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mondo*arc magazine


#86 2015



issue 86 * August/September 2015



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Rome Professional Lighting Design Convention

28. – 31. October, 2015

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

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[aug/sep] Front cover pic: Szczecin Philharmonic, Poland

048 Interview Henrietta Lynch talks to Andreas Schulz, founder of Licht Kunst Licht.

DETAILS 022 Editorial Comment darc awards announcements and award winning projects. 024 Headlines The latest architectural lighting industry news. 026 darc awards Voting period started. 028 Eye Opener ‘As If It Were Already Here,’ Rose Kennedy Greenway Park, Boston. 030 Drawing Board Our preview of proposed projects. 034 Spotlight A selection of brand new projects from around the world. 040 Andrew Howis Tribute Keith Bradshaw pays tribute to a family man and highly skilled lighting designer. 042 Briefing We talk to Liz Peck, President of SLL. 044 Snapshot ACT lighting design celebrates 20 years in the business. 046 Lighting Talk Beatrice Witzgall talks lighting and LumiFi app. 202 Inspirations Arup lighting designer Star Davis.



110 Requiems King Lear Hanna Abd El Nour reinterprets Shakespeare with help from architect Mazen Chamseddine

146 LPA Travelling Exhibition

and lighting designer Martin Sirois. 118 Alma Mater Enzo Catellani’s gilded discs use LED light to shower Yuval Avital’s multimedia installation. 120 INSIDEOUT flora&faunavisions’ Leigh Sachwitz explores light, experience and weather in an interactive multimedia journey. 122 An Additive Mix Liz West introduces her latest psychedelic light experience. 124 James Turrell Andre Tammes reviews the popular exhibition at the National Gallery of Australia, Canberra. 134 Dan Flavin Mrinalini Ghadiok attempts to define his journey with light, through light and into light. 142 Tree of Codes - MIF Jonathan Safran Foer’s novel is encapsulated in Wayne McGregor’s ballet with set design from Olafur Eliasson and score from Jamie xx. 144 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light.

148 Little Sun Femke Gow visits Tanzania with Olafur

LPA celebrates 25th anniversary with transcontinental exhibition Nightscape 2050.

Eliasson’s Little Sun solar lamps. 150 IALD Column Barbara Horton, Lisa Reed and Vasiliki Malakasi discuss equality for women in the lighting design profession. 152 Case Studies A selection of innovative lighting projects. 178 Bench Test David Morgan looks at Mike Stoane Lighting’s TTX2. 180 Geoff Archenhold Dr Archenhold discusses the platform for connected lighting. 182 Light Sources and Gear A selection of light sources and gear products. 192 SPARC Product Round-Up 194 GILE Product Round-Up 197 New Product Guide A selection of newly released products on the market. 200 Event Calendar


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[aug/sep] Online Take a moment to have a look behind the scenes of Manchester Whitworth Art Gallery’s award-winning redevelopment.

Pic: David Levene

PROJECTS 054 Szczecin Philharmonic, Poland Barcelona-based Anoche has created a glowing lighting scheme for Estudio Barozzi Veiga’s beacon of architecture in the heart of Poland. 064 New Parliament Building, Oman Visual Energy has created a dramatic lighting scheme for the façade and landscape of Oman’s new Parliament where shadow is as important as light.


PROJECTS 068 Romare Bearden Park, USA Randy Burkett Lighting Design and landscape architects LandDesign illuminate North Carolina’s Romare Bearden Park as a tribute to Bearden’s art. 077 Old City Square, Belgium Thanks to a collaboration between Studio Susanna Antico and Giladi Architectural Lighting, the Grote Markt historical market square of Antwerp has been given a much needed lighting lift.

PROJECTS 098 HOME, UK mondo*arc takes a look at how Mecanoo and BuroHappold Engineering worked to bring this new venture alive. 108 New Age Clinic, Turkey Uğur İmamoğlu and Iglo Architects have used clever and cost-effective lighting solutions to create an aesthetically pleasing space.


082 Britannia Cruise Ship, UK MBLD and interior designers Richmond International have provided P&O’s largest cruise liner to date with a flow of scene-setting lighting installations.

Pic courtesy of OSRAM

090 The Whitworth, UK A £15m revamp sees the gallery bigger, brighter and bolder than ever before.

Pic: Paul Karalius



[editorial] Paul James, editor, writes: The darc awards voting is now well under way with many independent architectural lighting designers and light artists participating. The voting period is open until August 17th making this the only peer-to-peer lighting design awards in the world. I know some of you will be reading this after the deadline. If you haven’t participated this year, the popularity of the voting system has meant that we will be making this an annual event so you’ll have no excuse next year! There were over 400 entries for the 2015 darc awards, an amazing response to an inaugural competition and proof that designers are looking for something new and refreshing. Project shortlists consist of the best twelve submissions from each category. Product categories go straight to the lighting designer public vote so that you can genuinely vote for their favourite products from the last three years. Votes are cast on the darc awards website ( with the awards event, darc night, taking place at Testbed1 / Doodle Bar in Battersea, London on September 24th during London Design Festival. All independent lighting designers and light artists that vote in every category will be able to attend darc night free of charge (suppliers will be subject to a charge) turning the traditional awards ceremony protocol on its head. The awards evening iteslf will be a completely different with free street food and a free bar all night, lighting installations by lighting designers and light artists who have teamed up with the manufacturer partners, and a totally different format for presenting the evening. I hope to see you there. darc night is for you, the lighting designers!

Helen Fletcher, deputy editor, writes: Welcome to issue #86, which I am sure has landed on your desk with somewhat of a thud this month! Flicking through, you’ll notice we’ve rounded up a number of projects and light artists that have been shortlisted in the darc awards. From our Eye Opener spread courtesy of the guys at Arup USA; to Star Burst on the Britannia cruise ship from MBLD / Jona Hoad Design; our cover story Szczecin Philharmonic Hall in Poland, and our beautiful fold out on the New Parliament building of Oman... All worthy entries and beautiful examples of clever lighting schemes, but don’t forget as Paul mentioned, there are over 400 entries providing these projects with stiff competition, for you to peruse at Elsewhere in the magazine we take a look at the award-winning Whitworth Art Gallery, one of Manchester’s finest. A building close to my heart, this was an absolute pleasure to cover and having spoken with Stuart McKnight of architectural practice muma and Stephen Jolly of BuroHappold Engineering, I got a real sense that for everyone involved, the journey of bringing this Victorian gallery into the 21st Century was a personal one - read more on P.90. Continuing with the Mancunian theme, we bring you a second project from the lighting group at BuroHappold Engineering, this time headed up by Laura Phillips working in conjunction with Dutch architects Mecanoo. HOME (P.98) is the latest cultural hub to land in Manchester, bringing its residents a contemporary space for independent film, art and theatre. There are lots more for you to get your teeth stuck into and there’s not enough space for me to note it all, but one thing you must do is head to P.148 to hear all about Femke’s trip to Tanzania - with Olafur Eliasson’s Little Sun lamp in tow no less!



Publisher / Editor

Danielle Ramsden

Paul James




Deputy Editor Helen Fletcher

David Bell



Editorial Assistants

Mel Robinson

Laurence Favager



Dan Seaton

Femke Gow





Damian Walsh

Advertising Manager


Jason Pennington

Finance Director

( Advertising Sales

Amanda Giles

John-Paul Etchells



Credit Control

Andy White (

Donna Barlow (

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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.

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


news headlines

For the latest news stories, head online:

Jürgen Hess joins Selux board of directors

IALD and SLL support darc awards

(Germany) - Hess combines passion for people and technology, with extensive experience and market knowledge to become Head of Technical Management at the Berlin-based luminaire manufacturer.

(UK) - Major lighting design associations back darc awards and will attend darc night on September 24th in London. Read the full story online... 1

Read the full story online...

Andrew Howis passes away (UK) - Managing Director of Speirs + Major dies suddenly aged just 41. Read the full story online...



The Lighting Practice announces new associates (USA) - Emad Hasan and Jonathan Hoyle will uphold TLP’s design and customer service standards while furthering its mission to transform spaces. Read the full story online... 4


Hubbell signs license agreement with Philips

Targetti restructures US operation

(The Netherlands) - Through membership, Hubbell will benefit from Philips’ patented innovations in LED control and system-level technologies.

(Italy) - Targetti USA to trade as independent business offering full line of US approved products from both Targetti and Duralamp.

Read the full story online...

Read the full story online...

darc awards voting has begun! (Worldwide) - An international panel of independent lighting designers have chosen their shortlists for each category. Public voting by independent lighting design community has now begun Read the full story online... In pictures


the latest news online


scan QR code to link to


1 IALD and SLL to attend darc night. 2 Andrew Howis. 3 Jürgen Hess and Felix Grönwaldt. 4 Hubbell joins Philips LED Luminaires and Retrofit Bulbs Licensing Program. 5 Emad

Hasan and Jonathan Hoyle. 6 Targetti transforms US brand as a result of December 2014 sale of louis poulsen. 7 darc awards voting panel.

“L E D


Pic: © X. Boymond


Citadel of Bonifacio, Corsica Lighting design: Agence Lumière



[darc awards] The voting period for the darc awards, organised by mondo*arc and its sister publication darc in collaboration with Light Collective, is now well under way. All entries are being displayed on darc awards voting is now well under way with many independent architectural lighting designers and light artists participating. The voting period is open until August 17 making this the only peer-to-peer lighting design awards in the world. There were over 400 entries for the darc awards, an amazing response to an inaugural competition and proof that designers are looking for something new and refreshing. Project shortlists consist of the best twelve submissions from each category. Product categories go straight to the public vote so that lighting designers can genuinely vote for their favourite products. Votes are cast on, with the awards event, darc night, taking place at Testbed! / Doodle Bar in Battersea, London on September 24 during London Design Festival. All independent lighting designers and light artists that vote in every category will be able to attend darc night free of charge (suppliers will be subject to a charge) turning the traditional awards ceremony protocol on its head. The awards evening iteslf will be completely different with free street food and drinks all night, lighting installations by lighting designers and light artists who have teamed up with the

manufacturer partners, and a completely different format for presenting the evening. 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.

darc night 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. The manufacturer partners are Lucent, Megaman, Innermost, LSE Lighting, KKDC, Concord, L&L Luce&Light, Reggiani, Cooledge, Griven, Zumtobel and Lumino. Technical partner is XL Video and Applelec are manufacturing the special trophies. 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 is part of the 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. It is supported by the Society of Light & Lighting and the International Association of Lighting Designers.

Three of the shortlisted entries to the darc awards - Samsung Branding With Light in Scandinavia by Lighting Design Collective; Kucukcekmece Municipality Building in Istanbul, Turkey by ZKLD; Pingtian Farming Museum & Manual Workshop in Pingtian Village, China by X Studio in School of Architecture, Tsinghua University.



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 As If It Were Already Here, Rose Kennedy Greenway Park Floating above Boston’s Rose Kennedy Greenway Park in the heart of the city is Janet Echelman’s As If It Were Already Here - a sculpture fabricated from over 100 miles of knotted twine, with an area of over 20,000 sqft, suspended between 50 and 200ft up in the air. Created specifically for this site, the brightly coloured piece is carefully suspended from three surrounding skyscrapers, with spans reaching up to 600ft in length. Working with Arup, the design intent was to provide a soft uniform wash of light on the piece that could vary in colour and intensity. Variability of coloured light creates a dramatic transformation of the piece, as bands of colour in the net are expressed uniquely as colour shifts. The soft wash of light allows visitors in the park below to clearly see the movement in the piece, as the motion of wind is clearly expressed in the lightweight materiality. When viewed from afar, the visual expression of the piece changes with every angle. The layering of the light on the surfaces of the net draws attention to the three dimensionality of the piece. Viewers from select angles see the brightly lit density of multiple stacked layers of light and twine, while from other views, the ethereal presence of a single illuminated layer of net is subtle and delicate against the night sky. Pic: Melissa Henry



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

DEEP INTO THE SEA Focus Lighting is currently working with the Wildlife Conservation Society, a conservation organisation that manages the Bronx Zoo, New York Aquarium, Central Park Zoo,Queens Zoo, and Prospect Park Zoo in New York City, to design the lighting for New York Aquarium’s Ocean Wonders: Sharks!, a 57,000sqft, three-story building set to house hundreds of new animals come June 2017. The exterior of the building will be wrapped in a shimmer wall designed by environmental artist Ned Kahn. The shimmer wall spans 1,000ft and uses wind and reflected sunlight to create a mesmerising effect reminiscent of waves in the ocean. Extensive mock-ups were carried

out to determine how to effectively light the 33,000 aluminum tiles that compose the piece. A 20ft x 20ft version of the wall was built on the Coney Island beach, where Focus Lighting’s design team lit the model from each side with multiple fixture types, before accomplishing an iridescent look, similar to that created by a school of silvery fish swimming in a moonlit sea. The solution was to integrate two rows of linear LED strips at the foot of the wall. Uplights behind the shimmer wall bounce off the swinging panels and directly into viewers’ eyes. A row of linear LEDs in front of the wall work to evenly distribute an undulating layer of blue-toned light.  Inside, the design of the exhibit takes the

viewer on a dramatic journey through the undersea world as each space takes you deeper into the ocean. The culmination of the exhibit is the Canyon’s Edge tank with deep ocean sharks on display. A few shafts of ‘sunlight’ from 6,500K LED spots will illuminate a narrow strip of sandy beach along the front edge of the tank, then the exhibit falls off into darkness. The deeper recesses of the huge tank are flooded with deep blue LED light so sharks are just barely visible in the murky depths, and then suddenly come into the light as they approach the front of the tank.


Pics: 1. Giant’s Causeway & Causeway Coast - James Bridge. 2. Tower of London. 3. Dorset & East Devon Coast Jurassic Coast Team. 4. Blaenavon Industrial Landscape - Torfaen County Borough Council Blaenavon World Heritage Site. 5. Iron Bridge Gorge. 6. Old & New Towns of Edinburgh. 7. Pontcysylite Aqueduct & Canal - Crown Copyright. 8. Ruins of Fountains Abbey - NTPL. 9. ‘A look into the unknown’ for Liverpool Maritime Mercantile City by Cundall Light4. 1.









NIGHT OF HERITAGE LIGHT On the evening of October 1, the Society of Light and Lighting (SLL) will celebrate the skills of it’s members and promote UNESCO World Heritage Sites. The Night of Heritage Lighting will illuminate several UNESCO World Heritage Sites within the UK and Ireland acknowledging the UNESCO International Year of Light 2015. Confirmed locations include: Giant’s Causeway and Causeway Coast, Old and New Towns of Edinburgh, Ruins of Fountains Abbey, Maritime Mercantile City, Liverpool; Pontcysylite Aqueduct and Canal; Ironbridge Gorge; Blaenavon Industrial Landscape; Tower of London; Dorset and East Devon Coast. One design proposal submitted for the Liverpool Maritime Mercantile City site is ‘A look into the unknown’ by Cundall Light4. The idea is that as you approach the dock from the museum a subtle soft glow of light will rise from the depths of the dock. The colourful mist of light will entice onlookers to look over edge and into the unknown. The proposal is still in its early stages, however the team at Cundall are currently designing a battery-powered installation with series of recycled water bottles.



[drawing board]

UNDER COVER London’s Science Museum has set out on a five-year redevelopment plan, with the first phase including a refurbishment and new lighting scheme for the Research Centre. Scheduled to open in October, the winning lighting scheme, developed and proposed by Studio ZNA, was considered the most optimal for calm, reflective study, with the idea of soft, slightly dappled light that is offered under a canopy of trees. And so, it was down to Coffey Architects to develop a canopy wrap that would recreate an applicable version of such an environment. With the Research canopy acting as a filter and controller of light, the lighting design faced a number of challenges. First of all

it had to control the amount of natural daylight into the building, with the pattern from the canopy controlling the glare from the full height glazing, without losing the existing asset of an abundance of natural light. It was also important the scheme felt primarily lit by daylight, although glare issues from direct light would require intervention. The second consideration was to provide an artificial sky. The lighting design needed to provide artificial lighting – both diffuse and focussed task and spot lighting – for a multitude of configurations. As daylight levels fall, the artificial lighting of the canopy supplements, and subsequently

mimics, the daylight. Studio ZNA considered the challenges of the brief by working first of all on daylight and sunlight models for the space, getting to grips with the worst-case scenario for both over penetration of sunlight and under-lighting when overcast. Natural light provides a degree of dynamism, which helps refresh the eye over long periods. The extremities of change would need to be harnessed and limited but some degree of dynamism needed to be kept and introduced into the artificial lighting scheme. Three different methods of lighting the canopy were considerations, each working best with different configurations of the canopy ‘screen’. The first option provides direct lighting from within the canopy and is therefore likely to be the most versatile; LED panels used provide a high level of transparency however, the cost of the number of LED panels required might prohibit this option from being realised. The second option uses perimeter lighting, which works best when there are horizontal surfaces to catch and reflect the light. As there is no inter-layer the transparency can be maximised from specific angles. For example, the views from the mezzanine horizontally across the canopy could be very transparent. The third option was to use a light diffusing inter-layer that transmits perimeter light evenly across a surface, producing good artificial lighting effects but limiting transparency and views. Ultimately, a dynamic, white concealed linear profile was proposed in order to very subtly, change colour temperature throughout the day. The morning light will show a 4,000K daylight rendering and as daylight levels fall, a warmer light will be emitted from the canopy. From the exterior, this will produce a glowing lantern type effect in the evening and throughout the night time giving the building its own identity on the site’s nightscape.

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

Pic: Hanneke Wetzer

Pics: Kimchi and Chips

SECOND COMING Korean studio Kimchi and Chips’ latest work - Light Barrier, commissioned by STRP Festival, continues from the original Light Barrier (2014) into a new story with new physical techniques. The story follows the journey of a digital form. It begins by passing through the Light Barrier, so that the form transcends the limits of its own reality and enters into our physical one. It then explores the possibilities of its new found physicality and travels through the Light Barrier again to pass away to the next reality. The physical installation is presented with

a heightened intensity, creating colour and contrast against the ephemeral white light projections. Light travels with scale and control to create objects of light within the air, further opening a window into a semi-material mode of existence. Light Barrier uses eight modified DLP projectors, which are modified to increase their brightness and make them black and white. Also, two Datapath x4 display controllers were used to split the signal to the eight projectors. One media server, running Rulr, a free calibration toolkit developed in house at Kimchi and Chips, was used to

calibrate the eight projectors. The designers at Kimchi and Chips commented: “We took inspiration from impressionist painters. Their obsession with natural light led them to explore colour and time through brush strokes, their hands became a tool encoded with their technique. Impressionists acted in response to the invention of the camera, creating ‘viewer-less’ images and finding new ways to capture the transient properties of the physical reality.”


Pics: Courtesy of the Scottsdale Public Art and Grimanesa Amorós

FORCE OF NATURE The ancient Hohokam Indians, located in northern Arizona, as early as 300 AD, were one of the first cultures to rely on irrigation canals. The communities’ environmental engineering improved access to river water and helped improve the lives of the inhabitants. Evolving from these ideas and inspired by Arizona’s natural canals, Golden Waters is a large-scale temporary light-based installation by artist Grimanesa Amorós. The installation, sponsored by Scottsdale Public Art, extends from the famous Soleri Bridge. Reflecting the natural elegance of the Ari-

zona canal, an almost 50 mile long body of water that runs through Scottsdale, Golden Waters is mounted on a secure structure attached to the bridge, designed by artist, architect and philosopher Paolo Soleri. The hovering light sculpture extends parallel to the canal channel 80ft west of the bridge. Golden Waters’ LED tubing system appears to rise from the canal waters below, celebrating the union of light and water. The installation hopes to engage the viewer by emphasising a unique perspective of nature and landscape. Amorós was interested in how our bodies

react and are defined by a relationship with any given environmental condition. The light seemingly rises from the waters, as if at one with the existing canal, while the vertical and horizontal lines of the structure express a metaphor of the dynamic balance between urban and natural forces that can be experienced simultaneously. The viewers are drawn to the work by its visual brilliance and in seeing the emphasis the piece has on its perspective of nature and landscape.




Pics: Moto

KALEIDOSCOPE VISION Japanese designer Masakazu Shirane, is recognised for work in architecture, interior design, and spatial art. As one half of the Masakazu Shirane + Saya Miyazaki studio, their work aims to show a respect for craftsmanship through the discovery of new materials and design innovation. Shirane’s latest project, Light Origami, Sydney was initially designed as an interactive space measuring 28.26sq.m that the user can design for themselves. This was the foundation for the project, which was then developed to become a 3D kaleidoscope after two other prototypes based on the same idea. Light Origami was brought to life through collaboration with lighting designers Tim Carr and Neelam Gopal from Arup, producer Reuben Young and musician Inga Lijestrom.

DIGITAL SPACE Collectif Coin is a French-based studio that produces digital art installations. It has a cross-disciplinary approach but mainly works with sound, light and bodies. Its projects digitise space by creating monumental, low-resolution screens made of simple and separated objects. One of its recent installations, Globoscope, in Flaubert Square, Grenoble, France is an immersive work made of a multitude of luminous spheres. Through this technological device, Collectif Coin offers a digitised representation of space. Arranged accord-

Pics: Collectif Coin

ing to the characteristics of the venue, each pixel that makes up this landscape is connected to the others by sound and light movements. Mathematics, sound and light are used to represent, transform and increase space to offer the viewer a surreal walkthrough experience. The project takes a non-objective look at technology, asking us what the boundaries of artificial intelligence are, and the definition of life. The studio wanted to free itself from the power and control cables to be able to very quickly realise a mesh that

the public could wander in. So, with this in mind, it developed wireless LED orbs. Through custom-made equipment, videos are played which are then sent to mapping software. In this software, areas of a background picture of the venue are defined and linked to each individual orb. Then each part of the video is simply converted to a corresponding light intensity. This information is sent wirelessly to a custom-made LED driver, resulting in a field of interactive digital space.


IN YOUR DREAMS As part of an upgrade to public housing on Gadekaervej in Valby, Copenhagen, an enormous art work called Dream Wall now adorns the building’s sixteen-metre high and fifteen-metre wide wall. The mural consists of a series of phrases that express the hopes and dreams of local residents. The installation was created after a series of workshops where Danish poet Morten Søndergaard collected over 300 dreams from residents, both children and adults. The project was realised by engineering consultants Ramboll and contractors Enemaerke & Petersen, who together completed the renovation of Domea’s building on Gadekaervej.

Ramboll created the LED-illumination, so that the outdoor mural can be seen in the dark. The dreams are part of the mural, which from a distance appears as a long row of random words, but as you get closer you discover they are phrases that express some of the residents’ innermost thoughts. Per Zwinge, Head of Ramboll’s Department for Architecture, Landscape and Process said: “Valby Visions unites local public participation and artistic expression in an elegant manner, and provides a unique insight into the inner thoughts of humans, both for people just passing by and for the residents

themselves. And in this case, it represents the finishing touch on the extensive building modernisation we just completed.” Valby Visions stems from the strong desire by local residents to get more art on buildings in their area. The mural was dedicated in May 2015 and is the seventh mural project in Valby in a relatively short time. The project was funded by the Copenhagen Urban Renewal in Valby, Domea, one of Denmark’s largest building and public housing administrators and the Danish Arts Foundation’s Committee for Art in Public Spaces and Literature Committee.




Pic: Paul HIffmeyer / Disneyland Resort

SHINE BRIGHT For six decades, Disneyland Resort in California, has explored the frontiers of immersive storytelling and entertainment technology, bringing exciting attractions and inventive entertainment to life. In honour of its 60th anniversary this year, the park has launched three new night time spectaculars. A glittering new parade Paint the Night, a new fireworks display Disneyland Forever and new performance spectacular World of Colour. When the lights go down in Disneyland, the Diamond Celebration events illuminate the park, creating a river of colour flowing down Main Street, USA. An array of Disney characters, featuring more than 1.5 million brilliant LEDs, flash and glow as Mickey Mouse and friends ‘paint the night.’ Including the video screens, the parade contains more than 1.5 million sources of light. The 500 strobes used in the parade are a custom lighting product developed by Disney. Paint the Night requires more than 200 universes of control to operate everything from the video presentations on the floats to the lights on individual costumes and is more vibrant than any other light parade in 60 years at the resort. The choreography of the light parade glows, as performers light up with their props and costumes. In addition to the LEDs featured on Paint the Night floats, each costume in the parade features its own sophisticated system of LEDs and lighting controls. Making use of the latest technology available combined with creativity that has stood the test of time, this latest light parade is a true celebration of the magic of Disney.

WASHED IN LIGHT Taking inspiration from history, Light Well situated in the old market square of Lahti, Finland - was conceived by lighting and industrial designer Reija Pasanen of Studio Lux Nova and architect Marjut Kauppinen. In 2013, Lahti’s old market square was rebuilt to make way for a new underground car park; at the same time archeological research on the parking lot site was carried out. It was discovered that 150 years ago there were several small houses, courtyards and water wells on the same site. The discovery inspired Pasanen and Kauppinen’s idea for the interactive art piece that followed. Wells have always been important places for interacting with others - they are meeting points and a place to ‘hang out.’ The light installation consists of a granite platform and luminaire in the shape of a traditional draw well. On top of the granite platform there is a round glass surface with a historical map of the Lahti market place and interactive lighting installation, while movement-sensitive lighting reminds of water in cyan and blue. The Light Well invites visitors of all ages to step on and discover how the white waves follow their steps and start to radiate from their movements and is a new experiential meeting place and stage for small-scale events for residents and visitors in the heart of the city.

The ambient general lighting of the square enhances the walkways, from south to north and from east to west, with iGuzzini Lavinia luminaires, using LED lamps and custom made lighting poles manufactured by Tehomet. The centre of the square is a part of a greater axe that links the church (by architect Alvar Aalto) to the town hall (by architect Eliel Saarinen). On this central axe on the square, there lies another lighting thrill, again designed by Pasanen and Kauppinen. Traces of shoes and horse shoes on the pavement, making use of Martin Professional profile projectors and interactive lighting systems, organised by Studiotec. Pics: Courtesy of Studio Lux Nova



[tribute] Andrew Howis, Managing Director of Speirs + Major, has died suddenly at the age of 41. He had been with the design practice for ten years, becoming MD in 2013 where he was responsible for the day-to-day management of the company.

ANDREW HOWIS 1974-2015 Editor Paul James comments: “Just as we were going to press on this issue we received the terrible news that Andrew has suddenly and inexplicably passed away whilst on holiday with his family. I had only met Andrew a couple of times but was always struck by his friendly manner and his knowledge of lighting technology. “He was involved in many of Speirs + Major’s landmark projects including the famous Skylon restaurant in London for which he wrote a piece in issue 41 (Feb/Mar 2008) of mondo*arc. Re-reading it now emphasises the knowledge and passion he had for lighting design and the love he had for his job. “Losing someone so suddenly and at such a young age is always such a shock. My thoughts are with his family, friends and everyone at Speirs + Major who will be deeply affected by this.”

Speirs + Major have released a statement from Keith Bradshaw, Principal of the firm: “It is with huge sadness that we must announce that Andrew Howis, our dear friend and colleague, has passed away suddenly and unexpectedly at the age of 41 whilst holidaying with his wife and young family. Our hearts and sympathies are with all his family and friends whilst they try to manage the shock of Andrew’s untimely death. Whilst we are unable to express fully the loss we feel both as a practice and as individuals, we feel it appropriate to reflect on his numerous qualities and achievements both as a designer and colleague. Andrew came into lighting design via the ‘scenic route’. Having studied Biochemistry at Edinburgh University he moved into theatre productions and the development of bespoke lighting tools. He transitioned into architectural lighting design via Enliten and Elektra Lighting, eventually joining Speirs + Major in 2006. Each facet of his career journey gave him unique skills and insights into the process of working with light in the context of both temporary and permanent installations. His methodical design approach was refreshingly different to that of most people in the studio: he strove to apply logical principles and consistency to each design move. Notably, he possessed a rare ability to combine a pragmatic approach to design with consideration for the needs of people; he often spoke of designing people’s experience in light. At Speirs + Major, Andrew found a natural home, seamlessly blending his interest and skills as both a designer and business manager. As a designer

he was a highly skilled and knowledgeable craftsman who knew all his tools inside out. He believed that the finesse of a design was hidden in its quiet perfection. With a sharp eye for detail he would tirelessly focus on all aspects of a project from its initial sketch until its completion, only regarding it as complete at the moment when it met the standard he had set out to achieve. His knowledge of lighting technology was second to none, such that only the best possible details and products were selected for each concept. With his charming yet fastidious character he always fought to make sure that projects got the attention they deserved: his calm and restrained exterior concealing an absolute determination to design high quality light work no matter the scale or project. He was instrumental in developing the practice’s ongoing product design portfolio, working on numerous product innovations. As a business manager, he created efficiencies and insights into the best course of action for the practice. He leaves Speirs + Major stronger and sharper for his influence. Andrew was fascinated by the design process and developed beautifully pragmatic and simple proposals with a sensibility to light and shade. These are evidenced in the award winning projects that he led at Speirs + Major; including Burlington Arcade, Devonshire Square, Skylon Restaurant, St. Botolphs, University of the Arts and many ongoing projects in the public realm at Kings Cross. With loss of this kind there is anger alongside sadness at the passing of a dear friend: by his own exacting standards, Andrew’s work was not done. Not only will he be missed by all of us at Speirs + Major but also our clients, members of their design and construction teams and the wider lighting community. Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Andrew, we will miss you greatly and remember you fondly. Andrew is survived by his loving wife Emma and their two daughters Hannah and Isla, his sister Jen and his parents. Andrew’s relationship with his loved ones and the protective spirit with which he regarded those dear to him were an inspiration and arguably his greatest success of all.” Details of any public memorial service will be found on Speirs + Major’s website in due course.


Beacon XL is the latest edition to Concord’s award-winning Beacon family. This impressive LED spotlight pushes the boundaries of technology to provide up to 3300 fixture lumens at 42W. Designed specifically for shop and display applications, the stylish Beacon XL replaces CMI-T (HID) luminaires and delivers a CRI of 85 (CRI 97 upon request). Available in white and black, track (L1 / L3) and surface mounted options – 3000K or 4000K, 12° narrow, 25° medium and 50° wide beam angle versions. Beacon XL is also available in non-dimmable, on-board dimming and DALI dimming models.

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28/05/2015 10:23





We speak to the new President of the Society of Light and Lighting (SLL) and member of the judging panel for the darc awards. How did you get in to lighting? Like most people - by accident. I needed a job and over a pint or two in my local with Ciaran Kiely, he advised me to ring Concord Lighting in Newhaven as they were often on the lookout for people in customer service. Shortly after joining the team, we took over the technical helpline and the obstinate side of my personality came to its fore dealing with contractors who didn’t want help from a woman! One day, I was talking to a lighting designer - asking how to read a cone diagram so I could stop bothering him - and his job sounded quite cool. A short while later I got a call from Mike Simpson (it was at the time of the Concord: Marlin merger) and he invited me to an interview in Feltham. With my trump card being reading the cone diagram, I felt a bit lacking but I knew the Concord catalogue back to front, so became a walking talking catalogue for the designers from Marlin! From there, I did my LIF courses and then went to the Bartlett, moving to Philips, with Mike, in the middle of the MSc. I would never have planned to have a career in lighting, although I’m good at maths, I don’t even have a physics GCSE to my name and I can’t draw to save my life... but having fallen into - and in love with - lighting, I’d never change now. What made you decide to start your own practice (LPA Lighting)? Probably a moment of madness! It was back in 2007 so not the best of times to be setting out with a new business but having worked on some nice projects with Philips, I knew that I didn’t have the need to be aiming for huge or prize-winning projects, just doing something I love. It meant I was happy to do some freelance work for others that helped pay the bills. It was at a time when companies were a bit wary of hiring full-time staff so were willing to pay a bit more to a freelancer and not have the long-term financial commitment. I still love working on big projects (the most high-profile being Dover Castle for English Heritage in 2012) but it’s just something I particularly need. I don’t have an ego to feed, only my mortgage! Do you think being a woman in lighting design has affected your career path? Other than at Concord when it motivated me to learn, I honestly don’t. I don’t think I’ve ever been treated badly - or preferentially - because of my gender. A few years back, I was asked if we should have more women on the SLL committees and council but the reality is that there’s a decent representation of women and it’s only ever a case of bringing the right people in, not to fill quotas. That’s really important to me; I want to be appointed on a project because I’m good at what I do, not what gender I am. What motivated you to go for President of SLL? It sounds a bit of a cliché, but it’s honestly just a huge honour. You look at the names of previous presidents and it’s like a reading of the great and the good. I’m not sure I belong in such exulted company but one of the great things about SLL is its inclusivity. Yes, there’s different grades of membership to reflect levels of professional recognition, but there’s no class system, everyone is equally welcome. To be considered able or suitable to lead such an organisation is a tremendous privilege. I’m in no doubt that it’s going to be a long year as it’s hard to have such a voluntary position whilst self-employed and the UNESCO IYoL wasn’t on the agenda when I was

elected, but what a year to be involved in lighting, it’s fabulous. What is your vision for SLL going forward? The theme of my Presidential Address was one of collaboration although with the release of the Morrell report, we’re thinking of banning that particular c-word at future meetings! We have so many synergies with other light-minded organisations, it seems a shame we don’t share our expertise with each other. I was delighted that many people from other organisations came to the SLL Awards and my inauguration in May and we’re already working with the Royal Photographic Society on our Night of Heritage Light in October, where we are lighting a number of UNESCO World Heritage Sites across the UK and Ireland for one night. Every organisation we’ve contacted has been forthcoming in working together for the greater good of lighting and that means a lot to me. The Society is growing very fast and we’re breaking down the perceived barriers of who is or isn’t welcome to join in. Ultimately, if you’re interested in lighting, then you’re in. Simon Fisher, our newest Vice-president, is a product designer but has been working in lighting for many years; he’s as valued as a lighting designer or an educator. The lighting family lives and breathes in SLL. Do you think IYL2015 has been a good thing for lighting design? I think it’s been good for lighting overall; we’re hoping to highlight the lighting design profession with the Night of Heritage Light (see Drawing Board p.31) but ultimately, it’s given all of us lighting geeks a chance to talk about light to a wider audience. One of my aunts recently sent me a newspaper clipping which said how light pollution has been reduced, with a note to say congratulations! If the IYL means that we get to tell our story to people like a 80-year-old lady in Cornwall, then that’s great. If we can inspire a ten-year old kid to want to do something in lighting, then even better. There’s more mileage to be made from the opportunity that the IYL affords us - it’s down to us to make sure it happens! What are your thoughts on the future of lighting? I have some concerns. The building services and architectural community seem to want to drive everything towards BIM and people are talking about BIM as if it will solve the world’s ills. We need to keep a reality check on the reality - which is just that it’s 3D models hosted online. There will still be out of date drawings around the system and I would question whether independent lighting design practices are really going to invest multiple thousands of pounds getting a Revit licence from Autodesk. I can’t sketch at all, I don’t have the right genes but I’d be lost without photo manipulation software - do we really want to lose the creativity of a fag-packet design or a mood board just so we can be dots of an online drawing? There’s a bit of me that thinks we’ll end up inside architectural practices because the architect technicians will effectively be doing the design work of building services engineers - and lighting designers. What we must ensure in the meantime, is that the value of lighting design as a profession is recognised by those architects and fellow professionals. And that relates to all lighting designers, independent or otherwise.



