mondo*arc October/November 2015 - Issue 87

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issue 87 * October/November 2015


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A r c h e Ty p e X

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[oct/nov] Front cover pic: © Studio Dubuisson

048 Interview Vilma Barr talks to Barbara Horton, president of the International Association of Lighting Designers.

DETAILS 022 Editorial Comment darc awards announcements and award winning projects. 024 Headlines The latest architectural lighting industry news. 026 Eye Opener ‘Heartbeat’ Covent Garden, London. 028 Drawing Board Our preview of proposed projects. 030 Spotlight A selection of brand new projects from around the world. 036 Briefing We talk to Paul Nulty, Founder of Nulty+. 038 Snapshot Presenting Design Matrix, showcasing more than 200 projects in 30 cities spanning 5 countries. 040 Profile Henrietta Lynch takes an in-depth look at David Chipperfield Architects, masters of sensitive, intelligent and though provoking architectural design. 194 Inspirations Claudia Paz of Claudia Paz Lighting Studio.

ART & DESIGN 100 ¡DARK! Past installations and site-specific exhibits exploring the power of light in the face of darkness. 102 Transition: Warm/Wet Melkan Gürsel and Arik Levy’s London Design Festival, two-room installation exploring the interaction between our planet’s elements. 104 LVMEN An ambitious new lighting event of conferences, discussions and Guerilla Lighting in Sibiu, Romania. 106 A Bullet from a Shooting Star SEAM’s illumination of Alex Chinneck’s industrial sculpture at this year’s London Design festival. 108 Light Trend Akari-Lisa Ishii and Motoko Ishii’s seven-room presentation of happiness at Maison et Objet, Paris. 110 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light.

TECHNOLOGY 156 Geoff Archenhold Dr Archenhold discusses what’s next for the lighting industry. 158 John Mardaljevic Professor of Building Daylight Modelling comments on the importance of natural daylight in schools. 160 Case Studies A selection of innovative lighting projects, including lighting control specific projects from Casambi (p170), ETC (p172), Lumenpulse (p174) and Crestron (p176). 178 Bench Test David Morgan reviews Osram’s Lightify Pro wireless lighting control system. 180 Lighting Control A selection of lighting control products. 186 New Product Guide A selection of newly released products on the market. 192 Event Calendar A round-up of all the leading must-attend tradeshows and events in the industry.

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[oct/nov] Online Take a moment to have a look at the inauguration of the exsquisite Fonndation Louis Vuitton in Paris.

Pic: © Studio Dubuisson




054 Fondazione Prada, Italy Rem Koolhaas and his team at OMA, along with lighting practice Les éclaireurs, have provided a popular environment for artists, bringing old into the new.

070 HSBC Building, China In honour of its 150th anniversary, HSBC’s HQ in Hong Kong has received a digital makeover by Illumination Physics, featuring the latest in modern technology designs and software.

086 Generator Paris, France Inspired by the romantic streets of Paris, artec3 has created a cinematic lighting scheme that is seamlessly integrated into DesignAgency’s warm and industrial interior.

064 Fondation Louis Vuitton, France L’Observatoire International brings the artistic vision of Bernard Arnault and the architectural design from Frank Gehry to life through intelligent and intricate lighting design.

076 ZHAW Library, Switzerland In Keeping with the Sulzer site’s industrial past, vogtpartner has created a clean and practical lighting scheme that celebrates the vast architecture, creating an inviting space for students of Zürich University.

094 Melbourne School of Design, Australia In reflection of the space itself, Electrolight has developed an integrated lighting scheme that is aesthetically pleasing for the students.


Pic: copyright les éclaireurs - Lucas GOY


113 darc awards winners Special coverage of the winners’ projects and bespoke installations from the inaugural darc awards at TESTBED1 in Battersea, London.

