrast ­accent lighting stages the individual objects in each room as required for an optimised visual experience. The lighting designers opted for ERCO’s 12W Optec LED spotlight, which offers interchangeable Spherolit lenses and diverse light distributions for fine and precise adjustment to the characteristic features of each exhibit. The filigree motifs of the panel paintings and winged altars are rendered realistically and without reflective glare in exceptionally soft light. Brilliant light enhances the three-dimensional effect

of the wood sculptures, previously indistinguishable colour versions are made perceptible. The colour scheme of the rooms in a light shade of grey enhances the intensity of the exhibits illuminated in warm white light. Optec proved a sustainable alternative in terms of low energy consumption and exceptionally long life, but also from a conservational aspect. At 3,000K, the warm white LED light is free of ultraviolet and infrared components, this reduces the damage potential of the lighting significantly and makes it better suited than halogen lamps with UV filter.



Celebrating young marriage, Griven washes the Al Rafaa Wedding Hall in colour while complementing its Arabian architecture. Al Rafaa Wedding Hall Complex boasts a traditional Arabian architectural style and consists of five halls that can accommodate up to 500 guests each. According to the required lighting design, the exterior illumination of the Wedding Hall Complex was divided into fixed warm white parts, alternating with dynamic colour changing areas. Griven was charged with the illumination in dynamically changing pastel tones of specific parts of the compound. An alternation of soft pastel shades was required to enhance the arabesque patterned walls, the cornice of the roof and the higher palm trees of the gardens with a dynamic colour changing

effect, through the usage of a DMX manageable colour changing system. A custom modular linear Parade-X bar was developed by Griven’s engineers specifically for this project. Equipped with custom fixing yokes, these modular linear bars fitted with 36 or eighteen RGB LEDs in succession and with specifically developed wall wash optics have been located inside the decorative boxes to enhance their Arabic design from within. Soft colours, like light blue, warm white, purple, pink or different shades of green, pleasantly alternate with a smooth colour transition backlighting the arabesques with a colour that matches the

roof and the palms illumination scheme. Some 1,729 custom modules have been installed either on the roof glass cornice or within these decorative boxes in order to deliver a new colour consistency to the whole compound; while 168 units of Dune MC RGBW with narrow optics have been embedded close to every palm tree in order to light with the same colour shade of the walls. Raffaele Vincelli, lighting designer at Griven, said: “According to the peculiar specifications, we had to adapt in a record time an existing fixture to the specific project requirements, granting the same light output quality, colour mixing and reliability, in consideration of the harsh weather conditions of the location. Moreover, we have selected a special wall wash optic that could guarantee the desired performance in an optimal way.”



FIRST PRIZE GOES TO... The Lamp Lighting Solutions Awards 2015 celebrated, for another year, all that is great about architectural lighting. On 11 June, the sixth edition of the Lamp Lighting Solutions Awards 2015 was held at Tibidabo amusement park, Barcelona, Spain. The event, lead by Ignasi Cusidó, CEO of Lamp Lighting, and presented by TV and radio presenter Òscar Dalmau, also included the ‘Inspired by Light’ lecture given by Sharon Stammers and Martin Lupton from Light Collective, with the evening closed by prestigious lighting designer and president of the judges, Mark Major of Speirs + Major. The event also included a very special

Pic: Arthur Pequin

collaboration with the students of ‘Màster in Lighting Design - Disseny d’ll-luminació Arquitectònica’ - surprising everyone with their lighting installation. Attended by 500 professionals from the international lighting sector, guests were treated to some of the best views of Barcelona, while enjoying a cocktail and listening to live music in the Piano Bar and entertainment in the form of a carousel and ferris wheel. With 598 projects submitted from 54 countries, this year’s edition - the sixth since the contest started in 2008 -

achieved an internationalisation record of 70%, an increase of 9% on last year’s figure. The 2015 Lamp Lighting Solutions Awards were endowed with a total of €26,000 distributed into four categories: Architectural Outdoor Lighting; Indoor Lighting; Urban and Landscape Lighting; and Students Proposals. Theork of all the finalists and winners can be seen in the book Lighting Concepts ‘15 edited by Lamp Lighting. So, let’s find out who the winners were...


The judges awarded the 2015 Lamp Lighting Award for Arcitectural Outdoor Lighting to Yon Anton Olano, for Le Chai Ballande in France, as this project described how lighting has the power to transform an environment, giving an industrial building real beauty through colour and control. In the same category, the jury also decided to give a special mention to Full Moon in Spain by Eduard Callís and Guillem Moliner, for conveying the change in atmosphere and space through a simple idea delivered with both love and humour.

Pic: Aryeh Kornfeld


The Indoor Lighting Award went to Pascal Chautard and Carolina Roese of Limarί Lighting Design, for the Chilean Museum of Pre-Columbian Art as it combines light, texture and colour to enhance the vision of the architecture. Furthermore, the jury felt Momias in Spain, by Carmen Moreno Álvarez in collaboration with María Sánchez and Juan Moreno, deserved a special mention for the delicate and ephemeral use of light to illuminate a sensitive subject in a space with challenging dimensions.



Coinciding with the International Year of Light 2015, this year’s Life of Light recognition was awarded to a professional for a life dedicated to light. Proposed by Master DIA, Ms Agneta and Mr Jan Ejhed are two people who have given their entire professional lives to the promotion of lighting education and the lighting profession. They have not only taught many generations of students the skills they needed at a vital time for the development of lighting design, but have also acted as an inspiration to many fellow lighting designers. They have been ambassadors for light, continuously and generously devoting their lives to the betterment of lighting design.

Pic: Theo Berends

Pic: Roberto Eleuteri


The Award for Urban and Landscape Lighting went to Titia Ex and the Municipality of Emmen. Dolmen Light, Hondsrug Tunnel, shows a remarkable balance between artistic and technical excellence, with the functional light on the road and the dynamic lighting of the walls creating a unique and refreshing approach to tunnel lighting. A special mention went to The Undulating Bridge Hoofddorp by Lodewijk Baljon lamdscape architects in collaboration with Industrielicht, as it provided an imaginative response to an otherwise functional footbridge, and in particular for the integration of a decorative light element into the balustrade.


The 2015 Award for Students Proposals went to Body Fabric Light by Neal Qiongyu Li and Daichi Yamashita from The University of British Columbia, Canada. The judges chose this project for its use of building materials and ability to adapt, along with its interpretation of light and dark (this year’s theme in the Students Proposals category). In this category, the jury also decided to recognise the Light of Ancestral Seas by Valle Medina, ETH D-Arch University, Switzerland, for its exceptional concept and use of technology whilst producing a sensitive environmental response.


The temporary urban project Between Silence and Light in Spain, by reMM’s Michela Mezzavilla and Roberto Eleuteri was recognised with a special reference to the International Year of Light for the simple and poetic manner in which it used light and darkness to bring people together to commemorate a tragic event.



TURKISH DELIGHT The Designers With Light Forum took place in Istanbul this year and provided a debate for Turkish and British lighting designers to participate in. This year’s Designers With Light Forum (DWLF), organised by mondo*arc, took place at IstanbulLight, Turkey’s national lighting show. The show, attracting 7,050 visitors of which over 500 were international, was the ideal vessel for the conference as DWLF was promoting lighting design in countries where the profession is regarded as non-essential in many sectors. mondo*arc brought with them three lighting designers from the UK - Peter Fordham, Director, DHA Designs; Kevin Grant, Director, LIGHTALLIANCE; and Farhad Rahim, Associate Lighting Designer, ChapmanBDSP - who joined two Turkish lighting designers - Zeki Kadirbeyoglu, Principal, ZKLD and Korhan Sisman, Principal, PLANLUX - for a day of passionate debate and some very knowledgeable presentations. Peter Fordham kicked off proceedings with

his presentation ‘Achieving the perfect lighting scheme with inspirational architects’ tackling exceptional lighting design as a result of successful collaboration between a talented architect and a creative lighting designer. Fordham highlighted DHA’s recent work with Haworth Tompkins Architects for the Everyman Theatre in Liverpool, the latest RIBA Stirling Prize winner. Kevin Grant’s talk, ‘Working with light improving the way we design spaces AND the spaces we design’, highlighted how to use light to improve the design of projects from the very initial feasibility and master planning stages, supporting and informing all other design disciplines to truly optimise our environments - both interior AND exterior - to create exceptional spaces where people want to spend time and, in the case of retail spaces, money.

Zeki Kadirbeyoglu discussed ‘The evolution of the relationship between the client and lighting designer in Turkey’ highlighting the many great projects in ZKLD’s portfolio. Farhad Rahim tackled ‘Blending science and art in lighting design’ and the significance of using calculations and how important it is obtaining samples and playing with light by using real products to gauge their performance. A passionate presentation from Korhan Sisman,‘How to protect your lighting scheme through the design process’, explained the sometimes desperate situation in Turkey where professional lighting design is under threat from many directions.

Two sides are lined with LED's to grant optimal illumination. High light output at a reduced energy consumption of up to 50%. Wide angle of deflection with even light distribution. No start-up time, no flickering, no humming. High efficiency (95%) constant current driver with built in overheat protection that remains stable at a wide range of input voltages. Independent LED circuit prevents complete blackout in case an LED fails. Environmentally friendly, mercury and lead free. Causes no electromagnetic interference.



Technology expert Dr Geoff Archenhold was suitably impressed with Soraa’s philosophy when he attended its recent event in London. He also got a sneak preview of new products and had the opportunity to meet the notable Dr Shuji Nakamura.