[snapshot] Celebrating 20 years in the industry, ACT lighting design is a creative agency that provides lighting and visual design solutions across architecture, entertainment lighting design and art installations. Focused on long-lasting human experience the agency prides itself in devising original, integrated solutions that are simultaneously functional, flexible, sustainable, cost effective and aesthetic. YOUTH OLYMPIC GAMES, SINGAPORE CLIENT: INTERNATIONAL OLYMPIC COMMITTEE

The spectacular opening ceremony of the Youth Olympic Games in Singapore amazed a live audience of 27,000 and was broadcasted worldwide to two billion people. Marina Bay became a unique setting for this ceremony. The centre was a huge floating platform with, in front of it, the main stage. The set consisted of a ring of containers surrounding a 5,000sq.m lake, created for extra visual effects and all serving as performance space. The ‘lighthouse’ in the centre became the cauldron for the Olympic flame. All this stood against the stunning Singapore skyline, where ACT lighting design added lighting effects, skytracers and fireworks on the buildings.


As part of EXPO 2015 ACT lighting design was commissioned to create and develop the lighting scenography of an iconic installation: the Tree of Life - Albero della Vita. Inspired by the drawing of Michelangelo Buonarroti and designed by Marco Balich and studio Gioforma, artistic director of the Italian Pavilion of Expo 2015, the structure was built by Orgoglio Brescia.

Koert Vermeulen joined the creative team as Lighting Designer and Director of Miseen-Scene. Installed in the middle of Lake Arena, the Tree of Life interactive structure with an inner skeleton made of steel and an outer cover in wood, is over 30m high. On top of this gigantic trunk stands a hat that simulates the intertwined branches of a tree, with a diameter of 45m. For this

monument with its advanced technology, constantly illuminated with LED lights, Koert Vermeulen & ACTLD created in total 1,260 shows to produce the genuine dynamic effects through a play of light, video, water, fireworks, as well as bubbles and sounds. The Tree of Life change as the hours go by, becoming the centre for many of the events in the Pavilion’s extensive schedule.



Koert Vermeulen (principal designer) and Marcos Vinals Bassols (scenographer) created the contemporary, pure and flexible form with particular attention to nature the ring as a symbol of unity and gathering between man and nature. Three lighting rings encircle one tree out of two on The Avenue. The outside of the ring is an LED strip producing a glow of light, while the inside LED strip lights up the tree along with mirror discs reflecting the light rays in all directions. A new set of colours and dynamic sequences were also introduced along with a curtain of twinkling lights and LED up-lights.


The key lighting feature in this shopping mall is the lampshade, used as an icon. It adapts to its location (suspended, wall-mounted or post-mounted) changes colour according to time and events and contains the required general lighting. Most other light sources are hidden into the architecture and interior design to deliver a well balanced design lit environment enhancing volume and materials.


In order to enhance users’ spatial perception, ACTLD created an experience that allows visitors to get involved with space in unconventional ways. The project draws on a multi-sensory approach where architecture, lighting, sound, dynamics and interaction are fused together in the frame of storytelling to awaken all senses. The immersive experience of IMX contributes to the exploration of interfaces that merge the virtual with the physical as an opportunity to conceptualise scenarios for a story, a show or commercial branding.

ACT LIGHTING DESIGN • FOUNDER & PRINCIPAL DESIGNER: Koert Vermeulen • SENIOR LIGHTING DESIGNER: Bruno Demeester • SENIOR LIGHTING DESIGNER & ARCHITECT: Andrea Mantello • PROJECT LIGHTING DESIGNER: Julie Boniche • HEADQUARTERS: Brussels • ESTABLISHED: 1995 • EMPLOYEES: 20 • CURRENT PROJECTS: IMX - Immersive Experience, Moscow; Riviera, Moscow; City Walk, Dubai; Place Royale masterplan, Brussels; Lille FCB masterplan, France; Merida Village, Ningbo; Neopter drone, France; Bilzen Mysteries, Alden Biesen; Regent Street, London.



[lighting talk]

This issue we talk to Beatrice Witzgall, award-winning architect, lighting designer and founder of LumiFi.

COULD YOU TELL ME... What made you train in architecture and lighting design? I have always been a creative person, though not enough to become an artist; and I considered engineering since members of my family are engineers. I felt architecture was a marriage between the technical aspects of engineering I liked and the creative aspects of artistry that I have always been drawn to. My passion for lighting emerged as I tried to combine architecture and technology. I always knew that technology would transform the way we interact with one another and as the industry began to grow, my work as an architect changed from creating buildings to developing responsive spaces that incorporated sensors or movable walls [1 Parsons School of Design Interactive Lobby Installation, 2003]. I realised lighting is a way to bring architecture and technology together. How important is lighting to design? Light and shadows and the way in which they interact are integral to design. Without lighting in architecture and spatial design, it is impossible to have perspective. Lighting brings layers, and animates a space, making it dynamic and alive. A good example is the Superyacht Pacific [2] where we highlighted hundreds of different textures softly through lighting. Why is thinking about and working with light important to you? I am passionate about my environment and the people within it. Crafting a valuable and impactful experience for people, and creating a strong identity in an atmosphere is enriching for everyone’s lives. One project I worked on whilst at L’Observatoire is the Lincoln Center Alice Tully Hall [3], which in 2010 received a Lumen Award for its strong identity. What excites you about light and lighting? The way it can affect people’s emotions and lifestyles. Lighting is an experience and it is constantly changing in nature. Of course, without proper general lighting it’s difficult to perform certain tasks, however, lighting can not only brighten a space but create an atmosphere and influence emotion. For example, amber light can create biological associations with a sunset or fire, while a colder blue white light mimics daylight and decreases melatonin production to reduce tiredness. Now, with emerging technologies, we can bring lighting control into the hands of the people and they can create their own lighting scenarios for different functions or emotions. [4 - Fashion 26 Hotel Lobby] What are the best and worst illuminated spaces you have visited? The way that lighting can affect someone isn’t necessarily because of the space, but rather the emotions that are attached to a certain lighting experience within a space. I am in tune with perceiving subtle lighting nuances, so I notice when lighting is affecting me. I often get stressed when spaces are glary and I have to squeeze my eyes to see clearly. I also get bored and tired when the illumination is flat or when there are only downlights that cast ghostly shadows on people’s faces. Personally, I love the strong, warm winter light in the Caribbean - the marriage of the bright sun directly above you with the blue of the ocean. I also love the colours that come out at sunset, when the lighting shifts and the amber colours of daylight appear.

How important is shadow and the balance of darkness in your work? Shadow is a key element to any form of design — it creates depth, layers and contrast in a space. The amount of shadow and contrast appropriate within a space depends on its functionality, as well as the mood that it is trying to initiate. When we design our lighting moods and light scenes, we work consciously of this notion. If a space is intended for focus, the periphery should be darker, while if the space intends for more spatially-oriented tasks that require walking around, it should be more evenly lit and use less contrast. How do you approach lighting a building through architecture? It is a combination of factors. Lighting enhances the character, personality and message of a building. It creates an experience that goes beyond just functional illumination. I have been fortunate to have the opportunity to work on some amazing projects with some great architects, each with their own lighting and design philosophy. Steven Holl, for example, uses primarily indirect lighting that is soft and subtle, while for a Frank Gehry building, we installed very technical fixtures that became part of the structural skeleton. [5 Fabrikstrasse 15, Basel] About the role lighting plays in the life of a city? How do you contribute to that? Cities are continually changing and unless you are part of a city planning committee or work on big, iconic landmark projects, it is difficult to impact the city’s lighting landscape. The way buildings are positioned, and the materials that make up the exteriors, can influence a city’s light scene purely through reflections. In New York City, the sunset bounces off the glass skyscrapers in midtown and creates an amber glow throughout the city. How does the LumiFi app work with modern lighting design? The power of smart lighting is that it enables dynamic lighting. For some time, lighting needs and moods haven’t been able to easily adapt unless you had an expensive control system. Now you can schedule lights or add coloured lighting which support certain atmospheres such as amber for a lounge or sunset mood. LumiFi allows users to interact with lighting in a completely new way. [6 LumiFi interface]. It also brings lighting know-how directly into the hands of everyone.


Pic: Gerald Lorenz

Pic: Iwan Baan

Pic: Thomas Meyer



“MY HEART WAS ALWAYS BEATING FOR LIGHT.” Architectural lighting practice Licht Kunst Licht is consistently linked to high-end international projects. Henrietta Lynch takes an indepth look at Andreas Schulz, his experiences, how they have helped shape the practice and his fascination with light.




Born in Bonn, but to parents from Berlin, Andreas Schulz is the dynamic leader of the multi-award winning German lighting design practice Licht Kunst Licht. He is also Professor for lighting design at HAWK (the Hochschule für Angewandte Wissenschaft und Kunst) in Hildesheim, Niedersachsen (Lower Saxony), north Germany. Schulz was always fascinated by light. “As a child I was drawn to its dynamic and special qualities and this fascination focused my career; initially more subconsciously, towards the lighting design profession.” With a technical mind-set, but stemming from a humble background, Schulz originally trained as an electrician in Cologne, but admits that his “heart was always beating for light.”

After his initial training and having worked for a couple of years on construction sites and with financial support from the German government, Schulz then qualified as an electrical engineer. This led to work with a small engineering company in Bonn that was responsible for the maintenance of several department stores there. This early experience was pivotal in Schulz’s career and developed his abilities as a lighting ‘trouble-shooter’. He found that he was drawn to finding solutions for the lighting installation problems in the department stores and would relish the early morning calls which invited his company to solve them. His specific interest in this field meant that he was well placed and had the opportunity to test his mettel

and develop a unique expertise for himself and his company through finding solutions to the problems. At the end of the 1980’s /early 1990’s Schulz moved to Berlin and into the embryonic lighting design profession that was beginning to evolve there, as in other parts of Europe and the US. This was an exciting time for Berlin and Germany since November 1989 saw the unexpected fall of the Berlin Wall or ‘Mauer’ and final political re-unification or ‘Wiedervereinigung’ of East and West Germany. Schulz’s early training in Bonn served him well in Berlin where drawing influences from the famous 1970’s lighting design company LichtDesign, he worked on one of his earliest lighting design projects; the


Left Novartis Campus landscape masterplan, Basel Top ThyssenKrupp Quarter, Essen Bottom Awardwinning LWL Museum of Art and Culture, Munster.

prestigious Kunst Museum in Bonn, designed by star Berlin architect Axel Schultes. Because, unlike some other early lighting designers, Schulz had not initially trained as an architect, he found he was able to communicate with many of his famous architect clients in an uninhibited and grounded way. Being unaware of some of the significance of their ‘star’ status, Schulz was happy to explain and resolve problems in a direct way and as such became the lead designer of many high profile and important projects, particularly those of a complex nature. During the early days in Berlin, Schulz shared an office space with architect Volker Staab until his experiences quickly steered his career path towards the development of

his own practice Licht Kunst Licht. This he founded simultaneously in Berlin and Bonn in 1991. Today, the two offices work together and employ a diverse spectrum of talented professionals including architects, interior designers, a stage designer and product designers with a combined total of 25 employees. “The offices work purely to find the lighting design solutions for new and refurbishment architectural projects using the palettes of artificial and natural light. They are also increasingly required to find and design mechanisms for the lighting design as part of the holistic environmental strategy for a building.” Currently the Licht Kunst Licht offices are

working on over 50 projects that range in size and type and are located across a number of different countries. Current projects include the refurbishment of the parliament building for German Lander state Baden Wurttemberg. This project is particularly sensitive and innovative since the design requirements are to introduce natural lighting into the main assembly space that, in its present state, does not include for daylight infiltration as a main light source. Licht Kunst Licht is therefore working closing with the architects and design team to create specially designed light shafts or ‘funnels’ that will be drilled into the soffit of the assembly zone and bring daylight into the space. With priorities for building and lighting



design to become increasingly more energy efficient and green, Licht Kunst Licht is also working on the design of landmark energy efficient buildings such as a new headquarters for Swiss Re in Zurich, which will be rated a LEED Platinum building. To date Licht Kunst Licht has worked on more than 600 design projects and received over 70 awards with many of these being international and very prestigious. Schulz considers that he has been very lucky to have had the opportunity to work on such a portfolio and attributes much of the success of Licht Kunst Licht to its office structure and ethos. This includes a flat hierarchy and working methods that he describes as interactive and responsive. This means that the design team are able to work chaotically and creatively but also in a structured way, thus allowing them to work well within the established frameworks of building design delivery structures. When considering the broader influences to his work and the designs of Licht Kunst Licht, Schulz cites the architects Louis Khan and Peter Zumthor who have inspired him

with their different understandings of and individual approaches to light. Otherwise Schulz considers his influences to be diverse and from across many different design fields. With an understanding that lighting design is neither a purely technical nor an artistic profession, Schulz also believes that the best lighting designers have a very strong empathy for art and the arts. From the very earliest days of Licht Kunst Licht, Schulz has collated details of all the projects that the offices have worked on and these are documented in a series of books. No favourite projects are highlighted since all are considered important for their own special qualities and there are certainly no ‘black-listed’ projects that do not get included. It is Schulz’s belief that the offices should be able to be open and transparent about their work and projects, thus enabling the delivery of quality. The last 24 years, since the formation of Licht Kunst Licht, have seen many cultural and technological changes in the evolution of the architectural lighting design profession. It has developed from something

little understood and only supported and occupied by a few passionate individuals into a globally established and respected profession with institutional support. Schulz and Licht Kunst Licht have understood these developments and their significance to enhance architectural design, but also how light is literally able to add an extra dimension to architecture, which is considered by the best clients to be of clear and obvious value. In other cases a clear understanding is communicated that for a relatively small budget, in comparison to that often spent on design finishes and fittings, a building and its architecture can be significantly enhanced with the implementation of good lighting design. “Despite recent developments in the architectural lighting design profession, the standards of and for its delivery across nations are still embryonic, variable and in flux.” While joking that he would not recommend the profession to others; so that Licht Kunst Licht does not have too much competition, Schulz currently works to support its development by inspiring

Above The award-winning Wilhelm-Leuschner Platz in Leipzig. The inspired lighting concept was implemented using luminaires from Norka. Far left Coal Washing Plant, Zollverein Colliery, Essen Left Darwineum Zoological Garden, Rostock. Top right The Licht Kunst Licht team. Bottom right The Federal State Parliament, Vaduz, Leichtenstein Right Museum of the Bavarian Kings Hohenschwangau.


HIGHLIGHTS Projects that you’d like to change: Any hotel room with only on /off controls and a bathroom light level that wakes me up when I am dead-tired and longing for sleep. Projects you admire: Mr Malotki’s early ‘80s projects... Changing the way Europeans look at light in architecture. Projects you dislike: City lights that emphasise parts of a city that should not be emphasised. Lighting Hero: All the architects who gave us the opportunity to rediscover the use of daylight in architecture. Notable projects: Colliery Zollverein Essen, Federal Chancellery Berlin, Uniqa Tower Vienna, Städel Art Museum Frankfurt, Thyssen Krupp Headquarter Essen, LWL Museum of Art and Culture Münster, National Museum Qatar, Museum of Art Ahrenshoop, Novartis Campus Basel.

students with his teaching work as a professor at HAWK. “Technological developments over the last two decades have strongly impacted the lighting design profession. The design language has moved on from one incorporating the hundred year old technology of GLS lamps developed by Swan and Edison as a main source, to one that employs LED lamps and associated systems.” Andreas considers these new technologies to offer special opportunities and challenges when designing the lit environment, especially in consideration to the potential for lighting control and the development of smart buildings. He considers the complex nature of these new systems to offer lighting designers the potential for a larger design remit and take them into some of the territories that have previously been occupied by others such as electrical engineers. Likewise with the development of building design cultures, which have now in some cases displaced the more conventional hierarchies with the architects leading a project, Schulz sees the opportunity for the

lighting designer to take more of a leading role. Working as an architectural lighting designer combined with his teaching role and the development of his offices has given Schulz and Licht Kunst Licht the unique opportunity to work with many interesting and diverse clients; but also within different cultural contexts including between the two very different German cities of Berlin and Bonn. He has been able to see the great potential this developing profession has to bridge across different technological and disciplinary boundaries ranging from pure architecture, industrial and stage design to engineering and the automotive industry, and derived inspiration from all of these. In summary, Schulz’s early technical and practical training and his willingness to find solutions to problems, combined with a talent to see opportunity, to learn and to communicate, has led him to the very top of his profession and, as he describes himself, to become a very happy man.

Most memorable projects: The ones helping us to form our corporate spirit. The National Gallery in Berlin with HG Merz Architects developed our sensitivity to heritage buildings. Likewise, the Crematory Baumschulenweg Berlin with Axel Schultes Architects widened our awareness of emotional and human factors in architecture. Our recent museum projects have taught us about the vitality of dynamic daylit spaces. The Uniqa Tower project has educated us that even a media facade can become a sustainable piece of art. Current projects: Seef Lusail Waterfront Doha in Qatar with Gustafson Porter; Bürgenstock Resort Obbürgen in Switzerland with Dierks und Sachs; several Federal State Parliaments: Lower Saxony, Mecklenburg-Western Pomerania and Baden-Württemberg; Frankfurt Airport Terminal 3 with Mäckler Architekten; Swiss Re in Zurich with Diener& Diener Architekten; One ShenZhen Bay in China with KPF Architects; Children’s Hospital in Zurich with Herzog & De Meuron; Orbital Highway in Qatar with OMA; Sprengel Museum Hannover with Meili Peter Architects; Novartis Campus Shanghai China with Diener&Diener Architects and Atelier FCJZ; Richard Wagner Museum in Bayreuth with Staab Architects; Shamina Expansion in Mecca with SL Rasch; French Pavillion at the Milan Expo in Italy with Studio X-TU in collaboration with StudioALN AtelienArchitecture and Studio Adeline Rispal; Water Tower in Luxemburg with Jim Clemes; Experimenta Museum in Heilbronn with Sauerbruch Hutton Architects.



Left The cavernous Space Hall uses ERCO 4000K LED intensive narrow spot downlights for general overhead lighting from a height of over 25-metres. The alcove areas such as the reception and cloak room are illuminated at a warmer temperature to identify them to the visitor. Right The dynamic LED façade lighting solution contains over 25,000 customised Traxon Dot XL-3 RGB fixtures (controlled by an e:cue control system) mounted on flexible strings between the walls of the building and its glass covering.

THE MAGIC LANTERN Barcelona-based Anoche has created a glowing lighting scheme for Estudio Barozzi Veiga's beacon of architecture in the heart of Poland.

Influenced by the steeply pitched roofs and the verticality of the city’s residential buildings, Szczecin Philharmonic Hall is identified by the monumentality of the upright ornaments of its neo-Gothic churches and the heavy volumes of its Classicist buildings. Designed by Barcelona-based Estudio Barozzi Veiga with an expressionist mindset, the architectural practice aimed to use geometry to give shape to a new rhythmic composition that conveys feelings by balancing massiveness and verticality. The use of glass as the exterior cladding material highlights how the building contrasts with the conditions of its surrounding environment. It creates a bright, transparent and upstanding object that has been the perfect canvas

for architectural lighting design practice Anoche, again from Barcelona. The design of the Philharmonic Hall goes hand-in-hand with attempts to revitalise the city and restart it as a lively hub with cultural attractions of reference. It is a new interpretation of what were the main attractions of the city, harshly treated by a history of crises and world wars. The interior of the building showcases the main hall, with everything focused on its needs and on facilitating the movement of spectators and the work of music professionals. Its overall intention is to reproduce a traditional Baroque music hall, maintaining the typically warm atmosphere inside but with the architects' own vision and a new reading of the form.

All this is brought together in a single building, designed and intended only for music, cloaking the interior neutrality with an expressive façade inspired by the profile of the city itself, whilst transmitting the necessary personality to mirror the city’s identity. With this achieved by the distinguishable shapes and colours, the music hall has become a new city landmark. The façade is translucent to allow its night-time expression by lighting its white glass with marked vertical profiles. The backlighting of the façade adapts to different moments prior to concerts, heralding their proximity with staggered phases of intensity, in a nod to the ringing of the bells in ancient temples. The start of the concert is announced with




maximum intensity of white light. This announcement, silent and stylish, is part of a broader communication repertoire that the building and the façade provide to music and the city. In fact, the LED lighting system allows for all kinds of configurations, sequences and colours, even though the project specified and required only an expression in white. The dynamic LED lighting solution contains over 25,000 customised Traxon Dot XL-3 RGB fixtures which replaced the originally planned linear fluorescent lamp arrangement. Mounted on flexible strings between the walls of the building and its glass covering, the reflected light emerges from the empty space. e:cue’s control systems manage the installation, with a combination of the Lighting Control Engine 2 fx, Butler XT, and Video Micro Converter delivering pre-programmed content. There are dynamic and static scenes available for festive days like Independence Day, Anniversary of the Constitution, and Christmas, as well as scenes for special events, concerts, and regular days. The façade illumination starts at the end of

the day via the sunrise trigger and stops at midnight, and manual operation is also available via a Glass Touch terminal. By entering a special combination, the Glass Touch is deactivated and the system returns to the sunrise trigger operation. Functionality is monitored by a temperature sensor which automatically switches off the illumination if necessary. Inside, the uniformity of its white walls, floors and ceilings meant that cluttering the space with visible luminaires was out of the question. Therefore light appears not as a lead actor but as a messenger for the main medium: architecture. It is maximum result with minimal intervention. The largest area in the building is the Space Hall - giant, transcendent, expressive, neutral and empty. The entire message is offered and communicated there, opening up as a vast meeting point including a cafeteria, where human coming-and-going flows towards the points of attention - the box office, cloakroom, stairs to the main hall, spiral staircase and the cafeteria itself. These spaces, lit as small and open alcoves, express their human concentration

by giving off a more welcoming atmosphere and warm lighting that identifies and showcases them. The lighting fulfils its original function: to show, to lead and to disappear. A major technological challenge, which was achieved by using ERCO 4,000K LED technology for general lighting, was to concentrate overhead lighting with very intensive narrow spots (NSP) from a height of over 25-metres, managing to avoid illuminating the walls surrounding the space. The use of technology accompanies visitors on the journey to the movement areas of the hall, where the use of metal-halide downlights (also in neutral light, 4,000K) of between 20W and 35W with very extensive WW optics, helps the feeling of volume in these spaces to reach the walls. This becomes visible to help the user detect the change in scale and prepare them to enter the rooms. Having crossed the gigantic lobby, long staircases close in, changing the scale and preparing the visitor to reach the main hall. A prior area is used to acclimatise the


This page The faรงade lighting gradually grows in intensity to inform visitors of the proximity of a concert. Left Inside, the minimalism of the white, cavernous spaces require the use of recessed downlights that disappears into the architecture. In the smaller areas track lighting is used.





Previous page The main concert hall, resplendent in gold, is lit from above with 3,000K halogen narrow beam projectors and from the sides with 3,000K LED spotlights hidden in the walls. Above The small concert hall uses 4,000K narrow spot downlights to highlight the space and to punch through the black walls and ceiling.

eyes, which is achieved with a transitional space in which pupils can dilate and grow, a black space with very low lighting. This dilation of pupils allows the visitor to arrive in perfect conditions for the surprise to be even greater upon discovering the golden heart of the building. The main concert hall is lit from above, with 3,000K halogen projectors with intensive narrow spots to gain height and ensure that light reaches the stalls. This overhead lighting helps the visitor better understand the space by showing its brightness and textures. 3,000K LED spotlights, integrated into the geometry of

JAPANESE 急勾配の屋根とシュチェチン市の高層マン ション群に影響を受け、 シュチェチン・フィル ハーモニー・ホールはバルセロナを拠点と するEstudio Barozzi Veiga社とAnoche 社の照明デザイン (同じくバルセロナ市) に よって設計されました。半透明のファサード はライトアップされることで夜間も表情を見 せ、 白いガラスが縦の線を強調し、全体で主 役、 つまり人生と活動を照明によって引き立 てます。 ジグザグ状の彩度相への接近を告 げるファサードのバックライト照明は、古代 寺院の鐘を鳴らすコンサート前のさまざま な時間に行われます。 プロジェクトは白色の みを使用しているのに関わらず、Traxonの ファサードLED照明により、 あらゆる形状の 構造、シーケンス、色彩が可能となります。

the walls in such a way that they are not seen by users and appear to be reflections of light, are also used to reinforce this luminous discourse of brightness and texture. The concert hall is also equipped with controls at each point of light, so that the different scenes can be programmed according to needs (welcome, concert, accompaniment, maintenance, for example). The small concert hall, all black, stands out for the use of neutral 4,000K lighting to showcase the space. The integration of points of light on the ceiling is absolute,

内部では照明が、見せる、導く、隠すといっ た本来の機能を発揮しています。壁、床、天 井は白色で統一されていますが、 これはミニ マリズムを無秩序化するために照明器具を 見せることなく照明技術を駆使することを 意味しています。 これにより、最小の干渉で 最大の効果を得ることができるのです。

CHINESE Szczecin 爱乐厅由位于巴塞罗那的 Estudio Barozzi Veiga 设计,灯光设计则是由 同样来自巴塞罗那的 Anoche 负责,整个 设计受到了该市居民建筑的斜顶和直立 风格影响。墙体表面为半透明,以通过 光照营造出夜晚的氛围,加之带有令人 瞩目的垂直断面白色玻璃,凸显了该设 计所表达的主题:生命 - 透过光照所表 现出的活力。墙面背光可对音乐会前的

and this regulation makes its versatility total at all times. Circulation areas in the room are resolved with more intensive NSP lights so as not to cast light on the walls, which in turn are lit by 4,000K LED points near the floor to provide a sense of security during periods of low light intensity. The remaining areas of the building harmonise naturally with the main lighting concept, adapting to the tighter budget that these areas receive. The dressing rooms, rehearsal rooms and public bathrooms strive towards practical and integrated lighting, in this case with linear or compact fluorescents, always with

不同时刻作出动态响应,从而预示着各 种声乐力度的临近,并与古庙钟声交相 辉映。Traxon 墙面 LED 照明系统可用 于各种类型的配置、顺序和颜色,即使 此项目中仅指定使用白色。在其内部, 照明充分实现了其原本的功能:适时的 展现、引导和消失。白色墙面、地板和 天花板的高度统一意味着在照明应用过 程中,并不是将灯具进行胡乱的极简堆 砌。它是灯光之间最小化干预的极佳表 现。

FRANÇAIS Reflétant les toits très pentus et la verticalité des bâtiments résidentiels de la ville, la Philharmonique de Szczecin fut conçue par le cabinet Estudio Barozzi Veiga basé à Barcelone avec des éclairages de chez Anoche, aussi basée à Barce-

lone. La façade translucide permet une illumination nocturne expressive et son verre blanc marqué à profils verticaux transmet finalement l’essentiel : la vie, l’activité par la lumière. Le rétroéclairage de la façade s’adapte aux différents moments précédant les concerts, en annonçant leur proximité avec des phases d’intensité graduées, d’un clin d’œil aux cloches de temples antiques. Le système d’éclairage DEL de la façade conçue par l’entreprise Traxon autorise toutes sortes de configurations, de séquences et de couleurs, même si le projet n’exigeait que du blanc. À l’intérieur, l’éclairage s’acquitte de sa fonction principale : présenter, guider et disparaître. L’uniformité de ses murs, sols et plafonds blancs supposait que l’éclairage technique devait être efficace sans pour autant être vu, afin de ne pas surcharger le minimalisme du lieu. Un résultat maximal comportant une intervention minimum.



Pic: courtesy of OSRAM

warm 3,000K light as they are areas of use, drawing from the architecture to prove integrated and functional. Szczecin Philharmonic is the new icon of the city and darling of the architectural world thanks to its form and it's spectacular lighting. Following it's inauguration in September 2014 it has won a plethora of architecture awards including the coveted European Union Prize for Contemporary Architecture – Mies van der Rohe Award 2015 in May. It remains to be seen if Anoche's lighting design will be rewarded with a similar honour at the darc awards.

DEUTSCH Die Stettiner Philharmonie wurde durch die Steindächer und die Vertikalität der Wohnhäuser der Stadt beeinflusst und durch das in Barcelona ansässige Unternehmen Estudio Barozzi entworfen. Das Beleuchtungsdesign stammt von Anoche, ebenfalls aus Barcelona. Die Fassade ist lichtdurchlässig, um ihren Ausdruck nachts durch Beleuchtung zu ermöglichen und besteht aus Weißglas mit markierten vertikalen Profilen, um die wesentliche Sache zu vermitteln: ihr Leben, ihre Aktivität durch Licht. Die Hintergrundbeleuchtung der Fassade passt sich den unterschiedlichen Augenblicken vor Konzerten an, die ihre Nähe mit abgestuften Intensitätsphasen verkünden, in Anspielung an das Glockenläuten in alten Tempeln. Das LED-Beleuchtungssystem für die Fassade von Traxon ermöglicht alle möglichen Konfigurationen, Sequenzen und Farben, auch wenn das Projekt nur in Weiß

The dynamic LED lighting solution contains over 25,000 customised Traxon Dot XL-3 RGB fixtures controlled by an e:cue control system. Mounted on flexible strings between the walls of the building and its glass covering, the reflected light emerges from the empty space. There are dynamic and static scenes available for festive days like Independence Day, Anniversary of the Constitution, and Christmas, as well as scenes for special events, concerts, and regular days.

PROJECT DETAILS Szczecin Philharmonic, Szczecin, Poland Client: City of Szczecin, Poland Architect: Estudio Barozzi Veiga Lighting Design: Anoche

LIGHTING SPECIFIED Interior ERCO Lightcast downlights, ERCO Compact HIT downlights, ERCO Parscans, Lucifer downlights, Zumtobel Panos M 100W downlights, iGuzzini Sistema Easy FL, iGuzzini Le Perroquet, XAL Frame 70 & 110 systems, XAL TUBO 100 profiles, SBP IKE LED ceiling luminaires, Viabizzuno Cilindro S40 Exterior Traxon DOT XL-3 RGB Facade, e:cue Engine 2 fx lighting control system, Butler XT & Video Micro Converter

spezifiziert wurde. Im Inneren erfüllt die Beleuchtung ihre eigentliche Funktion: zu zeigen, zu führen und zu verschwinden. Die Einheitlichkeit der weißen Wände, Böden und Decken bedeutete, dass technische Beleuchtung benutzt wurde, ohne dass die Beleuchtung zu sehen ist, um den Minimalismus nicht zu stören. Ein maximales Ergebnis für minimalen Einsatz.

ITALIANO Ispirandosi alla ripidità dei tetti spioventi e alla verticalità degli edifici residenziali della città, la Sala Filarmonica di Szczecin è stata progettata da Estudio Barozzi-Veiga di Barcellona, utilizzando un disegno di luci Anoche (anch'esso con sede a Barcellona). La facciata è trasparente in modo da consentirne la visione notturna attraverso l'illuminazione ed è realizzata in vetro bianco con dei marcati profili verticali, il tutto per trasmettere l'elemento principale: la sua vita, la sua attività attraverso la luce. La retroilluminazione

della facciata si adatta alle diverse fasi che precedono i concerti, annunciando il loro inizio attraverso fasi di diversa intensità che accenna al suono delle campane nei templi antichi. Il sistema di illuminazione LED della facciata, creato da Traxon, permette ogni tipo di configurazione, sequenza e colore, sebbene il progetto sia stato ideato solamente in bianco. All'interno, l'illuminazione svolge la sua funzione originaria: mostrare, guidare e scomparire. L' uniformità delle sue pareti bianche, dei pavimenti e dei soffitti ha fatto sì che l'illuminazione tecnica venisse utilizzata senza che la visione delle lampadine ne disturbasse il minimalismo rappresentando, quindi, il massimo risultato con il minimo sforzo.

ESPAÑOL Influenciada por los techos abruptos a dos aguas y la verticalidad de los edificios residenciales de la ciudad, el Auditorio de la Filarmónica Szczecin fue

diseñado por el Estudio Barozzi Veiga, con base en Barcelona, con diseño de iluminación de Anoche, también de Barcelona. La fachada es traslúcida para permitir su expresión nocturna mediante la iluminación y su vidrio blanco con marcados perfiles verticales, todo transmite lo principal: su vida, su actividad a través de la luz. La contraluz de la fachada se adapta a diferentes momentos anteriores a los conciertos, proclamando su proximidad con escalonadas fases de intensidad, en reconocimiento al repique de las campanas en los templos antiguos. El sistema de iluminación LED de la fachada de Traxon, permite todo tipo de configuraciones, secuencias y colores, aunque el proyecto fue especificado solo en blanco. Dentro, la iluminación cumple su función original: mostrar, conducir y desaparecer. La uniformidad de sus paredes, pisos y cielorrasos blancos, significó que la iluminación técnica fuera utilizada sin ver las luminarias para sugerir minimalismo. Un máximo resultado con una mínima intervención.

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Pics: Adam Parker -

SHADOW GOVERNMENT Visual Energy has created a dramatic lighting scheme for the façade and landscape of Oman's new Parliament where shadow is as important as light.

Oman’s recent civilisation is very visually present in the architecture of the landmark buildings that are spread throughout the country. It is the vision of Sultan Qaboos, the Sultan of Oman, to build a modern civilisation that has its roots in the Islamic arts and culture and this can be best seen in the modern Omani architecture of the low rise buildings in the capital city, Muscat. The architecture of modern day Oman is unique in the Arab world combining Arab and Islamic culture and heritage with a classic contemporary style. Most of the buildings utilise the simple lines and arches found in the traditional forts and castles together with the precise cutting and carving technologies of the modern

day to create some of the most magnificent Islamic architectural sculptures found around the world today. The Royal Opera House, the Grand Mosque and the Allam Palace are examples of this architectural style. Majlis Oman, the new parliament building, is the latest of these landmark buildings in Muscat. The building comes as a testimony to the Sultan's vision of establishing a modern democratic state built on grounded Islamic routes where the people of the land are an integral part of the decision-making authorities in the country. The symbolic significance of this project cannot be overstated. The Majlis is at the very heart of Oman's constitutional power

and is the only legislative body in Oman where all members are democratically elected. The building is located in the prestigious Al Bustan area of Oman close to the Ceremonial Palace and Ministerial buildings. The new Majlis overlooks the Gulf of Oman and is surrounded by a mountainous background and primary dual carriageways. The building's design has a number of elements that are based upon elements from the numerous early forts located throughout Oman. This building both respects the origins and takes from it, and also adapts into a modern Omani style showing the forward looking intents of the government.


Low level bollards with one-side emission highlights the grounds creating dramatic shadowy effects leading the eye to the building. This technique is used throughout the faรงade scheme.