Pic: Peter Bennetts



[editorial] Paul James, editor, writes: For those of you that attended darc night, the culmination of the darc awards process, I hope that you enjoyed it. It certainly seemed like everyone did! I have been blown away by the response to the peer-to-peer concept of the darc awards making this a truly democratic awards programme. Over 450 entries and over 5,000 votes from the lighting design community has proved that the lighting industry - both decorative and architectural - was eager to embrace a fresh, subversive awards format. This alternative approach was replicated during darc night. The visual interest was provided by twelve inspirational installations created by the lighting design studio and manufacturer partners that bought into what we are trying to achieve and I want to thank them for their tremendous creativity above and beyond the call of duty. Empowering lighting designers by making them eligible for free tickets to darc night if they vote (as well as interior designers and architects if they enter) appears to have struck a chord with everyone out there and we will be continuing with this initiative in the coming years for more awards. If you are a designer, this event is for you and changes the dynamic of most awards where you have to wait to be invited by a manufacturer or fork out yourself - something that is out of the grasp of many junior designers or small practices. We look forward to welcoming you to many more events that we are organising and I hope you have found inspiration in what you have seen so far. Look out for the darc awards 2016 and more besides!

Helen Fletcher, deputy editor, writes: As Paul has already mentioned, it was great to see such strong support from the lighting industry for the very first darc night! Congratulations to all our winners and runners up, it really was a spectacular evening and my red wine headache on the train back up to Manchester the next morning definitely felt like a sign of a good night! Moving on to issue #87, once again we’ve got some stunners when it comes to projects. The Fondation Louis Vuitton complex in Paris is a thoroughly impressive project that truly comes alive at night thanks to intelligent lighting design, read more on page 64. Moving over to Italy and in Milan we take a look at the most recent Fondazione Prada space on page 58 dedicated to art and expression, bringing the old into a new world. Further afield in Australia, we focus in on Electrolight’s work at the Melbourne School of Design that features a stunning lighting focal point in the atrium, on page 94. Our regular in-depth interview goes to IALD leader Barbara Horton this issue and we’ve introduced a new feature focused on the architectural side of the business, this issue we speak with Alexander Schwarz and Rik Nys of architectural practice David Chipperfield. You may have also heard that Paul Nulty recently rebranded his practice to Nulty+, read his reasons why, what the rebrand signifies and how he plans to “challenge the status quo” in my exclusive interview with the man himself on page 36. This of course, is just a snippet of what we have to offer this issue as you’ll quickly find out, so as always enjoy the read and if you’re heading to PLDC at the end of October please let me know - I’ll be looking to speak with as many of you as I can fit in to my schedule... See you then!



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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news headlines

For the latest news stories, head online:

Architainment Lighting appoints new sales manager

darc night dazzles (UK) - darc awards event in London an incredible success with over 500 attendees.

(UK) - Neil Gamble brings extensive knowledge of the architectural and commercial lighting market, combined with sales management experience, to capitalise on company’s expanding portfolio.

Read the full story online...


Read the full story online...

Paul Nulty Lighting Design rebrands to Nulty+ (UK) - Under new name, Paul Nulty focuses on developing team of lighting design leaders and growth and value of the industry. Read the full story online... 2


Lumino arrive in Lumino (UK) - Lumino To Lumino team return from charity cycle from headquarters in Essex to company’s namesake in Switzerland. Read the full story online... 4


LewesLight festival supported by local lighting designers

LightingEurope and IALD announce collaboration

(UK) - Graham Festenstein, Karen Van Creveld, Paul Nulty Lighting Design and Paul Pyant develop Lewes’ first festival of light, exhibiting diverse programme of installations, talks and discussions.

(Belgium) - The two groups will collaborate to increase public understanding of lightin science and promote recognition of lighting quality. Read the full story online... 6

Zumtobel acquires acdc (Austria) - acdc to remain independent brand and flexible unit under umbrella of Zumtobel Group. Read the full story online... 7 In pictures

the latest news online

Read the full story online...