WHEN GEOFF MET SHUJI Where Quality of Light, Technology and Nobel Prizes converge There are three areas where LED lighting still has to excel although one would be forgiven for thinking the only game in town is ‘smart lighting’ these days. In order for LED lighting to be the only mainstream lighting technology that will never be supplanted by another technology in the history of man it has to improve on: • Maximum Wall Plug Efficiency (WPE) • Quality of Light • Seamless Intelligent Building Integration (SIBI) It is clear there will be several leading lighting players that will show the rest of the industry the way to deliver on each of these three goals over the longer term. One such leader will be Soraa which has harnessed some of the greatest minds in the LED components industry including Co-Founders Dr Shuji Nakamura, Winner of 2014 Nobel Prize in Physics, Dr Steve Denbaars and Dr James Speck. I recently had the honour of meeting Dr Shuji Nakamura at the recent Soraa event in London to discuss their technology leadership, lighting industry vision and a sneak preview of the new products and I was suitably impressed about their whole philosophy moving forward as you will see.

Most efficient LEDs yet devised It is clear that a unique differentiator of Soraa from any number of LED lamp manufacturers is its focus on industry leading LED die and emitter technologies. It is well known that Dr Shuji Nakamura along with other contributors at Nichia created an efficient blue LED from InGaN and combined it with an efficient YaG phosphor to create a white LED light nearly two decades ago. That innovation has clearly not stopped and today the team at Soraa has created an innovative triangular shaped, bulk GaN flip-chip device combined with a three-part phosphor to create a full spectrum LED emitter that provides a highly efficient and superb quality lighting experience. The novel chip design (fig.1) has a maximum wall plug efficiency of 84% at 85ºC (this means 85% of the electrical energy is converted into light) which is significantly higher than the majority of LED’s on the market place and allows Soraa to significantly improve the thermal management of packing LEDs into small areas and hence why Soraa focused on lamps because of the severe thermal challenge of creating retrofit LED lamps. Dr Nakamura was keen to point out they have achieved their outstanding performance by combining a GaN active

Figure 1. Scanning electron microscope image of the new triangular flip-chip device from Soraa along with the corresponding schematic.

layer on a GaN substrate and commonly known as GaN-on-GaN. Using this topology it is possible to reduce the dislocation areas with the active layers which effectively improve the efficiency of the LED and there is less thermal stain and improved thermal matching during the production of the LED die. There are associated known issues with using GaN substrates and two of them have been the availability of large GaN wafer sizes with associated wafer costs and supply chain diversity however Dr Nakamura has recently pointed out that Soraa has started to move to four-inch wafers from the twoinch versions, which enable a significant increase in production volume capacity and a reduction of production costs. It is anticipated just as the growth in wafer size for SiC or Sapphire occurred the same should occur for GaN based substrates and thus economies of scale should be achievable over the next few years. Highest Quality of Light Solved? The key to providing a quality of light experience is built upon two main factors: 1. The light spectrum quality emitted from the light source 2. The ability to harness and shape the emitted light

Figure 2. Soraa’s record breaking WPE LED die achieves 84% even at 85C.


Soraa has achieved the first metric by using a Violet LED that emits its peak wavelength at around 415nm (fig.2) and combining this with an efficient three-part phosphor to create an excellent full spectrum with no gaps or severe spikes normally associated with typical lighting sources. To be fair, Soraa wasn’t the first to develop such LED lighting as some of you will remember that GE did it first. However, Soraa has managed to push the efficacy much higher due to its own LED die engineering triumphs. The key to quality of light spectrum engineering is a continuous spectrum that has great red content and that is where the three-part phosphor really excels with very high R9. Interestingly, Soraa may have just cracked the second important metric by combining single die technology with good optical engineering through the use of novel light diffuser optics to allow a light fixture to create exciting beam patterns efficiently. This was capably demonstrated at the event with some new magnetic clip-on optics that allowed an LED lamp hanging from a ceiling and pointing down to create a near square beam pattern at virtually 45º with no light spillage below the lamp. It was then possible to rotate the magnetic optic and the beam pattern would rotate so as to easily allow the beam to be placed where you would want without having to move the lamp or fixture holding. The ability to use a single-die to create such a high brightness output also enables the lamp to reduce shadowing (usually found in multi-die COB devices) and it was claimed this was a key for the adoption of Soraa lighting in casinos as it allows improved video camera imaging that can improve detection of cheating. I could definitely see the light shaping and single-die technology combination used in museum and retail applications and it’s great to see that some of Jeff Parkers (CEO of Soraa) knowledge of optical engineering has been put to good use. It definitely feels like Soraa is teaching the LED industry how to pull together a great

quality of light package in an efficient manner, and where leaders go the rest are sure to follow, which is great news for all. Intelligent Building Integration? Everyone wants a smart lamp, right? So Soraa demonstrated a prototype of one of its retro fit lamps, which included a Bluetooth interface to enable control from a mobile device and to allow the lamp to be switched off remotely and dimmed up and down. It became evident that this is definitely one area where Soraa does not have a technology leadership and needs to seriously decide strategically how it tackles ‘smart’ lighting moving forward. The demonstration system had a very basic GUI on the mobile device which being a prototype I could significantly understand. However the overriding issue that ruled its credibility out was the latency of control response. I estimated that although I was less than one metre away from the lamp it took between 500mS and 700mS for the light to respond to a command, which is not only frustrating but not usable when working with a large number of fixtures. There is no doubt that lighting should add a degree of control especially as there is very little cost added to achieve this. However we are in the Wild Wild West of ‘smart’ lighting today and my advice to the Soraa team is to hire some experts in this field so they can excel as they do with the rest of their engineering staff. So what is the future of Lighting? Having spent some one-to-one time with Dr Nakamura, we brainstormed what the next steps of the lighting industry could be and the main conclusions were: • Improvement of LED WPE could possibly reach 90% but the challenges to achieve this are extremely difficult as most of the easyoptimisation has been achieved over the last 20 years. At some point the diminishing returns on investment would mean the leap

from 84% to 90% WPE will be tough and possibley unattainable for most other SiC and Sapphire substrate manufacturers. • Gan-on-Gan technology is the second generation of LED lighting as it enables violet lighting, high efficiency full-spectrum light output that has great thermal management properties. • Laser-based lighting is definitely an area to watch according to Dr Nakamura and Soraa has created a second company called Soraa laser diodes, which works on creating a high efficiency blue lasers for lighting applications. Dr Nakamura cited the use of laser lighting in prototype automobile headlamps and laser projectors as the way to go and that Soraa sees laser lighting proliferate across the general lighting industry within the next five to ten years. Interestingly, Panasonic demonstrated four years ago its laser lighting prototype at Light + Build but the challenge will be to increase the blue laser diode efficiency and reduce the costs which Soraa believes it is well placed to achieved. • LI-FI is an interesting technology as it allows LED manufacturers a new potential business opportunity outside of light and allows them to offer data streaming capabilities from LED lamps. All in all it was a great event and a pleasure to speak with Dr Nakamura. I wish the team at Soraa well and I look forward to seeing their laser lighting products soon!

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.



Lighting design elite, Howard M. Brandston, offers a creative’s viewpoint of this year’s Lightfair Institute program, consisting of 140 speakers.

Pic: courtesy of LIGHTFAIR International

LIGHTFAIR AT A GLANCE Attendance at Lightfair is now a ‘must go’ event for those seriously engaged in lighting. I finished the first day inspired by the keynote address by Shuji Nakamura, PhD, the 2014 Nobel Prize winner in Physics. The humble, matter of fact presentation of how he attained his PhD for the invention of the Blue LED inspired me to believe all of the steps he took to reach the heights he attained, was achievable by almost anyone. Of course that was not the case. Most remarkable was his statement that led him to decide his research would be to create the blue LED. Why? Because he believed that would be the easiest thing to do. Relating what he did to get there wasn’t easy, but his attitude and dedication to his work was indeed inspiring. Equally inspiring was the second keynote address by Chuck Hoberman, ‘Transformable Design.’ His work was a great example of a combination of architecture, engineering, and imagination to produce pure art forms that were as malleable as putty while creating pure geometry to form amazingly useful structures. His description and illustration of his process in creating this work was remarkably clear. It had me wondering, what am I going to do now? The inspiration of these two keynote speakers set a new internal criteria for all attendees on how they would look at, and evaluate the products and presentations they would see when the exhibit halls and courses opened. I am certain it was altered, as mine was. Mark Rea and I were part of the program entitled, ‘Impact Speakers.’ I

hope we were an inspiration to those who attended our participation in the program. A walk around the exhibition was a constant reminder of how the LED has changed lighting. That alone was worth the trip! A passion for education should be at the forefront of our concerns if lighting is going to continue to contribute to the quality of our lives. The Lightfair Institute program was a rich series of 78 sessions, by 140 speakers that covered topics from basics to advanced, from practical lighting to new luminaire design, that left attendees sorting out which of the many sessions they would choose to attend. I had that problem, as there were overlapping sessions and I had to make a decision. If the sessions I didn’t attend were as good as the programs I managed to see, everyone had an enriching educational experience. Lightfair recognised how critical this educational awareness is several years ago by giving all students free access to the exhibits. Their exposure to all the experts manning the displays expands the dimension of what these students receive in the classroom. The students were an inspiration to observe and mingle with. With over 50 years of classroom teaching experience, plus countless projects of every description lit around the globe, with divergent cultural passions setting criteria, I learned to have no opinion about anything until I can see clearly how the presenter was reaching the audience. I was openminded and simultaneously curious about how each session would evolve. Did the

final outcome meet the goals of the subject being presented? Simply put, yes. I attended the following sessions; the variety and scope of the subjects is testimony to the quality and depth of the educational opportunities provided: Basic Lighting; Intermediate Lighting; Advanced Computer Aided Lighting Design Using Visual; LED Luminaire Design; HalfBoy, Half Bat: Batboy Revealed Under Intellegent Lighting; Experience Design In Healthcare; Bringing Design and Science Together; Time And Money: Installation And Serviceability Of LED Luminaires; So Many LED Choices: Museum Lighting Challenges; Integrated Marketing: Winning More Work And Gaining Brand Visibility. The list of presenters for the above sessions was a ‘who’s who in their fields.’ The presentations varied as did the subjects being spoken to. The quality of each presentation was first class as were the handouts. Everyone, including me, left having gained a better perspective of the featured topic. A general observation / criticism of the lighting design presentations is that I wished they had people in the photographs of the projects they used as illustrations. The spaces didn’t have a response to the lighting system shining on them but the occupants surely did – and who or what are we designing the spaces for if not the occupant? Lightfair 2015 is by far the best I have ever attended – I look forward to the next one.