Scale is the key to the design of the external spaces. The architectural scale of the Majlis Oman built form is truly grand and monumental and drives the design. This grand and monumental scale is preserved in the landscape. Broad and flexible spaces open views to the architectural façades. These spaces are also designed to accommodate the grandeur and spectacle of ceremonial functions. The grandeur establishes the Majlis Oman as the symbol of the highest order of national governance. The design of external spaces also provides human scaled spaces within the campus. Trees and palms planted relatively close to the facades transition the scale from monumental to human. Social scaled spaces are created in areas close to buildings. Examples are the two enclosed courtyards, the Clock Tower Courtyard and the Mosque Plaza that are more detailed and intimate spaces for smaller groups or solitary enjoyment of the outdoor environment. The actual construction of the main building started on 29 July 2009 and was completed on 13 October 2014. The 101,931sq.m site featured a new building to the upper and lower houses of parliament (Majlis Oman, Majlis A’shura and Majlis A’ddowla), VIP areas, an information centre, library and associated offices/ facilities to support the buildings. The concept design of this iconic building started as a design competition that Australian architectural practice Moller Architects won. Detail design was carried out by Oman’s Royal Court of Affairs’ inhouse team of architects, designers and engineers with Ammar H. Mohamed (Senior Lighting Engineer) and Anthony Coyle (Coordinating Architect). The preliminary site enabling works took six months as the site had a hill which was removed and a number of Wadis (water channels) that were diverted away from the project site. Lighting design practice Visual Energy was commissioned by the Royal Court of Affairs to design the façade and landscape lighting for the entire project. The brief was to bring the Majlis alive at night time with the help of artificial lighting to enhance the style and identity of the building. With over 2km of façade to illuminate, it was by far the largest and most visible element of the project. A number of challenges had to be tackled including finding a solution that was unique, sustainably and economically viable, and would enhance the architectural lines and contours of the highly engineered façade stone work.

During the concept design, two approaches for illuminating the building were studied simultaneously, the first relied on conventional inground metal halide uplights and floodlights and the second was a more revolutionary (at the time) linear inground high power LED system that would evenly illuminate the façade. A number of computer models and physical mock-ups at site were made to compare the two systems and to communicate the idea to the architects and the client. The selected solution had to successfully illuminate the façade so that it could be seen from a minimum distance of 250m away for the public and close-up for the VIP guests and dignitaries visiting the building. From the mock-ups it was very clear that the traditional system of uplights and floodlights (spaced at 6m apart) would not achieve this goal as it resulted in the following adverse effects: • The carved details in the façade of the building will be flattened out if floodlit from a distance. These details can only be seen when layers of light and shadows are present to emphasise the depth of the grooves in the façade. • The shadows created by the architectural elements such as arches will not be evenly seen on the building. • A single burned out lamp will create a gap of 12m of darkness which would be very visible from the viewing platforms created alongside the main roads. • The VIPs and dignitaries would be affected by the glare from the floodlights as they walk out of the building at night time. • Due to the low lumen output of LEDs at the time, metal halide floodlighting was not considered viable due to the large amount of power it would consume. Therefore the selected solution was to project a linear beam of light at a precise distance away from the façade so that the shadows could be controlled. The location of the light fitting had to be closely coordinated with the landscape architects as it would run around the entire building, and coordinated with the architects on the floors above. The scale of the Majlis dictated that the lighting had to be plentiful, varied in its form and function but beautiful to behold. There was no room for standard products in such grand surroundings. One of the principle terms in the lighting contract as per the Royal Court of Affairs criteria was that lighting manufacturers had to provide a five year limited warranty (due to the extreme heat and dusty conditions) and the qualifying companies must have been running for a minimum of ten years.

In order to get the potential shadows on the façade under control Visual Energy worked closely with Linea Light to design a custom linear LED recessed in-ground solution (below) that allowed for a small offset from the wall of only 900mm while still maintaining a uniform vertical illumination and minimal glare to the users of the space. Visual Energy used over 5km of linear LED to uniquely light the facade and to bring the architectural lines and contours together in the highly engineered stone work. Uplighting illuminates the arched area of the Port Cochere (right) to bring out the depth and to add drama to this very prominent architectural feature.



Low level bollard lighting with two beam angles softly washes down the wadi and the lawns as well as creating safety and security lighting for the guards. Bollards use optics and lenses to control light distribution. Bollards also use reflectors to give a higher light output or distribute light in certain directions.

The concept of producing shadows and dark bands of light was achieved using a minimum of light fittings at ground level and a simple design. Shadow is as important to the scheme as light so Visual Energy didn't try to light everything, instead retaining some mystery.

Surface mounted linear wash light give a soft even wash of light. To integrate with the architecture the fitting is a custom RAL colour. Recessed uplights illuminate the port cochere in a subtle wash effect adding texture and depth to the facade.

JAPANESE 新議事堂となるオマーン評議会ビルは、 マス カットにあるスルタン・カブースグランドモス クの最新建築ランドマークビルです。Visual Energy社は、オマーン国のロイヤル・コー ト・アフェアーズの委託を受けてプロジェクト 全体のファサードと景観照明を設計しまし た。2km以上にもなるファサードで照明を行 うことで、 プロジェクトの中でも最大かつ最も 目立つ部分となっています。 プロジェクトで選 ばれたソリューションは、 ファサードから正 確な距離に線状のビームライト配置すること で影を制御するものです。照明機器の位置 はビル全体を取り巻くようになっているため、 景観設計家により緊密にコーディネイトされ ている必要があり、 同じ設計家によりその上

の床に配置されます。 照明の専門メーカーと の緊密なコラボにより、 Linea Light社およ びVisual Energy社は特注の凹んだ地中線状LEDソ リューションを開発しました。 これは空間の 使用者に、 たった900mmと最小のグレアの 壁のみという小さな犠牲で均一な垂直照明 を維持できるようにするものです。

CHINESE 新国会大厦 Majilis Oman 是位于马斯喀特 的最新的苏丹卡布斯标志性建筑。Visual Energy 受 Royal Court of Affairs 委托,为整个项目 设计墙面和景观照明。超过 2km 的待照 明墙面,是该项目目前面积最大且最引人 注目的建筑部分。所选方案是从相距墙面

的一处精确位置投射一道直线光束,从而 实现对光影的控制。由于光线将在整个建 筑上来回照射,因此光源安装位置必须与 景观结构以及楼层上方的结构充分协调。 通过与专业照明生产商 Linea Light 的合 作,Visual Energy 设计了一套专属的线 性 LED 地面凹陷式解决方案,在保持统 一的垂直照明和最小化对建筑内人员眩光 影响的同时,将与墙面的偏移控制到仅有 900 毫米。

FRANÇAIS Le Majilis d’Oman est le nouvel édifice du Conseil consultatif du Sultanat d’Oman, le tout dernier des chefs-d’œuvre architecturaux du Sultan Qaboos à Mascate. Le cabinet Visual Energy fut chargé de la conception de l’éclairage de la façade et des jardins

par le Ministère des Affaires de la Cour Royale. Les quelques 2 km de façade à illuminer étaient de loin l’élément le plus important et le plus visible du projet ; l’on décida de projeter un faisceau lumineux linéaire à une distance précise de la façade pour que les ombres puissent être contrôlées. L’emplacement des installations d’éclairage devait être étroitement coordonné avec l’architecte-paysagiste et les architectes des étages supérieurs puisque l’éclairage encercle tout le bâtiment. Fruit d’une étroite collaboration entre le fabricant d’éclairage spécialisé Linea Light et Visual Energy, une succession linéaire de diodes électroluminescentes réalisée sur mesure et encastrée au sol fut spécialement conçue pour le lieu. Ceci permit un petit décalage du mur de seulement 900 mm, tout en conservant un éclairage vertical uniforme et en réduisant l’effet d’éblouissement pour les utilisateurs de l’espace.

PROJECT DETAILS Majilis Oman, Muscat, Oman Client: Royal Court of Affairs - Sultanate of Oman Architect: Moller Architects Detail Architect: Royal Court of Affairs - Sultanate of Oman Lighting Design: Visual Energy

LIGHTING SPECIFIED Façade Linea Light iLED SteelWalk, iLED Star Line, iLED Xenia, iLED New-Farled; iGuzzini iRoll 65; WE-EF DOC220 Colonnades Linea Light iLED StarLine; iGuzzini Light Up, Light Up LEDDual Optics Landscape Lumascape LS343; iGuzzini Light Up Walk Professional; Linea Light iLED Xenia; Siteco SL10 Mini; WE-EF NTY184; Simes Eos Square

Working closely with specialist lighting manufacturer Linea Light, Visual Energy designed a custom linear LED recessed in-ground solution that allowed for a small offset from the wall of only 900mm while still maintaining a uniform vertical illumination and minimal glare to the users of the space. The length of the fitting was also customised to be exactly 1,200mm so it could fit into the 4.8m grid used around the building. Furthermore, the inground casing of the fitting allowed for running the three-phase cables and DMX within the body of the fitting, minimising the number of tapping points from the building, and the depth of

DEUTSCH Das Majilis Oman, das neue Parlamentsgebäude, ist das neuste der architektonischen Wahrzeichen des Sultans Qabus in Muscat. Visual Energy wurde durch den Royal Court of Affairs beauftragt, die Beleuchtung der Fassade und der Landschaft für das gesamte Projekt zu gestalten. Mehr als 2 km Fassade waren zu beleuchten. Dies war das größte und sichtbarste Element des Projekts. Die ausgewählte Lösung bestand darin, einen linearen Lichtstrahl in einer präzisen Entfernung von der Fassade zu projektieren, so dass die Schatten kontrolliert werden können. Die Position der Beleuchtungskörper musste eng mit dem Landschaftsarchitekten koordiniert werden, da sie rund um das gesamte Gebäude angebracht sind, und mit dem Architekten auf den darüber liegenden Etagen koordiniert werden. In

the fitting was restricted to 100mm so it fits within the screed and top finish of the flooring. The fittings in the upper terraces were dimmed down to give a continuity effect to the light from the fittings in the ground. Finally a number of metal halide inground uplights were added around the main entrances of the building to emphasise the importance of these entrances when compared to the rest of the building. Another important decision that was taken during the mock-up stage was the selection of the exact colour temperature of the inground light fittings to best illuminate the two-shade stone cladding of the building.

enger Zusammenarbeit mit dem spezialisierten Beleuchtungshersteller Linea Light entwarf Visual Energy eine kundenspezifische lineare LED-Bodeneinbau-Lösung, die einen kleinen Versatz von der Wand von nur 900 mm berücksichtigt und gleichzeitig eine uniforme vertikale Beleuchtung und minimale Blendung für die Benutzer des Bereichs bewahrt.

ITALIANO Il Majilis Oman (nuovo Palazzo del Parlamento) è l'ultimo degli storici edifici architettonici del Sultano Qaboos a Muscat (Oman). La Visual Energy è stata commissionata dalla Corte Reale degli Affari per progettare l'illuminazione della facciata e del paesaggio per l'intero progetto. Con più di 2 km di facciata da illuminare, essa risultava di gran lunga l'elemento più grande e più visibile del progetto stesso. La soluzione scelta è stata quella di proiettare un

2,800K was finally selected as the most appropriate colour temperature and was used for all the LED fittings illuminating the façade of the building with the metal halides being 3,000K. When the building was fully illuminated, the shadow lines were clearly visible as sharp lines seen from the 250m away roundabout and viewing platforms. The building now has a striking night-time façade and landscape set on a backdrop of the rocky Al-Hajar Mountains that can be enjoyed by the local population and visitors to the region alike.

fascio lineare di luce ad una precisa distanza dalla facciata in modo che le ombre potessero essere controllate. La posizione della luce doveva essere strettamente coordinata con la paesaggistica, dovendo essa percorrere l'intero edificio, nonché coordinata con l'architettura dei piani superiori. Lavorando a stretto contatto con gli specializzati produttori di illuminazione Linea Light, Visual Energy ha progettato una soluzione su misura di LED lineari ad incasso nel pavimento e sollevati dalla parete a soli 900 mm, pur mantenendo un'illuminazione verticale uniforme ed un abbagliamento minimo per i fruitori dello spazio.

ESPAÑOL El Edificio Majilis Oman, el nuevo Edificio Parlamentario, es el último de los emblemáticos edificios arquitectónicos del Sultán Qaboos en Muscat. El Royal

Court Affairs, le encomendó a Visual Energy el diseño de la iluminación de la fachada y el paisaje para el proyecto completo. Con más de 2Km de fachada a iluminar, fue por lejos el elemento más grande y visible de todo el proyecto. La solución elegida fue la de proyectar un haz de luz lineal a una distancia precisa de la fachada para que pudieran controlarse las sombras. La ubicación de los artefactos de luces tuvo que ser coordinada de cerca con el arquitecto del paisaje, ya que daría la vuelta al edificio entero, y coordinado también con los arquitectos de los pisos superiores. Al trabajar de cerca con los fabricantes de iluminación especialistas, Linea Light, Visual Energy diseñó una solución a medida de luces LED lineales empotradas en el suelo que tuvo en cuenta una pequeña inclinación de la pared de tan solo 900 mm, a la vez que se mantenía una iluminación vertical uniforme y un mínimo resplandor a los usuarios del espacio.

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A WALK IN THE PARK Randy Burkett Lighting Design has worked alongside landscape architects LandDesign to illuminate North Carolina's Romare Bearden Park with a subtle complement to Bearden's lifelong contribution to long-lasting art and design. Pics: Alex Grichenko

Opened in the summer of 2013, Romare Bearden Park in Charlotte, North Carolina was created to enrich the lives of the community, providing opportunities for intellectual, social and physical well-being. Envisioned to grow into an established landmark and destination, it provides space for urban recreation and gathering in the heart of Charlotte’s city centre. The $11m space commemorates the life and artistic achievements of internationally regarded black artist, Romare Bearden - born in a long-gone house at Martin Luther King Jr. Boulevard and Graham Street, Charlotte in the early 1900’s near to where his namesake park is located today. Bearden

became an internationally known creator of original oil and watercolour paintings, drawings and abstract art collages, up until his death in 1988. Although Bearden moved north as a child, some of his art depicts Charlotte’s early 20th Century African-American community. Located near the entrance of Charlotte’s new Triple A baseball stadium, the park is actively enjoyed by many who visit this newly popular city setting. Boasting 5.4-acres, the park covers an entire square city block, formerly home to a city bus parking lot. It was designed with several distinct areas, each inspired by facets of Bearden's life and his career-wide

acclaim that grew steadily over decades. In creating Romare Bearden Park, its design was awarded to the landscape architecture company LandDesign, who has offices in Charlotte, NC amongst others and artist Norie Sato. LandDesign followed its corporate philosophical underpinnings of honouring the land and allowing it to accommodate a vision for a special place. Its sensitivity to location ensured people and land were brought together in a manner that provided a powerful, encompassing personal experience. LandDesign’s master plan for the park evokes Romare Bearden and his artistic use of his own memory, for what he termed


Left Hess America's Riva pole-mounted luminaires guide visitors to the fringes of the park's water feature while its Fiora series, along the Evocative Spine's edges, uses light reflected from a faceted disk to clearly define the pathway.

'triggers' for key inspirational points when he was designing and executing his artworks. The influence of Bearden resulted in an eclectic mix of urban park elements that include two adjacent multiacre gardens and greens with adjoining courtyards. Moveable in-park tables and chairs evoke thoughts of Paris, where Bearden travelled to and lived for one year. Courtyards are shaded by substantial natural, indigenous canopies of trees throughout the park, and on park sides of adjoining city streets. A large formal event common, known as Big Moon Green, transitions into an open area for informal children’s activities, as well as

for structured events for people of all ages. Gardens named Madeline’s and Maudell’s, recall previously articulated memories by Bearden of gardens his mother and grandmother had, that inspired several of his artworks. The park also has interactive digital chimes and waterfalls. Working alongside LandDesign was architectural lighting designer Randy Burkett, founder and principal of Randy Burkett Lighting Design, headquartered in St. Louis. Burkett and LandDesign agreed that lighting for Romare Bearden Park should subtly serve as a complement to Bearden’s lifelong artistic sensibilities, and his evolved

appreciation for lasting good design in the creative, artistic sense. Built upon this strong visual imagery, the lighting design further exploited the metaphors into the night. Ordinary pole-mounted street lighting would simply not do. With this in mind, Burkett selected Hess America Fiora and Riva pole-mounted luminaires on inverted tapered poles, which distinctively light main pathways and an interactive play area in the park. One main pathway, known as The Evocative Spine, runs diagonally through the site, allowing visitors to see and experience individual park vignettes as they walk. Fiora, a striking feature pole from Hess



Left The Evocative Spine is reinforced through highlighting of the stone wall and vine elements. The granite wall portion of the walkway is accented with flush-to-grade lighting positions while low-level pathway identity is provided by an organic arrangement of circular LED wafers embedded within the paving material. The entry portion of the spine uses pedestrian scaled poles for functional illumination and boundary identity.

Above Original sketches show Callisto pole-mounted luminaires from Lumec chosen for pedestrian illumination. Below flush-to-grade uplights provide an option to gently bathe the tree canopy.






using light reflected from a faceted disk, is used along the Spine’s edges to clearly define the pathway when seen from the far reaches of the site. These luminaires are primary components of the park, integral to its overall design and function. On the whole, the lighting played an important role in establishing visual hierarchy and scale for the park’s pedestrian pathways. Along many walkways, conventional pole and bollard pathlighting techniques are eschewed for those emphasising reflected illumination from surrounding vertical surfaces. This approach provides soft, welcoming facial light while

JAPANESE 2013年夏、米国ノースカロライナ州シャーロ ットにオープンしたロメア・ビアーデン・パー クはコミュニティ再生の一環として作られまし た。 この1100万ドルの空間は、国際的にも評 価の高い黒人アーティスト、 ロメア・ビアーデ ンの生命と芸術の偉業を称えるものです。5.4 エーカーの規模を誇るこのロメア・ビアーデ ン・パークは、 かつてバス用駐車場として使用 されていたシャーロット市の一角全体を占め ています。公園はいくつかの区画に分けて設 計され、 それぞれが数十年に渡りコンスタン トに高い評価を得てきたビアーデンの人生と 芸術活動を表現しています。 設計については、景観設計会社のLandDesign社(ノースカロライナ州シャーロットお よびワシントンDC)、およびアーティストの Norie Sato氏が受賞しました。 ロメア・ビアー デンの影響は数エーカーに渡り隣り合う2つ のガーデンと隣接する中庭を含む、折衷的な 都市型公園として具現化しました。

helping to fortify visitor orientation and enhance wayfinding. This lighting of walls, landscape and art became a toolbox of sorts, used extensively throughout the project. Visible from numerous high-rise residential, hospitality and office towers nearby, the park’s individual experience zones are articulated after dark using variations in light intensity, boundary light reinforcement, source colour and subtle dynamics. Views of the park grounds from the surrounding elevated structures bring to mind the artist’s passion for collages. Water features are cast in an important

LandDesign社とコラボしたのは、建築的照 明デザイナーのRandy Burkett氏(本社セン トルイス市) です。 Burkett氏とLandDesign社はロメア・ビアー デン・パークの照明をビアーデンの生涯に渡 る芸術性を引き立たせるものにすることに合 意しています。 これにより、Burkett氏はHessAmerica Fiora and Riva社の逆テーパ型 こ 柱に設置した柱上照明器具を選びました。 れは、 メインの小道とパークのインテラクティ ブな遊び場を特徴的に照らすものです。

CHINESE 在 2013 年夏季开园的 Romare Bearden 公园 位于美国北卡罗来纳州的夏洛特市,其旨 在丰富该社区人们的生活。该耗资 1.1 亿 美元的公园项目为纪念黑人艺术家 Romare Bearden 而建,这位艺术家的一生及其技 术成就在国际上广受赞誉。占地 5.4 英亩, 该公园覆盖了一整个城市街区,其前身是 一个公交车停车场。公园按照几个区域分 开设计,每个区域分别代表了 Bearden 的

role in visually animating space. Nighttime enlivenment comes from colour, generated by submerged LED RGB sources. More subtle light effects, however, reinforce the park’s underlying messages, like the stone niches seen through a waterfall’s veil revealed by light, suggestive of a distant and hazy memory. A dispersion of low-level pathway lighting forms an organic arrangement of circular LED wafers embedded within the paving material, symbolising the everchanging journey along life’s path. Pronounced shadows are revealed throughout the gardens by well-positioned precision accent light clusters mounted to

生活及他在数十年的职业生涯中稳步积攒 的声誉。 该项设计所获得的殊荣被授予了北卡罗 来纳州夏洛特市和华盛顿特区的景观建 筑公司 LandDesign 及艺术家 Norie Sato。Bearden 的影响通过兼容并包的市区 公园要素形式予以体现,其中包括两个相 邻的、占地数亩的公园和带有毗邻庭院的 绿地。 与 LandDesign 合作的是建筑照明设计 师 Randy Burkett,其工作室位于圣路易 斯。Burkett 和 LandDesign 公司一致认为 公园的照明应与 Bearden 一生的艺术灵感 相辅相成。基于这一点,Burkett 选择了倒 锥形灯杆上的 HessAmerica Fiora 和 Riva 灯 杆型灯具,其以别具一格的方式对公园的 主要道路和互动游戏区域进行照明。

FRANÇAIS Ouvert à l’été 2013, le parc Romare Bearden à Charlotte en Caroline du Nord avait pour but d’améliorer la vie de la communauté. L’espace de 11 millions de

dollars commémore la vie et les réalisations artistiques du très réputé artiste noir, Romare Bearden. Le parc occupe tout un pâté de maisons de 5,4 ha ayant anciennement servi de stationnement d’autobus, et présente différentes zones, chacune inspirée d’une facette de la vie de Bearden et de sa notoriété qui ne cessa de grandir au cours des décennies. Sa conception fut attribuée à la société d’architecture paysagère LandDesign de Charlotte, NC et de Washington, DC et à l’artiste Norie Sato. L’influence de Bearden entraîna un mélange éclectique d’éléments de parc urbain - comprenant deux jardins et des espaces verts adjacents de plusieurs acres avec une cour attenante. L’éclairagiste et designer architectural Randy Burkett basé à St Louis travailla aux côtés de LandDesign. Burkett et LandDesign se mirent mutuellement d’accord que l’éclairage du parc devait refléter la très grande sensibilité artistique de Bearden. À cet égard, Burkett choisit des lanternes sur poteaux coniques inversés de chez HessAmerica Fiora et Riva éclairant distinctement les principales voies et une aire de jeux interactifs du parc.


Left The water features are illuminated in a way that visually animates the open space with recessed uplights, paying homage to the park's namesake.

poles. Lighting has helped create an authentic urban experience that celebrates Charlotte’s history and culture. Both orientation and wayfinding are reinforced by insightful arrangements of lighting equipment, with respect to the various activity nodes. The park’s design memorialises Romare Bearden, through thoughtful use of architectural lighting, inviting people to walk through and enjoy the venue’s design and amenities.

DEUTSCH Der Romare Bearden Park in Charlotte, North Carolina, USA, wurde 2013 eröffnet und gestaltet, um das Leben der Gemeinde zu bereichern. Der elf Millionen Dollar teure Bereich erinnert an das Leben und an die künstlerischen Werke des international anerkannten schwarzen Künstlers Romare Bearden. Er erstreckt sich über eine Fläche von 5,4 Morgen und bedeckt einen gesamten Stadtblock, den ehemaligen Busbahnhof . Er wurde mit verschiedenen, klar voneinander abgegrenzten Bereichen gestaltet, jeder inspiriert durch eine Facette des Lebens Beardens und seiner Anerkennung, die im Laufe seiner jahrzehntelangen Karriere stetig anwuchs. Das Landschaftsgestaltungs-Unternehmen LandDesign aus Charlotte, NC, und Washington, DC, sowie der Künstler Norie Sato wurden mit der Gestaltung beauftragt. Der Einfluss Beardens ergab eine eklektische Mischung aus Stadtparkelementen, unter anderem zwei anliegende mehrere Morgen große Gärten und Grünflächen mit angrenzenden Höfen.

PROJECT DETAILS Romare Bearden Park, Charlotte, North Carolina, USA Client: Mecklenburg County Park and Recreation Landscape Architects: LandDesign Lighting Design: Randy Burkett Lighting Design Artist: Norie Sato

LIGHTING SPECIFIED Hess Riva and Fiora pole luminaires Philips Lumec Callisto pole luminaires Bega bollards Winona/Winscape Pine and Vail accent lighting Tokistar Lightstring tree lighting Felix Matrix-Tekno Series Delta Light Monopol bollards

LandDesign arbeitete mit dem architektonischen Beleuchtungsdesigner Randy Burkett mit Firmensitz in St. Louis zusammen. Burkett und LandDesign vereinbarten gemeinsam, dass die Beleuchtung des Parks den lebensbegleitenden Kunstsinn Beardens ergänzen sollte. In diesem Sinne wählte Burkett HessAmerica Fiora und Riva-Aufsatzleuchten auf invertierten konischen Pfählen aus, die die Hauptwege und einen interaktiven Spielbereich im Park gut beleuchten.

ITALIANO Inaugurato nell'estate del 2013, il Romare Bearden Park di Charlotte (North Carolina - Stati Uniti d'America) è stato creato per arricchire la vita della comunità. Il posto da undici milioni di dollari, commemora le vita e le realizzazioni artistiche dell' artista di colore di fama internazionale Romare Bearden. Vantando quasi 22.000 m², il parco copre un intero isolato (ex sede di un parcheggio per pullman) ed era stato progettato con diverse aree distinte, ognuna ispirata ad aspetti della vita di Bearden e alla sua brillante carriera che è cresciuta costantemente nel corso di decenni.

Il suo design è stato assegnato alla compagnia di architettura paesaggistica LandDesign (di Charlotte, NC e Washington DC) e all' artista Norie Sato. L'influenza di Bearden ha comportato un eclettico mix di elementi del parco urbano che comprendono due enormi giardini verdi con cortili adiacenti. Il progettista dell'illuminazione architettonica Randy Burkett (sito a St. Louis) ha lavorato fianco a fianco con LandDesign ed entrambi convenivano sul fatto che l'illuminazione del parco avrebbe dovuto integrare la permanente sensibilità artistica di Bearden. Detto ció, Burkett ha selezionato delle luminarie HessAmerica Fiora e Riva montate su pali affusolati invertiti che, essendo notoriamente leggeri, seguono i percorsi principali e un'area gioco interattivo nel parco.

ESPAÑOL Inaugurado en el verano de 2013, el Parque Romare Bearden en Charlotte, Carolina del Norte, Estados Unidos fue creado para enriquecer las vidas de la comunidad. El espacio de once millones de dólares conmemora la vida y los logros artísticos del interna-

cionalmente reconocido artista afroamericano, Romare Bearden. Haciendo alarde de 22.000 metros cuadrados, la misma ocupa una manzana completa, lo que fuera un estacionamiento de autobuses. Fue diseñado con varias zonas diferentes, cada una inspirada por las facetas de la vida de Bearden y la aclamación de su amplia carrera que creció continuamente a lo largo de las décadas. Su diseño fue galardonado, hacia la empresa de arquitectura de paisajes, LandDesign, de Charlotte, Carolina del Norte y Washington, DC y el artista Norie Sato. La influencia de Bearden resultó en un mix ecléctico de elementos urbanos de parques que incluyó dos jardines contiguos, de muchos metros cuadrados, y parques con patios adyacentes. LandDesign trabajó en conjunto con el diseñador de iluminación arquitectónica, Randy Burkett, con base en St. Louis. Burkett y LandDesign acordaron que la iluminación del parque debería complementar los sentimientos artísticos de Bearden de toda la vida. Con esto en mente, Burkett eligió luminarias en postes de HessAmerica Fiora and Riva en postes estrechos invertidos, que iluminan de forma muy peculiar los senderos principales y una zona de juegos interactiva en el parque.

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HISTORY IN THE MAKING Thanks to a collaboration between Studio Susanna Antico and Giladi Architectural Lighting, the Grote Markt historical market square of Antwerp has been given a much needed lighting lift. Having won an international competition launched by the city of Antwerp, Belgium, Studio Susanna Antico from Milan, Italy in collaboration with Giladi Architectural Lighting from Brussels - developed the lighting master plan for the entire city of Antwerp and its neighbourhoods. Following the decision of the city of Antwerp to adopt the lighting master plan and apply it to any new lighting project in the city, the College of Aldermen decided to renew the lighting of the Grote Markt - the historical market square and centre of the city. Studio Susanna Antico was commissioned to design the lighting for this public space, which was to be executed according to the master plan guidelines. The project was carried-out in collaboration with Giladi Architectural Lighting with the support of Stramien Architects and Urban Planners, Antwerpen. The area to be treated in the framework of the project, included the square itself; the City Hall building that occupies the entire western side of the square; the three main streets leading to the square; and the important building façades - most of which

are historical and listed in the square and along the streets leading to it. With the exception of emergency vehicles and delivery vehicles at limited hours of the day, the whole area had also recently been declared a pedestrian only zone. At the beginning of the project, the Grote Markt was lit by pole-mounted historical decorative street lanterns fitted with 150 HIT sources. One of the streets leading to the square was lit with the same luminaires mounted on the walls with historical decorative brackets. The other two had recently been re-lit with wall mounted state-of-the-art 150 HST road lighting fixtures (at heights of eight to 10m), out of character with the historical middle-ages Flemish environment, and the wider of the two had also been fitted with different decorative poles and lanterns than those in the square. The main façade of the City Hall was flooded from two clusters of 400 HST floodlights mounted on the roofs of the historical buildings around the square. Other façades around the square were flooded with 70 HIT luminaires mounted on both sides of the pedestrian poles. Finally,

the sculpture and fountain of the Brabo (a mythological character who slayed a giant that had terrorised the people of the area, cut off his hand and threw it into the river Schelde) a focal point in the square, was lit by six in-ground directional luminaires fitted with 70 HITs. A number of façades, some of which are listed, were privately lit by the owners or tenants, some with saturated colour changers. Many private installations were out of order as were a few of the street lights. The pervading ambience of the square at night time was dictated by the orange soup of sodium reflected from the main façade of the City Hall. Some gaudy bursts of coloured light attempted a Las Vegas type of visual attraction. Glare was a major feature in the square; colours, materials, finishes and architectural details were distorted or disappeared; the total lighting power amounted to 30KW and the annual consumption amounted to 115MWh. By day, light fixtures and uncontrolled wiring destroyed the appearance and perception of this historical public space. The project went through the master plan




Left The new lighting concept from Studio Susanna Antico updates the tired scheme previously in place, pictured below.

required motions, which consisted of an in-depth historical, urban, architectural and functional analysis; conceptual design; design development; detailed design and documentation; establishing technical specifications and bills of quantities; assisting client in the tender and bidding process; approval / rejection of offered equipment; on-site direction / supervision; final focusing and commissioning. The design suggested the creation of a comfortable and inviting nocturnal space for city residents and visitors; to highlight the Town Hall, the Brabo sculpture and the rest of the abundant architectural heritage in the Grote Markt as well as the surrounding streets, according to a city-decided visual hierarchy (the master plan developed a tool allowing the city to determine the night-time visual hierarchies in any project). The elimination of all glare, light trespass and light pollution, while cleaning the façades of unwanted luminaires and wiring, respecting the architecture and details were also considerations while ensuring an overall sustainable lighting system; install-

JAPANESE ベルギーのアントワープ市による国際コンペ に勝ち、 Studio Susanna Antico社 (イタリ ア・ミラノ市) はGiladi Architectural Lighting社(ベルギー・ブリュッセル市) とのコラボ により、 市全域と近隣における照明マスタープ ランを開発しました。新しい照明プランについ ては、 アントワープ市の新しい照明プロジェク トとして採用されることが合意されています。 これを受けて、 College of Aldermenは歴史 的市場広場と市中心部である、 フロートマルク トの照明を更新することを決定しました。Studio Susanna Antico社は、 この最初の公共 ガ 空間の照明プロジェクトの設計を受託し、 イドラインのマスタープランに沿って実施しま す。 本プロジェクトは、 Giladi Architectural Lighting社がStramien Architects社と都

ing an intelligent programmable management system that would control both street lighting and architectural lighting, relating to both as integral components of public lighting (this would allow further energy savings by shutting-down and / or dimming systems according to a pre-set calendar controlled by an astronomical clock). LED systems were adopted throughout the project as well as a generalised approach of lighting all surfaces from very short distances mainly resulting in grazing illumination of façades. This approach would initially imply a large number of luminaires and complex wiring (including wiring for controls) however these would be offset by the very low power and reduced consumption of the systems, the elimination of glare, trespass and pollution, the minimal visual impact of the systems and the final visual effects and perception of the space and its elements at night-time. Besides answering master plan requirements for the systems’ longevity, the adoption of LEDs allowed the programming of different scenes according to the time of night, season and any special

市プランナーのAntwerpen氏の支援を受け て共同実施されています。本地域は広場その ものを含む枠組み内で扱われており、市役所 ビルは広場の西側全体を占めています。広場 へと繋がる3本のメインストリートと重要なビ ルのファサードは、大部分が歴史的建造物で あり、広場とそれに繋がる通りとして登録され ています。

CHINESE 来自意大利米兰的 Susanna Antico 工作 室,与来自比利时布鲁塞尔的 Giladi 建筑 照明团队合作开发了一套供整座城市及其 邻郊使用的照明主体规划,一举在比利时 安特卫普市所举办的国际竞赛上夺魁。该 新照明规划被一致认定,将应用于该市的 所有新照明项目。基于这一点,College of Aldermen 决定对历史悠久的集市广场和

holidays or events. It also enabled carefully planned and controlled additional power consumption savings at night when pedestrian presence is scarce. Also, architectural and functional (pedestrian) lighting being fully integrated and simultaneously controlled, thus never in conflict, allowed for a continuous level of low and diffuse illumination throughout the project, providing a sense of security and comfort, regardless of the programmed scene. Finally, the LEDs, being close to the architecture - the emphasis of the architectural detail works like a magnifying glass for the aesthetical qualities of the middle-ages Flemish architecture. The approach was to light the many historical façades in the main square and surrounding streets, while creating a balanced perception of the spaces, giving the four façades of the City Hall a lighting treatment that would highlight the architectural details; reduce the luminance in public spaces and in the streets leading to it while creating a soft, warm atmosphere, in harmony with the old stone façades. In agreement

城市中心—— Grote Markt 的照明进行翻 新。Susanna Antico 工作室受托根据总体 规划的指导,负责实施该公共场所的第一 个照明项目。在项目执行过程中,Susanna Antico 工作室将与 Giladi 建筑照明团队合 作,同时会获得安特卫普市 Stramien 建筑 师和城市规划者的支持。该项目框架中的 待施工区域包括广场本体、占据整个广场 西侧的市政大楼、通向广场的三条主要街 道以及重要建筑外墙,其中大部分建筑历 史悠久,位于广场之中或是通向广场的沿 街位置。

FRANÇAIS Lauréat du concours international lancé par la ville d’Anvers, en Belgique, Studio Susanna Antico de Milan, en Italie — en collaboration avec Giladi Architectural Lighting de Bruxelles en Belgique — mis

au point le plan d’éclairage pour l’ensemble de la ville et ses quartiers. Il fut convenu que le nouveau plan d’éclairage serait adopté pour tout nouveau projet d’éclairage de la ville. Dans cette optique, le Collège des échevins décida de renouveler l’éclairage de la Grote Markt — la place historique du marché et centre de la ville. Studio Susanna Antico fut chargé de concevoir ce premier projet d’éclairage d’un espace public exécuté conformément aux lignes directrices du plan d’éclairage. Le projet fut réalisé en collaboration avec Giladi Architectural Lighting, et grâce au soutien des architectes et urbanistes du cabinet Stramien d’Anvers. La zone à restaurer dans le cadre de ce projet inclus la place elle-même, le bâtiment de l’hôtel de ville qui occupe tout le côté ouest de la place, les trois principales rues menant à la place et toutes les façades des bâtiments importants de la place et le long des rues menant à celle-ci ; la plupart de ces façades étant anciennes et inscrites au patrimoine national.