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1 The inaugural darc awards is a huge success 2 Paul Nulty of Nulty+ 3 Neil Gamble of Architainment Lighting 4 LewesLight Festival of Light 5 Lumino cycle to Lumino for

GravityLight 6 LightingEurope and IALD join forces 7 (left) Gareth Frankland, CEO acdc (right) Ulrich Schumacher, CEO Zumtobel Group

The HSBC Headquarters - Hong Kong

DIGITAL MAKEOVER A grand visual statement brought to life with IP’s custom designed lighting to mark HSBC’s 150th anniversary and celebrate both its history and future. Illumination Physics was commissioned to update the façade lighting and seamlessly integrate three massive media walls into the building’s glass façades. The building makeover is a permanent feature and comes to life every evening between 6.30pm and 11.00pm as well as participating in the nightly world-renowned ‘A Symphony of Lights’. Lighting and media content have been combined to communicate the tale of the one hundred and fifty year history of HSBC as well as displaying more meaningful images which relate to Hong Kong itself. For the first time, the building comes to life and imagination has been realised. This is the essence of Illumination Physics contribution to any project.

Specialists in customised lighting to suit your design

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eye opener Heartbeat, Covent Garden, London French artist Charles Pétillon fills Covent Garden’s 19th Century Market Building with 100,000 giant white balloons, marking his first public art installation. United with word-class architecture, the installation was unveiled ahead of the London Design Festival, and was inspired by Covent Garden’s heritage as London’s first public square and the West End’s reputation as the beating heart of the city. Weaving its way through the South Hall of the Grade II listed Market Building, Heartbeat stretches 54-metres in length and twelve-metres in width, and incorporates gentle pulsating white light to symbolise the beating of a heart and reflect the history, energy and dynamism of the district. Pétillon commented on his desired impact of the installation: “My goal is to change the way in which we see things we live alongside each day without really noticing them. With Heartbeat, I want to represent the Market Building as the beating heart of this area, connecting its past with the present day to allow visitors to re-examine its role at the heart of London’s life.” Heartbeat forms part of Covent Garden’s ongoing cultural programme which transforms the district into an ever-changing, open-air art gallery. The complex yet fragile composition represents Pétillon’s largest and most ambitious project to date. Pic: Paul Grover




[drawing board] The latest exciting works in progress from the world’s most imaginative designers. Pic: ©Manuelle Gautrand Architecture

Pic: ©KDSL

Pic: ©KDSL

Pic: ©KDSL

Pic: ©Manuelle Gautrand Architecture

TANGIBLE THEATRICS Following a number of rennovations throughout its 80 years + history, in 2011, the Gaumont-Pathé group decided to restructure the existing Alésia Theatre building in Paris. Since 2012, Parisian architects, Manuelle Gautrand Architecture, have divided the project into two objectives to be completed in 2016. First, to stage the cinemas to emphasise their volume, both from outside and inside the building. Second, to stage the films directly onto the façade. Created by lighting designers ON and façade engineers TESS, the façade was a specific conception between a luminous installation and a digital skin. More than 60,000 independently controlled LED light points, displayed on its 500sqm surface area, allow the diffusion of images and luminous atmospheres onto the Général Leclerc Avenue. It’s composed of a dozen vertical threads,

each supporting several facets, oriented upwards or downwards. In the centre, the threads are glazed and covered with LED bars, evenly displayed to form the large animated net of pixels. In the lower part of the façade, each strip refolds upwards to form horizontal surfaces, creating a large canopy with an overhang of three-metres onto the sidewalk. Also covered in LEDs, these panels offer the audience additional animations and information that they can almost touch. By adjusting intensity, the LED sources were designed to be functional in the day and at night. Their pitch leaves empty spaces that the eye can perceive as visitors come closer to the entrance. This intentional optical effect allows a different urban image depending on the point of view, from a clear-cut vision to a pixel mosaic. At night, the LEDs will be much brighter

along with the interior, illuminated by luminaires in the amphitheatre and circulation spaces. In this way, the LED animation will look as if it were created on a translucent filter. This double vision, superimposing both the screens of LEDs and the building’s interior spaces, will give the project a unique presence on the square of Alésia. The different paths to the cinemas, foyers and walkways will highlight the façade and allow visitors to discover it from its rear. Made of large windows protected by a net of LEDs, it will offer a view of the boulevard from above, the church across the street and the work of the LED bars integrated in the metal fabric. At dusk, the LEDs will be slightly visible from inside the building, creating halos of light in the circulation spaces and foyers.