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

A PASSION FOR PERFECTION SORAA was founded by passionate people. This team of experts in the world of engineering and

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.



One of the hits of Lightfair International was innovative Canadian LED company Cooledge, which made an impact with its new look courtesy of industrial designers Billings Jackson. David Morgan takes a look at their new SQUARE snap and trim LED system.

BUILDING BLOCKS SQUARE - the latest product from Vancouver-based Cooledge - combines the characteristics of a floor tile with those of LED tape. This could potentially be the product that OLED suppliers have been promising us for the past decade but have not yet delivered. Cooledge started life with a team of engineers from TIR systems and Philips who, in 2009 began to develop flexible LED sheets for use in architectural lighting. It is backed by venture capital investors including ARCH Venture Capital Partners. After various false starts, their first product, Cooledge LINE (originally known as light sheet) was launched at Lightfair International in 2013 where it was given the Design Excellence Award. The Cooledge design approach is to mount a grid of medium power LEDs onto a flexible polymer PCB material with a large surface area of copper and then run the LEDs at a

very low drive current, which enables the sheet to work without any additional heat sink. Efficiency, projected life and rate of lumen depreciation are all better than for traditional light panels using multiple medium power LEDs run at conventional, higher, drive currents. Efficiency levels of 120 to 140lm/W are quoted by Cooledge. Cooledge now offers a number of products with different LED spacing. The tightest pitch is 7mm with 30mm / 34mm being the widest on the SQUARE system, the latest product to be launched by the company. The W028 light sheet has the highest light output per m² with 7mm LED spacing and could be used for linear cove lighting applications providing over 1,000lm/m as the sheet is only 28mm wide. As an alternative to LED tape that could provide the same light output, the Cooledge sheet needs no extruded heat sink housing and has longer life.

Cooledge systems are UL listed as class two, under 100W and 60V, which means they can be used in North America without many of the restrictions of higher power Class 1 lighting systems. This classification is only applicable in North America, so in Europe the normal SELV restrictions would apply. This may require all connectors to be fully insulated. Cooledge provides its own power supplies, which at the moment are limited to maximum of 90W. On larger projects, this could mean that the number of power supplies and mains power feeds would be higher than if systems run from larger power supplies were used. The SQUARE is a 12-inch square flexible LED panel that can be clipped together with battery type of snap connector in each corner to make up large areas of flat or curved light very much like laying carpet tiles or wood flooring. SQUARE comes in two levels of light output 300lm and 600lm per


sheet and a variety of colour temperatures. The sheet can be cut to size with a 2.3-inch cutting module so that any rectilinear shape can be completely tiled. Plastic side rails on two edges of the sheet provide a means of fixing and are pre scored to snap on the cutting module. SQUARE is ideal for backlit ceilings, panels and light boxes. The spacing required from the panel to a diffuser to eliminate any visible LED dots, ranges from 25mm to 40mm depending on the diffuser panel material. It is understood that the medium power LEDs used to make Cooledge products are binned prior to assembly and then arranged according to an algorithm to minimise any perceived colour or intensity variation between panels even though there may be quite obvious colour differences between the individual LEDs. This effect is clearly demonstrated when a diffuser panel is placed directly over the Cooledge

Square panel and then moved away to the recommended spacing In terms of applications the Square offers a cost effective and easy to install solution for backlit ceilings and walls. It would seem to be a good alternative for side lit LED light sheet as it is lower in cost and higher in efficiency although it needs much greater distance to the diffuser to ensure dot free illumination Cooledge describe their products as delivering on the promises made of LED and OLED technology, having ‘the potential to fundamentally change the way lighting is integrated into the built environment.’ What they have created is a low temperature, high efficiency flat and flexible light source which can fit seamlessly into architectural spaces. However, as functional as this may sound, it may be that panelling entire walls and ceilings with an ambient light-source isn’t something that lighting designers and

architects will always favour for their new buildings and projects. The Cooledge SQUARE is an exciting new product and has already being specified by lighting designers on a wide variety of retail and architectural projects in North America. For product designers these reasonably priced, easy to use, readymade LED panels which will fit any sized curved or straight surface are bound to be a valuable tool. 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. Email: Web: Tel: +44 ( 0) 20 8340 4009 © David Morgan Associates 2015




Following attendance records set in 2014’s Las Vegas show, LFI returned to the refurbished Javits Center in New York to set more records. We take a look at the best products on show from this year’s exhibition.

LIGHTFAIR International 2015 broke all registration and trade show records with double-digit growth marking the largest staging in its 26-year history, according to Jeffrey L. Portman, Sr., vice chairman, president and chief operating officer of LFI managing partner AmericasMart Atlanta. “The convergence of light and technology is a defining factor in LFI’s 2015 unprecedented success,” said Portman. “For more than a quarter of a century, LIGHTFAIR has created the world’s global stage for lighting and design innovation. At LFI 2015, technology emerged as the omnipresent force linking innovation and design in transformative ways.” LFI’s 2015 five-day run in New York posted an all-time floor record with 268,580sqft housing 599 exhibitors, including 108 first-time exhibiting companies and 110 manufacturers headquartered outside the US. Rochelle Richardson, CEM, LIGHTFAIR International vice president said:“The 2015 show depth, breadth and diversity captures the holistic nature of LFI’s expanding exhibitor mix.” LFI 2015 registration grew to 29,900, a 15% gain over the previous record set in 2014, with representatives from 89 countries. “LFI has long been the nexus of lighting, design and thought leadership. The 2015 showing sustained that mission in a global dialogue exploring the future of light and technology across virtually every dimension of integrated design practice,” said Marsha Turner, chief executive officer, IALD. LFI’s expanded floor featured a product mix of 44 categories that included integrated design, alternative energy and solar power, LEDs, OLEDs, healthcare, hospitality, digital signage and software. “The volume of product and design innovations recorded at LFI 2015 produced a collective energy previously unseen in all aspects of trade shows and conferences,” said Paul Mercier, president, IES. “The resonance of LFI 2015 will be immediate and farreaching.”

Vaeder Modular Lighting Instruments

AL Graze DC DMX Acclaim The AL Graze DC DMX is a high output, DC powered, linear graze fixture for smaller spaces. It has an aluminium and grey finish made for wet or dry settings. The beam angle is available at 15°, 10° x 60°, 30° x 60° or 60° for maximum reach. 1.5-inches wide x 2.3-inches tall x 12-inches long or 48-inches. Available in one and 4ft sections with RGB, RGBW, Dynamic White, 2,700K, 3,000K, 3,500K, and 4,000K light schemes. This unit has 70% lumen maintenance at 150,000 hours, providing approximately 400 lm/ ft.

Vaeder is a new fixture that feels equally at home in an energy-efficient, ergonomic office environment as in a sleekly designed home office. Its characteristic honeycomb structure in combination with a wafer-thin diffusor reduces glare to a minimum, whilst its LED lighting results in an energy-efficient and high-performing office fixture.

S38 Lamp Ketra

STR9 RGBW GVA Lighting GVA Lighting recently introduced its RGBW version of STR9 wall grazers. The colour mixing is done in every single lens and creates homogenous pre-mixed light beam immediately adjacent to the luminaire. LED pitch is maintained within and between fixtures resulting in no dark spots. This top of the line luminaire is built on two proven technologies – Unibody and Infinity enabling to run these fixtures end-to-end for 300+ metres using only a single power and data source.


Ketra’s S38 lamp is an all-encompassing LED solution with the ability to render 90+ CRI white light, saturated colours and pastels from a fully mixed, single point source. Ketra’s custom driver chip and optics incorporate closed-loop thermal and optical feedback, maintaining a factory-calibrated colour point to one MacAdam ellipse over the product’s lifetime. Each lamp is wirelessly controlled and individually addressable through Ketra’s accompanying software. The S38 is also compatible with TRIAC dimmers, thus enabling an infinite range of possible new construction and retrofit applications.


Olessence Curve Acuity Brands Duet SSL Technology blends OLED and LED in the same luminaire, optimising both for superior aesthetics, performance, lighting quality and cost effectiveness. Light becomes more architecturally sensitive and engaging, while breaking boundaries in efficient and holistic design. The Imoni and Olessence concept families showcase stylistic embodiments and applications of this new approach in lighting design.