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Left Renders of the project from the conceptual phase. The area to be treated included the square itself; the City Hall building that occupies the entire western side of the square; the three main streets leading to the square; and the important building façades - most of which are historical and listed in the square and along the streets leading to it.

with the city, the posts of the square would remain on site and the lanterns would be replaced by new fixtures with a quasi-identical appearance but equipped with LED sources and opaline glass diffusing the light and preventing glare. The same luminaires would be adopted in the surrounding streets thus making them an integral part of this public space as per the brief of the city. The height of the pedestrian luminaires would be limited to 4.5 – 5m (as per master plan guidelines and in order to create the more intimate ambience wanted in the project). The dominant correlated colour temperature adopted was 3,000K, highlighting the old stone façades and creating an inviting atmosphere. In some cases, for the sake of visual interest, 4,000K were specified (such as on the Brabo sculpture or the roof of the City Hall).

DEUTSCH Studio Susanna Antico aus Mailand, Italien, Gewinner eines internationalen Wettbewerbs, der durch die Stadt Antwerpen, Belgien, ausgeschrieben wurde, hat in Zusammenarbeit mit Giladi Architectural Lighting aus Brüssel, Belgien, den Licht-Masterplan für die gesamte Stadt und ihre Umgebung entwickelt. Es wurde vereinbart, dass der neue Beleuchtungsplan von jedem neuen Beleuchtungsprojekt in der Stadt angenommen würde. Mit dies im Hinterkopf beschloss der Stadtrat, die Beleuchtung des Grote Markt - dem historischen Marktplatz der Stadt - zu erneuern. Studio Susanna Antico wurde beauftragt, dieses erste Beleuchtungsprojekt des öffentlichen Platzes zu entwerfen, das gemäß den Richtlinien des Masterplans auszuführen war. Das Projekt wurde in Zusammenarbeit mit Giladi Architectural Lighting und der Unterstützung von Stramien Architekten und Städteplanern, Antwerpen, durchge-

Installation of luminaires on historic façades was done in coordination with the department of historical monuments, dissimulating the fixtures wherever possible while avoiding any damage to historic materials. Routing of all required cabling and installation methods were carefully designed within the same parameters. The installation work took almost three months as every luminaire had to be individually focused and locked in its position, sometimes at extreme heights (luminaires at the top of the city hall were installed with installers reverting to Alpinism techniques because no elevator could reach the location of the luminaires) In order to avoid extensive digging in the historical paving of the square and the streets and high costs of heavy cabling, the management system adopted was a hybrid

führt. Der innerhalb des Rahmens dieses Projekts zu behandelnde Bereich umfasste den Platz selbst, das Gebäude des Rathauses, das die gesamte Westseite des Platzes einnimmt, die drei Hauptstraßen, die zum Platz führen, und die großen Gebäudefassaden, von denen die meisten historisch und im Platz aufgelistet sind, sowie die Straßen, die dorthin führen.

ITALIANO Dopo aver vinto un concorso internazionale lanciato dalla città di Anversa, in Belgio, lo Studio Susanna Antico di Milano (Italia), in collaborazione con Giladi Architectural Lighting di Bruxelles (Belgio), ha sviluppato il principale progetto di illuminazione per tutta la città e per i dintorni. Si è convenuto che questo nuovo piano di illuminazione sarebbe stato adottato per ogni nuovo progetto di illuminazione della città e proprio per questo, il Collegio di Aldermen ha deciso di rinnovare l'illuminazione di Grote Markt (la storica piazza del

wired system (DMX) for the City Hall (in which the system was installed) and a wireless DALI system for the rest of the project.

PROJECT DETAILS The Grote Markt, Antwerp, Belgium Client: The city of Antwerp Lighting Design: Studio Susanna Antico & Giladi Architectural Lighting

LIGHTING SPECIFIED Osram Duris E5 LEDs custom assembled in linear profiles Schréder SculpLine linear washlights Schréder SculpDot floodlights Schréder Enyo LED floodlights We-Ef ETC130 & ETC140 inground uplights

mercato) ed il centro della città. Studio Susanna Antico fu incaricato di progettare questo primo progetto di illuminazione per lo spazio pubblico che doveva essere eseguito secondo le linee guida del piano principale. Il progetto è stato realizzato, in collaborazione con Giladi Architectural Lighting, con il supporto di Stramien Architects ed i progettisti urbanisti Antwerpen. La zona da trattare nell'ambito di quel progetto comprendeva la piazza stessa, l'edificio del municipio che occupa l'intero lato occidentale della piazza, le tre strade principali che portano alla piazza e le importanti facciate degli edifici, molte delle quali storiche, che si susseguono nella piazza e lungo le strade che conducono ad esso.

ESPAÑOL Habiendo ganado una competencia internacional lanzada por la ciudad de Antwerp, Bélgica, Studio Susanna Antico de Milán, Italia - en colaboración con Giladi

Architectural Lighting de Bruselas, Bélgica - desarrolló el plan maestro de iluminación para la ciudad entera y sus alrededores. Se convino que el nuevo plan de iluminación fuera adoptado por cualquier nuevo proyecto de iluminación en la ciudad. Con esto en mente, la Universidad de Aldermen decidió renovar la iluminación de Grote Markt - el histórico mercado y el centro de la ciudad. Se le encomendó a Studio Susanna Antico diseñar este primer proyecto de iluminación de espacio público en ser ejecutado de acuerdo con los lineamientos del plan maestro. El proyecto fue llevado a cabo en colaboración con Giladi Architectural Lighting con el apoyo de Stramien Architects y los urbanistas, Antwerpen. La zona a ser tratada, en el marco de este proyecto, incluía a la plaza propiamente dicha, el edificio Municipal, que ocupa todo el lado oeste de la plaza, las tres calles principales que conducen a la plaza y las fachadas de los edificios importantes, muchos de los cuales son históricos y edificios protegidos en la plaza y a lo largo de las calles que conducen a ella. |

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Pics courtesy of P&O


ALL AT SEA MBLD has teamed up with interior designers Richmond International to provide P&O's largest cruise liner to date with a seamless flow of scene-setting lighting installations. Laura Mackay, Associate, MBLD walks us through the process start to finish.

The Starburst - the concept of Richmond International, developed by Jona Hoad Design - is made up of 300 illuminated shards and 200 handfinished triangular facets, creating a spectacular centrepiece to the ship's atrium.

The Britannia P&O cruise liner began its journey in mid-2011 when the MBLD team joined interior designers Richmond International to change the face of cruise ship design. P&0 presented a brief which challenged us to develop a completely fresh and contemporary approach, which would, at the date of launching in March 2015, be introduced on Britain’s largest cruise ship. As well as a new aesthetic, energy consumption was at the top of P&O’s priorities. With this in mind, the use of LEDs to reduce energy connsumption compared with traditionally used halogen sources was, from the outset, a goal which we worked hard to achieve, given the added issues of vibration and unstable power when using LEDs on a ship. From the outset, we were required to meet targets for each of the public areas, in terms of loading and dimming circuits. Based on experiences from other ships' use of halogen downlights, we felt confident it could reduce the ships loading. By turning the ship into a fully LED lit scheme the energy consumption was reduced to a third or less of its normal running requirements. This, along with our approach to luxury

hospitality lighting - whereby lighting is selective and sensitive to each area - has seen significant improvements to the energy demand on the ship. While ship specification and stringent spaceby-space requirements provided benefits in some aspects, it took away from others in terms of the limited number of circuits allowed within each space. This meant that we had to work hard to achieve the balance of lighting within each space; a task that proved challenging in areas such as large scale restaurants or zones that consisted of mixed use spaces, yet shared limited circuitry. Working closely with the lighting manufacturers, we selected products and LED chips that ensured consistency in the quality of light and colour temperatures across the range of 130 lighting products installed. Public area lighting was supplied by Ensto Italia and Cabins by iVela, Italian manufacturers that have had many years experience working with the Italian shipyard Fincantieri. The aim was to develop a range of products that would allow the least amount of variations for difficulties faced



The Limelight Club is punctuated by pendants supplied by the shipyard, fitted with an Osram Parathom Classic B dimmable LED lamp.

in maintaining lighting whilst at sea and provide the best design pallet to cover all aspects of the wide range of spaces across the ship. Catering for 3,600 passengers, across fifteen passenger decks, the 1,082ft ships consists of thirteen bars, thirteen restaurants and cafes, a spa, theatre, TV studio, dance hall, specialist cookery school and pool decks. At the heart of it all is the atrium - comprised of celebrity bars, delis and the focal lighting installation called the Starburst - the concept of Richmond International, developed by Jona Hoad Design. The Starburst, made up of 300 illuminated shards and 200 hand finished triangular facets, creates a spectacular centrepiece that elegantly explodes and drops seven metres from the ceiling,

floating above the lower deck. Working together with Jona Hoad Design, we developed a lighting narrative that created a dynamic and adaptable lighting sculpture. The piece is programmed with eight lighting scenes that utilise the 580 individual 2W LEDs within each of the acrylic shards over 72 DMX channels and eighteen Lumenbeam RGBW floodlights focused onto the Starburst. The welcoming scene is of gently pulsing shards combined with floodlighting of red, white and blue, creating a ceremonious Union Jack like arrival onto the Britannia. The day-to-day scene works with the ship's clock, displaying a warm golden colour in the morning through to a darker moody aubergine colour in the evening, with an on-the-hour light explosion, when the shards chase up the

Starburst and sparkle across the ceiling. With the Starburst providing a statement attraction, the lighting within the rest of the three-storey high space was carefully balanced to provide the ground floor seating area with a vibrant and comfortable setting. The surrounding levels include four individual bars across two floors, a retail floor and another central feature at a spiral staircase with individually lit acrylic balustrade rods. Other striking areas include Olly Smith's The Glasshouse on deck seven, sparkling with four glass chandeliers and backlit bar counter. Lighting played an important role in continuing the experience through transitional spaces. Scene-setting between night club venue to signature restaurant, retail units and spa required the balance of

Creating Decorative Lighting Installations PROJECT Name: Star Burst Location: Britannia Client: Carnival UK

CONTACT +44 (0) 1525 222 364







Right The Studio is purpose-lit by Ensto Linear LED Channels, recessed adjustable LED downlights and side emitting flexible IP LED lighting strips Below The ship's open-deck Sunset Bar located on Deck 17 uses Ensto recessed fixed LED IP downlights and flexible IP LED lighting strips to give a fresh beach bar feel.

light which one would expect. The Lime Light Lounge - where entertainers such as Jaki Graham and Kiki Dee performed in a laidback jazz club atmosphere features a central lighting feature providing an adaptable and attractive detail within the otherwise low key lighting. The 150 programmable LEDs, with four different coloured handmade amber glass diffusers linked to a DMX system, were set to slowly ripple across the ceiling during dining followed by a more dynamic effect during the late evening setting. All of which links back to the entertainment AMX control system to adapt to the flexible performance space. The rest of the lighting is muted with selective gimbal downlighting to tables, highlights from golden pendants and pin spots to provide sparkle from the

JAPANESE ブリタニア P&O クルーズライン社は2011年 中頃、MBLD社がリッチモンド・インターナシ ョナル傘下に入った際に設立され、 ブリテン 最大のクルーズ船として2015年3月に就航を 開始しました。大型船舶のエネルギー消費は 膨大なものとなるため、P&Oラインは燃費改 善を優先事項として取り組んできました。 ハロ ゲンランプに替えて目標としていたLEDの使 用を開始しました。MBLDは製品を慎重に選 び、LEDチップを船全体に使用することで、照 明の質と色温度の統一性を設置された130 の照明器具で実現しています。 Jona Hoad Design社とのコラボにより、MBLD社は中央 アトリウムにStarburstのピースを設置、 ダイナ ミックで適応可能な照明器具兼彫刻を形成 することでストーリー性のある照明を構築して います。 このピースは8つの照明シーンにプロ

feature wall glass beading details creating an opulent and atmospheric dining and entertainment space. At the other end of the scale, a large theatre, one of P&Os largest and advanced venues to date, features full video wall mapping. With a contemporary take on traditional theatre design, specially developed adjustable high power LED downlights ranging from wide to narrow beams were integrated within ceiling trough details, splaying out in a radial arrangement across the ceiling rafts to provide the house lighting. On the other hand, wall panelling details lended themselves to a linear framing detail completed with uplighting to a central copper panel, creating the perfect low level ambiance for show settings. Special areas for the cruise liner include

グラミングされ、一つ一つにアクリルシェード のついた580個の2W LEDランプを72個以 上のDMXチャンネルと18個のLumenbeam RGBWフロア照明で構造体に焦点を当ててい ます。 エリアからエリアへの移動には、 リッチモ ンドインターナショナルが制作した船全体の 色調によりクラッシックな雰囲気を出しながら も、船旅にエンターテイメントとレストランを加 えています。

CHINESE MBLD 于 2011 年年中加入 Richmond International,负责 Britannia P&O 旅行游轮内 的照明灯光布置工作,该船是英国最大的 游轮,于 2015 年 3 月开始其处女航。能耗 是 P&O 关注的头等问题,如此大的船只必 然伴随着巨大的能源消耗。因此,MBLD 从一开始便确定了以 LED 灯代替卤素光源 的方案。MBLD 精心挑选了船上所用的产

品和 LED 芯片,以确保在安装的 130 盏灯 具中,保持统一的光照质量和色温。通过 与 Jona Hoad Design 合作,MBLD 开发了 一套供中庭使用的放射性灯具进行照明, 以带来动感十足、适应性强的光影构造。 该灯具由八个灯光照明场景构成,在每个 72 DMX 通道亚力克灯片中用到了 580 盏独 立的 2W LED 灯及 18 盏 Lumenbeam RGBW 泛光灯,用于船只内部结构的照明。航行 中,Richmond International 将整个行程的 娱乐和餐饮以经典基调呈现给船上的每一 位乘客。

FRANÇAIS Le voyage du bateau Britannia du croisiériste P&O débuta à la mi-2011 lorsque MBLD s’associa à Richmond International afin d’éclairer ce qui serait, à la date du lancement en mars 2015, le plus grand navire de croisière au Royaume-Uni. La consommation d’énergie

restait la préoccupation principale de P&O, car un navire de cette taille consomme une énorme quantité d’énergie. Cela étant dit, l’utilisation de DEL au lieu d’halogènes était l’objectif dès le départ. MBLD sélectionna soigneusement les produits et les puces DEL du navire, afin d’assurer l’uniformité de la qualité de lumière et des températures de couleurs sur toute la gamme des 130 luminaires installés. En collaboration avec le groupe Jona Hoad Design, MBLD mit au point le concept d’éclairage du plafonnier Starburst de l’atrium central pour en faire une sculpture dynamique et adaptable. L’œuvre d’art présente huit séquences d’éclairage différentes, qui utilisent 580 diodes électroluminescentes individuelles de 2 W dans chacun des éclats acryliques des convertisseurs DMX 72 canaux et des 18 projecteurs Lumenbeam RVBW+Blanc visant la structure. D’une pièce à l’autre du navire, l’ambiance feutrée d’ensemble créée par Richmond International suggère une promenade alliant divertissement et gastronomie, tout en conservant une approche très traditionnelle.


PROJECT DETAILS Brittania Cruise Ship, UK Client: Carnival UK, P&O Cruises Interior Design: Richmond International Lighting Design: MBLD Starburst Design: Jona Hoad Design & Production

LIGHTING SPECIFIED Ensto - architectural lighting across the ship Lumenpulse Lumenbeam RGBW - atrium chandelier Osram and Megaman dimmable LED lamps - FF&E items Delta Light Monopol Series Jona Hoad Design - The Starbust: custom-designed Control: Helvar

Left The Oasis Spa provides guests with a tranquil retreat, lit by Ensto linear striplights, silicone-cased LED strips and underwater LED spotlights. The Market Café located in the Atrium is illuminated by a functional, clean light provided by Ensto recessed single gimbal LED downlights and LED strips.

the Open Decks and the new James Martin cookery school. The Open Decks were considered as a place for entertainment lighting to take control during the hours of darkness. We were briefed to develop this, working in harmony with the entertainment lighting to create an extra special night time venue. Lighting control for the first time was seen as a vital part of this area although limitations were to be considered within the ship specification. With this in mind, we set about selectively integrating feature lighting within architectural elements, such as the pool edge, planters and large scale pylons which house entertainment speakers and moving head projectors. The scenes set for the different areas include: a brighter and radiant surrounding for the terrace pool,

DEUTSCH Das Kreuzfahrtschiff Britannia P&O begann seine Reise Mitte 2011, als MBLD zu Richmond International für die Beleuchtungsaufgabe kam und war zum Zeitpunkt des Spapellaufs im März 2015 das größte Kreuzfahrtschiff Großbritanniens. Der Energieverbrauch stand bei P&O an vorderster Stelle. Solch ein großes Schiff bedeutet ein enormer Energieverbrauch. In diesem Sinne war von Anfang an der Einsatz von LEDs anstelle von Halogenquellen das Ziel. MBLD wählte sorgfältig Produkte und LED Chips für das gesamte Schiff aus, um die Konsistenz der Lichtqualität und Farbtemperaturen für alle 130 installierten Leuchten zu gewährleisten. In Zusammenarbeit mit Jona Hoad Design entwickelte MBLD eine ausdrucksstarke Beleuchtung für den Starburst im zentralen Atrium, um eine dynamische und anpassbare Lichtskulptur zu kreieren. Das Teil ist mit acht Lichtszenen programmiert und verwendet die 580 einzelnen 2W LEDs innerhalb von jeder

more intimate and relaxing setting for the serenity pool and bar and a golden and vivid lighting scheme to highlight the entire perimeter of the lido pool. One of our lighting designers, Arianna Ghezzi, commented: “Our intention was to bring a Miami Beach pool party feeling to the Britannia poolside, creating a glamorous experience for the guests, supporting with our different lighting settings the various events the entertainment has scheduled.” The cookery school, which was to be offered as a working professional kitchen for small classes of people learning from chefs, had the function of a private dining space open to the kitchen added. Lighting within the kitchen area had to meet lighting requirements of a working kitchen whilst forming the backdrop when not in use for

Acrylscherbe über 72 DMX-Kanäle und achtzehn Lumenbeam RGBW Flutlichtanlagen, die auf die Struktur ausgerichtet sind. In allen Bereichen des Schiffs verschafft der allgemeine Ton des durch Richmond International gestalteten Schiffs eine Reise in Entertainment und Restaurants und bewahrt gleichzeitig einen klassischen Ansatz.

ITALIANO La nave da crociera P&O 'Britannia' ha iniziato il suo viaggio verso la metà del 2011, quando MBLD si è unita a Richmond International per intraprendere il “compito” dell'illuminazione di quella che, alla data di lancio nel marzo 2015, sarebbe stata la più grande nave da crociera della Gran Bretagna. Il consumo di energia è stato il primo punto nel progetto di P&O, dato che da una nave così grande deriva un consumo enorme di energia e proprio per questo, l'utilizzo dei LED al posto delle sorgenti alogene è stato l'obiettivo fin dall'inizio. MBLD ha accuratamente selezionato i prodotti ed i chip dei LED da utilizzare su tutta la

the dining area, with the head chef table set as a part of theatre for the on-looking diners. After four intensive years the day came for the MBLD team - Laura Mackay and Arianna Ghezzi, along with support from Rebecca Hines, Rob Honeywill and two Helvar technicians - to prepare for the final commissioning. After spending one week in the shipyard and one week at sea from Monfalcone to Southampton the ship was launched by Her Royal Highness the Queen at a grand ceremony in Southampton dock where the Britannia was successfully named in full glory of red, white and blue, christened with Wiston Estate English Sparking wine specially selected for the occasion.

nave, al fine di garantire una buona qualità di luce e di temperature di colore su tutta la gamma delle 130 lampadine installate. Lavorando insieme a Jona Hoad Design, MBLD ha elaborato un gioco di luci per l'atrio centrale Starburst così da creare una scultura luminosa dinamica ed adattabile. L'opera è programmata con otto scene di luce, utilizzando 580 LED singoli da 2w all'interno di ciascuno dei frammenti acrilici, oltre ai 72 canali DMX e ai 18 proiettori RGBW Lumenbeam focalizzati sulla struttura. Passando da una zona all'altra, il tono generale della nave creato da Richmond International offre un viaggio tra divertimento e ristoranti, pur mantenendo un approccio classico.

ESPAÑOL La línea de cruceros P&O Britannia comenzó a viajar a mediados de 2011 cuando MBLD se unió a Richmond International para emprender la tarea de iluminar lo que sería, al momento de su lanzamiento en Marzo de 2015, el barco de crucero más grande

de Gran Bretaña. La energía de consumo estaba a la vanguardia de la postura de P&O, con una embarcación tan grande se consume una gran cantidad de energía. Dicho eso, el objetivo desde el comienzo fue utilizar luces LED en lugar de luces halógenas. MBLD seleccionó cuidadosamente los productos y los chips LED para utilizar a lo largo de toda la embarcación, para asegurar la consistencia en la calidad de la luz y las temperaturas del color en todo el rango de las 130 luminarias instaladas. Al trabajar de manera conjunta con Jona Hoad Design, MBLD desarrolló una narrativa lumínica para la pieza Starbust del patio interior central para crear una escultura lumínica dinámica y adaptable. La pieza está programada con ocho escenas lumínicas, utilizando los 580 LEDs individuales de 2W dentro de cada una de las esquirlas acrílicas por encima de 72 canales DMX y dieciocho reflectores Lumenbeam RGBW, enfocados sobre la estructura. De un lado al otro, el tono del barco en general, creado por Richmond International, ofrece un viaje al entretenimiento y los restaurantes a la vez que mantiene un acercamiento clásico.



ROOM WITH A VIEW The Whitworth Gallery is something of an institution in Manchester having been around since 1889. A ÂŁ15m revamp sees the gallery bigger, brighter and bolder than ever before and finally encompassing the surrounding parks it has neighboured for so long. As part of this year's Manchester International Festival line-up the new gallery now presents endless opportunities for the arts.


Cornelia Parker's Cold Dark Matter, The Whitworth Pic: David Levene

It’s won several RIBA awards this year including the National Award, the North West Award, the North West Conservation Award and the North West Building of the Year Award; was this year's Art Fund Museum of the Year winner; and most recently co-commissioned and produced the Richter / Pärt project as part of this year’s Manchester International Festival… ‘It’, is one of Manchester’s most notable buildings and galleries… The Whitworth. Making up part of the University of Manchester, the Whitworth was founded in 1889 as the first English gallery in a park. Originally designed by J.W. Beaumont, it is home to an internationally important collection of works on paper, wallpapers and textiles as well as a contemporary collection institution, acquiring works by emerging and established artists. Having undergone various development stages over the past 126 years, the gallery is now an amalgamation of numerous alterations and reconfigurations, which often resulted in inappropriate, compromised and inefficient use of space. For example, in 1908, the external frontage was resolved, however the west end of the building presented an unresolved, blind mass to the park. Then in the 1970s, the original Grand Hall on the first floor was altered to contain collection storage as well as study and office space. More recently, with a growing national and international profile, an increasing audience, an ambitious exhibition and education



Left: Central Exhibition Gallery, Cornelia Parker's exhibition, The Whitworth. Pic: David Levene Bottom left: Cai Guo-Qiang, Unmanned Nature, Landscape Gallery, The Whitworth. Pic: Alan Williams; Bottom centre: Portraits, The Whitworth. Pic: David Levene; Bottom right: Sarah Lucas's exhibition, The Whitworth. Pic: David Levene

programme, and a growing arts collection, the Whitworth found a new need to expand. The gallery’s RIBA architectural competition, which was won by MUMA architects in 2009, wanted to make its internationally important collection accessible to a wider range of visitors; make better use of the existing gallery spaces; and establish a relationship with the surrounding grounds and park. The brief included the following quote from previous Whitworth Director Margaret Pilkington following a visit to Oslo in 1932: “I have come to the conclusion that a good museum or gallery should be a place where people feel comfortable. If it stands in a garden or park, the visitors should be able to enjoy the beauty of the outdoors as a counterpart to what is within.” This quote struck somewhat of a chord with MUMA and underpins the architectural firm’s

design approach to the Whitworth, with new visual connections to the park created and celebrated. Equally important to the architectural firm was the opportunity to establish a new transparency. MUMA’s design aimed to respond to the existing characteristics of the site and building. For MUMA's Stuart McKnight, it wasn’t just the Whitworth’s wants and desires that were the main focus of the project, it was their vision also, as he explained: “We all wanted to better connect with the park as the competition brief had outlined and so we took both horizontal views of the park and opened up the original Victorian roof lights to bring in light from above." The new gallery extension encapsulates the unresolved west end, creating a new frontage to the park, while the architectural hierarchy and scale has been carefully considered to ensure that the

clarity of the principal entrance is not undermined. McKnight spoke with mondo*arc about some of the improvements made through the project: “One of the issues with the existing building was that it was quite dark, only 16% of the ground floor galleries had daylight and we felt that had to change. Now, 56% of the ground floor galleries have daylight but there is also the café and promenade, so the majority of the ground floor has daylight streaming through it, as well as views connecting to the park.” Working with the lighting group at BuroHappold Engineering and company Partner Stephen Jolly, two new wings of contrasting character extend into the park containing a garden courtyard and new entrance. Placed at main gallery level, the transparent, slender wing of the café and its south-facing terrace celebrate the park


RICHTER / PÄRT This extraordinary MIF project, several years in the planning, brings together two of the world’s most influential and enduring cultural figures. In early autumn 2013, Hans Ulrich Obrist and Alex Poots introduced artist Gerhard Richter and composer Arvo Pärt for the first time. As a result of that meeting in Dresden, both men made work inspired by and dedicated to the other. The work that developed from this remarkable creative partnership premiéred at MIF15 in a significant new show. A suite of four new works by Richter, Ashes (2015) and his Doppelgrau (2014) presented with Pärt’s Drei Hirtenkinder aus Fátima in the newly renovated Landscape Gallery of the Whitworth from July 9-19th. Pic: Alex Poots

context and the avenue of trees. DAL Cool Ambience X100 recessed ceiling downlights with Xicato LED light engines feature in the café's dining area, while pendants from Delta Light’s Ultra C range illuminate the server area. With its transparent linear form positioned above a sloping site, as the ground falls away, diners find themselves within the tree canopy of the park. To the north, we find the more solid form of the Landscape Gallery, featuring Zumtobel’s ZE batten luminaires - overlapped by 100mm to ensure a continuous linear lighting effect and concealed in the Landscape Gallery lantern. The new study centre is also featured in the north wing extension and makes use of recessed downlights from DAL, surface mounted XAL Mino 60 fixtures, while Louis Poulsen AJ table lamps feature in the workspace. Both areas provide an urban edge as well as a

visual and acoustic buffer that contains the garden. New openings have been created in the existing building at significant locations, connecting the new extension and providing the heart of the building with a range of long views. A promenade gallery - lit by DAL Ambience 100 downlights using Xicato light engines - wraps the existing exhibition galleries and provides a vantage point to view the garden and park beyond. This glazed link maximises the visual connections to and from the park and connects the central exhibition gallery to the garden, meaning artwork inside and out can connect. Gallery lighting throughout the Whitworth sees ERCO track mounted LED gallery Lightboard spotlights used. The promenade is repeated on the lower ground floor, turning the former windowless basement into a generous space that

engages with the Art Garden, which comes alive at night with various Bega luminaires and creates a welcoming informal park entrance at the west of the Whitworth. The lower promenade is lit through Modular Lighting Nude Par 30 surface mounted downlights semi-recessed in the ceiling. As well as this, Bega LED surface mounted downlights with deep lamp recess for maximum glare control, are featured within the brick arch soffits and plastered arch soffits. The creation of this courtyard and promenade allows light and park views into the heart of the existing building. MUMA’s strategy was to work with the inherent characteristics of the building and the high daylit volume of the Grand Hall has now been recovered as a place of gathering. “We knew that as soon as light was brought in we would need to think about how to control it. We worked with Stephen and



Left The Whitworth re-development extension now connects the gallery with the surrounding park, bringing natural light inside and making use of the outdoor space for exhibits and events. Below Nathan Coley's The Gathering of Strangers, The Whitworth. Pics: Alan Williams

the lighting group at BuroHappold, who developed a system of daylight control that’s automated to work in tandem with the track mounted LED gallery spotlights. It was about maximising daylight but balancing artificial light to highlight the art… How did we do this without overexposing the pieces?” As the sun moves around the building the louvres open and close on the roof lights as the evening approaches and the daylight diminishes the artificial light recognises this and lifts light levels. “We agreed with the Whitworth that a more dynamic approach to conservation of objects and lux exposure was needed and we agreed to year round lux hours for certain objects,” said McKnight. “This

was very helpful because with our daylight control mechanisms the galleries can put themselves to sleep at night so that when the building closes, the louvres all close and the remaining quantities of daylight get cut out. As the lux exposure is cut out at night, the visitor hour lux level for an object can be lifted during the day.” Stephen Jolly adds to this telling mondo*arc: “The brief was for a 21st Century gallery in the park to drive community engagement, so daylight and views were key - without creating glare, energy or conservation issues. We agreed with the client very early on that the exhibition galleries should be daylit and not black boxes. This allowed us to restore and reuse the original rooflights that had

been covered up. Restoring the roof lights also restored character and dynamics to the daylighting of the galleries. “We had to provide flexible space that could work at different light levels for exhibits with different sensitivities to light exposure. We agreed a series of different set points with the curatorial team that would form the basis of the user control interface: 50 lux, 100 lux, 500 lux, 1,000 lux and so on. “Diffuse glass was used to provide the background daylight level moderated by internal louvres to achieve the different set points. The control system balances the amount of daylight and artificial light to achieve the overall agreed lux-hour exposure defined by each set point. At each

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PROJECT DETAILS The Whitworth, Manchester, UK Client: The Whitworth, The University of Manchester Estates Architect: MUMA Lighting Design: BuroHappold Lighting


The lower and upper promenade Pic: Alan Williams

design stage modelling and visualisations were carried out to confirm the design assumptions and communicate the brief back to the curatorial team.” As a listed building there were naturally key considerations that had to be worked to during the project, including carefully positioned lighting tracks in the vaulted ceilings that would suit light angles but also the building’s fabric. Working within an existing building also predefined the amount of glazing in the roof lights and the source daylight level for each gallery. BuroHappold assisted with performance requirements for the glazing to provide the right amount of daylight, which could be moderated by the louvres as required. Integrating new with old is something of a skill and at the Whitworth the two blend seamlessly - bringing new life to an out-ofdate space. According to McKnight to make this work there are a lot of subtleties within the space - contrasting colour rendering for when looking at art and eating food, considered use of materials and careful consideration of how the old space flows through to new. As part of this, the lighting throughout the gallery has been carefully constructed. Bespoke LED wall scoops with

The lower promenade in detail Pic: Alan Williams

hidden fixings from Mike Stoane Lighting are recessed into the internal stair treads, while Fagerhult Diva II surface mounted LED linear fixtures were concealed throughout the new Learning Studio, and in the Conservation Studio, Whitecroft Glide luminaires are fixed in the soffits. “Similar materials repeat or reference themselves, while views out needed to work from one space to another,” McKnight noted. “As you move through the lighting, where the central gallery opens onto the west promenade there could have been the danger of optical strain as there is so much glass, however a delicate steel structure casts a shadow on the west elevation to help adjust the light level of the west promenade. The contrast isn’t too radical from inside to out - the equivalent of wearing a baseball cap or shading your eyes. “The glass itself has solar controlled coatings," continued McKnight. "Also built into the design of the west promenade are translucent blinds which help control a medium light level for the central gallery. You can still see through them but they cut the optical strain, unifying the two. We were thinking about the visitor experience

Bega 4964 ceiling / wall luminaires Bega 6402 LED downlights Bega 7099 K3 / 8671 / 7066 K3 inground luminaires Bega 2249A recessed LED wall luminaires Bega 7507 LED floor lights Bega 3371 LED wall luminaires Bega 7853 K3 LED Pole luminaires Bega 7740 / 895 outdoor LED bollards DAL Cool Ambience X100 downlights using Xicato Artist Davey Lighting 8122 wall mounted luminaires Delta Light Ultra C pendant luminaires ERCO LED gallery spotlights and emergency gallery lighting ERCO 3 circuit track Eutrac 3 circuit track Existalite emergency lighting Fagerhult Diva II LED linear luminaires Lightgraphix LD153 LED buried uplights Lightgraphix LD20 LED lighting strips louis poulsen AJ table lamps Mike Stoane Lighting bespoke LED wall scoop recessed stair luminaires Modular Lighting Nude Par 30 downlights Whitecroft Lighting Stiletto LED twin battens Whitecroft Lighting Glide luminaires XAL Mino 60 surface mounted fixtures Zumtobel Panos / Panos Infinity downlights Zumtobel Onlite Puresign / Comsign 150 emergency lighting Zumtobel Scuba luminaires Zumtobel Aero II suspended luminaires Zumtobel ZE battens

in less tangible circumstances.” Commenting further, Jolly adds: “Each lighting set up is an integral part of the exhibition design for each show. We have provided the gallery with a daylight and artificial lighting infrastructure that can be adapted to suit the exact requirements of each exhibition. The needs of the artwork come first but it is important to provide daylight for comfort. The circulation promenade that wraps the galleries provides views to outside without exposing the artwork to uncontrolled daylight.” This reinvention of space by MUMA and the lighting group at BuroHappold Engineering has set the Whitworth on the right track to continue growing Manchester’s position as a cultural hub. Concluding, McKnight said: “The Whitworth has been described as a breath of fresh air and I think this is a reaction to light and the way we’ve changed the existing building. It feels light and airy due to the quality of light and views. These galleries have been made possible through an approach to controlled light and views.”