XH Series Luminus

Lumenline Lumenpulse Lumenpulse has upgraded the entire family of Lumenline luminaires, adding the latest generation of LED technology, lit corners, and an innovative quick connect design. The all-new Lumenline is more efficient than ever, with increased flexibility and easier installation. Generation 2.0 maintains Lumenline’s impressive lumen output but significantly decreases wattage. The luminaires now deliver up to 85 lumens per watt (HO), for up to a 51% increase in efficacy. A new quick joining system has simplified installation for continuous runs, allowing seamless connections in less than a minute – with no chance of light leaks.

Luminus has launched a new line of ultra high density chip on board (COB) arrays designed to replace ceramic metal halide technology in spot lights in retail lighting. The new XH series comes in standard light emitting surface (LES) diameters including six, nine, eleven, and 14mm, and popular CCT/CRI combinations, including the 95 CRI AccuWhite and below black body Sensus options. These innovative COBs replace metal halide spots in retail applications.

ONYX Griven

OMNIstar Schréder

Specifically for architectural projects demanding sustainable lighting performance, the newly engineered ONYX features a functional, ultra-narrow, sharp, long-shot beam of light capable of reaching great distances with precision and even light distribution. ONYX is fitted with a combination of 96 RGBW, cold, warm or dynamic white high brightness LEDs that provide an astonishing light output quality. The dynamic white configuration stands out for a stunning visual rendering of warm tones, natural hues and cool shades altogether.

OMNIstar provides a combination of performance and flexibility for lighting areas where high lumen packages are needed (from 30 to 120.000lm) while offering maximum energy savings. It offers an alternative to high-power HID floodlights (1kW 2kW) with very narrow to wide light beams. This modular luminaire can be installed on a bracket of one, two or three luminaires. It provides exceptional light quality with a high visual comfort, excellent uniformity and optimum colour rendition. On-site adjustment guarantees desired lighting.

PARCO Hess America PARCO creates a unique visual accent through its graceful organic form. The bollard incorporates the latest LED technology for crisp illumination, delivering low energy consumption and long life. The regressed luminaire is fully shielded and emits zero uplight. It is available in warm or neutral colour temperatures with a CRI of 80+. Subtle craftsmanship details include concealed anchor bolts within the integral base and an absence of visible welds or hardware. Power consumption is 12W.



DLED-9000 Dreamscape Lighting

ArcheType X Kim Lighting Available in a flood, wall or site/ area luminaires, the ArcheType X has independently adjustable LED emitters—providing limitless lighting distributions and possibilities. It includes the brand’s new LEAR (Light Engine Adjustable Ready) module, bringing flexibility to the lighting industry. Delivering independently adjustable LED emitters, the Type X Distribution allows the fixture to be configured to any standard or custom distribution either at the factory or in the field.

LEDR/D Control System EnOcean A wireless LED control system including self-powered sensors and switches, LED fixture controllers and a commissioning tool to simplify installation and setup. The LED controller family includes: a transceiver module (TCM 330U) for integration into drivers/modules and LED fixture/zone controllers, with relay (LEDR), and without relay (LEDD). The application firmware enables dimming, occupancy, daylighting and Title 24-compliant controls out of the box. With a navigan commissioning tool to link devices and setup parameters over the air.

Dreamscape’s DLED-9000 RGBW Colour Series fixtures showcase the newest technology in LED tunable white and circadian tuning. With the combination of an RGBW light source controlled by a Converging Systems high performance micro processor, the fixtures provide the CCT range from 1,700 to 7,000K following the black body curve and can reproduce 16.7 million colours.

Neo-Ray Define Eaton

liniLED Organic Lighting Low heat generation from low-profile, small-scale LED lighting strips make liniLED Top Power 2,700K and 3,000K well suited for interior or exterior space-restricted applications, and for heat-sensitive product displays or areas. liniLED can be specified in runs up to 33ft with seven Osram LEDs per cut section, or eleven per ft. Its LEDs draw 1.28W/ft, 95lm/W, 122lm/ft. liniLED Top Power 2,700K and 3,000K are field cuttable every eight inches. A plug and play system can be used indoors or out, there is a complete range of accessories, and it is dimmable.

The Neo-Ray Define LED linear recessed luminaire with optional integrated sensor control system characterises the ultimate in minimalist simplicity by providing clean, uniform lines of illumination. Powered by Eaton’s most advanced linear LED technology, the Define series eliminates socket shadows and the necessity to stock multiple lamp lengths, all while delivering outstanding efficacy in a variety of profile widths including one to five-inch widths. Lengths are specifiable to the nearest inch, a trait unique to LED systems, and allow an architect unlimited options when defining architectural details.

Soleil Geo Luz & Cerâmica Geo’s twice award winning pendant Soleil - is a product with interesting curves and unique shapes. Soleil has a unique effect of light that arouses curiosity. Geo’s products are all ceramic fixtures 100% handmade in Brazil. Soleil is designed by the award-winning designer and owner of the brand Mauricio D’Avila.



Paloma LED Track WAC Lighting


TROV EcoSense TROV is an LED lighting platform for architectural, retail, hospitality and commercial spaces. This new product platform has been intelligently designed from the ground-up with a patented optical system that delivers the largest assortment of beam angles available today including the line of light and asymmetric distributions. TROV also features flicker-free dimming down to 0% output along with the unique flip to flat design for ultimate adjustability.

Colorist Pod 18Qa Iluminarc The Colorist Pod 18Qa from Iluminarc is a sturdy LED-fitted luminaire ideal for washing façades indoors or outdoors. Compact construction and off-white design allow it to blend seamlessly in any environment. Colorist Pod 18Qa features eighteen quad-coloured RGBA LEDs with a life span of 50,000 hours. Installed optics at 15° with a 27° field angle.

Paloma LED track features a knob located on the back of the track head, allowing the user to adjust beam angle from 15º to 60º with ease. The die-cast aluminium track head is designed for use on WAC Lighting’s W Track systems, both 120V and 277V. With 360º horizontal and 180º vertical aiming it includes a spring lock to secure the aiming adjustment. The 120V option features smooth and continuous dimming down to 10% using an Electronic Low Voltage dimmer. It operates on 24W and delivers up to 1,600 lumens, a centre beam candlepower of up to 7,650 and a CRI of up to 90. Offered in various colour temperatures ranging from 2,700K to 4,000K, as well as three architectural finishes; Black, Platinum and White.

VersaTrim Rayon Lighting

Enlighted System Enlighted The Enlighted System is a unified digital sensor and data analytics system from Enlighted. It collects, analyses and implements big data to drive down operational costs, increase operational efficiencies and improve indoor environments. Enlighted digital sensors are integrated in every light fixture [1:1] to collect granular environmental, occupancy and activity data. They are able to accurately distinguish people from other heat sources, as well as human and non-human. Additionally, sensors have an on-board processor that can make independent decisions without relying on direction from a central machine.

VersaTrim’s patent pending system allows for great versatility with its interchangeable insert and trim ring selections. A single LED recessed module may be arranged into round or square configuration with great ease, lending itself to hundreds if not thousands of combinations. The LED module is available in three to six-inch aperture sizes and in 2,700K, 3,000K, 3,500K, or 4,000K colour temperatures. The VersaTrim may be installed in existing, remodel, or new construction housings.

XTM 9mm Xicato Designed for narrow beam accent lighting applications where contrast, drama and high lux levels are needed, Xicato XTM 9mm delivers exceptional performance. The XTM 9mm meets stringent Xicato requirements for colour consistency, quality and longevity, addressing new applications. Peak intensities up to 73,000 cd for 7° beam. It produces very tight colour consistency, starting within 1 x 2 MacAdam Ellipses and within three MacAdam Ellipses after five years.




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Nova Modular Suspension Edge Lighting Nova Modular Suspension from Edge Lighting allows great flexibility in lighting and fixture design. It offers a variety of L, X, T, and Y connectors that let the end user create geometric DIY configurations. Sophisticated LED technology offers up, down, and combination up/down lighting capabilities. A flat one-inch lens with optional black or white louvers, high CRI, and the ability to run from twelve to 240-inches without refeeding create a minimal, ultra-modern appearance.

Kju Circle Selux Geometrical, purist, versatile – this vision of a modern architecture-based luminaire is made reality by the Kju family of luminaires by Selux. In addition to the square models already presented by Selux at Light+Building 2014, there now comes a new circular series of Kju LED light modules - Kju Circle. Like Kju Square, this has an impressive minimum construction height of just 33mm and a luminous volume at the side. Numerous mounting variants and two optics systems enable creative lighting solutions with a consistent aesthetic.

Yori Reggiani Yori is a high performance luminaire with a compact footprint. Two simple bodies combined by a joint allow the optical section to be adjusted. Yori is designed for LED and metal halide lamps, and is configured for mounting on tracks, inside channels, recessed, onto surfaces and inside grooves in ceilings, thanks to the new version with telescopic boom. Available in trimless and exposed bezel versions with a luminous flux of up to 3,798 lm and CRI > 90 (LED versions). It offers adjustable angle of projection: 356° horizontal, 90° vertical.

Fina Pinnacle Architectural Lighting Elegant, floating discs of light designed to enhance the contemporary interiors of today’s architectural spaces. Fina’s low profile housing encases the fully luminous acrylic lens which delivers a soft, natural, uniform light. Now available in 14-, 18-, 24-, 36-, 48-, 60-, and 72-inch diameters with bidirectional and up light options. Specify with either white LED or RGB, or a combination of both to fit your design.