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BRINGING CULTURE HOME New cultural hub HOME, is finding its place in Manchester's city centre through thought-provoking and innovative productions, exhibitions and film. mondo*arc takes a look at how Mecanoo and BuroHappold Engineering worked to bring this new venture alive. As one of the host venues for this year’s Manchester International Festival (MIF) and co-producer of festival performance Neck of the Woods, HOME is the latest cultural destination to hit the streets of one of the UK’s most vibrant cities. Featuring international contemporary art, theatre and film, HOME is a bold new centre that commissions, produces and presents a provocative year-round artistic programme and is a space in which artists can create work that interrogates and illuminates our existence and experiences today. Having received a cool £25m investment - with contributions coming from Manchester City Council, the Arts Council England Lottery funding and fundraising including £250,000 from Garfield Weston Foundation and

£150,000 from The Granada Foundation the new space forms the cultural heart of the First Street Redevelopment project in Manchester and it is anticipated that the venue will attract half a million visits a year, making significant economic and social impact to the local and regional economy. The overall design for HOME was led by Dutch architectural practice Mecanoo, while Wates Construction led the design team, which included Buro Happold Engineering, Concrete Amsterdam, Space Group and Charcoalblue. HOME features a 500-seat theatre; a 150seat flexible theatre; a 500m², four-metre high gallery space; five cinema screens; digital production and broadcast facilities; as well as a café bar and restaurant. With




Identity was key when designing HOME's exterior. At night, the internal glow from the various floors creates an inviting and warm feel drawing visitors in.

its roots in two of Manchester’s best-loved cultural organisations, Cornerhouse and the Library Theatre Company, HOME will inherit and build upon these artistic legacies, with artistic directors Sarah Perks, Walter Meierjohann and Jason Wood leading a dynamic in-house team, while working with international networks, curators, designers, playwrights, directors and artists to commission, guide and produce the yearround programme. Commenting on the direction of this new cultural hub, Dave Moutrey, Chief Executive, said: “We’ll be a 'home' for

everyone, staging challenging and critically engaged art, yet connected with our city. We exist to produce outstanding art, create unforgettable experiences, develop skills and make a difference to people’s lives.” The ‘home for all’ ethos is reflected in the building’s characteristics. Its striking exterior acting as a beacon, while welcoming public spaces and social areas designed in such a way that HOME is inviting to all - a place for making, meeting and socialising. For Mecanoo, working alongside BuroHappold Engineering, identity was key.

From the outside, the building’s triangular shape and rounded corners create a strong visual identity. The building, which connects the First Street zone with the city centre, is carefully positioned in its surroundings while visually distinct from the adjacent, commercial developments. The glazed façade, adorned with irregularly spaced fins, opens up where public areas are located, giving the building a varied and dynamic appearance. The iridescent façade reflects the surrounding city and skies, its colour changing from black to blue to green depending on the weather.

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Mecanoo partner Francesco Veenstra commented: “We tried to perforate the façade as much as possible to let daylight into the building, especially in the main entrance.” At night, the building comes alive with help from 65, five-metre Aurora LED strips, neatly tucked in all the way around, illuminating the building’s exterior. At the same time, from inside the lighting acts very much as an attractor at night - the building viewed as a lantern - creating a warm and inviting quality throughout. Putting the visitor at the heart of the project, BuroHappold provided multidisciplinary engineering solutions from the ground up. Partner Mark Phillip explained why it was so exciting to be part of the project: “HOME provides a fantastic new cultural hub for Manchester’s community and through the building’s design, this vision has really been brought to life.” “HOME is quite a demanding space where a lot happens in a small area,” added Laura Phillips, Head of Lighting at BuroHappold. “The material palette adds a lot of drama to the space and from a lighting perspective provides challenges in terms of sufficient visual brightness and bringing out the inherent qualities of the materials used. With the use of the building always in mind, we played with the idea of light and dark.

Different lighting languages help to define the different uses and assist with visually organising the space.” The relationship between natural and artificial light at HOME was, of course, a key consideration as Phillips went on to explain: “Sunlight is allowed into the building in a controlled way and adds drama and visual interest to the various spaces. The lighting was mindful of the transmission from inside to out, where people would be leaving the theatre environment to move outside and so, to help with this, the lighting is at a slightly higher level at the entrance spaces.” A series of sensors have been fitted at HOME to respond to daylight levels increasing and decreasing the artificial lighting accordingly. Veenstra commented on the use of daylight in the space: “We deliberately opened up the southern corner to let as much daylight through as possible. The brief was to create an open appearance when you’re looking out from the building, but also when looking into it. It’s not pretentious… The quality of daylight comes from a large window format, four-metre high pieces of glass, at 1.5-metre intervals. The daylight then falls into the deepest part of the floor, reducing the amount of artificial light needed.” Inside, intimacy is key with the triangular

The staircase is pivitol to the flow of HOME. Making use of raw materials including wood and steel, it is lit with Whitecroft and Illuma fixtures.

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The first floor restaurant is an essential part of the integrated art and culture concept. Chelsom Glass black pendant lights and bespoke pendants from Inspired by Design create a striking yet warm feel.

floor plan allowing for a series of unique rooms inhabited within the three corners, including one of the five cinemas. On entering HOME, a combination of suspended and recessed Whitecroft fixtures; suspended Illuma Concepta fixtures; Chelsom decorative glass black pendants; and Inspired By Design bespoke decorative lamps, work within the urban living room layout to instil a sense of warmth. Very raw materials have been used as much as possible at HOME. Wood and steel are the main ingredients and part of this is a large central wooden stairwell, which acts as the main circulation route through the building - helping to create a strong sense of identity, as Veenstra explained: “For such a dense building, inside we introduced

this big staircase bringing people from the ground floor, through the first and up to the second. Covered in wood, which will colour in time through exposure to daylight, it becomes the heart of the building.” The stairwell makes use of suspended Whitecroft Mirage SX and Illuma Concepta fixtures all the way up - connecting the different aspects of the venue: gallery (also on the ground floor and featuring ERCO Optec fixtures), theatres one and two (featuring GDS Blue Dome and Pro 1, 4 & 8 Cell fixtures) and cinema. According to Veenstra, The decision to use suspended lighting fixtures, rather than hiding everything away, came from the idea of using the building as a machine. Mecanoo’s Ernst ter Horst explained further: “It’s

an honest approach that keeps costs down while achieving so many goals. The concrete is exposed and celebrated and the lighting really helps with this.” The bars and restaurant are located in the areas in between, some of them cleverly integrated into the characteristic stairwell; the restaurant is an essential part of the integrated art and culture concept, with high floor-to-ceiling windows - Chelsom glass black pendant lights and custom made fixtures from Inspired By Design, again create an airy and inviting space. As you move up to the second floor, the roof terrace offers a view onto the square - the rugged concrete floors and part of the walls contrast with the warm oak of the bar. With the lighting more or less replicated on each

Pic: Douglas Gordon

NECK OF THE WOODS Manchester International Festival invited Turner Prize-winning artist Douglas Gordon (Zidane: A 21st Century Portrait, Douglas Gordon and Philippe Parreno) and celebrated pianist Hélène Grimaud to create Neck of the Woods, a portrait of the wolf brought to life in a startling collision of visual art, music and theatre. On the stage of HOME’s intimate new theatre, from 10 to 18 July, legendary actor Charlotte Rampling (The Night Porter, Broadchurch) recited and performed the story of the wolf as never before. Grimaud curated and performed a series of works for piano, while Gordon created the visual world. Collaborating with Rampling and New Yorkbased novelist and playwright Veronica Gonzalez Peña, stories, music, motifs, phrases and fragments were weaved together to build this lyrical and beguiling work. In a new partnership to support their ongoing creative development, the Sacred Sounds Women’s Choir, first formed for MIF13, performed as part of the soundscape to the production.

Photography: James Newton



PROJECT DETAILS HOME, Manchester, UK Client: Manchester City Council Architect: Mecanoo Lighting Design: BuroHappold Engineering - Lighting Group Design team: Wates Construction, Concrete Amsterdam, Space Group & Charcoalblue Multi-Disciplinary Engineering: BuroHappold Engineering Project Management: MACE

LIGHTING SPECIFIED Aurora LED strips Chelsom Glass black pendants ERCO Optec fixtures GDS Blue fixtures GDS Pro 1 Cell fixtures GDS Pro 4 Cell fixtures GDS Pro 8 Cell fixtures Illuma Concepta fixtures Inspired by Design bespoke decorative fixtures Whitecroft Lighting ACF Duralite fixtures Whitecroft Lighting Mirage MX24 fixtures Whitecroft Lighting Mirage SX fixtures Whitecroft Lighting Mirage LED fixtures Whitecroft Lighting LDR LED fixtures Whitecroft Lighting Mirage MX20 fixtures Whitecroft Lighting Stiletto 5 fixture Whitecroft Lighting Duo2 Linear fixtures Whitecroft Lighting Cascade Louvres Whitecroft Lighting Sentry fixtures Whitecroft Lighting Florin E3 fixtures Whitecroft Lighting Mirage LED IP65 fixtures Whitecroft Lighting Radial fixtures Whitecroft Lighting Hygiene fixtures Whitecroft Lighting Kolo IP65 fixtures Whitecroft Lighting Centurion PP65 fixtures

floor of HOME, Phillips told mondo*arc of HOME's lighting brief: “The space was to feel pared back, yet warm and comfortable so lighting was important to create warmth and to direct visitors on the use of different spaces. Early on in the process we established the importance of vertical illumination to key surfaces in order to create a sense of enclosure and comfort to the bar lounge areas.” Horst adds to this: “The Cornerhouse wasn’t about having fancy lighting features, it was about being honest and appropriate lighting - we didn’t want HOME to be glaring – but still get warm lighting, a nice downwash on the timbers. The fixtures point to the plywood to celebrate the material and

shiny concrete floor - celebrating the palette of materials and elements we have in the building. It has been kept very simple from an architectural point of view, but also from a light point of view.” Summing up the experience of HOME and the challenges the BuroHappold team faced, Phillips concluded: “Brainstorming ideas with Mecanoo was really great fun and then seeing those ideas come together on site was very satisfying. It was important to consider the technical requirements, especially for darker spaces such as the cinema and theatre where there are changes of level, but this did not drive the design. We looked to create the right quality of lighting for how people will

use each space, then looked at how the spaces could be stitched together with down lighting and wall washing to provide continuity and assist with orientation.” As remarked by Councillor Rosa Battle, Executive Member Culture and Leisure Manchester City Council: “The opening of HOME marks the newest high-profile addition to Manchester’s renowned cultural scene - a scene that brings with it huge economic benefits and is a big part of what makes the city a place that people want to live, work and invest in."

ENIGMA_Tub_333x236:Layout 1 05/08/2015 11:54 Page 1




Uğur İmamoğlu and Iglo Architects have used clever and costeffective solutions to create an aesthetically pleasing space with made to measure lighting fixtures that illuminate a modern and welcoming environment for the New Age Clinic's clientele. Pics: Fethi Izan

Stretch ceiling fixtures from Barissol provide illumination for the lobby's five-metre long desk, concealed LEDs highlight the steel logo plate and Philips wall fixtures, desk lamps and pendants illuminate the office space.

New Age Clinic is a plastic surgery, known for its hair transplantation procedures, located on the twelfth floor of the Fulya Terrace building in Istanbul, Turkey. Uğur İmamoğlu and Iglo Architects have created an affordable and impressive design through rational solutions. An impressive interior space was achieved by colouring on the walls, graphic arrangements on the carpet and the design of several furniture and illumination elements. The founders of the clinic, Dr İlker Apaydın and Dr Özge Ergün, requested a style that would reflect their personality and the job that they do. The existing 250sqm layout,

having four rooms and a lobby, was suitable to function as a plastic surgery without any changes. The clinic has an original, modern and smart design that serves a clientele who value aesthetics. A deliberate avoidance of standard surgery colours - white and blue - was expressed by the decision to use dark grey as the main colour from ceiling to floor. On the ceiling and wall crossings a fluid form was used to mimic a heartbeat. These graphic details help to define the style of furniture, such as the five-metre long desk in the lobby which was designed by Iglo especially for the project.

As no structural elements were desired, ceiling details were enhanced by using specially designed stretch lighting elements. The designer's brief was to create an aesthetic space that makes clients walk in and feel comfortable with the surgeon's work. Most of the lighting fixtures were designed by Iglo Architects specifically for this project. All illumination in the corridors and lobby is provided by stretch ceiling fixtures, which were made to measure on the spot. On the ceiling and walls, electronically controlled Osram LEDs were fixed to a Barissol PVC stretch ceiling in a metal case. The fixtures designed by Iglo and produced


by Tekno Yapi provided the illumination level needed in the space without the need for additional fixtures. In the office spaces and consultation rooms, Philips wall fixtures, desk lamps and pendants were used for illumination. LED spots, provided by local manufacturers, create a sophisticated effect in the reception via a concealed positioning behind the steel plate on which the New Age Clinic logo was engraved. A simple, clean approach to the interior and lighting design reflects New Age Clinic's desire for precision and aestheticism.

PROJECT DETAILS New Age Clinic, Istanbul, Turkey Client: New Age Clinic Architect: Zafer Karoglu / Iglo Architects Interior Design: Zafer Karoglu / Iglo Architects Lighting Design: Ugur Imamoglu / Iglo Architects

LIGHTING SPECIFIED Barrisol PVC stretch ceiling Osram dimmable LEDs Philips Scope single LED wall fixtures Philips Fluck aluminium LED pendant Philips Cobra table lamp Philips Zadora LED spot Custom-made fixtures: Tekno Yapi




KING OF TIME AND SPACE Inspired by Shakespeare's King Lear and the origins of Quebec society, Pics: Christine Bourgier

director Hanna Abd El Nour has created a festival of theatre with the help of architect Mazen Chamseddine and lighting designer Martin Sirois.



Using Shakespeare's King Lear as inspiration, Requiems King Lear is a theatrical festival by Hanna Abd El Nour, which visited Espace Libre in Montreal. The project used an old barracks converted into a theatre as the setting for Nour's contemporary project, creating a dramatic space for the actors and spectators. Making use of a 360째 theatre, the idea was to create an installation modelled on the City of Quebec. The immersive design by Nour and ephemeral architecture by Mazen Chamseddine was inspired by King Lear and his fate - when, overnight, he is stripped of his power and status and left homeless

to become a nobody, living in a nowhere place and attached to nothing. It is also inspired by the origins of Quebec society and the performance of the actors; with the two inspirations driving and sustaining one another. The set becomes a spacetime realm to be inhabited by visitors, made up of three worlds intermingled in the scenography created in situ. The three elements that define the space include: an immense wooden structure, numerous stacks of newspaper and a concrete block. All three elements came into conflict with the light and music to create a marketplace in which the ideas of the actors and the audience were expressed.

The striking theatre featured raw concrete walls, deliberately left exposed to form part of the scenographic landscape. Contrasting with the stark brutality of these walls, the wooden structure divided the room diagonally, offering a degree of transparency, giving the impression of an opening or a passage to an imaginary world. Suspended in the centre of the room, the wooden structure immediately becomes both the contents and the container, providing a walkway through the large empty rectangle of the theatre. As if floating in the air, the structure represented a nowhere land, an inhospitable place that is perilous to traverse. Consisting of two

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Sirois carved out space in the darkness using spotlights from Leko Lite and floodlights from Strand to envelop Chamseddine's suspended wooden structure in a cloak of light.

mirror-image sculptures separated by a void, the structure gives the impression of a black hole which becomes the centre of the universe, extending to infinity. The 175 stacks of newspaper reporting the city’s news populate the space, which transformed into a labyrinth to walk around. In reference to the newspaper stacks, Nour commented: "They serve both to create King Lear’s barren heath and to provide seating for the audience." The stacks were arranged in the room along a Cartesian urban grid, traversed by two storms, transforming the configuration by creating one centre at either end of the room. As a consequence of this

arrangement, the boundaries between the spectators and actors was deliberately blurred, especially as spectators were given a shot of vodka at the start of the performance. A concrete block with the same dimensions as the newspaper stacks, acting as a counterweight to Chamseddine's wooden structure, was positioned facing the wall of the room. The steel wires used to suspend the installation heighten the feeling of insecurity and fragility, creating a poetic image and evoking the strings of destiny - the ties between humans and the social hygiene of the city. At first, the approach to lighting for

Requiems King Lear was that of darkness, but when faced with the empty space, lighting was used to create volume. Lighting designer Martin Sirois used light for its architectural features, aside from its function to illuminate or show. Sirois' idea was to structure the dark around the architecture designed by Chamseddine. His concept looked to suggest that light was living free before meeting the materials filling the space. The darkness was therefore cut surgically, suggesting a space outside of the visitor's body and time. In reference to the introduction of lighting to the project, Sirois said: "Working with Hanna Abd El Nour and filling the space

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PROJECT DETAILS Director: Hanna Abd El Nour Architect and Scenographer: Mazen Chamseddine Lighting Design: Martin Sirois

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for the first time, is why we directed the concept towards the stars and astronomy." In each of the four corners of the theatre, Espace Libre spirals were installed - each with a distinct centre. This created a symbol of a black hole or the wheel of fortune. In the centre of the spiral, a projector directed towards the centre of the space and structures reflected the feeling of emptiness within the visitor, a dark framed space, evoking the fear of the unknown. In the centre of the theatre nine moons, symbolise birth, life cycles, fate and destiny, but also the image of death and

travel. Commenting on his inspiration, Director Nour said: "In the Divine Comedy, Dante rises through nine heavens, like new spheres revolving around the earth. While Dante rises into the new heavens, King Lear falls to the absolute void of existence. Nothing." Nour's Requiems King Lear looked to create the idea of a tenth heaven, consisting of ten projectors placed in a rectangle, like a sky framework that exists in a place further away from our world. Its mission was to replicate the movement of the heavens, controlling our destinies; in contrast, it is

with this movement that time arises, which limits all that exists. The sky structure forms the tenth wasteland of King Lear, the the lost paradise, the promised land of the Apocalypse. Finally, the stars, created by 20 strobes directed on the wall of the theatre, looks to remember the death of stars, or the speed of light, as distant and mysterious. Achieving true immersion through light, space and suggestive experiences, Requiems King Lear is a project that allowed visitors to transcend space and time.

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Pic: Paolo Chinazzi


Enzo Catellani's custom-made gilded discs use LED light sources to shower Yuval Avital's multimedia installation, Alma Mater in an ethereal golden mist.

This summer, Cattedrale della Fabbrica del Vapore in Milan hosted a truly unique arts event: Yuval Avital's new multimedia creation entitled Alma Mater, in dialogue with a yet-unreleased version of Michelangelo Pistoletto's Il Terzo Paradiso and a lighting installation by Enzo Catellani. Catellani has designed a site-specific sky of 42 ultra-light discs that slowly oscillate, covered in gold leaf and lit by micro-LEDs of 1W. Catellani called it: "A wave of light",

that envelops the visitor and accompanies them along an intense journey. Dedicated to the female figure, Alma Mater explores the mater-familias-cumMother-Earth image at the heart of all natural balance. This 1,200sq m allegorical, part-painting part-performance installation combines the extraordinary with synergy of creative excellence. Catellani's gilded discs vary in size and are positioned at different heights, bringing the

exhibition to life with enchanted reflections generated by tiny sources of LED lighting. At once enchanting and mystical, its warm, all-enveloping effect resembles a tenuous golden mist. With diametres varying between 80 and 170cm, the discs hang suspended above the graphics in Michelangelo Pistoletto's Terzo Paradiso - a re-visitation of the symbol of infinity made out of rough Lombardy soil, and an image of the maternal womb within


Pic: R. Sanzone

Catellani's gilded discs hover above an amalgamation of artistry, textiles and photography, using LED light sources to shower the visceral display in a soft golden mist.

Pic: R. Sanzone

which nature and artifice - the two circles to the side - meet and co-exist. The evocative trait d'union between the two images comes from Yuval Avital’s powerful soundtrack, made up of grandmotherly voices from all over the world intertwined with the sounds of nature and cast forth through a forest of 140 stone and terracotta loudspeakers. Fairy stories, lullabies, traditional chants, whispers and prayers mingle with seismic tremors,

Pic: Paolo Chinazzi

volcanic rumbles, sounds from the deep and watery gurgles. Impressions, both visceral and of a softer nature, are video-projected into ethereal apparitions, sometimes recalling the lighttreading movements of such legendary étoiles of the Teatro Alla Scala in Milan, sometimes evoking the lace makers of Cantù labouring over their snowy threads. Maga Global Arts partnered with the Municipality of Milan, Fabbrica del Vapore,

Cittadellarte - Fondazione Pistoletto and Architettura Sonora to create Alma Mater a catalyst for other events such as Dialoghi, a series of evening events featuring Acvital's own choice of international performers and artists. Sponsored by Expo 2015 and Regione Lombardia, Alma Mater was part of the programme of events hosted by Expo in Città.



CALM BEFORE THE STORM Founder of flora&faunavisions Leigh Sachwitz explores light, experience and weather in INSIDEOUT - an interactive multimedia journey of the elements. Pics: & Miguel Martinez

Leigh Sachwitz, founder of Berlinbased design studio flora&faunavisions, showed her newest 360° multimedia installation INSIDEOUT at the Triennale der Photographie in Hamburg from 18-28 June. The installation looks at the idea of the house as our sanctuary, a safe haven to hide from nature’s forces. Sachwitz invited visitors to experience the rain drumming hard on the roof, watching through the window to see dark clouds stacking up in the night sky. As the protecting walls disappear into the moonlight and the thunderstorm reaches its climax the experience leaves the visitor feeling naked – but purified by the light.

The sound design was created by the award-winning composer, musician and producer Andi Toma, who is one of the founding members of the breakthrough electronic music collaboration Mouse on Mars. Technically, the work is interactive; the house is an aluminium construction with special semi-transparent projection screens for walls. In the centre hangs a 20W traditonal Edison lamp, specifically chosen for its nostalgia, with a simple and beautiful aesthetic that gives out just the right type of light for a peaceful effect during the calm before the storm. Visitors enter during idle mode, which

consists of four projectors on the inside and the lamp in the centre of the room turned on. By pulling the string in the centre, the light in the house turns off and the storm is activated. Following this is three and a half minutes of soft to heavy rain, wind to tornadoes and ending with dawn, the enlightment that we all feel after a storm has passed. A haze machine sits outside the installation, allowing visitors to see the light rays from the two outside projectors on the roof - hung seven-metres away from the surface. The haze machine picks up the beams and makes their direction from the projector to the roof visable. This is a visually striking light effect when viewed


Lighting and projection mapping effects hammer the transparent walls of Sachwitz' immersive house, leaving visitors feeling as much protected from, as they are absorbed by, the storm. The experience draws to a close with the bright orange light of dawn.

from outside the house, as it is reminiscent of the sun shining through the trees. Six Panasonic PT-EZ570 5000 Full HD, 5000 Ansilumen projectors were used for the mapping of this installation and the interaction was done using Resolume Arena 4.2 software, which runs on one mac quad core computer hiding in the corner. “It is very important that the entire space is dark and that the house is the only source of light in the space,” commented Sachwitz. “I was looking for an effect where the interaction would be different on the outside to the inside.” When the raindrops arrive the beams also increase in number to make the whole

effect seem like sun rays shining through trees in a forest, as before. The light throughout the installation comes from harsh, black and white graphics with an occasional flash of colour towards the end. “I wanted to use white to create danger and the feeling of nakedness,” continued Sachwitz. “It's quite bright in the house during the storm which makes it raw; the dark and light, the black and white and the shadow play in the house represents light in nature.” Additionally, the projection light on the inside is mapped onto the walls, but also shines through onto the floor directly outside the house. This was a specific

lighting effect that Sachwitz was looking for and as such selected transparent material for the walls of the house in order to allow the light to shine through. As the experience comes to a close the visitor is greeted with the dawn, turning the entire house orange. Sachwitz said light is: “Fundamental and the soul of what I do. I am a designer of temporary spaces using light and projection, without light there would only be darkness.”



LIGHT TRIP Liz West introduces her latest psychedelic light experience. As part of the UNESCO International Year of Light celebrations, Liz West’s brand new installation An Additive Mix opened at the National Media Museum in Bradford, UK in July, alongside a series of workshops and demonstrations by artists-in-residence. Running until 1 November 2015, Light Fantastic: Adventures in the Science of Light includes a publicly viewable dark room, interactive light experiments and exhibits from the museum’s National Collections of Photography, Cinematography and Television. In addition, there are regular family activities and events take an illuminating hands-on approach to the science of light. An Additive Mix is designed to be enjoyed by all ages and builds on themes developed in West’s previous works - including Your Colour Perception, which has been described as ‘walking through a rainbow’ and shortlisted for a darc award in the 'Best Light Art Installation' category. This latest work, West’s largest commission to date, turns this occurrence in natural science on its head; reassembling the diffracted colours of the rainbow and projecting them to ‘infinity’ as visitors explore. West commented: “This is a body of work that I have dreamt of being able to make for a number of years. To be given the opportunity as part of the museum’s celebration of light is thrilling and very fitting. “Artworks I remember seeing as a child are the ones in which I was completely immersed, and that’s what I hope An

Pic: An Additive Mix by Liz West, 2015, photograph by Stephen Iles © National Media Museum/SSPL

Additive Mix will achieve: taking people out of the ordinary into the extraordinary, and staying in their memories for a long time.” West created a 10m x 5m room containing 250 6ft fluorescent tubes with filters in 191 individual colours, and combined the intense vibrant light with ‘infinity’ mirrors. An Additive Mix takes the principle

that white light is composed of different colours of the spectrum (additive colours) and places people in the centre of the phenomenon; saturating them in individual hues that collectively create white light in a seemingly endless space. Speaking with mondo*arc at the launch event, West said of the piece: “With a lot


of artwork, concept is king and a lot of artists will have a particular intention when making their piece. It feels like there is an influx of work that is very static and floor based – seemingly made up of components and often you’ll get a bit of blurb next to the piece explaining what it’s supposed to mean. I’m very aware people bring their

own experiences and emotions into work like mine - particularly with pieces like An Additive Mix and A Colour Perception and never would I want to prescribe feelings to people. However, what I definitely want to do is make people feel - there’s a lack of work that makes people do this - yes there are pieces that make them think, but if it

doesn't do something to them physically and emotionally then what’s the point? If you feel like you don’t get something out of a piece then to me, you’re left feeling empty.” For West personally, feelings of comfort and relief are evoked when walking into the space: “It’s an environment I feel I can cope very well in – I find the feelings similar to those I get when walking into a sunny courtyard. When I see light on that scale it immediately lifts me and gives me energy and I feel very playful.” For mondo*arc’s Deputy Editor Helen Fletcher, it was a very different experience – almost trippy - bringing back memories of films such as Willy Wonka and the Chocolate Factory or Alice in Wonderland - almost an uncomfortable experience. In addition to An Additive Mix, the first of two artist-in-residence projects also opened in as part of the Light Fantastic exhibition. Martha Jurksaitis (Cherry Kino, based in Portugal) and Christian Hardy (Alchemy Studio, based in Bradford) investigate and contrast the scientific principles behind dark and light. Creating two fictional worlds - one permanently bathed in daylight, the other constantly night time - the artists demonstrate both analogue and digital techniques in photography and filmmaking, focusing on the challenges of extreme light conditions.



CELESTIAL SPACES Andre Tammes reviews this exceptionally popular and successful exhibition at the National Gallery of Australia, Canberra, which drew crowds from across Australia and internationally. This was a unique opportunity to experience and understand the work of the world’s leading artist and explorer in light.

In writing this I recognise that many readers engage with light on a professional basis. When considered in the context of James Turrell’s work, this is both a benefit and a handicap. The benefit lies in the reality that most lighting people will want to know the facts and come to understand the technique of his art; the handicap is that this very quest for the apparent certainty of knowledge, rather than the uncertainty of experience, negates Turrell’s central objective. I visited this major exhibition in Canberra twice. On the first occasion I was part of a group of Australian lighting designers;

much of the discussion over dinner dwelt on questions and potential answers – what is the technology used, why do things appear to be what they are not and how much of what one sees is actually there rather than being a product of one’s mind? Being forewarned and forearmed, I conducted my second visit on a less analytic and more immersive basis. My belief is that this is the only fulfilling way in which to experience Turrell’s work. In some ways this makes it challenging to write about; perhaps there should only be one enjoinder – place a personal immersion in his work high on your priority list! This exhibition reached back some

five decades and, with its three 2013 counterparts which ran concurrently at the Los Angeles County Museum of Arts, the Museum of Fine Arts, Houston and the Solomon R. Guggenheim Museum New York, it reflected Turrell’s development as an artist, perceptual psychologist, aviator, scientist, mathematician and historian. This heady mix of knowledge, investigation, research and creativity delivers an ineffable outcome to those who are fortunate enough to connect with it; little can prepare one for either the experience or one’s reactions. The exhibition comprised 20 exhibits. These included wall hung pieces such as four small


Left James Turrell. Virtuality Squared 2014. Ganzfeld: built space, LED lights. 800 x 1400 x 1940.5 cm (overall). Collection James Turrell. Image: National Gallery of Australia. Above James Turrell. Within Without 2010. Skyspace: lighting installation, concrete and basalt stupa, water, earth, landscaping. National Gallery of Australia, Canberra. Š James Turrell. Photograph: John Gollings.



Left James Turrell. Afrum (white) 1966. Cross-corner projection: projected light. Los Angeles County Museum of Art. © James Turrell. Photograph © Florian Holzherr. Right James Turrell. Shanta II (blue) 1970. Cross-corner construction: fluorescent light, built space. Dimensions variable: 106.6cm (max height of aperture). Image: National Gallery of Australia.

holograms, a series of paper based prints and drawings, projected and constructed exhibits, the dark exhibit rooms, the single person occupancy Bindu shards (2010) sphere and, at an extreme opposite scale, Within Without (2010), the example of Turrell’s Skyspace series which is permanently located in the grounds of the gallery. A section was also dedicated to the long-term development of his work at the Roden Crater in Arizona, USA. The one certainty that underpins all of Turrell’s work lies in his use of light to unlock his medium. Turrell commented: “For me, it’s about using light as a material to influence or affect the medium of perception.” His reference to the materiality of light or, as he also refers to it, the 'thingness' of light, introduces a paradox or a duality of thought. On the one hand and, as powerfully evidenced in Virtuality squared (2014), one of the series of Ganzfeld built spaces, the light itself has a palpable tangibility, whereas the exceptionally low level of light in Orca (1984) verges on the subliminal in its pursuit to test the boundaries of human sight and the accuracy, or dependability, of the seeing process. Much of the reaction to Turrell lies in the

temptation to try to unpack the seeming simplicity of his work. How can there be complexity in an art that lacks imagery, depiction, symbolism, offers no focus, is not an object in the material sense and cannot be defined as an expression of reality or, indeed, illusion? How is one meant to interpret such work, which does not even venture into the realm of abstraction? Perhaps one answer to this paradox is to realise that one does not see the work in the conventional sense of that word. This means that one has to consciously abandon a faculty upon which we are innately dependent – losing sight is neither easy nor comfortable – and in this regard Turrell is demanding. He requires your immersion, your time and a blend of subjectivity cut with heightened receptivity. Fail to deliver on any of these and you run the danger of not getting what it’s all about. However, providing that you were prepared to go for total immersion, this show allowed as full an understanding of Turrell’s thinking and creativity as has been offered to date. The chronology starts with Turrell’s birth into Quakerism. Quakers are known as ‘the children of light’ and seek to reach inside to

greet light, literally and metaphorically. It is notable that much of his work has created internal spaces into which he brings light to allow one to meet and meditate with it. In 1966 he started to explore this process by renting a studio in a hotel in Santa Monica. The result was a series of early works centred on, and named after, the Mendota Hotel. Within various rooms, Turrell constructed a series of walls with apertures to allow the controlled entry of both natural and electric light projections and discovered “a universe of possibilities in light and ideas for a lifetime’s work.” It was at this time that he created a series of cross-corner projections – the projection of a highly defined beam of light diagonally across an enclosed rectilinear space, to the walls comprising the opposite corner or directly flat on to a single wall. An alternative non-projection technique based on the construction of a cross-corner aperture was also developed. Ultimately, the series comprised 25 works, including three shown in this exhibition, Afrum (white) (1966), Shanta II (blue) (1970) and Joecar (red) (1968). Afrum (white) (1966) creates the impression that one is looking at either a solid white


cube, appearing to float well in front of the walls between which it is bound, or equally conceivably, an aperture in the walls from which radiates a white light. Either appears credible. Most viewers succumb to the need for confirmation – which is it? One way to be sure is to simply look up and locate the projector – the other (I noted several people doing this) is to walk into the corner to confirm the absence of an aperture. During my second visit I happily switched off and entertained the ambiguity. A seemingly similar floating cube, radiating a deep primary blue light, forms the Shanta II (blue) (1970) exhibit. Again, ambiguity abounds; this time close inspection reveals that a concisely dimensioned, and cut, aperture in the walls bounding the image is a window into a light filled rear chamber. Curiously, even the certain knowledge of this failed to dispel the lingering feeling that, from afar, I was nevertheless observing a solid. The other cross-corner projection, Joecar (red) (1968), spans a soft edged band of low intensity red / orange light from floor to ceiling. In this case the bounding walls appear to give way to a furnace like interior, which lies beyond the space from which one

views it. Additionally, I found that, after some seven to eight minutes, the colour started to desaturate and be replaced with a central band of brown / grey. It occurred to me that my vision had perhaps partially switched from cone to rod processing and had entered the mesopic region. The low luminance value would support this theory. These pieces demonstrate a constant in Turrell’s work. He rarely reveals the source of light, but rather sees it as his material; when you work with light, “you end up forming everything but it.” The early days at the Mendota Hotel studio created foundations which have not changed in anything other than, in some instances, scale. The artist’s dedication to the process of bringing light to the within, the collateral creation of ambiguity and questioning, and the invitation to abandon preconception remain his hallmark. Many commentators have grappled with words to describe this process, and one’s responses to it, but perhaps Nancy Spector, Deputy Director and Chief Curator of the Solomon R. Guggenheim Museum in New York, put it particularly well: “Turrell’s light works give form to perception.”

After viewing the initial cross-corner projection and construction based exhibits, the 45-year-old Raemar pink white (1969) is almost overwhelming in its simplicity and scale (1070 x 440cm). This panel of pure pinkness floats within a frame of white light escaping from behind the rectangle. It invites you to plunge and dwell in it. Perhaps inevitably one makes parallels with large-scale contemporary monochromatic paintings, such as those by Yves Klein, but the difference is the radiance. This exhibit floats the rectangle into your space and compels immersion. After some minutes I gained the impression that the rectangle was flexing to form a slightly concave image. The big surprise was to come at the point of exit when, upon entering the adjacent gallery, the world became vividly green as a result of my retinal response to the after image from being immersed in a pink bath! Again, the origins of this shallow space construction can be traced back to the Mendota period where Turrell constructed a panel in front of an existing window and then allowed daylight to radiate around the perimeter of the panel. Once more, the inference is the bringing of outer light to the inner space and that of self.