The OSRAM OmniPoint is a wireless, array-based LED lighting solution that offers flexible light placement and intensity options. It consists of an array of independently controllable LEDs that can switch on/off and dim in coordination with others in any combination, and produce ambient and spot lighting from a single light package at the same time. The light output and placement are quickly reconfigurable via a wireless device and Android app. As a result, the user has the ability to adjust the effective beam direction and angle, beam shape and distribution at the touch of a finger.



Kick Architectural Area Lighting 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.




Paris City Hall, 3rd district Only 330 Watts used to up-light the whole facade Lighting design: Concepto


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October 2015 Ioulis, Ioulis, Kea Kea Island, Island, Greece Greece


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Sponsors Media partners


BUME BOOM! For the first time ever a Chinese practice walked away with the highest accolade at the IALD International Lighting Design Awards, recognised at a presentation held at the magnificent Gotham Hall during LFI in New York. It felt like a significent moment in the development of lighting design.


PROJECT: HAN SHOW THEATRE, WUHAN CITY, HUBEI, CHINA LIGHTING DESIGN: BUME PERFECT ILLUMINATION DESIGN & ENGINEERING COMPANY It felt like a watershed moment when BUME Perfect Illumination Design & Engineering Company received the Radiance Award for the Han Show Theatre in Wuhan City, Hubei, China meaning that, for the first time, the award was won by a Chinese practice. The name of the practice may be a mouthful but their work on this amazing project displayed nothing but grace and expertise. This massive cylindrical building has a plane diameter of 110-metres and a height of 63.3-metres.The external surface of the building is made up of 18,665 individual red aluminium alloy roundels. In creating a lighting plan for this complex modern structure, the lighting design team at BUME Perfect Illumination was inspired by the indirect glow of paper lanterns. To achieve the desired effect, the team installed 25,000 Kelvin floodlights in the internal aluminium curtain; yellow light glows from the lantern ‘wick,’ forming a gradation of light and shadow. Underneath, 3,000K floodlights are adopted to balance the rhythm of the lantern ‘fringe.’ “The lighting of this civic theatre is well integrated into the iconic building design and truly transforms it into a 21st century Chinese lantern, making it a centrepiece of the city,” one judge praised of the project. “The dynamic exterior lighting creates a theatre within a theatre, and an illuminated billboard for the venue.” “Poetry is the gift light brings to this dense urban area,” one judge wrote of the project. “By using only reflected light, each calotte works as a small lantern. The observer can either see a thousand lanterns as in a magic ensemble, one huge glowing lantern, or even an animated lantern with the use of preprogrammed effects.” Through repeated optical simulations, tests, and multiple rounds of design, the technical parameters of each roundel lamp and the overall illuminance of the structure carefully cleave to Chinese illumination standards. The LED red light lamps clock in at a special wavelength of 620-635nm, organically overlaying with the coloured roundels to create the most evocative, traditional Chinese red. “A very unique take on the common ‘building façade as digital display’ concept!” one judge exclaimed. “In this case the details are what make the design so compelling and appropriate. Every elevation and architectural component is thoughtful and considerate. The culturally relevant lantern theme works at every scale.”




EXCELLENCE AWARD PROJECT: THE NATIONAL SEPTEMBER 11 MEMORIAL MUSEUM AT THE WORLD TRADE CENTER, NEW YORK, USA LIGHTING DESIGN: FISHER MARANTZ STONE By restraining the impulse to ‘design in a minor key,’ the lighting design team from Fisher Marantz Stone avoided melodrama in this project, allowing visitors of the memorial to develop their own responses and emotions. Dictated by the architecture, the lighting design was developed to preserve a balance between rational and emotional, light and dark, hot and cold. “This powerful interior design was advanced by equally powerful lighting,” one judge commented on the project. “The scheme created a contemplative and solemn atmosphere for this unique memorial.” The iconic torqued entrance pavilion frames wrecked steel, providing views and daylight to the museum entry. The long entrance enhances the visitor’s adaptation to the museum’s light levels while permitting them to confront the museum’s subject matter at a personal pace.

PROJECT: ZHENHAI CULTURE & ART CENTER, CHINA LIGHTING DESIGN: NINGBO YONGQI LIGHTING The lighting designers worked closely with the architects to develop a façade design allowing two completely concealed LEDs to be installed at the bottom of each diamond shape into custom slots. Each LED is installed with 7º lenses, and tilted 60º upwards to light the upper frames of the diamond while avoiding almost all reflections onto the glass. “The light sources are so carefully integrated that the architecture seems to glow by itself,” one judge shared. “This incredibly clever solution creates an even and balanced luminosity.” Variable light is applied on the façade’s 1,000 diamond shapes to enhance its beautiful geometry, while static light illuminates the roof and corridor. The façade’s colours transition from lake blue to white, creating depth and a peaceful atmosphere.

PROJECT: KINGS CROSS SQUARE, LONDON, UK LIGHTING DESIGN: STUDIOFRACTAL The re-lighting of Kings Cross Square had a number of lofty goals; in addition to balancing functional public lighting with a sophisticated aesthetic, the client wanted to bring greater civic importance to the square by day and night, while minimising long-term operating and maintenance costs. The lighting designers concentrated on incorporating lighting into the built environment wherever possible, creating a three-dimensional space on the historic façade and emphasising materials and textures. The lighting was designed from the outset to create a strong visual identity, support wayfinding, and encourage commuters to linger and appreciate the space. The majority of the plaza illumination is delivered from three 20-metre bespoke stainless steel columns. Positioned precisely, the LEDs have a crisply functional appearance against the warmly glowing façade. Each column houses an array of individually focused LED spotlights, carefully designed to provide low glare illumination to the square.

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PROJECT: STAPLETON LIBRARY, NEW YORK, USA LIGHTING DESIGN: CLINE BETTRIDGE BERNSTEIN The lighting design for the Stapleton Library was conducted under tight constraints, including strict municipal guidelines limiting lamp choices and stringent energy usage requirements. Using a standard T5 lamp in a variety of fixtures and in different ways, the designers created a hierarchy of lighting that shapes the space. “A consistent and rigidly adhered-to concept drives the success and beauty of this elegant and minimal project,” one judge said of the project. “The lighting fills the volume and illuminates the surfaces with a disciplined, integrated rhythm, becoming synonymous with the architecture.”

PROJECT: KYOBASHI CHILD INSTITUTION, TOKYO, JAPAN LIGHTING DESIGN: LIGHTING M The lighting concept for the urban Kyobashi childcare centre was to produce a relaxed and pleasant indoor environment, releasing children from a feeling of urban pressure. At the same time, designers capitalised on the 1,400sqm of green space, including roof, walls, and first floor slopes, to create a beautiful night-time oasis wrapped with the greens of nature and warm, natural-feeling light. “Thoughtful lighting inside and out creates a series of warm and inviting spaces, allowing the architecture to become an urban jewel box,” one judge wrote of the project. PROJECT: CALIFORNIA PALACE OF THE LEGION OF HONOR, SALON DORE, SAN FRANCISCO, USA LIGHTING DESIGN: AUERBACH GLASOW FRENCH Lighting restoration for this French period room appears deceptively simple: historic luminaires and daylight. In actuality, multiple lighting systems and simulated daylight are cleverly concealed within architectural and historic fixtures, giving the appearance of authenticity while artfully lighting the room. “The visitor is invited to a travel in time and see exactly how this space was, due to perfect use of light and subtlety of effects,” one judge praised of the project.

PROJECT: ART MUSEUM OSTESEEBAD AHRENSHOOP, GERMANY LIGHTING DESIGN: LICHT KUNST LICHT Each space is fitted with longitudinal horizontal daylight openings. In order to generate a spatial light distribution perceived as mostly shadow free, prisms were integrated in the skylight construction. Thermally insulated metal panels are the façade cladding of choice. “The beauty of this lighting design was in its elegant simplicity,” one judge praised. “It was completely transparent to the visitor and took nothing away from the architecture. It is sophisticated in its technical solution and elegant in its design result.”

PROJECT: THE BROWN INSTITUTE FOR MEDIA INNOVATION AT COLUMBIA UNIVERSITY SCHOOL OF JOURNALISM NEW YORK, NY USA LIGHTING DESIGN: BURO HAPPOLD To embrace the interconnected concept of the space, the lighting designers selected a series of intertwining luminous elements to build a network of ambient light for the room. Each element in the network provides indirect lighting along its length with a direct punctuation at its end. Indirect lighting is provided by cutting the top half of the pipe away and embedding low voltage linear LED fixtures inside. “The lighting of this space is playful, creative, functional, and inexpensive,” one judge observed of the project. “It transformed what could have been a very boring space into something dynamic and fun.”

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MERIT AWARD PROJECT: KNIGHTSBRIDGE ESTATE, LONDON, UK LIGHTING DESIGN: GIA EQUATION Knightsbridge Estate is a complex of buildings of different styles and periods, spread over an entire city block. The clients called for a lighting design that would enhance the nighttime appearance of the block while unifying and emphasising the architectural elements, including a variety of stone sizes and shapes. “Invisibly integrated light sources and a refreshing sensitivity to varying architectural materials makes this one of the most successful executions of the illumination of historical facades,” a judge said.