Arguably, one of the most testing exhibits was that which requires the viewer to become fully dark-adapted and invest at least ten minutes thereafter. One of the questions that came to mind relates to the diminution of the eye’s performance through the ageing process. When establishing light levels, particularly for these dark exhibits, how does Turrell, at age 72, judge such critically low levels? In conversation with the exhibition curator, Lucina Ward, it became clear that the artist works in close collaboration with his production team, which includes those with younger eyes. The dark exhibit, After green (1993), is

an example of Turrell’s Wedgework series. These works are strongly influenced by his experiences as a pilot. Having gained his licence at the age of sixteen, he has since spent much time in a plane, which he once described as being his studio. Connection with horizon and its omission are primary to his work, in many cases leading to the construction of celestial vaults in which horizon is absent but sky remains. All his Skyspace constructions and his work at the Roden Crater are founded on this principle. In the case of this exhibit and the influence of flying Turrell stated: “Wedging occurs with a cold front and ‘shallow wedging' occurs

with a warm front. As you approach a front there is a change in visibility, which happens very quickly if you fly towards it. When flying, this differentiation of vision happens through weather and water vapour. In Wedgework similar qualities of opacity, translucency and transparency are created by light simply inhabiting space.” The approach to the exhibit is dramatic, as one is guided into a near black tunnel that then opens into a chamber, totally dark other than the glowing exhibit which takes up a full wall. Here Turrell exercises his knowledge of retinal after-imaging and the associated shifts in colour perception. Time spent here

throughout the world. Located permanently in the Gallery’s Sculpture Garden the architecture of this space draws from many influences; the artist’s Quaker ethos of coming inside to greet the light, gaining access to the sky by taking the roof off a building, the early work at the Mendota Hotel studio where external light was leaked to the interior and his early appreciation of the stupa form, gained from time spent in his 20’s in Asia, particularly at Borobudur in Java. He retains a liking of roofless temples. Within without is entered down an inclined ramp, which draws one downward into the interior of a landscaped pyramid, surrounded on two sides by reflecting pools. Water continues internally, with a stupa centred in a surrounding turquoise pool bound by walls

of Australian red ochre. A narrow bridge brings one to the final destination within the stupa. A circular bench (heated to allow for cold Canberra nights) allows the viewer to incline against a slightly sloping wall and look upward to the oculus, or sky eye, at the top of the dome. Although the architecture of the entire structure is inherently dramatic and intriguing at any time, it is during the transition between day and night that one comes to understand the central purpose of the exhibit. At this time Turrell captures the viewer for some 45 minutes whilst the sky progressively darkens (or, at dawn, lightens) in contrast with slowly unfolding layers of softly tinted uplighting to the dome that gently progress towards saturated colours. In discussion with lighting technologist,

James Turrell. Raemar pink white 1969. Shallow space construction: fluorescent light. 440 x 1070 x 300 cm. Kayne Griffin Corcoran, Los Angeles, California. Image: National Gallery of Australia.

induces a compelling blend of meditative calm and visual insecurity as the eye switches its focus from one plane of light and material to another or, as the artist would put it, from one front to another. There is a total temptation to enter the exhibit (not allowed!) to seek its depth and embrace. Even if this were allowed, it would be potentially dangerous as evidenced by an earlier version of a Wedgework, which resulted in Turrell being sued by a viewer who suffered injury after having leaned against a non-existent wall. Many of the visitors to this exceptionally popular exhibition were those whose first contact with Turrell’s work was a visit to the Within without structure, completed in 2010. This is one of 89 Skyspace structures



Richard Cale, who collaborates with Turrell to realise the artist’s aims in his Australian work, he describes the requirement to let go any consideration of what is actually happening or how it is being achieved; rather, says Cale, one has to 'inhale' the experience. There is no doubt that each of the, up to 24, people that can be accommodated within the stupa will experience their 45 minutes differently and that those have 'inhaled' will struggle to describe their experience. I can only say that, for me, the oculus did not maintain a steady diametre and that the sky colour and intensity shifted constantly in

both directions. It is interesting to see how the Skyspace installation was engineered and programmed. Discussion with Cale reveals that the uplighting to the dome comprises a continuous, concealed, circular run of RGB LED, with a royal blue, plus a warm and a cool white. Programming was an arduous process involving multiple pre-dawn and dusk sessions as a range of cues and fade times were established. A long-term astronomic timing programme is used to recall these in relation to the solstices and equinoxes. In total there are four seasonal shows, which respond to the differing natural light and sky

characteristics; these are advanced every second day in terms of timing. Bindu shards (2010) and Virtuality squared (2014) have nothing in common in terms of physical construction. The former is a six-metre diametre sphere, one of Turrell’s series of perceptual cells, and the latter a large room entered through a rectangular window. The common factor is ‘Ganzfeld’ – the German word meaning complete field. In these exhibits this is taken to mean a field of nothingness – akin to being in a whiteout where all visual reference is removed and all becomes indeterminate. Being in either space

will come back as you centre on it again. This work takes that effect and breaks it apart …. It is physiologically what we are. That’s why it is so invasive. Turrell describes the experience as ‘behind the eyes seeing', whilst the astronomer Dr. EC Krupp said: “what people see is not the dome but in the brain … intricate manipulation of retinal afterimages, as an effect generated by the retina’s photoreceptors. My recollection of submitting to this profoundly isolating experience leaves me with the feeling that

I entered an intensely vivid dream – one so powerful that it created its own reality. This is Turrell’s intention when he talks of light joining together our dream world with our eyes open awakened state. Re-entry to the real world was difficult. Virtuality squared (2014) shares the same intense sense of disorientation – of the impression that there is just slowly dissolving light itself, no edge, no horizon, nothing to focus upon and only the window through which one has entered, seemingly shifting colour in response to

James Turrell.After Green 1993. Wedgework: fluorescent, LED and fibre-optic lights. National Gallery of Australia, Canberra. © James Turrell. photograph © Florian Holzherr.

calls into question one’s visual faculties. Bindu shards (2010) requires that one signs a disclaimer, is provided with an emergency call button and puts on earphones. One then lies on a trolley and is fed into the sphere in a similar way to entering an MRI machine. At this stage one parts with normality and is plunged into a fifteen minute submersion described by Turrell as akin to “the jot or the spin that you see when you begin meditation; you stare at it or look at it like a visual mantra, and then it dissolves and



“At Roden Crater I was interested in taking the cultural artifice of art out into the natural surround. I did not want the work to be a mark upon nature, but I wanted the work to be enfolded in nature in such a way that light from the sun, moon and stars empowered the spaces…I wanted an area of exposed geology like the Grand Canyon or the Painted Desert, where you could feel geologic time. Then in this stage set of geologic time, I wanted to make spaces that engaged celestial events in light so that the spaces performed a ‘music of the spheres’ in light. ”

Pic: James Turrell in front of Roden Crater. Project at sunset. October 2001. Photograph © Florian Holzherr.

retinal afterimaging. The difference between these two works is that in this case one shares the space with other viewers – but, again, it is like sharing space with others in a dream. Finally, in this exhibition Turrell provides much information about his master work in progress – the 1.6 kilometre diametre Roden Crater in Arizona. This naked eye observatory and monumental work of art is undoubtedly his culminating project. It contains and reflects all that has guided and inspired his work to date. Thus far six of the 20 chambers and spaces excavated into the inner cone of the 200-metre high crater have

been completed. This exhibition came at a time when the world continues to erupt in a celebration of light. No city is worthy without a light festival; light art is a burgeoning newcomer to the established arts scene and millions have opened their eyes to what appears to be a new art form. Turrell has spent the past 50 years going beyond this largely image or object based approach in favour of an art where: “There is, first of all, no object; there is no image, nor any place of focus. What are you then looking at? Well, I’m hoping that you then have the self-reflective act of looking

at your looking, so that you’re actually seeing yourself see to some degree, so that it actually does reveal something about your seeing as opposed to being a journal of my seeing.” www. We thank Lucina Ward, Curator, International Painting and Sculpture, National Gallery of Australia, Darryl Cowie of DCG Design and Richard Cale, Director, Xenian Pty Ltd for their time and providing essential information. All quotations are reproduced from the ‘James Turrell – A Retrospective’ and ‘James Turrell – Within Without’ exhibition catalogues / online sources and interviews.

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10/07/2015 10:24



NOTHING BUT LIGHT Having read, researched, discussed and debated extensively over Dan Flavin, it is tedious to categorise him as a painter, a sculptor or an artist. With help from the David Zwirner gallery, New York/ London, Mrinalini Ghadiok grapples with words to attempt to define his journey with light, through light and into light.

untitled (to Virginia Dwan) 1, 1971

Dan Flavin’s story can best be described as a thesis of antitheses. An eminent American artist sought after by collectors worldwide is questioned on whether his art is real art. A young child coerced into parochial school before attending preparatory school for the seminary, Flavin enlisted himself in the US Air Force. Once enrolled into the national military, he found himself strolling through art galleries and museums. As an enthusiastic learner registered with coveted institutions to study art, he decided to leave after just

a few sessions. He then became a humble worker with the position of an elevator operator at the Museum of Modern Art, New York, where he met and befriended many celebrated artists. He then became a guard at the American Museum of Natural History, New York, where he had his first solo show at the Judson Gallery. Flavin is a man with prismatic work, a vibrant life, and kaleidoscopic legacy. His tryst with art began early with drawings and sketches, and in 1961, at the age of

28, he was already exhibiting his works in a gallery. His fervor deepened as he started to experiment with small constructions incorporating found objects. He began making compositions by combining electric lights with canvas and plainly painted square blocks of wood, calling them icons. These pieces carried uncanny religious undertones, which were perhaps reflective of a satirical response to his childhood. Within a couple of years, Flavin dropped the canvas and wood to focus his work solely


the diagonal of May 25, 1963 (to Constantin Brancusi), 1963



Top left 'monument' for V. Tatlin, 1966. Top right 'monument' for V. Tatlin, 196 Bottom monument 4 for those who have been killed in ambush (to P. K. who reminded me about death), 1966


Top untitled (to Ward Jackson, an old friend and colleague who, when, during Fall, 1957, I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated), 1971. Bottom untitled (to Tracy, to celebrate the love of a lifetime), 1992

on light. This steered him into what would soon become his signature style – creating evocative masterpieces of light in space, using commercially available readymade fluorescent tubing. His choice of medium extricated the clichéd use of this form from its utilitarian milieu, and implanted it into the world of high art. The resulting body of work was immediately rendered in a sense of direct honesty and acute artistry. Positioning a single, unadorned, yellow fluorescent tube against a gallery wall at 45˚, Flavin realised that he had struck gold with the diagonal of May 25, 1963 (to Constantin Brancusi), 1963. Describing the installation as his “diagonal of personal ecstasy,” Flavin surrendered to the simplicity of the work that excused the physicality of

the object, and instead established itself as a cultivated image. His series of homages to Vladimir Tatlin’s Monument to the Third International used fluorescent segments as luminescent light-lines that literally drew upon the architecture, while monument 4 for those who have been killed in ambush (to P.K. who reminded me about death), 1966, impregnated the room in an acute and aggressive red blaze, diminishing the sense of scale in space. As his art became increasingly complex, it founded for itself a vocabulary of corners, barriers, and corridors. The 1970s and 1980s saw his work embracing edges, sprawled along walls, clambering up, slithering along, or protruding out. The fluorescent tubes

in myriad configurations began to define seminal light compositions in intersecting and parallel lines of vivid colours and glows. They adorned the space and permeated the volume, dissolving the architecture and becoming an authentic part of it. Engaging the space it occupied and actively interacting with the architecture that held it, Flavin preferred to refer to his installations as situations, or site specific proposals. The use of elementary media like light and colour, in a rudimentary manner through simplistic geometric placement, is what characterised Flavin’s work as Minimal art. Fellow artist Mel Bochner described him as “one of the first artists to make use of a basically progressional procedure.” The candor in Flavin’s work was compensated by his convoluted titles; usually tales of who and why he dedicated his pieces to selected people. The artist’s installation at the Solomon R. Guggenheim Museum, New York, in 1971 was named untitled (to Ward Jackson, an old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated). It initially occupied one full turn of the museum’s ramps and critically responded to the irregular architecture. In 1992, Flavin extended untitled (to Ward Jackson…) into a new piece dedicated to his fiancée, untitled (to Tracy, to celebrate the love of a lifetime), which featured a column of radiant tubes rising skyward from the rotunda floor celebrating the volume in a warm pink glow. Equated to other Minimalists such as James Turrell, who also experimented with the rotunda at Guggenheim, Flavin’s work was well distinguished. While Turrell countered the space by substantiating it with a surreptitious fill of light, hiding the source and creating a sense of disorientated illusion, Flavin demonstrated sculptural forms that were reconfigured as viewers moved through a definitive physical context, almost as an offering of orientation in the space. Both artists identified with Frank Lloyd Wright’s spatial conformation and intensified its experience through colour and light. However, the principal of engagement in each case was established on a different range of artistic ambitions. With Flavin, it was straightforward; what you saw was what you got. His idea of art was transparent and perfunctorily experiential.



untitled (to Helga and Carlo, with respect and affection), 1974


Lighting Without Limits.

2012 Architects: DP Architects


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While skeptics dug deep to find profounder meaning in his work, Flavin’s philosophy was grounded in a peculiar romanticised idea of wanting his art to be new, to be overwhelming in perception, and to achieve this in the simplest and most direct manner. He urged visitors to come, look and leave, and discouraged patrons from lingering, contemplating, meditating and inventing weighty connotations that did not exist. “(My work) is what it is,” the artist once said, “and it ain’t anything else.” Some have questioned whether Flavin even was an artist, or his work even art. Taking fluorescent tubes and lining them up on the floor or wall may not constitute art for many. Although, works that were priced at $1000 during his first solo exhibition of luminescent tubes at the Green Gallery in 1964, today command more than $2 million. All original pieces are also accompanied by a signed certificate, which institutes authenticity of the work. So while skeptics

can continue to whine about the banality of his ‘situations,’ aficionados applaud and appreciate how Flavin weds medium, message and space; where light becomes the form that relates art in diffusing spatial parameters. He remains one of the simplest yet irreducible, austere yet motley, and an astutely visual modern artist. His work is best described in his own words, “One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.” (Dan Flavin, 1987)

David Zwirner gallery, New York/London, represents the Dan Flavin Estate. They have held multiple exhibitions in the past and will soon be inaugurating the next show, Dan Flavin: Corners, Barriers, and Corridors, September 10 - October 24, 2015. Besides his iconic artworks pertaining to architectural spaces of corners, barriers and corridors, other works that exemplify the Flavin’s lesser-known use of

Top left untitled (in honour of Harold Joachim) 3, 1977 Top right untitled, 1996. Centre a primary picture, 1964. Bottom right Flavin installing fluorescent light, etc from dan flavin National Gallery of Canada, Ottowa, 1969

circular fluorescent bulbs will also be included. All images © 2015 Stephen Flavin/Artists Rights Society (ARS), New York; courtesy David Zwirner, New York/London




From scissors to stage, Jonathan Safran Foer's novel Tree of Codes tells a mesmerising story in Wayne McGregor's ballet interpretation to an encapsulating set design from Olafur Eliasson and Jamie xx score.

Pics: Rick Guest

Pic: Courtesy of Olafur Eliasson

Manchester International Festival (MIF) biennially brings to Manchester's city centre an array of original works across the interdisciplinary spectrum of performance, visual arts and popular culture. Having previously featured works involving such respected design figures as Zaha Hadid, this year's festival was no exception to the standard set by the first three. MIF15 brings together choreographer Wayne McGregor, visual artist Olafur Eliasson and Mercury Prize-winning producer/composer Jamie xx to create a contemporary ballet inspired by the book Tree of Codes by Jonathan Safran Foer. For just three days of the festival, from 8-10 July, soloists and

dancers from the Paris Opera Ballet and dancers from Company Wayne McGregor formed the company performing to a mesmerising set created by Eliasson and to a score composed by Jamie xx. Foer’s novel is literally carved from the text of Bruno Schulz’ Street of Crocodiles; words and phrases are cut from the pages to produce an entirely different story. A character chases his life to extinction through immense, anxious, at times disorientating imagery, crossing both a sense of time and place, making the story of one person's last day everyone's story. The creative team worked together for two years to make a contemporary ballet that


Pic: Ravi Deepres

responds to this enigmatic artwork. A tremendous inspiration for the lighting concept and sequence of set design, Eliasson viewed Foer’s Tree of Codes as vibrant matter; it doesn’t explain ideas but vibrates them. Tree of Codes “embodies space and a narrative – or various narratives – within it," Eliasson commented. "I tried to translate this feeling into the visual concept.” Eliasson felt a connection of abstraction with both McGregor and Jamie xx in contemporary languages, as they each give their output a form and a tone that is accessible to broader audiences. This production brings together sound, dance, and light in a way where the audience feels invited to join the dance, to take part. For Eliasson, the upper end and instrumental layer are like navigational tools that “remind me of where I come from and show me where I'm going. What touches me in Jamie’s work is that the mechanics of this looking forward and backward, or inward, perform in concert.” Every so often, vocals slip in, tying lighting, dance and music together. The human voice becomes a door through which the whole piece can be entered. “Producing reality is always about a relationship between you and a space,” commented Eliasson. “I see dialogue as a way of staying interconnected, so I almost always work collaboratively, whether with my in-house studio or with inspiring people such as Wayne and Jamie.” The ultimate collaboration across disciplines and talents, Tree of Codes is a stunning, consuming illustration of the power of light art in all its diversity.








2050: A LIGHT ODYSSEY Internationally renowned lighting designers, Lighting Planners Associates celebrates its 25th anniversary with the launch of a transcontinental travelling exhibition Nightscape 2050 - A Dialogue between Cities-LightPeople in the Future.

Pics: courtesy of Lighting Planners Associates’ exhibition mock up test. 1. Mock up test 2. Learning from nature light experience 3. Learning from the world, panoramic nightscape 4. Children’s workshop

Leading international lighting design firm, Lighting Planners Associates (LPA) is celebrating its 25th anniversary with an ambitious travelling exhibition called Nightscape 2050, running from August 2015 and to June 2016. The exhibition will commence in Berlin and end in Tokyo, stopping at Singapore and Hong Kong along the way. The exhibition sets out to build a dialogue between cities, light and people in the future by asking the question: How will we interact with lighting in the year 2050? It dreams of an exciting life in the future coexisting with wonderful light. Kaoru Mende, principal of LPA said: “We would like to create a unique experience in which we share our ideas / thoughts on how

lighting and our way of being in the future could be, rather than trying to predict our future.” The Nightscape 2050 theme and concept is a product of the ever-increasing emphasis on light and lighting, which is now more prevalent than ever before. This has been made evident by a global initiative from UNESCO to declare and celebrate 2015 as the International Year of Light. With this in mind, Nightscape aims to explore a completely new horizon of lighting design. While creating an exhibition to share with the visitors what Mende calls the: “hopes and dreams of the future for light and human beings,” it will also address current issues such as light pollution and bad usage of light prevalent today. Mende said: “We

would like the exhibition to be enjoyable, comprehensible yet cutting edge and convincing.” The exhibition is designed to be: • experiential, so that visitors are able to feel the different lighting phenomena proposed • educational, so that visitors can learn from nightscapes around the world, as well as from thought-provoking interviews with visionaries offering their extraordinary insights (architect Toyo Ito, inventor of the Blue LED – Shuji Nakamura, industrial designer - Ingo Maurer and others) • imaginative, so that creative sparks by children through workshops give hope to the future. The exhibition will consist of five areas:


1. A Unique Light Experience Creating a space that visitors can experience LPA’s principles of light such as ‘learning from nature’ and their relevance in the present as well as in the future. 2. World Nightscape This area of the exhibit looks to answer the question: “Where are we going?” by showing the panoramic and exciting nightscapes around the world. 3. Chronology A timeline that shows critical events that shaped the evolution of lighting to the present day and then on to include the imaginable future. 4. Interviews and Symposium The exhibition also contains interviews with visionaries on their profound visions of

the future. LPA also intends to organise a symposium that debates the future of light and lighting in each city, with distinguished panelists being invited to create a lively and fruitful discussion. 5. Workshop Workshops will involve local participants and will be co-organised with local institutes. Each of them will be site specific; for example, in Singapore, the exhibition will be held to coincide with the nation’s 50 year anniversary and will include an invitation to local students to offer them a look into how the country will develop in another 50 years. Workshops will be organised both for children, to provide them with an opportunity to offer their best creative and innovative ideas, as well

as architects and designers that may have a more structured view of the future. As a core underlying theme for Nightscape 2015 - The exhibition will also be presenting a new light concept in the coming future for each of the critical components that affect our daily lives - home, street, people, park and city. The exhibition will be stopping at: Berlin Aedes Gallery, Singapore - National Design Centre, Hong Kong - ArtisTree and Tokyo Temporary Contemporary.



SOLAR FLAIR mondo*arc’s Femke Gow visited Moshi, Tanzania with Olafur Eliasson’s Little Sun solar powered lamps. A global project bringing light to those who need it most.

Pic: Courtesy of Little Sun

Danish-Icelandic artist Olafur Eliasson is renowned for his large light installation artworks that serve as social experiments of light. However the Little Sun project has a more specific purpose than artistic experimentation. The Little Sun is a social business and global project based in Berlin, Germany alongside Eliasson’s main studio. First introduced in 2007 at the Tate Modern in London, UK, the initial exhibition taught visitors about solar power, the global energy challenge, light and its importance in and for life. It is a high-quality solarpowered LED lamp with a versatile 6 x 6cm single cell mono-crystalline solar module developed in collaboration between Eliasson and engineer Frederik Ottesen. Five hours of sunlight yields ten hours of soft light or four hours of bright illumination, intended to survive three years of continuous use. Little Sun is an inclusive social business that works with local entrepreneurs to build profitable local businesses. The

Pic: Studio Olafur Eliasson

project addresses the need for light in a sustainable way that benefits communities without electricity, creates local jobs and generates local profits. With distribution in over ten African countries as well as in Europe, Canada, Australia, Japan, and the US, the Little Sun project has distributed over 250,000 Little Sun lamps worldwide since its inauguration and shows no signs of slowing. The mission has two parts; to

provide clean, solar-powered lights to as many people worldwide as possible, and to strengthen off-grid communities from the inside out, training young entrepreneurs to become Little Sun sales agents and power their small business with an initial seed capital of lamps, helping begin a career working towards sustainable solutions to long-standing concerns. Little Sun’s combination of design and engineering has allowed for one lamp to be delivered to an off-grid community at a locally affordable price for every one sold in an area of the world with electricity. mondo*arc learned first hand exactly how the Little Sun can affect the education, sanitation and daily lives of families without access to electricity. Through collaboration with Programme Manager Nie Mashafi, General Director Jonas Kyanfura, and Chair Person Charina Cruz of TAFCOM (Tanzanian Organization Facilitating Community Development Projects), our Editorial


Pic: Charina Cruz

Pic: Little Sun

Charina Cruz photographed TAFCOM-sponsored families receiving their Little Sun lamps from Femke Gow (right), built and developed by Olafur Eliasson and Frederik Ottesen (pictured above).

Pic: Charina Cruz

Assistant Femke Gow made four home visits to families in off-grid areas with children who attend the TAFCOM Children’s Centre and are given funding for school fees, supplies and meals. The families visited currently use kerosene oil lamps, which give off only a small flame, similar to that of a match. The oil is expensive, poisonous and ineffective. The families expressed how the Little Sun would affect their daily lives particularly for the children attending school who can now do their homework at home in the evening. They will be able to walk safely in hours after dark using the Little Sun’s strap,

Pic: Studio Olafur Eliasson

Pic: Charina Cruz

particularly when going to the outhouse building from their homes at night. Further to this, they will be able to maintain a higher standard of cleanliness and sanitation in their homes with increased visibility. The amount of money saved in not buying kerosene will even be enough to enable some families to afford a larger room to live in (a total of $4,700,00 saved on energy expenses in off-grid households). One mother even pointed out that she would now be able to see when changing her baby at night. Of the 271,000 lamps that the global project has sold so far, 126,000 of them

have been distributed to those in off-grid areas, and mondo*arc was humbled to be associated with even a few. A testament to Eliasson’s vision and artistic drive that is so intertwined with humanity and connectivity, he designs with a focus on social impact and behaviour; the Little Sun is no exception. With the aid of light as a social and essential gesture, lives are enhanced towards brighter futures using our greatest source of natural light, one handheld sun at a time.



THIS GIRL CAN In the first of a regular series of business columns from the IALD, Barbara Horton, Lisa Reed and Vasiliki Malakasi discuss the glass ceiling that exists for women in the lighting design profession, first aired during an open discussion at IALD Enlighten Americas.

In 2015 it is fair to say our new century is well underway. This may seem like an odd thing to say but everyone you work with was born in the last century. This is a huge mental change for humans and manifests itself in many ways. As with all the generations before us, teenagers believe they know everything and today’s teenage girls are no different. There is an expectation in our schools that they will succeed and become whatever their heart desires, equal to the boys. This is admirable although misguided. The speed at which we live our lives is now at such a pace that it is unrecognisable from the working environment of just 30 years ago. Gone are fax machines, hand drafted plans and blue prints. Hello to CAD, email and Twitter. So has this shiny all-encompassing new century done away with the faults of the old world? Sadly no, some flaws in the human condition will remain forever; wars, poverty and greed. But what about the more civilised aspects to our societies, like the role of women? The 20th century saw many changes for the role of women and working class people. By 1918 most of the western world had given women the vote and the first and second world wars prompted a change from domestic service to work that supported the war effort. In the ’50’s, freedom from the home was granted in the form of domestic appliances and the ’60’s

saw sexual liberation, when the feminist movement grew. Equality was only a breath away. It’s with great pleasure that I can announce in 2014 Kim Kardashian’s bum ‘Broke the Internet’. Recently, Sport England has launched a campaign called #ThisGirlCan because women and girls don’t play sports anymore for fear of judgement. Sexual harassment in universities is reported at an unacceptable level as a survey finds laddism rife on campuses, with 37% of women and 12% of men say they have faced unwelcome sexual advances (stats supplied by National Students Union) and popular UK woman’s magazine Grazia launches a campaign to narrow the gender pay gap. In August 2014, Grazia commented: “Shocking new figures, exclusively revealed to Grazia this week, show the gender pay gap between men and women in their twenties has doubled in the past three years. We’ve started a petition calling for a piece of Labour legislation – Section 78 of the Equality Act 2010 – to be enforced. It requires big employers, with staff of more than 250 people, to publish details annually about the hourly pay of men and women they employ. The legislation, shelved when Labour lost power, would mean total transparency. In other words, you’d be able to see if you were being paid less than your male colleagues in a comparable role. Architecture is our nearest comparable industry. The Architects Journal reported

in January 2015 that the gender pay gap is alive and well in their annual survey . Recorded salaries show that the largest proportion of UK full-time women architects (27%) earn £27-32,000 a year, while the largest proportion of UK full-time men architects (27%) earn £37-42,000. There is a 14-point difference in the fulltime salaries of men and women architects at the lower end of the pay scale: 44% of UK women architects earn less than £32,000, a year, compared with 30% of male architects. There is also a 14-point gap at the higher end of the pay scale: 56% of female architects earn more than £33,000, while 70% of men are paid more than this. The disparity continues further up the pay scale: 26% of full-time male architects earn more than £56,000, compared with just 10% of female equivalents.” How does the lighting profession stack up? Within the IALD: - 40% IALD membership are women - 34 Fellows of which ten are women - 10 women presidents - 18 Members of staff 13 women and 5 men. Currently the CEO of the IALD is Marsha Turner and the President is Barbara Horton. Of course there are some success stories. Horton has over 34 years of experience in the industry and is the CEO of her own firm Horton Lees Brogden, which has five offices in the US. She employs over 50 people and seven out of eight of the firms principles are women, with 73.5% of the firm owned


Vasiliki Malakasi, Director at Idea Design ltd.

Barbara Horton, President of the International Association of Lighting Designers and CEO of HLB Lighting.

Lisa Reed, Founding Principal at Envision Lighting Design, LLC.

by women. Horton is passionate about the role of women in the work place and has flexible working arrangements for those who have children. But as she stated: “It’s not a women versus men argument, at HLB it’s about creating the right conditions for people, for them to feel valued in a competitive work place.” She continued: “As our societies grow we are faced with change. This might be working internationally across different time zones, embracing technology or the dynamic of women in the work place. Having a culture of success is more important to us than having a nine to five set up. We listen to all our employees and want to provide them with the best working environment possible. Whilst the role of women in the workplace is important it does not exempt men who may also have child care responsibilities. Our practice wants to be a happy thriving place full of creativity and award winning projects. We work longer days Monday to Thursday and Friday we finish at lunch time allowing people to make the best of their weekend. Studies have shown that having a pet in the office can reduce stress and increase productivity so we even have a few office dogs – including Bungee.” Even with the disparaging news of the pay gap still being with us, women in construction are having somewhat of a golden age in 2015, with Liz Peck

as President of Society of Light and Lighting, Barbara Horton as President of the International Association of Lighting Designers, Jane Duncan as President of the Royal Institute of British Architects, Ann Webb as President of CIE, Adele Locke as President of IES Australia, Shirley Coyle as President-elect of IESNA and Elizabeth Chu Richter as President of American Institute of Architects. As well as this, 26 of the Fortune 500 CEOs are women, including construction industry giants CH2M Hill and Graybar Electric. At IALD Enlighten Americas, Horton, Vasiliki Malakasi and Lisa Reed held an open discussion on the glass ceiling. Whilst it undeniably exists, here are their tips on how to break through it. • Identify the glass ceiling or ladder issues within your career path and define what you can do to overcome them. • What is your Personal Success Plan? Annual revision of where you want to go professionally, gets you there faster. • Are there mentoring opportunities in your field or informal mentoring opportunities in your city? A mentor could be either a man or a women, someone you find inspiring and helpful. • How can we create work/life balance for both men and women as their lives evolve and what are the expectations? What can we do to manage the expectations? Have an honest conversation with both your partner and boss on what is holding you

down, what do you find unfair and how they can help you with your career progression. • What kind of HR policies do you want? Better maternity leave, easier childcare and schemes that promote women returning to their careers? • Is there a generational difference that can be mediated to match needs and expectations? The conclusions from the discussions held at IALD Enlighten Americas and LightFair were the importance of having a sponsor in your career to encourage and support you and a mentor to teach essential skills in the business world. Women need to be proactive and create opportunities where they can, they do this by interacting and discussing topics with other women in the lighting industry. A LinkedIn group has been created for interested men and women called Women in Architectural Lighting. Many companies within the lighting area have a very positive view of women in lighting and the number of female graduates noticeably increases year on year. Until the laws get changed, there will not be clarity on the gender pay gap at this moment in time women need to be their own champions and seek mentors for support and then it won’t be #ThisGirlCan it will be #ThisGirlDid.




The stations of Warsaw Metro’s second line have been futuristically lit by LED and fluorescent luminares from LUG to reflect a modern and vibrant colour scheme. The first works on the project of the Warsaw Metro in Poland date back to 1927 but it was not until 1995 that its first line was launched. Today, there are 21 stations along the 23km first line of the metro serving approximately 150 million passengers every year. In 2010 the authorities of Warsaw an-

nounced further development of the metro by constructing a 31km second line with 27 stations. The central section of the metro’s second line was launched in March 2015 running at around 6km long, and features seven stations. With an investment worth over €1bn,

the construction works were carried out by a consortium known as AGP Metro Polska, consisting of the following companies: Astaldi (Italian), Gülermak Agir Sanayi Inşaat ve Taahhüt (Turkish) and PBDiM (Polish). The stations of the central section of the metro’s second line are located at depths


Far Left Groundline Mat and Avalon luminaires illuminate the concrete station platform in a linear fashion. Left Lug’s Mallard Glass IP65, Mallard Opal and Lugstar Premium LED luminaires illuminate the escalator from underground to street level.

of 13-23m surrounded by 463,000m³ of concrete and 48,000 tonnes of steel used in the construction works. A 600m long section of the metro’s second line, which transports passengers on 20 Siemens Inspiro trains, runs through a tunnel under the Vistula River. LUG was chosen to design the lighting scheme and supply the luminaires for the stations of the central section of the second line. The lighting design team from LUG’s Warsaw office supported the project throughout its development and prepared the guidelines for all the customised luminaires manufactured for the metro. The main objective of the lighting scheme was to provide high-quality and energy efficient lighting that would ensure safety and comfort for the metro users. At the

same time, the design of the luminaires were kept consistent with the architectural concept. To achieve this goal, LUG developed and supplied a new group of customised luminaires equipped with both LED and fluorescent light sources, called Mallard. The first of which, Mallard Glass IP65, is a luminaire made of white painted steel, equipped with 48W LED light sources and has a diffuser made of tempered glass. Its dimensions reach up to 1,945 x 112 x 60mm, it offers a LED flux of 4,500lm and a temperature colour of 4,000K, CRI > 80. The second, Mallard Opal, is a luminaire equipped with a 70W fluorescent light source. Like the IP65, the body is made of white painted steel, with its dimensions reaching up to 1,500 x 120 x 90mm. Other luminaires used to illuminate the

central stretch of the second line of Warsaw Metro include: the Groundline Mat LED, a decorative architectural luminaire equipped with high-quality LED light sources, a body made of acid-proof steel offering a water and dust resistance of IP67 and high mechanical impact resistance of IK10; Avalon, a decorative recessed downlight luminaire equipped with LED, metalhalide or compact fluorescent light sources with water and vibration proof (IP65); Lugstar Premium LED, a recessed downlight luminaire equipped with LED light sources offering an efficacy of over 89lm/W and a CRI of over 80. Further development projects of the Warsaw Metro and construction of its third line are currently under development.



SAIL AWAY A&O Technology adds new brilliance to Dubai’s luxury icon Burj Al Arab of Jumeirah with a façade lighting show. Burj Al Arab of Jumeirah, an iconic building of Dubai and one of the most expensive and luxurious hotels in the world, now affords an even more glittering spectacle in the night sky. A&O Technology's local partner performed the exchange and programming of the new high-tech lighting system for the luxury icon. Every evening, the Burj Al Arab offers a colourful light show with changing hues and strobe effects framing the sail-shaped building, enthusing millions of visitors to Dubai every year. For the modernisation of the strobe lighting system, the hotel’s management relied on the experience and expertise of A&O Technology; with climbers employed to complete the installation on the exoskeleton of the 321-metre-high building. The new pure-white strobe lights employ LED technology that assures considerably lower maintenance costs and energy consumption as well as a longer service life. For the operator, the new LED strobes offer an energy saving up to 85% over their predecessors. The new strobes were integrated separately into the existing light system, are controlled via DMX and are programmed

in advance to suit the rest of the evening light show. Thanks to their heat management, the LEDbased strobes can perform extended hyper flash sequences (sustained strobe). The cooling phase still required by the legacy system resulted in blackouts during hyper Pics: A&O Technology

flash sequences. The new system does not suffer from this problem, allowing the hotel to offer longer improved strobe displays. This advantage also allows the programming of more elaborate and interesting strobe sequences.





CROWN OF DIAMONDS Griven’s RGB LEDs adorn the crown of the Heydar Aliyev Sports and Exhibition complex in Baku, Azerbaijan, programmed to give the structure a uniform and elegant appearance during the 2015 European Games.