PROJECT: U.S. NATIONAL LIBRARY ROTUNDA FOR THE CHARTERS OF FREEDOM, WASHINGTON, DC USA LIGHTING DESIGN: AVAILABLE LIGHT The task: to re-light the Rotunda for the Charters of Freedom, the permanent home of the Declaration of Independence, the Constitution and the Bill of Rights. Critical mandates from the client included absence of measurable UV emissions, improved colour rendering, multi-zone dimming controls, and minimal maintenance. “Successfully hidden light sources and an illumination strategy that enhances and redefines the monumental architecture, historic documents and murals,” one judge wrote of the project. PROJECT: QUEEN ELIZABETH PARK, LONDON, UK LIGHTING DESIGN: SPEIRS + MAJOR The lighting design creates an enchanting and immersive experience. The challenge of the lighting brief was to support the joyful character of the park design and ensure users would feel safe and secure and could continue to use the facilities of the park as natural light faded. The brief also asked that where possible, equipment from the London 2012 Games should be re-used. “I loved the playful nature of the perforated spheres floating over the pathway while providing provocative light on the path’s surface,” said one judge. “The poetic lighting effect was one of moonlight filtering through the leaves of trees.” PROJECT: DAS GERBER, STUTTGART, GERMANY LIGHTING DESIGN: PFARRÉ LIGHTING DESIGN Located in the city of Stuttgart, the Gerber Mall is a 25,000sqm space with more than 86 shops. Lightness, clarity and sophisticated minimalism are the well-balanced tunes for the interior design of the mall, and these themes go hand in hand with the lighting design. “Sleek and futuristic, with astonishingly unbroken illuminated surfaces and a highly graphic conceptualization,” one judge said of the project. “The lighting successfully fills the entire mall with glow and electric energy. The lighting evokes a sense of movement and flow. A rewarding implementation of high contrast to create depth and enhance form.” PROJECT: NORTHROP AUDITORIUM RENOVATION, MINNEAPOLIS, USA LIGHTING DESIGN: HGA & ARUP Prominently located on the University of Minnesota campus, Northrop is a historical icon. Although a celebrated landmark, Northrop has suffered from deficient sight-lines, poor acoustics and underutilisation. The lighting solution provided by HGA and Arup was envisioned to create luminous spaces and reveal fine details. “A successful union of day lighting and subtle artificial lighting enhances the challenging voluminous spaces inherent in this project,” one judge said. “Illuminated surfaces and volumes become the feature, not the light sources themselves.” SPECIAL CITATION: LIGHT GARDEN, LIMA, PERU, CLAUDA PAZ LIGHTING STUDIO

NOW Illuminating benchmark performance in architectural lighting design around the world.



MILANESE MOMENTOS We take a look at some of the architectural lighting featured at this year’s Euroluce exhibit.

CBU-TED Casambi

Euroluce 2015 With its 28th edition, Euroluce celebrated UNESCO’s International Year of Light with the biennial exhibition devoted to excellence in the world of light. As part of the Salone Internazionale del Mobile, Euroluce showcased the very latest in lighting solutions for homes, offices, hospitality and the outdoors, continuing its mission to excite visitors and display the highest-end results of design innovation and creativity. We bring you the best of the show’s newest architectural lighting.

Pad System Artemide Pad System, with ALEF (Advanced Light Emitting Film), a patent derived from TV-screen backlighting systems, appears as a uniform luminous surface. Capable of controlling emission over 60° while ensuring high uniformity values, low luminance levels, and an UGR below nineteen, according to the provisions of UNI 12464. The luminaire’s body has a thin aluminium edge (90mmx20mm). Flexibility is ensured by the joints, which allow multiple modular configurations.

Genius Buzzi & Buzzi A completely concealed lighting system with a diameter of 20mm, Genius guarantees powerful light output and enables front maintenance of the LED circuit in a system of such small diameter. Supplying a light flow of around 1,000lm, Genius is recessed into the ceiling without any visible fixtures. The light source produces a clear cone of light, bathing the surface below.

CBU-TED is a Casambi enabled trailing edge dimmer for dimmable mains voltage powered loads. It can be installed behind traditional wall switches, into the casing or the ceiling connection of a luminaire and automatically forms a wireless mesh network (with Bluetooth Low Energy) with other Casambi products. The Casambi app for smartphones and tablets allows wireless lighting control while simultaneously integrating the regular wall switches and sensors for dimming and scene control within the network.

OLED LG Chem Sathurno Griven Fitted with 12 RGBW, cold or warm white LEDs, Sathurno is a newly engineered; ultra compact and versatile LED wall washer specifically designed for exterior applications. Suitable for pedestrian areas, parks or luminous paths, its shallow profile allows a comfortable ground positioning without being recessed into the ground or compromising the installation surface. Sathurno is ideal for spot lighting and wall grazing owing to the wide selection of optics available.

OLED light panels are available in nine different models with two colour temperatures, which deliver high colour rendering levels as well as achieving high luminance, high efficacy and long lifespan. The range includes OLED modules – light panels with aluminium casing and easy connecting solutions added on the back. The modules come in slide and click versions and can be mounted individually or on a rail with separate mounting brackets. Rail connections also allow OLEDs to be connected to tracks.


SOL Series PROLED The SOL Series is available in round, square, surface mounted or downlight versions. The dimensions range from 108mm x 108mm up to the biggest size 300mm x 300mm. The product emits a neutral or warm white light in a white metal housing frame with a white opal panel. It also features a special constant current dimmer to alter lighting volume appropriately for varied situations.

NJP Table Louis Poulsen Japanese design company Nendo and designer Oki Sato collaborated to create the NJP Table lamp, launched by Louis Poulsen. A personal lamp intended for individual working areas, it is comfortable and offers the same intimacy that the original architect lamp created in the work environment. With several options for installation it can be mounted on a traditional base with a bevelled edge, making the lamp appear to hover above the table. It is also available in a pin fitting in two diametres for direct attachment to the tabletop.

Farfalla NEXO LUCE The new LED wall mounted lamp designed by architect Giulia Superbi reaches the climax between lines and profiles, and high tech performance nestled in an asymmetrical beam light effect. A full range of customisable colours allows Farfalla to interact dynamically with all surrounding environments. Lightness, solidity and versatility are essential features to the product that can suit any wall space for ambient lighting.

Cool Simes

Folio Plexiform A lightweight rectangular or square object with sixteen points of light, Folio is slim and minimal, and can be located in modern and elegant environments with direct emission LED technology. Made of a 2.5mm thick steel sheet and fire painted with epoxy powder, the product is damp-proof, UV stabilised and is presented in matte black, matte white, matte grey and chrome. Folio is available in ceiling or suspension versions.

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

Cloud Targetti With only the optic’s enclosure visible, Cloud is a single piece where the voluminous heat sink remains hidden in the ceiling even when the body is extracted, minimising its presence. Available in two sizes, seven power outputs and four beam angles, Cloud has a range of lumen packages and colour temperatures to cover varied installations. It is fitted with aluminium micro optics that ensure high performance, wide beams and proprietary lenses that guarantee quality and reliability.



RECENT RELEASES A selection of newly released products on the market.

xcene / axen Luxintec

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.

xcene and axen are two families of LED spotlights for interior lighting. Each incorporates COB LED technology, a high quality reflector with up to 102lm/W performance, and offer very concentrated optics. Its design has been updated, with a more compact compartment box and a new light engine which improves heat dissipation and visual comfort thanks to its anti-glare ring. xcene and axen are available with up to 80W, for surface or three-phase track mounting.

Super-G Prolicht Inspired by skiing dynamics – high jumps and high speed – Super-G is a versatile swinging light. Its parts can be combined as often as you like and with different radii, allowing it to adapt to any room’s proportions. A suspended or surface mounted luminaire which comes on two light temperatures 3,000K and 4,000K. Available in four different radii (120°, 90°, 72° and 51°) which can be combined seamlessly and leave the user with unlimited possibilities of creation.

FIA WL-DL Leccor A wall / ceiling luminaire made of a glass beaded stainless steel profile (Ø68mm), for interior and exterior application. It has a frosted or transparent borosilicate protection glass and is available with 360° or 180° light outlet. The fixture is IP65 and electrical safety class 1/2 rated. Different lengths and versions available.

AGA-LED Clip Agabekov Adonis LED Linear Adonis is a high performance linear light bar with small form factor in protection class IP67. The luminaire has a lumen flux of up to 1,754 lm/m. With easy installation and high durability, it is suited for many applications in both indoor and outdoor settings. From a design point of view Adonis convinces with formal elegance. Surface mounted, it makes use of invisible connections and no light gap between lights.

Agabekov has developed a four-position linear luminary using AGA-LED Generation 2 light sources. The light source can be oriented and the direction of the lit area changed without altering the position of the profile. The system is very simple, practical and operates by manually clipping the LED on its support, with four positions possible. The advantage of this unique system is different lighting effects are obtained depending on the position of the lighting sources.


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.



Cove Light AC HO RGBW Traxon & e:cue Comprising pure white and RGB LEDs in optimised configuration, Cove Light AC HO RGBW generates seamless colour mixing and unlimited lighting effects for a wide range of indoor applications from alcove to wall grazing and indirect illumination. Slim and compact, it is the ideal lighting solution for indoor alcoves and shallow soffits. Offering auto addressing, flexible aiming, and in multiple lengths, the versatile design of Cove Light AC HO RGBW makes installation quick and easy.

VersiTile Aurora Edinburgh Design LED Products Design LED Products offers the world’s thinnest shelf solution in an ultra-slim luminaire design at only 6mm. . The elegant Edinburgh provides an efficacy of 105 lm/W and high product illumination. The integrated optics delivers light where required without shadowing allowing an energy-efficient lighting solution. Edinburgh is ideal for showcases, displays, under cabinet lighting and kitchens, easy to install in lengths of up to 10m and smart control options are available.

Supersystem Zumtobel

lui Occhio 3D kinematics, interchangeable optics and a zoom – lui combines design and lighting technology in a purist technical shape. The new spotlight system by Occhio features interchangeable optics like those found in photo technology the zoom allows the beams of light to be variably widened from 20° to 60°. The collimator uses various optical filters to create precisely defined lighting effects. There is a slide control on the back of the cylinder for adjusting brightness.

Aurora’s new retrofit LED range, VersiTile is more than just a standard flat panel, it can be used for offices and commercial lighting as it meets a UGR (Unified Glare Rating) of nineteen. Testing by LIA laboratories, it showed performance up to 110lm/W and exceeds ErP compliance. Covered by a five-year-warranty and available in a range of mounting options and sizes, CRI (Ra) is 80+, lifetime is 40,000 hours to L70, and being IP44, it exceeds legislative requirements of CE marking.

BPX Mike Stoane Lighting BPX is a multipurpose tool for designers; a Xicato light source built into a compact body with numerous accessories available. The simple mounting method and low profile make BPX ideal to incorporate into custom designs. A full range of dimming options is available and an intelligent XIM version is in development.

In autumn 2015, Zumtobel will launch the second generation of the modular lighting tool box which will include Supersystem outdoor, covering outdoor lighting solutions for the first time. With Supersystem, Zumtobel has created an LED lighting system that opens up new freedom of design to architects and lighting designers. An extensive modular system which can be used flexibly across all applications.

Tel 44 ( 0 ) 208 348 9003 Web email

Landmärket residential tower, Stockholm. Luminaire concept and lighting design by Andreas Ejhed and Daniel Hodierne of Ă…F lighting.

Radiant Water Effect Light, IP 65. Dynamic, DMX controlled LED luminaire - 4 LEDs with different colour temperatures dim in sequence through rippled glass.

Design by

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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.

Lighting Designer

// What do we offer?

// Our ideal partner?

• Project-based lighting calculations and lighting plans

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

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

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

// Interested?

Description You will be an effective communicator at all levels, able to manage deadlines and several projects • Extensive knowledge of all relevant software packages • International travel may be required • Salary and benefits will be commensurate with ability and experience • EQ2 light offers an employee share trust scheme. Your skills Degree in lighting / electrical engineering / related design degree, interior design or architecture • Strong conceptual focus and presentation skills • Drive and creativity • Willingness to travel • AutoCad, Adobe, MS Office and Dialux literacy essential. • Previous work experience in a lighting design consultancy with artificial and daylight design skills beneficial. Apply Please send your application including your CV and portfolio illustrating projects you have significantly contributed to and your salary requirements to: EQ2 light, 39 Hatton Garden Street, London, EC1N 8EH, UK. +44 (0) 207 8404 4488 •

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


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ADVERTISERS INDEX Acclaim............................................. 147 Anolis................................................ 101 Applelec............................................. 87 Architectural Area Lighting............... 171 Artemide........................................... 109 Bega................................................... 71 Bega................................................. 165 CLS....................................................... 8 Concord.............................................. 29 Cooledge......................................... 166 darc night............................................. 7 David Morgan Associates................. 163 Design Led Products........................ 149 Dial..................................................... 93 DPA................................................... 167 Edison................................................. 93 Encapsulite....................................... 105 EQ2.................................................. 164 ETC................................................... 129 Firefly Light Design........................... 165 Fuhua Electronic ................................ 91 Griven................................................. 19 Grupo MCI....................................... 155 Guangzhou Int’l Lighting Expo........... 12 GVA.................................................... 75 HALLA................................................ 13 IALD.................................................. 157 Illumination Physics............................ 95

Illumination Works............................ 166 Insta.................................................... 81 Instrument Systems.......................... 155 Isometrix........................................... 166 ISTL................................................... 163 Kim Lighting......................................... 3 KKDC.................................................. 25 L&L Luce&Light.................................. 99 LEC-Lyon.......................................... 149 Leccor................................................. 91 LED Linear........................................ 172 Lee Filters .......................................... 57 Light Design Plus.............................. 167 Light Source Europe (LSE)................ 111 Lightgraphix....................................... 89 LPS...................................................... 58 Lucent................................................. 23 Lucifer................................................. 21 Lumascape....................................... 153 Lumenpulse........................................ 35 Lumino.............................................. 167 Lunoo................................................. 63 Lunoo............................................... 164 Luum................................................. 165 MBN................................................... 55 Mike Stoane Lighting....................... 107 Mr Resistor............................................ 6 Neonlite.............................................. 45

Nicolaudie............................................ 9 Orlight.................................................. 2 Paviom................................................ 14 Pinnacle Architectural Lighting............. 4 Proliad................................................ 15 Prolicht.............................................. 113 Pulsar.................................................. 73 Recolight.......................................... 125 Recom.............................................. 125 Reggiani............................................. 27 Remote Controlled Lighting............. 161 Rethink The Night............................ 150 Rising Dragon Technology................. 10 SAT................................................... 153 Signcomplex..................................... 135 Soraa................................................ 139 Stanley Electric UK........................... 113 StrongLED........................................ 127 Studio Due......................................... 17 Thailand Lighting Fair......................... 11 The Lighting Practice........................ 165 Titan.................................................. 129 Traxon & e:cue.................................... 37 Unilamp................................................ 5 WAC Lighting................................... 145 Wibre................................................ 147 Wila.................................................... 43 Xicato................................................. 41

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

The BEGA Group is an internationally respected, privately owned manufacturer of high quality outdoor and indoor luminaires. Its enviable product portfolio suits for lighting projects worldwide.

Regional Business Manager Reporting to: UK Managing Director Regions: London / Home Counties Description: Mature business management position for BEGA The position calls for a motivated, driven, sensitive and diplomatic business minded individual who thinks outside the box and can work as part of a small highly trained team. The position although part of a team will call for a great deal of self-resilience and personal drive to “get the job done”, but always with the highest quality of service in mind. Income and benefits package to include: • Basic + Performance Related Bonus + Benefits Key Qualifications: • Possesses a thorough knowledge of U.K lighting business operations • Excellent customer service skills • Excellent knowledge of current lighting industry trends • Ability to interface with clients at all levels • An individual who can accept personal responsibility • Excellent Business Management, development and support skills • Wide range of specification and professional marketplace contacts in London and south east • Ability to open and develop business leads for partners, retailers and distribution networks • Report writing, presentation skills, IT skills • Self starter who can deliver while working both individually and within a team environment For a more detailed job description please either email or directly contact: Michael Wilson – UK Managing Director to discuss the positions descriptions further as follows. Please no agencies, only interested parties. Mobile: 07973 734 356, Office: 01306 882 098, email: info-uk @

Firefly Lighting Design is an award-winning lighting consultancy with studios in London and Hong Kong, working at the highest level of the architectural lighting design industry on international projects.

Senior Lighting Designer We are looking for a Senior Lighting Designer to join our expanding team in London.

PRODUC T DESIGNER AT LUUM LUUM IS A LONDON BASED CONTEMPORARY LIGHTING STUDIO DEDICATED TO THE DESIGN, MANUFACTURE AND DELIVERY OF SPECTACULAR LIGHT INSTALLATIONS FOR SOME OF THE WORLD’S FINEST INTERIORS. As a young company we have an exciting opportunity for a talented Product Designer to join our team and play a significant role in our growth. The position will involve developing and managing highly contemporary and original light installation projects from initial enquiry through to final install. MAIN RESPONSIBILITIES: — Develop projects from concept through to manufacture and install under the creative direction of the lead designer — Fully manage projects from start to finish — Prepare and manage project schedules and budgets — Develop design proposals and prepare tender and quotation documents — Manage and develop project supply chains and sub-contractors — Provide on-site supervision during installation

SKILLS AND EXPERIENCE: — A minimum three years of relevant experience in product design or similar discipline — A degree in product design; or closely related — Excellent 3D CAD skills (Solidworks, 3DS Max, Maxwell Render) — Experience producing production drawings — Sound technical knowledge of product manufacturing methods. — Outstanding attention to detail and an ability to deliver — Be a great communicator/negotiator

Please apply by email with an explanation of why you would be right for the role to and please include a portfolio and CV.

+ 4 4 ( 0 ) 1732 3 61 8 0 0 | I N F O @ BY LU UM .CO M | W W W. BY LU UM .CO M | @ BY LU UM

You must have a minimum of 4 years experience in architectural lighting design, have experience in running a wide range of projects from conception to completion, excellent communication and presentation skills, demonstrate initiative and be able to manage a team. We expect extensive knowledge of all relevant software packages and we are looking for someone with creativity, enthusiasm, self-motivation and attention to detail.