Named after the former president of Azerbaijan, Heydar Aliyev Sports and Exhibition Complex was one of four city cluster locations, along with Tofiq Bahramov Stadium, Freedom Square and Baku Sports Hall, chosen to house the 2015 European Games in Baku, Azerbaijan in June. The event gathered over 6,000 athletes from 50 countries to compete in 30 sports, including sixteen olympic disciplines. The arena facilities were reorganised for the event, including the construction of a drawing hall, athlete’s canteen, media centre, commentary studio, broadcasting centre and server rooms. During the reconstruction phase, a new crown-shaped outer cover was developed to renovate the look of the Heydar Aliyev Complex, wrapping it up in a decorative, eye-catching canopy sparkling with thousands of lights. The crown is made up of a metal skeleton put together by diagonally mounted beams that form a recurring rhombus grid. Griven lighting designers worked on the project from the beginning in order

to allow the installation of the chosen lighting fixtures before the arena outer cover was installed. Custom metal brackets were specifically engineered to fix 1,300 units of Griven AL2076 Graph-i-Cell luminaires, in RGB colour configuration, to the metal structure. Featuring six high brightness and power LEDs, Graph-i-Cell RGB is a single pixel fixture that can be easily assembled with other units of its kind to screen low resolution video files and graphic patterns. Integrated with the existing architecture or stage back drop, it can accept, via DMX interface, any graphic, video or still image coming from a DVI media server and the configuration system can then store and trigger the show to a striking visual effect. After fastening the pixel lighting units, the bodies were partially recessed with the help of fibreglass sheets designed to conceal the fixing system, leaving only the luminous dome of the products visible. The rhombus intersections were covered with a thick-woven plastic mesh in order to give the whole structure a uniform, elegant

appearance. In conclusion of the works, the lighting fixtures were not only positioned according to the required lighting scheme, but also in preparation for the relevant programming and testing. An on-site programming schedule was installed by Griven engineer Alberto Fantoni, while Alessandro Pederzani, Lighting Designer at Griven, was in charge of the illumination study. The installation layout was decided according to the illumination scheme developed by Griven’s lighting designers; each single pixel follows a pre-defined pattern that makes the arena shine like a crown of moving diamonds. Full digital control over all functions was achieved via 76 AL2079 IP65 electronic drivers, four AL2026 DMX output interfaces, one AL2027 lighting application sofware and one AL2023 butler garage. This was a vital requirement for this project to manage the complex lighting scheme of the entire arena through the use of dedicated software.

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Developed by lighting design studio Tobias Link and executed by Insta, the lift shaft of the Enovos HQ has been illuminated in colour according to each floor’s focus energy sector. Lighting design studio Tobias Link in Saarbrücken, Germany has developed a light sculpture for the lift shaft of the energy provider Enovos’ HQ in Schlassgoard, Luxembourg. Enovos is active in various energy sectors: wind, water, biogas, solar energy and fossil energy sources. With this in mind, the plan was to apply each energy sector to its corresponding lift floor and visualie each of them through light. Insta carried out the project at the lighting technology level. The respective floors of the Enovos HQ building follow a defined colour concept developed by an agency based in Luxembourg. The lift lighting conveys this design through illumination. The ground floor is dedicated to wind power. Here, the cloud colours of light blue, white and shades of grey set the direction. The first floor is marked by the element of water,

symbolised by blue. The second floor is devoted to the world of plants and the biogas sector, implemented in green. On the third floor, yellow stands for solar power. Finally on the fourth floor, orange, the colour of fire, refers to fossil energy sources. The lift encompasses two glass cages, that are completely transparent. The light sculpture uses the entire height of the lift shaft and consists of a total of 56 crosswise light lines, distributed among five floors. The Insta LED lighting system LEDLUX LX RGB was used for this purpose. Each line measures 165cm and consists of ten separately controllable segments, each 16.5cm long. This results in a distance of ten pixels in width and thus a resolution of 56 x 10 pixels for the entire image, to ensure videos can be imported. The goal of Tobias Link was to communicate

the movements of the lift both through colour and through interaction corresponding to the themes. On the ground floor, the abstract films of wind turbines take over; on the first floor, waves appear; on the second floor, leaves shimmer; on the third floor, the sun rises, and on the fourth floor, flames flicker. Control of the entire system is handled by three UNIVERS DMX-Master REGs and 30 DMX-LEDTRIX3-Gateway two-channel EB from Insta, made available in a user friendly way in a ready-for-use switch cabinet. Inside, on the wall opposite the LED lines, a mirror is attached that lets the light multiply optically. This effect causes a changed sense of space; distances are perceived differently, while boundaries seem to disappear in a new dimension. As the light sculpture stretches over a height of around five-metres and the lighting is switched on permanently, the installation takes on a direction-showing, signal-providing function, like that of a lighthouse. The corresponding colour values and settings, such as a lower contrast at night, can be adapted individually on site via the DMX master.



MODERN MEETS MEDIEVAL Working with Chicago-based design firm Lightswitch Architectural, the Art Institute of Chicago chose Ketra’s lighting solutions to highlight famous works with precise colour accuracy.

For a direct comparison, the near left two paintings by Claude Monet were illuminated using Ketra’s LED sources, alongside the museum’s existing halogen lighting solution during mock-ups.

The Art Institute of Chicago, a world-renowned art museum with one of the largest permanent collections in the US, has recently had its galleries of medieval art reinstalled. Chicago-based design firm Lightswitch Architectural was tasked with designing the Institute’s lighting and presented the museum with the concept of transitioning to LED light using Ketra’s LED system. “In the art world, the concentration is generally on high colour rendering, which LED can do well,” said Lightswitch Partner Avraham Mor. “However, the question is, how do we optimise colour temperature? We were looking for an LED solution that would give us flexibility in temperature without sacrificing exceptional colour rendering.” In order to select the right LED solution, Lightswitch and the Art Institute of Chica-

go compared LED sources from a number of manufacturers in a series of mock-ups. Lightswitch focused each LED source on both a painting and an object to produce identical illumination levels and to compare each LED to the halogen sources currently used throughout the museum. Lightswitch facilitated a side-by-side mockup illuminating four works by French painter Claude Monet in which Ketra was compared to the museum’s existing halogen lighting solution. Lightswitch designers matched colour and light levels between the wall and the paintings using Ketra’s Design Studio software and their own visual perception. Afterwards, it used a Sekonic light meter to compare the colour rendering, illuminance and spectrum of the light sources illuminating the paintings. Twenty Art Institute staff members were present to review the

final results, including art curators, exhibit design staff and facilities staff. It was unanimously agreed that Ketra lighting was the correct solution for the museum going forward. Chief Operating Officer of the Art Institute of Chicago, David Thurm said: “Ketra now makes it possible for us to shift to LEDs. We were impressed by the quality of the light and the ability of the LED to self-correct to avoid a degradation of quality over time. Economically, it also makes a difference that we can use our existing fixtures without modification.” Ketra CEO Nav Sooch commented: “It will ensure that colour never drifts with time, and the works displayed in this prestigious art institution are always beautifully rendered.”



CUBE KINGDOM Lamp Lighting’s fluorescent cubes form the dynamic light-tight facade of the Reyno de Navarra Arena in Pamplona, Spain; offering an interactive manipulation of the building’s event-specific appearance. The Reyno de Navarra Arena in Pamplona, Spain, is a new multi-functional space created to house more than 10,000 spectators under cover. Like all Reynos (Kingdoms), it has a treasure hidden inside - the versatility of use. Not conventional versatility, using the same space for different uses, but the versatility to change the space, metamorphosising the building to fit the user’s needs. The implementation of scenographic strategies allows allocation of multiple spaces where traditionally there were only two. The newly created space, extended over an area of 11,000m2, allows an ingenious and sophisticated system, converting two separate spaces into one large space. The façade was a particularly important element in the lighting project. As the outer skin of the building it defines and identifies the arena, thus emphasising the roundness and simplicity of its volume and the complexity of the architectural solu-

tion. It consists of an array of outstanding translucent modules alternating with metal blind spots only altered by a series of deep horizontal cracks that show its thickness, resulting in an eerie dimensional texture. The strategy of action in this case was to add value to both its three-dimensionality by illuminating each cube (manufactured by Lamp Lighting) and its depth - by dimming the top surface of the cracks. The cube fittings are of an accurate specification and unique design, with corresponding louvres and lenses lighting two sides and part of the adjacent façade with a more intense light; the central face is illuminated in a more subdued manner. The lighting is controlled by an intelligent system, so that each cube acts as a cell with independent light, creating a non-uniform, dynamic and vibrant lighting effect throughout the entire façade, giving the impression of movement. The dynamism of the façade can offer

different mutations of the building related to the activities being performed in the pavilion. The arena’s light-tight façade is made of cubes of an IPX5 level of protection rating, 230V and a fluorescent lamp. Each cube is 160x160x40cm, backlit by two T5 2x39W lamps and regulated by a Dali system. The envelope is thermoformed opal polycarbonate UV and impact IK10 resistant. Inside there is a structure of galvanised iron accessible for handling available lamps; all with electronic ignition with dimming of light by intelligent protocol. The fluorescent lamps form part of the APM asymmetrical headlights, reflectors and louvres included. The reflectors are made of very high purity aluminium, anodised and sealed, with photometric resolution with clipping MKA type beam in order to achieve the lighting effect on the envelope defined in the design.






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In honour of its historical importance, LEC Lyon and L’Agencelumière have teamed up to create a pathway of light for visitors of Bonifacio’s Citadel in Corsica, France.

Pics: Xavier Boymond / LEC Lyon

Known for its chalk and limestone cliffs, Bonifacio in the south of Corsica, France is a city distinguised through its religious structures, medieval architecture, military buildings and harbour. Following ten months of oniste work and lighting tests, the Citadel of Bonifacio has revealed a new face at night that pays homage to its historical location. The 12,000sq.m of walls and cliffs are now lit with 200 LED projectors. The up-lighting was realised through a technical and artistic collaboration with the City of Bonifacio, lighting design agency L’Agencelumière and LED lighting solutions supplier LEC Lyon. Introduced 27 June 2015, the up-lighting was designed to provide a ladder-like route of light, guiding visitors toward the upper town, visiting the chapel, Saint-Roch hill, citadel’s walls, Door of Genes, bastion and Sutta Rocca cliff along the way. 78 of LEC Lyon’s 4660-Corsica LED projector provide a uniform coverage of the 50m high Sutta Rocca cliff and the 30m high bastion. Equipped with 42 Superwatt LEDs and a 360°telescopic arm, the wall-washer illuminates the citadel in four colours: red, green, warm white 3,000K and king blue. Each projector is DMX controlled, accord-

ing to a specific light scenario designed by L’Agencelumière, enabling users to experience light at various points along the route. Saint-Roch Chapel, the entry point of the route, uses harmonious up-lighting with four-colour glow on its facades, achieved with in-ground recessed 5760-Passy projectors. Two 4020-Luminy 2 projectors and one 5635-Ligny light bar from LEC Lyon emphasise the bell tower and the inner space open to the sky. For the Saint-Roch hill, LEC lyon and L’Agencelumière designed a compact cast aluminium bollard luminaire. Lining the inner side of the pathway, the 23 bollards hide a mini 1750A-Bourgogne LED spotlight, spreading a perpendicular white light line across the paved climb, securing safe access to the citadel at night as well as giving rhythm to the pathway. To reveal the architectural beauty of the inner citadel’s walls, 44 5760-Passy linear LED fixtures of various lengths (from 50cm to one-metre) were installed along the way. These again cover the walls in a four-colour glow, achieved with specific optics that allow an accurate rendering from the ground to the whole walls’ 30m height. For maximum comfort, all in-ground projectors

were equipped with a flow-cut which avoid spectators being dazzled. All luminaires are individually adjustable and controlled by a DMX tool system. Along the journey of light, L’Agencelumière wanted to include an in-ground luminous rectangle. This light effect was achieved with LEC Lyon’s LED 5620-Brunei linears equipped with 120 LEDs per metre, spreading a monochrome light in cold white. Once at the Door of Genes, the climbing pathway stops and visitors enter the upper town. This crossing offers a unique lighting experiment for visitors, containing a sequence with four paces: the drawbridge, the Doore of Genes, the black room and the white room. Fourteen 4240-Havre LED wall spotlights allow an indirect monochrome lighting in warm white for both rooms. At the designer’s request, LEC Lyon manufactured anodised aluminium spotlights in a coppery-brown, to suit the rooms’ environment. Bringing the journey to a close, the drawbridge and the luminous narrow openings located on both sides of the door’s facade are equipped with seven 5635-Ligny LED linears, creating a window to the entry bridge of the upper town from the outside.




Studio ZNA has utilised the flexibility and discretion of Precision Lighting’s Pico LED spotlight range to define the details of London’s Natural History Musuem’s latest coral reef exhibition. London’s Natural History Museum has revealed its latest exhibition - Coral Reefs: Secret Cities of the Sea, featuring over 250 specimens in an experience that tells a story of biodiversity in the shallow waters of the Tropics. The use of sound and lighting within the exhibition combine to create an enchanting experience of being under the sea. Studio ZNA, the lighting design practice whose prior museum credits include London’s V&A Museum and the Science Museum, was tasked with bringing the oceanic riches to life. The studio selected a number of Pico S1 LED spotlights from Precision Lighting to light the exhibition’s specimens which include: a giant clam, a variety of sponge samples and a number of highly significant coral samples, including six corals collected by

Charles Darwin in the 1800’s, presented alongside his handwritten notes. Over 60 stem-mounted spotlights were used, with the Pico fittings mounted and aimed to reflect each coral sample’s uniqueness. For the Giant Turbinaria coral, a metre-wide specimen, the stem-mounted Pico luminaires illuminate the many ruffled ridges of the sample, with the 30° flood optic washing light across the entirety. The 115lm output of the spotlights adds drama to the folds of the hardened exterior, contrasting with the labyrinth-like crevices. Studio ZNA also specified a large number of surface mounted Pico fittings; sharing the stem-mounted variants’ optical performance, but with a minimal aesthetic and delicate footprint so that the luminaires could be installed within the exhibit’s cab-

inets. The luminaires’ unobtrusive appearance ensures the visitor’s attention is on the specimens rather than the light source. For specimens that can be handled by visitors, the accurate aiming features of the Pico family were put to use. With a low friction bearing 360° rotation and a constant torque tilt mechanism, beam accuracy can be acutely fine-tuned. As both the pan and tilt rotation can be locked, the exhibition team were sure the luminaires would always be casting the coral specimens in the best light despite the close proximity to visitors. Despite these features, the stem-mounted version remains delicate, weighing 100g and featuring a luminaire head of 40mm in length. The surface variant is more discreet, weighing 47g and is installed using a 37.5mm diameter mounting plate.



THE UNIVERSITY OF LIGHT Prolicht’s colour-specific products guide the way through Woods Bagot’s social and interactive study spaces at Deakin University’s Waterfront Campus in Melbourne, Australia. Pics: Shannon McGrath

Deakin University in Melbourne, Australia prides itself on providing personalised experiences and a longstanding record of using cutting-edge information technology. Recently, the buildings across the Geelong Waterfront and Waurn Ponds campuses were re-evaluated. The architects at global design firm Woods Bagot were engaged to transform the two buildings that make up Deakin University’s Waterfront Campus. An old wool store (John Hay Building) and a former fabric manufacturer (Dennys Lascelles Building) were enhanced to accommodate the Faculty of Business and Law and improve social spaces and study areas. Aided by adaptable mobile furniture and wireless technology, the spaces are transformable to heighten interactivity

and engagement. Study spaces have been expanded and improved to provide more individual study areas, flexible layout options and room to collaborate for group study. Student services facilities were also consolidated into a retail-like experience at one central point. Woods Bagot’s holistic approach favoured electrical lighting and colour as one of the first considerations, rather than the finishing touch to the project. Its modern and flexible design approach resulted in unique lighting requirements. Woods Bagot identified wayfinding as crucial to the success of the project but as the historic factory buildings were never designed for such an institution, colour became a major driving force for providing easy orientation.

The scheme required subtle, practical lighting solutions paired with standout feature lighting. When it came to selecting lighting options, colour was an important factor. Prolicht tapped in to this by offering numerous customisation options, choosing from 25 standard colours being one of them. Prolicht Neverending wall-mounted and Idaho recessed, surface and suspended luminaires (represented by Light Projects) were chosen and produced in eight different colours to match the university’s needs. Each level and usage area is identified by its own distinct colour palette (library in orange, classrooms in red etc.) creating a playful and interactive study space for students.




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TAILOR-MADE In harmony with tailor Gieves & Hawkes’ ethos of functional luxury, Soraa has illuminated the retailer’s No.1 Saville Row flagship store with 245 versatile LED lamps. Founded in 1771 Saville Row tailor Gieves & Hawkes has always combined luxury with function. The well-respected tailor is known for outfitting the UK’s armed services and the British Royal Family. The retailer’s approach to lighting design was no different - while the lamps needed to be energy efficient and functional, they also needed to be refined. Its flagship store wanted to reduce energy costs, improve efficiency and highlight their bespoke craftsmanship. Soraa’s lighting solutions were chosen to meet Gieves & Hawkes’s needs. While its building is as stately as the retailer, it did not hold up as well over time, so Gieves & Hawkes chose to renovate the building’s interior. As part of the renovation, the company decided to redesign the lighting scheme from scratch with new LED lamps. Teresa Hastings, the project’s interior designer said: “With the help of lighting designers, Lightplan, we have created a unique space with a lighting system that is completely controllable, and Soraa lamps are a huge part of this achievement. The colour rendering gives an accurate light whether it is set at a low level setting for evening events or a daylight setting for normal retail hours. The change in moods running throughout the store was a massive factor in the overall scheme, which is why

Soraa lamps were ideally suited for this project.” Because the project was a relight and not a retrofit, Gieves & Hawkes and Teresa Hastings Design worked with Lightplan to create the best lighting environment possible. Lightplan’s designers assessed the space and lighting needs, ultimately choosing Soraa because of the products’ colour qualities and versatility provided by beam adjustment. Specifically, Lightplan’s scheme involved 245 of Soraa’s VIVID MR16 LED lamp. The store’s lighting not only spotlights the merchandise, but also showcases the impressive architectural aspects of the building. “Soraa’s lamps were the ideal fit for the shop because of their function, versatility and quality,” said Baris Gursen. “The colour quality, in particular, is such that every shade of a garment is visible in its truest form, which is really remarkable from a merchandising perspective. The lamps also create a dramatic environment by highlighting the stone flooring and timber surfaces of the showroom with minimal glare.” Additionally, if the store wants to host an event, the mood of the space can be altered by using the lamps’ dimming feature. Soraa’s GaN on GaN technology allows its LEDs to operate at currents that are more

than five times higher than LEDs built on other materials. This means a lot of light comes from a very small source resulting in a narrow beam of light from one source. This LED design provides crisp object definition with a single shadow and bright, uniform colours and whites - perfect for making clothes look their best. Directional display lighting is an essential part of retailing, and a wide range of products benefit from accurate and complete colour and white rendering. Soraa’s Violet-Emission 3-Phosphor (VP3) LED technology allowed for optimum rendering of colours and whiteness. Utilising every colour in the rainbow, especially deep red emission, Soraa’s VP3 VIVID Series renders warm tones accurately, and achieves a CRI of 95 and R9 rendering of 95. Unlike blue-based white LEDs without any violet/ultra-violet emission, its VP3 natural white is achieved by engineering the violet emission to excite fluorescing brightening agents, including natural objects like human eyes and teeth, as well as manufactured white materials such as clothing, paper and cosmetics. In fact, studies showed that light quality directly correlates with customer satisfaction and increased sales.





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TOWER POWER Towering above Kuala Lumpur stands the KL tower, a beacon of communication that has received a lighting upgrade from Studio Due’s technically apt and energy conscious luminaires. Completed on 1 March 1995, the KL tower located in Kuala Lumpur, Malaysia is the seventh tallest freestanding tower in theworld. Used for communication purposes, it features an antenna that reaches 421m (1,381ft) with the roof of the pod reaching 335m (1,099 ft). In 2003, the Malaysian government commissioned French firm Guillot Lumiere Lighting Design Studio to implement the original lighting design scheme. The main aim of which was to give colour to the tower, achieved through the use of luminaires with dichroic filters. More recently, Italian manufacturer Studio Due proposed an energy saving system as after almost twelve years there had been a huge waste of energy due to the use of power hungry 1,800W metal halide lamps. Therefore Studio Due’s new objective was to replace the metal halide products with the latest state-of-the-art energy saving LED products. In December 2014, the technical team ran a test using five LED fixtures from the Studio Due range. The lighting test was fundamental in order to estimate the quantity of projectors needed to provide a uniform wash for the tower’s large structure. The test proved to be a success and the Malaysian government commissioned the contract to install new LED products. Finally, in February 2015 the project was completed. The tower is now made up of three sections: the cone – with a height of around 300m - is covered by a combination of twin headed 500W high powered LED projectors (DUAL 80 RGBW/FC) and RGBW/FC LED projectors (City Beams 24 RGBW); the crown – with 170 Archiled FC luminaires installed; and the Antenna – lit using DUAL 80 RGBW. The products used for the illumination of KL tower were carefully selected by Studio Due for project-specific reasons. The DUAL 80 RGBW/FC uses 80 high brightness LEDs, combining an innovative optic system with large diameter lenses to give a wide light output, providing a uniform wash of the

structure. To reach the tower’s impressive heights, the CityBeam LED 24 was chosen for its long distance brightness of up to 250m; and the Archiled FC is compact, reliable and robust - with an IP 67 rating protection, ideal for the tower’s exposure to the elements.



Pics: Zumtobel

TUNABLE LIGHT Zumtobel’s use of tunable white technology at the Warsaw National Museum provides visitors with an authentic feel without damaging the exhibits. The Warsaw National Museum is the largest museum in the city and one of the largest in Poland. To present its exhibits to optimum effect, the national museum has been fitted with an LED-only lighting solution. Due to its sophisticated lighting technology, the ARCOS LED spotlight from Zumtobel has been introduced to achieve this outcome, allowing visitors to enjoy art without loss of authentic feel. The Warsaw National Museum’s clear specification included: perfect presentation of artworks and compliance with maximum conservational demands, combined with a dramatic reduction of carbon footprint. In Poland, the museum’s collection is the largest of its kind in the sphere of art, and the very first featuring tunable white technology. In the sphere of art and culture, Zumtobel develops lighting solutions based on comprehensive studies investigating, among other things, the effects of light on sensitive artworks. The ARCOS LED spotlight is a product resulting from this research.

Due to its compact size, the LED module is ideal for accent lighting. Instead of 1,100 halogen spotlights with an installed load of 100W each, 970 ARCOS spotlights featuring an installed load of 20W each and 120 spotlights with 25W each set the lighting stage for some 780,000 paintings and sculptures. One of the most important criteria concerned exceeding a colour rendering of RA 90. ARCOS fulfilled this requirement with a colour rendering index of RA 94 at a constant luminous flux level, independent of the colour temperature, and considerably lower energy consumption than conventional solutions. In order to ensure an authentic experience of art, the spotlight has plenty more to offer: due to built-in tunable white technology, the light colour can be adjusted to the material, colour and character of each individual artwork. Gold, for instance, shines especially brightly when illuminated by warm white light colours, whereas materials like silver, steel or concrete are given a

more favourable appearance by cool white light. With artworks from ancient to modern times on display, the demands in terms of lighting are varied at the National Museum. Tunable white allows the colour temperature of each spotlight to be adjusted, either manually at the luminaire unit or via the lighting management system. Moreover, the nearly UV- and IR-free light emitted by LEDs is gentle on the exhibits. It was especially important to the operators of the National Museum that the spotlight was highly flexible and simple to handle in every-day use. Often it is the finest nuances in presentation that decide upon the effect created by an exhibit. Due to its variety of accessories, ARCOS provides optimum prerequisites for finding a target-oriented solution to any lighting task. The built-in front ring painted in black serves as a holding ring for attachments and ensures glare-free lighting. In addition, every spotlight can be rotated through 360° and pivoted through 90°. The lighting solution of the entire building, based on LEDs in combination with the BUTLER XT lighting management system including presence detectors, has reduced energy consumption at the National Museum already by 40%. Three out of five galleries have already been converted to the lighting system; the other two will follow this year.

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Improvements include: - Variety of new form factors - 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




NATURAL PRODUCTS DIGITAL LIGHT ERCO’s Optec spotlights provide a precise glare-free illumination of oil factory Ölmühle an der Havel’s newest retail outlet in Kreuzberg, Berlin, capturing the colours of its goods and products in their natural state. Pics: Sebastian Mayer

The Ölmühle an der Havel is a cooking oil factory that recently opened a new outlet in Kreuzberg, Berlin. The salesrooms were designed with particular focus given to brand identity and product presentation. The colours of the proprietary goods in their natural state are displayed effectively in the precise and balanced light of ERCO Optec spotlights. The new production and sales areas of the factory are located on the mezzanine of a building in Kreuzberg that dates back to the German architectural period known as the Gründerzeit (‘founding epoch’). The family business specialises in the production of the finest cooking oils based on a tradition of natural quality. Frank Besinger and Sabine Stempfhuber founded the Ölmühle three years ago in Kladow an der Havel, the river that lent its name to the undertaking. The new location in Bergmannstraße doubles as a shop floor and production facility: All the oils are freshly pressed and carefully processed on site. It was important to the

proprietors that emphasis was given to the natural quality of their products, which are made primarily of organic ingredients sourced locally. Next to an array of cooking oils, the store offers a selection of fine teas and spices. Interior designer Fabian Lefelmann, who had previously designed the corporate branding, was entrusted with the styling of the new premises. An important aspect for the proprietors was a concept that emphasised the quality of the products. Light was to play a central role. The sales area needed to be illuminated evenly, while the products still cast in an authentic light. Lefelmann opted for around 30 Optec spotlights supplied by ERCO, ensuring precise, glare-free illumination and versatility thanks to interchangeable lenses. While wide flood spotlights illuminate the sales areas and product presentation zones uniformly, the oval flood and spot versions add precise accents. Individual arrangements on the shelves and at the display points have

been thereby accentuated. The LED light enhances the three-dimensionality of the products. The limited size of the salesrooms and a building fabric that dates back to the Gründerzeit era left little option for technical installations. The compact shape and flexible use of the Optec spotlights from ERCO therefore provided ideal lighting solutions. The warm white light of the spotlights has an impactful effect on the colours, revealing their rich variety thanks to the optimal colour rendition of the digital light. The ERCO spotlights form a counterpoint to the decorative object luminaires of German company Bolichwerke. Combined with the varnished wood shelves and the rustic-style flooring, they complete the contrast of modern elegance and traditional charm that forms the whole design concept for the premises.

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David Morgan reviews the TTX2 Series - Mike Stoane Lighting’s latest range of spotlights developed to optimise LED light sources without any halogen options and designed to incorporate both reflector and TIR lens optics.


TTX2 with two dimming array holes

If racing go karts through the factory is a leading indicator of creative activity, then Mike Stoane Lighting scores highly, as this is one of a variety of extra-curricular activities that the company undertakes after normal working hours. Ownership of the company, started by Mike Stoane in 1995, has now passed onto the management team headed by Dave Hollingsbee with Alistair Kay as Head of Development, but the company continues to produce the high end architectural lighting equipment for which it has become famous in the lighting design community. The minimalist luminaire product range is mainly based on turned and machined elements. These metal work components are manufactured either in-house or with sub-contractors located near to the company’s HQ in Scotland. This design and manufacturing approach results in an austere, stripped-down aesthetic that many architects and lighting designers appreciate.

TTX2 Mini

Track spotlights have been an important part of the Mike Stoane range since the late 1990’s, with the Museum of Scotland being the first of many gallery and museum projects to be lit with its equipment. The latest range of spotlights, the TTX2 Series, has just been launched and is a continuation of the same theme of construction and minimalist appearance as the previous Type X range, but has been developed to optimise LED light sources without any halogen options. Mike Stoane Lighting has worked closely with a small number of component suppliers including Xicato, Eldoled and Eutrac to ensure that the new range offers the best possible features and capability. Eutrac has finally introduced a DALI version of its LV low profile track system. The track adapter for this is very low profile, giving a small projection from the ceiling. This track system has four conductors, which allows the Xicato XIM module to be driven from a

TTX2.70 LV

remote 48V power supply with a separate dimming signal / data channel. Mike Stoane’s existing line voltage track adapter is used to power the Xicato XLM modules, which are driven by an Eldoled driver housed in a track mounted gear enclosure. Mike Stoane Lighting was an early adopter of the Xicato remote phosphor LED modules with the new range designed around the latest XTM and XIM versions. They make a good fit as they both target the same niche market of lighting designers who place a high value on colour consistency and colour stability. I reviewed the Xicato XIM module in a previous article and was impressed with the integrated driver complete with dimming interfaces for DALI and 1–10V. The XTM module operates with a remote constant current driver and is now available with a 9mm light emitting surface as well as the standard 19mm diameter. The 9mm diameter LES allows much tighter beam


Below The range of accessories and finishes available for the TTX2 Series.

angles to be achieved than with previous Xicato modules and Xicato has developed its own range of reflectors including an 11º version incorporating louvres. The TTX2 range is designed to incorporate both reflector and TIR lens optics. The ‘fried egg’ effect often seen with reflectors and lenses combined with COB LEDs of a tight central beam, surrounded by a wide aura is minimised with the Xicato reflector. The colour temperature variation ring effect is also reduced with the use of good quality TIR lens optics. The wide range of anti-glare and beam control accessories that Mike Stoane has developed for previous spotlight ranges including honeycomb louvres and barn doors can all be fitted to the new range. Up to two accessories can be added to each spotlight and are now inserted from the front with a retaining spring after feedback from users who requested a faster way to add and remove accessories.

Successful dimming of LED light engines can still be problematic, but Mike Stoane Lighting has worked closely with Xicato and Eldoled to ensure that the state-of-the-art dimming performance is standard for the new range. The Xicato XIM modules dim down to 1% for 1-10V and 0.1% for DALI versions using a combination of PWM and CCR dimming and incorporate the closest thing to flickerfree dimming so that any stroboscopic and banding effects with television and smart phone cameras are minimised. Eldoled drivers are used to run the Xicato XTM modules and with a custom interface this enables manual dimming on the track box as well as remote DALI control – the best of both worlds that up to now, was not available with LED spotlights. Future developments for the Xiacto XIM include Bluetooth control. In retail, this could allow information to be transmitted to customers’ smartphones via Bluetooth,

about particular products by highlighting them with a suitably equipped spotlight or transmitting information about particular exhibits in galleries and museums. TTX2 Series is a well-engineered and versatile track spotlight range that incorporates many of the most sophisticated components available. I am sure that it will attract the attention of lighting designers and be specified for use in many museum and gallery projects over the next few years.

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



Technology expert Dr Geoff Archenhold was recently a speaker at the Smart Lighting conference in Berlin. Luckily for you he hung around to give you the low down on the platform for connected lighting combining the interests of stakeholders from the lighting, the semiconductor and ICT industry.

SMART LIGHTING BERLIN I recently had the pleasure of attending the Smart Lighting Conference in Berlin at the end of May and I had massively mixed emotions about lighting by the end of it. You may well be wondering why, especially as the conference was designed to discuss the future of lighting and the new technologies associated with it. On the one hand, as a self-confessed technologist, I was excited about the features, functions and opportunities that will be coming soon. However, I felt great sadness as I foresaw the death of so many established lighting companies over the next five years whilst the business model of the lighting industry is changing forever within such a short timescale, there is no escape for many of them. What is Smart Lighting? In order to start off I should perhaps cover the many definitions of Smart Lighting such as: “Smart lighting is a lighting technology designed for energy efficiency. This may include high efficiency fixtures and automated controls that make adjustments based on conditions such as occupancy or daylight availability,” from Wikipedia Rensselaer Polytechnic Institute defines Efficient lighting systems that: (a) ‘see’ where the light is going and what it is doing, (b) communicate using light to send information and enable lighting information processing, and (c) have novel control systems that ‘think’ about what the light needs to be doing to meet the expectations and requirements of people. The overall vision for smart lighting is clear but how we (as an industry) deliver the vision is what concerns me and several of the speakers and audience members touched on this during the two days as I will now try and explain. Light fixtures to be given away for free! There were several large players most

notably GE discussing their vision of smart lighting and smart cities but the big news was the surprise comments that the cost of LED fixtures are so heavily commoditised that within a couple of years they will essentially be given away! This prediction has a massive impact on the lighting fixture community and they will undoubtedly come under pressure to remain profitable as LED fixture pricing erodes further and in turn we will inevitably see big failures across the industry. I predict many traditional lighting players which have large overheads (or indeed pension liabilities!) that cannot respond to the new market dynamics and cannot downsize will simply disappear. The new world will be made up of lighting companies that can either become system integrators and provide complete solutions from fixtures, drivers and controls to cloud services or they downsize and supply only what they are good at to other systems integrators and try and maintain margins if they can. The real difficulty with trying to focus on specialisation is that: • Well-financed companies can provide a complete lighting system free of charge and then lease the installation back to the end user. In other words the building owner outsources the whole building management (not just lighting). • A variant of the above is to charge a cost for using the lighting system or ‘pay per lumen’ concept currently promoted by Philips Lighting and others. • Traditional fixture-only companies will be locked out as they do not have the financial backing to offer free lighting fixtures and will also suffer profit margin erosion as the cost of fixtures plummet. • Independent controls companies will either have to merge or acquire fixture companies to offer complete solutions or be acquired themselves as the cost of control systems will be the next segment of lighting that will be eroded quickly especially with the Internet of Things concept. • LED fixtures will not catastrophically fail

so the need to replace LED fixtures in the future will continue to drop and compound the issue for fixture manufacturers as the total addressable market will begin to reduce in size. • Smaller companies will be able to compete due to technology innovation but they will either be acquired by the large companies or stay small focusing on niche applications. The price erosion is lethal and today one can purchase LED panels from quality companies at less than £50 whereas only two years ago they would have cost well over £150 and if you decided that you wanted to go for unbranded products then the costs drop to below £25 for a 600mm x 600mm panel these days. This is why you can see the lighting industry leaders such as Philips, Osram and others changing their strategies rapidly to cope with the new world that is coming! What happens to all the companies in between is anyone’s guess but how can you compete with LED fixtures in two years’ time that are perhaps only £10 per fixture, where is the profit in that? This is why there is such a rush to deliver Smart Lighting as a concept as the only sure way to generate future revenues for lighting companies will be to develop a service model that end users will pay for. How will Smart Lighting be used? The key lighting companies such as Philips and GE highlighted the need to focus smart lighting on specific areas including: • Street lighting (over 290 million streetlights are installed globally - less than 1% of all the streetlights are connected • Public and Commercial Buildings (they represent 60% of global lighting-based electricity use but just 20% of office buildings today have some form of lighting controls) • City-wide solutions • Energy and Sustainability • Communications • Weather warnings • Maintenance and Operations


GE’s presentation included their vision of streetlevel analytics via their Predix software platform.

• Physical Infrastructure The key point of many of the presentations were that lighting companies are going to have to morph into data analytics companies very soon – how many do you think will make the transition? The GE presentation showed a glimpse of how companies in other sectors are making the transition and highlighted how sophisticated their engine division operates whereby all parameters of the engines are monitored and logged which creates mountains of data (often referred to as big data) but then this has to be analysed, stored and reported in a very secure way. The GE engine division actually creates a significant revenue from added data analytic and servicing which is where GE lighting seems to be heading. In terms of data analytics then there were similar visions at street level from GE, Cisco and Osram that could yield fantastic opportunities for both city management and end users. Cisco concurred with this vision in its presentation although they went a step further to include other sensors within street lighting such as noise detectors and so forth to provide further data and information. The real question will be can such sophisticated systems be deployed cost effectively in the near term or is it a step to far from reality? Issues with smart lighting today Several of the presenters discussed why Smart Lighting is disliked by many, mainly because users are often not happy with the results; installers find the systems complex to install and commission; owners get a

limited financial return, but also experience many problems due to complexity and reliability; and there is no one standard operating system that can share crossdomain information so have to use conventional BEMS or BMS systems as core. I have actually heard that over 70% of today’s advanced lighting control systems are turned off after three months from installation because the systems have stopped operating correctly and are irritating users, it’s too complex to change the system when the building use changes, any changes are expensive to make as the system requires a commissioning engineer to attend amongst many other aspects. Biodynamic Lighting Nils Erkamp who is involved within the EU funded SSLerate project highlighted that smart lighting needs to be also human centric lighting and showed there was definitely a value added proposition for the industry to focus on and reference some work by consultancy AT Kearney. Key beneficiaries of human centric lighting will be industrial, education, healthcare and elderly and this could save over €12.8bn by 2020 from improved productivity, less errors and less sick days as shown. The issue of privacy and security Osram highlighted that one of the greatest challenges facing new technology is that of privacy and security. This is an area where lighting companies need to learn from the IT leaders that have gone before them such as Microsoft, Google, Apple, Facebook and so forth by having robust user data licencing. The key aspect for me will be security of

the lighting control system as I have been working with several universities for nearly three years to develop iMune, a secure lighting and building management control system that utilises open-standard Ethernet technologies to provide a scalable and secure system which is easy to configure and change whilst taking only a few hours to commission from start to finish. What I am concerned about is that network security is completely alien to most lighting companies and they do not have the skillsets to deliver on security therefore I advise everyone to work with lighting security specialists to roll out future lighting applications (unless you want them to be compromised). Conclusions There was so much to listen to at this event and so many different viewpoints on how to deliver smart lighting in the future. I am excited that no matter how people may resist I think smart lighting is going to be delivered by 2020 whether we like it or not! The main aspects are these systems need to be cost effective, secure and simple to deploy and use otherwise the industry will be chastised for not delivering on its promises. As I said at the start, not many of our friends and colleagues will be left in the industry from 2020 onwards and the survivors can rightly claim to be smart enough!

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. You can contact him on:



INDUSTRY INSTRUMENTS A selection of essential lamps and gear.

4D AR111 LED Lamp Soraa

AR111 LED Lamp Verbatim

Using thermal control technology by Mitsubishi Chemical Corporation, Verbatim’s anti-glare AR111 LED lamp serves as a retrofit halogen lamp replacement. Avoiding glare from the central beam often found in LED products, the dimmable 10.5W AR111 emits light indirectly using the reflector. Weighing just 100g, the compact lamp is compatible with most types of AR111 fixtures. It offers reliability, a long expected lifetime of 40,000 hours and efficacy of up to 71lm/W.

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

This ANSI size 6W AR111 4D LED lamp has high peak intensity, sharp beam definition, exceptional colour (CRI of 95 and R9 of 95) and whiteness rendering and is customisable with Soraa’s SNAP system. Designed for seamless fixture integration, it is compatible with a wide variety of industry-standard dimmers and transformers and suited for use in enclosed, non-ventilated indoor and outdoor fixtures. Available in 2,700K and 3,000K colour temperatures and with a magnetic accessory attachment, beam shapes can be altered and colour temperature can be modified, allowing various design and display possibilities.


S38 Lamp Ketra Ketra’s S38 lamp is an 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, enabling an infinite range of possible new construction and retrofit applications.

AR111 Lamp Ledon Featuring a luminous flux of 780lm and a power consumption of 13W, its flicker-free warm white light, featuring a colour temperature of 2,700K, boasts a colour-rendering index of 95 Ra. It also features an optical reflector lens designed to look like a conventional halogen reflector. Uniform and well-balanced light distribution at a perfect beam angle of 40º is ensured.

HaloLED Kosnic The Kosnic HaloLED GU10s are an ideal retrofit replacement for halogen GU10 lamps. The range includes 5W, 6W and 7W models, plus a fully dimmable 7W option. The LED lens and COB (chip-onboard) technology replicates the sparkle and ambient light of halogen while allowing significant energy savings up to 90%. Suited for use in restaurants, bars and hotels where ambience is an essential factor.


Eco-Filament Factorylux

LED Filament Lamps Enigma Lighting Available in six shapes - Squirrel Cage, 125mm and 95mm Globe, A60, Candle SES and 35mm SES globe, the mains dimmable LED filament lamps offer an alternative to the more inefficient and expensive halogen version. The lamp comes in 2,200K as standard, giving a warm, candle light colour and can be dimmed from 100% to 0% via mains dimming.

With the same cap and bulb size as traditional pear shaped filament bulbs, rated A for energy consumption and fully compatible with existing E27 lamp holders, the Eco-Filament produces a warm light – 2,300K and 350 lumen dimmable. It is rated at 7.7W, 230V and 50Hz – just an 1/8th of the energy consumption of 60W filament bulbs. It also exceeds all applicable UK and EU standards for safety, ecodesign and electromagnetic interference and retains at least 80% of their original brightness at 25,000 hours. Testing shows the lamps can be switched over 50,000 times.


LED Filament Lamp Range Kosnic

Kosnic has launched its new range of dimmable and non-dimmable LED filament lamps. The range includes 2W clear and frosted candle versions, 4.5W and 7W clear GLS lamps and a 4.5W clear globe option. A dimmable 6W GLS lamp is also available. The LED Filament range ensures that there is a decorative lamp solution for any and every hospitality and domestic application.

Filament LED Lamps LUX

LED Filament Lamp Range Megaman The range is available in a 2,700K option with a fully transparent glass cover and in 2,200K with a tinted glass cover for extra warmth. Coupled with a higher luminous efficacy up to 98lm/W, the oval-shaped 2,700K lamp delivers a brighter and cooler illumination. The 2,200K option, in oval or sphere shapes, has a semi-transparent glass cover, which emits a warmer and dimmer light. Both options have a 100%-10% linear dimming version. Heat generation is also lower than incandescent lamps. With an average rated life of 15,000 hours, the lamps are durable and easy to install. The accessories include an external housing in gold, silver or brass.

ToLEDo Retro Range Sylvania The ToLEDo Retro range is a series of A++ energy rated lamps. It includes: A60, Globe, ST64 and Candle lamps, designed to look like incandescent lamps while offering up to 90% energy savings. The lamps are non-dimmable, available in Homelight 2,700K and have the same dimensions as traditional incandescent and halogen versions, offering the same sparkling effect. Ideal for use in hotels, bars, restaurants and residential applications, the lamps have a high efficacy of up to 128lm/W, a wide beam angle of 300° and with a 15,000 hour lifespan, offer a quick payback period.

In partnership with Lattice Power, LUX introduces a line of dimmable filament LED Edison lamps - the ideal energy efficient replacements for 25W, 40W and 60W incandescent lamps. With its glass design, it emits the same warm light as an incandescent bulb with the long life and high efficiency benefits of LED lighting. Offering 90% energy savings and an efficacy of over 135l/W, the lamps eliminate the need to sacrifice design for efficiency in restaurant, hospitality and residential spaces. The lamp has a UL certified LED filament, engineered with proprietary protection coating, without a cloudy look.



Vector Lumino Vector is one of Lumino’s new High CRI products, reaching up to Ra95 and up to Ra98 for the CRI Pro range. With high Ri values across the whole R1-R14 colour palette, colour is rendered to a high standard. The new proprietary phosphor-core from Lumino converts single frequency 450nm blue light into full spectrum, visible white light with strong rendering of reds, blues, greens, oranges and yellows. High CRI is available in an all new CCT palette starting at Candlelight Warm White 2,000K with 2,400K, 2,700K, 3,000K, 3,500K, 4,000K and 4,500K.

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

2nd Gen COB LEDs Luminus Luminus has announced its second generation Chip-on-Board (COB) LEDs, ideal for a broad range of indoor and outdoor lighting applications. Options include the 95+ CRI Accuwhite as well as the pure white, GAI 105 below black body Sensus products, both of which are suited to retail lighting applications. Available now in volume, the 3,000K, 80CRI models deliver typical efficacy of 130lm/W at 85C.

EMITTERS OLED Light Panels LG Chem The plastic-based flexible LG Chem OLED light panels are now commercially available. The panels have efficacy of 60lm/W with 3,000K CCT. The plastic-based substrate eliminates the danger of shattering when excessive force is applied. The flexible panels have a CRI of 90 and above with less glare and low heat emission. Because of its unique physical properties the flexible panels offer a variety of options in the world of lighting applications and luminaire designs.

DURIS S10 Osram This new LED is characterised by high efficiency, high light output and uniform colour appearance. Efficient SMD technology makes assembly simple, meaning significant cost savings in system and optic design, which may be as high as 30% depending on the particular customer application. Duris has a compact footprint and is available in two output classes with up to 1,400lm. It simplifies the design of lamps and luminaires and is ideal for use in spotlights, downlights, and directional and omnidirectional retrofits.

Luxeon COB Core Range Lumileds With the Gen 2 range, Luxeon COB Core delivers an average of 10% higher efficacy and 10% higher flux with a lower voltage and the same footprint. Offered in multiple lumen packages from less than 1,000lms for MR16 and PAR lamps, up to 7,600lms for 100W CDM replacements; colour options include the popular 2,200K for a candlelight ambiance and very efficient 90 CRI parts for high quality of light. For ease of upgrade, the Gen 2 products are fully compatible with Lumileds first generation of COBs.


‘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.



Optical Light Engines Soraa

XIM Xicato Based on Xicato Corrected Cold Phosphor technology, XIM LED modules offer the colour rendering, flicker-free dimming and light quality required for the most demanding applications. Instead of a dedicated LED driver, XIM uses a 48V low voltage power supply, making it future-proof. With an on-board microprocessor XIM modules enable intelligent lighting with deep dimming to 0.1% with DALI and 1% with 1-10V. Dual-stage thermal protection ensures lifelong safe and reliable operation.

A low profile series of light engines that provide fixture manufacturers access to Soraa’s full visible spectrum GaN-onGaN LED technology. From narrow spot to flood, the light engines produce high CBCP, while the optical design provides great beam definition and smooth edges. Soraa’s engines are available in three sizes: 11, 16, 30 (or 1.5 inches—37mm, 2 inches—50mm, and 4 inches—100mm diameters); lumen outputs of 500 or 1,000 (in 95CRI); 9°, 10°, 25° and 36° beam angles; 2,700K, 3,000K, 4,000K, and 5,000K colour temperatures; and with an optional heat sink. Additionally, Soraa’s narrow spot beam light engines work with its magnetic accessory SNAP system.

The new TALEXXmodule SLE G5 XD Advanced produces a high luminous flux of 5,000lm in modules with small LES, which means that merchandise in shops can be illuminated more precisely with a narrow beam angle. The basis for this technology is Phosphor Settlement from Tridonic, which significantly improves the cooling of the module and therefore offers the ideal solution for all applications in which flux density (lm/ mm²) is a major consideration.

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


TALEXX Tridonic

Vero Series Bridgelux

InMODULE Strada is a constant current LED module compatible with Ledil Strada-module lenses. A flexible low/ high-bay or street-lighting solution with three basic dimensions - 50mm x 60/110/160mm and 4/8/12 LEDs respectively, allows the assembly of multiple Cree LED types (XP Series, XT-E, XHP), offering up to 6,180lm per module and different maximum power and efficacy. All three boards have an option for temperature feedback with NTC thermistor.

LED50 and LED70 Modules Lucent LED50 and LED70 are dimmable LED modules that warm up the colour of light as they dim - in the same way as conventional tungsten lamps. Available in 50mm or 70mm with 80> CRI, the multi optic LED 1,700lm module is available with a narrow spot 14°and 32° flood optics. With 3,000K – 2,200K and 2,700K – 2,200K versions available, the module maintains 80> CRI throughout the dimming curve. Each can be run at different drive currents up to a maximum of 700mA, uses standard 1000mA dimmable drivers of any dimming protocol and is suited for use in all ProSpex and ProSpex Plus LED luminaires.

Which would you choose?

Other LEDs

Luminus COBs

Luminus COBs take LED illumination to new levels of color rendering, high intensity, and pure, consistent white light. • The 95+CRI Accuwhite™, available in 2700K, 3000K, and 4000K

• Sensus™ below black body pure white 3000K with 105+ GAI, available in 80 and 90 CRI

• High flux density XH series for intense, dramatic spots with more punch and color than metal halide

Discover a better quality of light. WWW.LU M I N U S.COM


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CLZ 33W EyeNut Driver with ZigBee Dongle Harvard The CLZ 33W EyeNut driver with ZigBee dongle combines CoolLED driver technology with EyeNut monitoring and management system for indoor lighting, providing individual luminaire control through a web interface as well as allowing energy consumption management. The 33W driver, which operates at 2.4GHz and offers dimming down to 1%, is available in built-in and remote variants. The ZigBee dongle enables the original platform to be maintained and is SELV compliant. The driver is suited to retail, office and hospitality installations.

CV DALI Range Helvar

The constant voltage (CV) DALI dimming extension range allows several LED packages to be installed in parallel with up to a maximum current of 5A. The CV range delivers a host of benefits including low system standby power, while the 24V power supply reduces power loss over LED strips. The DALI input of LL1 x CV-DA is mains rated and double isolated from power input and load, offering a high degree of protection making it suitable for Class I, II and SELV luminaires.

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


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

L05031 Lumotech The L05031 is a versatile 30W driver, offering excellent value for money and a very wide operating window, ensuring that one driver can be used for multiple fixtures. The L05031 is in an extremely compact form factor and therefore particularly ideal for (track) spot applications as fixture designs become smaller and more streamlined. This is one of a suite of new products from Lumotech (including DALI drivers and outdoor-rated drivers) all featuring low inrush, wide voltage range, self-regulating temperature control and a five year warranty.

PWM Series Mean Well Ranging from 40W to 120W, Mean Well PWM Series is engineered to dim LED strips via conventional analogue dimming signal or digital DALI command. Its housing, with IP67 protection, allows use in humid and dusty environments, both inside and out. It meets the most recent LED regulations and for wireless solutions, WPD-06 featuring a rocker/button without battery is most suitable for new and refurbishment projects.




MESO 50 ROAL Electronics

The driver series includes eleven models with output voltages between 25 and 44VDC and constant output currents of 350 to 1050mA. The drivers come with active PFC (>0.95), and achieve efficiencies of up to 90%. A compact design (106 x 67 x 22mm) ensures easy integration into lighting systems. The inputs and outputs are located on the same side, making installation straightforward. The drivers of version RCOB-A come with a one to ten V input and can be dimmed from 0 to 100%.

Providing 50W of power in a compact size (105 x 73 x 27mm / 4.13 x 2.87 x 1.06 inches), with worldwide AC input voltage range (120/230/277 VAC) or optional DC power input and a multiunit wireless programmability feature, MESO 50 is flexible, demonstrated by the driver’s multiple dimming options. This includes analogue 0 – 10V, digital control via DALI or PWM and push dimming. MESO 50 ensures universal adaptability and delivers lower THD <20%, PF > 0.9 at any nominal input voltage and 5kV surge protection. It is also suitable for harsh environments up to 90°C case temperature.

All-in-One LED Driver Fulham The all-in-one programmable LED driver/ emergency battery back up combo unit eliminates the need for a separate emergency system within an LED fixture. A handheld programmer can be used to adjust output current from 250mA to 1450mA, as well as setting dimming curve (0-10V), voltage, address and more. The emergency power output and run time can also be adjusted. Universal voltage input and compact size allow maximum design flexibility.

Tel 44 ( 0 ) 208 348 9003 Web email

Bridge number 5, Amsterdam Lighting design by lichtontwerpers Amsterdam light festival 2014

3D LED Flex 40 IP65 - Modular, 3D flexible LED linear lighting system. Lensed version with anti-glare snoots, custom colour paint finish and custom height brackets.

Design by

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SPARK OF LIGHT In excess of 2,000 industry professionals attended SPARC International Lighting Event 2015 from 27-29 May in Sydney this year. Held at Sydney Exhibition Centre, Glebe Island, SPARC 2015 featured an exhibition of approximately 80 lighting companies, a speaker program of renowned international and Australian experts and concluded proceedings with a Gala Dinner. “This is the third SPARC International Lighting Event to be held and SPARC has truly secured its place as the Southern Hemisphere’s leading event for lighting professionals and stakeholders in the built environment,” said SPARC CEO Bryan Douglas. The exhibition showcased leading edge innovations, products and technology - reflecting developments in interior, exterior, retail and commercial lighting and lighting controls. Exhibiting companies ranged from large multinationals to smaller niche businesses from across Australia and overseas. Solid state lighting and lighting control technology featured prominently. The Speaker Program featured an impressive line-up of speakers from around the world with expertise in lighting design, education, research and architecture. The event also featured an Asia Pacific Light Systems Workshop, a PechaKucha session and a Q&A Panel Session to wrap up the Speaker program. The SPARC Gala Dinner ended the event in style at the Sydney Town Hall. With James Valentine as MC, the event featured entertainment including TaikOz Drummers, a Scottish Pipe and Drum band and Brad Blaze, a speed painter who wowed the audience. SPARC is a biennial event, with the next staging in Sydney planned for June 2017.

High Bay 100 Alder High Bay Lighting Hitachi This 42,000 lumen LED, 1,000W metal halide replacement light is the brightest currently available. It offers the highest brightness in its class and brightness to power consumption ratio that has to be seen to be believed, according to Hitachi. Engineered and manufactured in Japan, this is one light in a family of both high-bay and interchangeable fluorescent replacement luminaires that are now available.

INFINITY GVA Lighting Presented by Arclite in Australia, GVA Lighting designs and manufactures highend LED luminaires that highlight and enhance bridges, skyscrapers, shopping centres and airports. The INFINITY technology allows for 300+ metre linear lighting runs of medium and high power LED from a single point. When used in conjunction with GVA UNIBODY linear fixture technology, the user gets a long, reliable and extremely durable system. As the Australian representative of GVA, Arclite provides a great lighting tool for designers that aims to bring iconic buildings and structures to life.

The High Bay light is a retrofit for high power lamps, with its light-weight and E39/E40 compatible socket design, the light can easily fit into most type of high bay lamp fixtures. To meet all installation applications, options of ceiling suspended (HAN), rotatable rack (STR or SPO) types are also available. Options of lens cover at 30, 60 and 100º beam angles according to preferences of lighting needs. It is IP65 rated and ideal for both outdoor and indoor applications including high end halls, building projection, airport halls, outdoor sport complexes and outdoor construction fields.

Bloom Unit migenius A plug-in application for SketchUp, Bloom Unit is the world’s first real-time, cloud based 3D lighting design and visualisation system, providing the full photometric accuracy of not only the luminaire photometry, but also capturing the precise photometric performance of complex scene material definitions. Bloom Unit provides the ability to interactively explore 3D scene files while only using a connected laptop computer from any location with the processing muscle of the world’s most powerful graphics workstation.


Trunk SELF CES-J Explosion Proof Series Shenzen Cesp The CES-J Explosion Proof Series is patented and produced by Shenzhen Cesp Co. Ltd. With wide input from 100 - 305VAC, it can be use in hazardous locations ranging from indoor enclosed environments to offshore environments. It is European Explosion-Proof certified; ATEX (Zone 1 & Zone 2) - Lab NB 2284 and CE, ROHS certified. North American HazLoc certified (UL844, Class 1 Div 2), UL, CUL, DLC, LM80, LM79 certified, Japan PSE, Australia SAA, and C-Tick certified.

Canteen Pendant Beacon Lighting Sophisticated style meets energy efficiency in the new LED pendant range from Beacon Lighting. The new LEDlux Canteen pendant range is stylish and modern, and looks great grouped together in a cluster over a benchtop, in a stairwell or used as bedside lighting. Each pendant is 650lmns, with a beam angle of 55º degrees and fully dimmable. The Canteen pendant is available in four colours, including matte black, copper, brushed chrome and matte white.

Trunk is designed for shop ceiling lighting. It can release soft, continuous light with no dazzling effects, regardless of any light shadow or overlaps, with no ‘dark zones’ at linking points. It wins a high admiration for convenient installation, which impressively lowers the costs for removing or maintenance in the near future. The internal driver is carefully designed to allow simplicity and practicality.

Wally Aglo Systems Aglo Systems’ Wally LED fitting provides an even wall illumination with its rectangular reflector, not previously possible using traditional track mounted spotlights. Wally provides all the adjustable features of a standard track mounted spotlight, being 355° rotatable and 90° tiltable. It features the updatable Zhaga standard components and can be customised with high CRI and colour specific highlighting LED modules. Available in 2,500lm-5,100lm, CRI: >80Ra-95Ra, black or white trim colour.

TN-135 Tecnon

Vouet 100 Sammode Lighting

The patented TN-135 track light produced and designed by Tecnon features a classic and elegant structure as well as colours. The edge light absorber and narrow beam angle optics reduce any uncomfortable glare making it suitable for application in retail shops, the fashion industry, art galleries and museums. It also features aluminium Die-casting technology combined with 350° rotary range and 180° swing angle design, offering highly flexibility in order to create the best light effect.

Lighting spaces with outdoor traffic flow demand the use of luminaires that meet specific constraints associated with public area lighting including the need to balance performance and energy efficiency as well as responding to the need for aesthetic integration. Sammode Lighting’s Vouet 100 is designed for amenity lighting, enabling, in particular, the requirements of the accessibility to be achieved for the entrances to buildings. Models are available with presence detection and daylight switch to automate operation as required.



Appropriately themed ‘Envision the future of lights’ inline with its mission, the 20th edition of the Guangzhou International Lighting Exhibition had participants sharing inspirational ideas and innovative technologies. Held from 9-12 June 2015, the fair spanned 21 halls and occupied 225,000sq.m; closing with a 4.7% increase in visitor figures from the previous year, totalling 135,990 professional visitors from 131 countries and regions including over 5,500 domestic and overseas delegates. These numbers were duly matched by a record-breaking 2,698 exhibitors representing 27 countries and regions. Commenting on the success of this year, Lucia Wong, Deputy General Manager of Messe Frankfurt (Shanghai) Co noted: “The exhibition floor was buzzing throughout the four-day event. I am impressed with the depth, breadth and diversity of the content of the fair. The exhibition booths were brightly illuminated by products as well as application staging in places such as fashion shops, homes, factories, offices, schools and museums. It was evident that the quality of lights and a human-centric design approach were being stressed. I would like to express my heartfelt thanks to the worldwide lighting community for their support in staging such an extensive mix of lighting applications at our 2015 fair.”

GUANGZHOU DAZZLES VASuite III VAS Lighting A comprehensive programme of exterior lighting instruments for accent, feature and floodlighting tasks. All versions are based on the new VASet LED optical control module that has been specifically engineered to maximise both optical and thermal performance. Features include a wide range of lumen packages with symmetrical, elongated and flood distributions, and integrated glare control.

CSP 1616 Edison Opto CSP technology obviates the packaging process which can lower the production cost and reduce the emitting area, providing more flexibility for secondary optical design. CSP 1616 achieves high luminous flux and wide beam angle (150°) within the small area. Moreover, it is flexible for lamp design whether for high luminous intensity deign or wide light angle design.

DG-984C Titan


All-in-One LED Driver Fulham

ONETRACK is the new product range for track lighting based on the Eurostandard Plus platform. This state-of-the-art platform is for use in lighting projects employing controllable and fixed lighting output systems. As the platform makes upgrading possible at anytime, non-controllable installations are future-proof. ONETRACK allows integration of wireless control in track lighting with different wireless control systems, providing countless lighting scenarios and energy management solutions.

The all-in-one programmable LED driver/ emergency battery back up combo unit eliminates the need for a separate emergency system within an LED fixture. A handheld programmer can be used to adjust output current from 250mA to 1450mA, as well as setting dimming curve (0-10V), voltage, address and more. The emergency power output and run time can also be adjusted. Universal voltage input and compact size allow maximum design flexibility.

The DG-984C accent light comes with 35° and 60° replaceable aluminum layer reflectors, with simple installation and wide angles giving better lighting solutions. Titan’s objective is to produce an aesthetically pleasing design that satisfies essential photometrics by providing a comfortable and optimum luminaire. It is suitable for hotels, bathrooms, exhibitions and many other commercial spaces.

GILE2016-eng-236X333MM-op.pdf 1 2015/6/3 14:19:13












home automation

solutions & design


the human well-being products and technologies (hardware

for those who design, manufacture

& software) to manage and control

and supply luminaires and systems

lighting e safety

for outdoor and indoor lighting

elettro & micro up to date on the electronics industry Assodel meeting point for technicians and companies *the unique event existing in Italy

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22/07/15 15:29


LIGHT APPEAL A selection of newly released products on the market.

Gecko ERCO With its fluid, round outlines, this outdoor lighting tool enhances gardens and

D700+ Curve Brightgreen Featuring a deeply recessed lens, the D700+ Curve provides directional lowglare illumination making it ideal for creating comfortable and ambient interior lighting schemes. The luminaire features Tru-Colour technology, projecting light that surpasses industry standards in colour rendering to enhance interior colours and skin tones. With a 360° universal gimballing system it is designed to restrict airflow, increasing overall efficiency ratings. Available in black and white the design is compatible with Brightgreen’s range of interchangeable coloured fascias.

Fraxion Lucifer Fraxion is a new family of recessed fixed downlights, adjustables and wallwashers. Available in true trimless and microflange bezels with hot-aimable and lockable in tilt and rotation, offering perfect centre beam maintenance to 30º with a sliding pivot point. Proprietary beam optics 10°- 60° allow for easy beam angle change outs in the field - 1,000lm (10w) - 3,000lm (35w). Integrated mounting clamps allow for simple installation. Patents pending.

parks as an adaptable design feature, which integrates flexibly in any surroundings. The small housing conceals sophisticated photometric properties; optionally producing a uniform wide beam or sharp-edged accent light, Gecko creates impressive façade and other outdoor lighting effects. Excellent glare control ensures accent lighting, floodlighting and wallwashing from a virtually invisible light source. With a luminaire head that can be tilted and rotated in any direction, Gecko is quick and easy to adjust.

Lighting Passport Asensetek

Lightify Pro Osram Light control via an app for professional applications. The system is commissioned by the installer using a mobile end device and is controlled by users either via a smartphone or tablet (iOS or Android) or via switches and push-buttons. Installation is simple, quick and also saves costs thanks to wireless transmission protocols. The system is being launched on the market with an extensive range of components including special Siteco luminaires.

The Lighting Passport Smart Spectrometer is based on an intuitive platform of apps on iOS and Android (Spectrum Genius: Mobile, Agricultural Lighting, Transmittance, Studio). Available in the UK through LightUnion, Lighting Passport connects to smartphones and tablets through Bluetooth and can measure CCT, CRI, Illuminance, R1 to R15, SDCM, TLCI and so on in seconds. Lighting Passport is calibrated to the highest standards (NIST traceable) and offers optical resolution of 8nm and wavelength accuracy of +/- 0.5 nm.

Luminair 3 Synthe FX A professional-grade lighting control app that offers simultaneous, wireless control over Art-Net, sACN, and Smart lighting systems. Powerful new features have been added to the award-winning app for iOS, including built-in scheduling functionality, Geofence triggers, a Dynamic FX Engine, and remote for Apple Watch. Designers and creative professionals can utilise a wide array of intuitive design tools, as well as create and manage schedules that run directly from iPad and iPhone devices.




LED Light Sheet Applelec A flat sheet of brilliant light, LED Light Sheet is characterised by a slim profile and created with white or colour-changing LEDs. Manufactured in the UK to bespoke shapes and sizes, panels are suitable for exterior or interior installations. For projects in the Middle East, Applelec is able to provide a SASO Certificate of Conformity for panels exported to Saudi Arabia and Kuwait. This certification ensures products shipped comply with the Saudi technical regulations and national and regional standards.

Cove Light AC HO RGB Graze Traxon & e:cue Sleek and slender, Cove Light AC HO RGB Graze is an energy efficient yet superiorly bright LED cove lighting solution. With precision optics, Cove Light AC HO RGB Graze provides optimal wall grazing effects. The simple and compact design makes installation quick and easy even in narrow spaces. Cove Light AC HO RGB Graze is the perfect solution for a wide range of indoor lighting applications from alcove to wall grazing and indirect illumination in retail, office, and entertainment environments.

Endurance WAC Lighting

Part of the all-new Endurance line, engineered with AC-LED technology, Flood LED is Energy Star rated and IP66 wet location listed for exterior environments. Designed with a factory-sealed LED light engine and constructed of die cast aluminium, it features 360º horizontal rotation and 90º vertical aiming for precise directional illumination. Two different canopy accessories are included so it can be mounted to both recessed and surface mounted junction boxes with a clean architectural look. It is available in architectural bronze and architectural white flood.

Now available in black the Xoolum is an efficient design luminaire offering high modularity and user-friendliness. It is appropriate for various lighting tasks, such as offices, museums, shops and facades due to different protection classes from IP20 to IP67, the use of seven specially developed optics and excellent LED strips with high colour rendering and high lumen output. The luminaire head of the modular system is lockable at 45° and it is available in a surface-mounted, recessed or pendant version.

Dados Unilamp

5650-Clem LEC Lyon An LED linear projector offering economic solutions for wall-washing and along-ground lighting projects. This powerful recessed projector is eco-designed and features up to 12 Superwatt LEDs, available in 1W or 3W. The linear offers a number of optics for different light beam openings that can be mixed on request and provides a wide choice of LED colours, also mixed on request. Its bespoke length allows the 5650-Clem to suit any urban lighting projects incorporating a bespoke fixing system.

VAShow II Vas Lighting

Xoolum black LED Linear

Dados the energy saving cubeshaped compact LED wall light which can be used for outdoor and indoor environments. With its robust LM6 aluminium construction and clear tempered glass cover, it protects the luminaire from dust and water and possible harmful impact. It is operated with high power COB LED and features a precise Photopia-designed reflector that gives sharp but glare free light distribution. With double layer surface coating it is highly corrosion resistant to any extreme environment.

Another spectacular range of in-ground lighting instruments - based on the new VASet LED optical control module. Design and engineering innovation have delivered much sought-after product improvements in thermal dissipation, lP68 across the board, and installation without having to remove the front bezel. The stand-out benefit, however, is to be able to adjust the beam after the product has been installed and switched on.

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

UK Pavilion at Milan Expo 2015 (image courtesy of UKTI).

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.

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.

What’s your idea of inspiring design?

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.

ASSISTANT LIGHTING DESIGNER We have opportunities in our Manchester studio for suitably qualified and experienced individuals to work on a wide range of exciting projects from client brief to commissioning. BDP is an equal opportunities employer. To apply, please visit our website:

To apply for one of these roles, please send CV, covering letter to: Helena Baptista, Office Manager –

ADVERTISERS INDEX 100% Design ................................... 169 A&O................................................. 163 Anolis ................................................. 13 Applelec LED Light Sheet ............... 113 Architectural Area Lighting .............. 203 Artemide............................................ 43 BDP.................................................. 199 CLS ...................................................... 4 Codega Prize ................................... 177 darc night .......................................... 76 David Morgan Associates ................ 190 Dial .................................................. 171 Enigma ............................................ 107 ETC .................................................. 117 Firefly Light Design.......................... 199 Forge Europa................................... 189 Griven ................................................ 19 Grupo MCI....................................... 173 Guangzhou Int’l Lighting Exhibition 195 Guzhen Lighting Expo ........................ 8 GVA ................................................. 129 Hacel ................................................. 11 Havells-Sylvania ................................. 41 Heper............................................... 141 Hess ................................................... 71 IALD ................................................. 155

Illumination Physics ......................... 101 Illuminotronica ................................. 196 Insta ................................................. 105 ISTL .................................................. 191 Jona Hoad ......................................... 85 Kim Lighting ........................................ 3 KKDC ................................................. 23 LEC-Lyon ........................................... 25 LED Linear ....................................... 204 Lee Filters ....................................... 115 Light Source Europe (LSE) ............... 165 Light Union ...................................... 167 Lucent ................................................ 95 Lucifer ................................................ 21 LUG ................................................. 173 Lumascape ........................................ 67 Lumenpulse ....................................... 39 Lumino ............................................... 63 Luminus ........................................... 187 Lunoo .............................................. 103 MBN .................................................. 16 Mean Well ....................................... 191 Mike Stoane Lighting ...................... 175 Nicolaudie ........................................... 9 Orlight ................................................. 2

Paviom ............................................... 12 PLDC ................................................... 6 Precision lighting ............................... 33 Prolicht............................................. 161 Pulsar ............................................... 139 Recolight ......................................... 171 Recom ............................................. 163 Remote Controlled Lighting ............ 133 Rising Dragon Technology ................ 10 SAT .................................................... 67 Schréder ............................................ 79 Signcomplex ...................................... 14 Siteco................................................. 81 Soraa ............................................... 185 Spurlite ............................................ 159 StrongLED ......................................... 15 Studio Due ........................................ 17 Synthe FX ........................................ 167 Teknolight ............................................ 5 Titan................................................. 117 Traxon & e:cue................................... 61 Unilamp ............................................... 7 WAC Lighting .................................. 131 Wibre ............................................... 157 Xicato ................................................ 97

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.


Iluminotronica October 8-10 Padua, Italy

IALD Enlighten Americas October 8-10 Baltimore, USA

Codega International Lighting Prize October 9 Venice, Italy

LpS September 22-24 Bregenz, Austria

Shanghai International Lighting Fair September 23-25 Shanghai, China

darc night September 24 London, UK

technical partner

A unique new event from

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supported by


awards manufactured by


Light Middle East October 6-8 Dubai, UAE

London Design Festival September 19-27 London, UK

in collaboration with

LED Lighting Exhibition October 1-4 Istanbul, Turkey

LED China 2015 September 17-19 Shanghai, China

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

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

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

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

China (Guzhen) Intl. Lighting Fair October 22â&#x20AC;&#x201C;26 Zhongshan, China

Rethink the Night October 12-16 Kea Island, Greece





As well as winning the PLDC Newcomer of the Year Award in 2013, New York City based Star Davis has worked for daylight gurus James Carpenter and Davidson Norris and now resides at Arup in her speciality, the field of daylight design She is also an adjunct instructor at Parsons School for Design, has just completed the lighting design work on the iconic, stunning (worthy of a mondo*arc cover) Fulton Centre and has the coolest name in the lighting industry… So of course she is the subject of our next Inspirations. Davis looks upward for her inspiration: “I find the most restorative and appealing scenes in the natural environment, for within this light we have evolved to thrive. The sky is an endless source of inspiration. Even the most familiar scenes have an intensity and dynamic beauty that increases in interest when viewed over time.”

mondo*arc August/September 2015 - Issue 86  

mondo*arc International magazine for architectural, retail and commercial lighting. mondo*arc is the leading international magazine in archi...

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