Assistant Lighting Designer We are also looking for an Assistant Lighting Designer to join our studio in London. Past experience in architectural lighting design is required, preferably with an independent lighting consultancy. A thorough knowledge of AutoCAD is essential and experience with Photoshop and Dialux is useful. Enthusiasm and passion are essential as the role requires designing international projects to an exceptional standard. To apply for one of these roles, please send CV, covering letter to: Candy Crane, Office Manager –

Our award winning international lighting design consultancy offers the opportunity to work on challenging and unique projects worldwide. Isometrix’s extensive global portfolio encompasses all sectors of lighting and product design for unique and cutting edge projects. We are seeking to fulfil a diverse position, working with both our product and lighting design teams and directly with external Architects, Designers, Clients and Contractors. The role involves providing innovative ideas and solutions for a varied range of technical and creative challenges through the design, production and installation process, from concept to completion. On site ‘hands on’ experience and an extensive knowledge of lighting technologies and techniques are essential. Intermediate Product Designer Successful applicants must have good design skills and be able to work well individually and within a team. A willingness to learn and genuine ambition to progress a career in lighting related product design are a prerequisite. Skills, Role and Experience Successful candidates will demonstate the following abilities; • Be capable of generating creative and innovative conceptual design ideas. • Excellent design detailing skills. The ability to generate buildable solutions to design problems. • Lateral and proactive thinking, essential to enable projects to be completed on time and to budget. • Production planning, scheduling and prioritisation experience. • A good understanding of manufacturing process and communication with manufacturers to resolve production issues. • Experience in site specific installations and pragmatic design thinking to take into account all aspects of on-going projects. • Transparent, efficient and proactive communication to resolve ‘on site’ issues with project teams. • Understanding the design process from beginning to end including; production of engineering drawings, assembly, preparation of installation instructions and fixing on site. Proficiency in AutoCAD, Adobe and MS Office are essential. Understanding of Solidworks a benefit. Remuneration package including bonus and benefits package is commensurate with skills and experience.To join our dynamic multi-national team, please send your CV and work samples to:

Business Development Manager - UK Specification Company Overview: Cooledge Lighting has developed a revolutionary approach to the exploding solid state lighting space with the industry’s first LED Light Sheet. Cooledge Light Sheet offers unique propositions to design community by eliminating the need for additional thermal management, offering flexiblily, high efficiency, high colour consistency, long life time & configurability that lighting industry has ever seen. Our business plan is based on Demand Generation approach through top level Specification Channel. Architects & Lighting Designers are key value drivers to ensure that our unique technology is applied in most meaningful way. We need sales professionals that are as amazing as our technology. We need an experienced Business Development Manager - UK Specification to join our talented team & help us build our business further. Position Overview: We are looking for a seasoned sales professional that has a proven track record of success with consultative selling into the UK lighting specification channel.. The ideal candidate will have a clear understanding of key ingredients required to succeed in UK Specification channel and must have a well established network among UK based Lighting Designers and Architects. This role will be responsible for identifying, cultivating and successfully inspiring our creative customers to use our light sheet in their projects.

This position will report to the Director of Specification EMEA, located in London. Position Responsibilities include but not limited to: • Establish, maintain and develop long-term structural partnership with a selected group of internationally operating specifiers (Architects & Lighting Designers) in the UK • Deliver sales objectives by achieving agreed specification & sales targets. • Work within the Cooledge CRM/ERP systems for all sales data management. • Drive, monitor and coordinate Cooledge specified projects with relevant colleagues & our local partners outside UK . Position Requirements: • Bachelor’s degree, Architectural, Marketing, Engineering or equivalent. • 5+ years in the lighting industry in a consultative selling to UK Specification channel • In-depth knowledge of lighting & LED technology • Self-directed, highly motivated, results-driven Contact Details: Cooledge offers a competitive compensation package and a business culture which rewards performance. More info: If you are interested in this position, please forward a resume and a cover letter to Please ensure to include the job title in the subject line. NOTE: We would like to thank everyone who applies, but only those applicants under consideration will be contacted. No telephone or agency solicitations please! Interviews will be soon conducted in London.

LIGHTING DESIGNER DesignPlusLight is growing and we're currently looking for bright, talented people to join our outstanding team. We'd like to talk to you if you're passionate about design and want to get your teeth into some of the most exciting and beautiful projects in the business. You should ideally have at least one years experience working in lighting design and be looking for a new challenge. You should be enthusiastic, motivated, willing to take the initiative and happy to work under pressure. Proficiency in Autocad, Photoshop, DIALUX and MS Office is desirable. To join our team contact Sanjit Bahra: DESIGNPLUSLIGHT K210 The Biscuit Factory 100 Clements Road, London SE16 4DG T +44 (0)20 8762 9585 E W

Lumino is at the forefront of high specification architectural lighting. Based in Harlow, Essex, we take pride in the quality of our British designed and manufactured products. In our 30th year, we are expanding our team to meet the global demand for our unique products.

Specification Sales Engineer Are you a sales professional looking for your next move? Lumino is celebrating 30 years in the lighting specification industry and we’re expanding our sales team. We’re looking for a professional and passionate salesperson with a track record of selling high-end products through specification channels in the London and South East area. Experienced in supporting specifiers on medium to large projects, you are a great communicator able to develop strong business relationships and translate sales leads into sales orders effectively.

International Project Manager Are you ready for a global challenge? Lumino has twenty four sales partners around the world working with architects and lighting designers, specifying our lighting products. We’re looking for an exceptional person to support our partners, help them manage large projects and reach their sales targets. You will be a driven, outgoing, communicator travelling extensively to provide project sales support and product training to partners. You will be able to utilise your experience and full understanding of the lighting specification market to grow Lumino’s export market.

Marketing Manager Here’s your chance to shine brightly.

“Right Light, Right Place, Right Time”TM dpa has created an international lighting consultancy Practice, which puts “design excellence” as its main focus. We are working on a wide range of exciting projects throughout the world. Our work includes lighting for all aspects of the built environment.

Lumino is growing fast and we’re making marketing a key part of our plans for continued growth. We’re creating a new role for someone who will take charge of all our marketing - everything from tweets and blog posts to printed brochures and international trade shows. You will use your marketing experience to great advantage in promoting the Lumino brand globally, while managing everything from new literature to sales and marketing events.

With offices in Dubai, London, Japan and Oxfordshire, we currently have the following vacancies for suitably talented lighting design professionals:

Dubai Office, U.A.E

• Senior Designers • Designers with some relevant experience

London Office, UK

Junior Industrial Designer Put your creativity in the spotlight.

• Designers

Oxfordshire Office, UK • Senior Designers • Designers with some relevant experience These are important roles within the Practice and encompass all aspects of a Lighting Design Studio. Remuneration for all vacancies will be commensurate with experience. The Dubai position enjoys a tax free environment subject to personal taxation circumstances. Applicants applying for the Senior Designer positions must have previous relevant experience with an independent lighting consultancy. Excellent written and spoken English is also essential. Applicants need to demonstrate outstanding creative, technical and project management skills appropriate to the positions. Initial interviews can take place in the UK or U.A.E. For further details about dpa, please refer to our website:

We are embarking on an aggressive NPD programme and looking for a talented and creative designer to join us. Working on NPD and refinement of existing products, you will be contributing heavily to the evolution of Lumino’s product portfolio. Fluent in SolidWorks, with a good understanding of manufacturing processes and materials, you are a problem solver ready to assist in all areas of the design dept including drawing and document preparation, component sourcing, testing, prototyping and model making.

Full details of all available positions at:

Please e-mail your application letter and CV along with examples of completed projects where you have had a significant contribution, to Bryony Garrett:

Qualified applicants should submit their CV and hand written application letter to: Applications, Lumino Limited, Lumino House, Lovet Road, Harlow, Essex, CM19 5TB Closing date for application: 30/6/15


Iluminotronica October 8-10 Padua, Italy

IALD Enlighten Americas October 8-10 Baltimore, USA

LpS September 22-24 Bregenz, Austria

Shanghai International Lighting Fair September 23-25 Shanghai, China


technical partner

A unique new event from

in collaboration with


Light Middle East October 6-8 Dubai, UAE

London Design Festival September 19-27 London, UK

member of

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

LED Lighting Exhibition October 1-4 Istanbul, Turkey

LED China 2015 September 17-19 Shanghai, China

Light & Building March 13-18, 2016 Frankfurt, Germany

Interlight Moscow November 10-13 Moscow, Russia

Strategies in Light March 1-3, 2016 Las Vegas, USA

Northern Light Fair February 9-13, 2016 Stockholm, Sweden

Lighting Japan January 13-15, 2016 Tokyo, Japan

Light India + LED Expo December 3-5 New Delhi, India

Strategies in Light Europe November 18-19 London, UK

Acetech October 28 - November 1 Mumbai, India

PLDC October 28-31 Rome, Italy

China (Guzhen) Intl. Lighting Fair October 22–26 Zhongshan, China

LED+Light Asia September 29-October 1 Singapore, Republic of Singapore

BIEL Light + Building Buenos Aires 2015 September 15-19 Buenos Aires, Argentina

Rethink the Night October 12-16 Kea Island, Greece

darc night September 24 London, UK

Smart Lighting Event June 24-25 Eindhoven, The Netherlands




Light Collective have admired Moritz Waldermeyer from afar for some time but felt the need to make friends with him after seeing his stunning piece My New Flame developed for Ingo Maurer at last year’s Light + Building - a product that has since become part of MoMA’s permanent collection. Light Collective recently had the pleasure of inviting Moritz to be part of their exhibition Lumiere - The Play of Brilliants that is currently running at Elephant Paname in Paris and featured in the last issue of mondo*arc. It’s impossible not to be inspired by his diverse body of work - from interactive chandeliers for Swarovski, collaborative work for Zaha Hadid, bespoke installations for Audi, Bombay Sapphire and Wallpaper*, LED-embedded hats designed with Philip Treacy and high-tech, light- studded costumes for U2, Rihanna, and the London Olympics Handover Ceremony performers. It’s now time for Moritz to share his inspirations with the readers of mondo*arc.

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

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