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Pic: Courtesy of LOM Architects

TEXTURED LAYERS Lighting designers Lightivity have recently completed the exterior and interior lighting design for the new National Bank of Oman headquarters in Muscat, Oman. Working with London-based architects LOM, Lightivity have used ‘layers of light’ to reveal the material texture and stunning stepped form of the building’s dramatic façade. The building will occupy one of the most prominent sites in the country on the main Al Sultan Qaboos Street between the airport and the centre of Muscat, diagonally opposite the iconic Grand Mosque. The aim is to create a contemporary Omani landmark head office for the bank and for the city. The building will provide high quality office space, a large head office bank branch and a striking internal atrium inspired by Oman’s dramatic wadi gorges. Site work is now underway, with the building due for completion and occupation in early 2017.



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

Pics: teamLab

A STELLAR STROLL Stepping into the dazzling light, one step into the crystal universe submerses viewers in an unknown world. By installing spatial prisms of LED’s in a three-dimensional space, Japanese creative group teamLab created a real-time interactive moving 3D artwork. Using teamLab’s original Interactive 4D Vision, the Crystal Universe installation in Tokyo’s Pola Museum Annex consists of a seemingly infinite number of light particles positioned in three-dimensional space. Guests can enter and walk around in the three-dimensional light space, causing a

change that will continuously alter the lights in unpredictable ways with their movements. Guests can also interact with the installation using smartphones in conjunction with music that resonates throughout the Crystal Universe, enabling an interactive representation of their actions. While the light continues to change across the entire space that consists of prismatic and cylindrical shapes, the universe in which the viewer causes change will constantly be created with the viewer at its centre.


Pics: Adrien Williams

BIOLUMINSCENCE On a summer evening, the air is filled with the flash of fireflies calling to one another. Intrigued by their dialogue, Canadian digital artists Maotik created Light Bearers, an immersive interactive installation presenting a poetic representation of the conversation of fireflies, presented at The Montreal Insectarium, Canada. The immersive environment is a multimedia interpretation of a natural ecosystem that combines thousands of original crafted objects with lasers. Using industrial materials, a light plant environment was recreated with approximately 2,500 original

crafted objects. The entrance is a field of lamps filled with tonic water that shine in the dark under black light. The public then come to the main field and manipulate light beams with IR sensors, causing the sound and visual effects. This facility offers a sensory, playful experience to guests and evokes the aesthetic principles of the communication of fireflies. The aim is not to confine their attention to written scenarios, but to open their imagination by allowing them to participation in the composition of a fluid and abstract universe, enough to allow reverie and free

interpretation. In comparison to Maotik’s previous works, Light Bearers is made with crafted objects, whereas previous works have used generative visuals and images to change perspectives of space, such as domes or surrounding projection. Light Bearers modifies perspective by projecting light onto the architecture, resulting in a living sculpture that reacts and gets shapes according to sound.




Pics: Bernard Stulzaft

HEAVENLY RIVERS French artist Julien Salaud’s Fleuve céleste installation stretches out like a starstudded vault. Fragile, ephemeral, the exhibition opened in the wine cellars of the Maison Ackerman, St-Florent in France. Salaud installed the piece to highlight an extraordinary piece of history in this unusual and monumental space. Fascinated by the connections, forces and symbolism that unite man with nature, Salaud’s work offers a different viewpoint of what an animal can be; that of the Cartesian or the geneticist, the predator or the prey. Viewers can walk through the webs spun of nails, cotton thread and black light; Fleuve céleste encompasses the entire cellar, creating strings of light throughout the troglodyte cellars.


Pics: B-Reel

BREATH OF LIFE Creative studio B-Reel’s Prana is a light installation using radar technology to breathe with viewers. Constructed from over 13,000 LEDs, custom JavaScript and a Xethru respiration sensor, the piece visualises the unseen energies of our bodies. C-Reel art director and creator of Prana, Mike Potter, commented on the installation: “As with most of our work, the challenge was to use technology to create something simple and magical.” The installation is powered by cuttingedge hardware and software, but activated by something as fundamental as the breath. “And the fact that we’re sensing viewers’ breathing with technology that has been used to locate survivors in a disaster situation adds another layer to the experience,” continued Potter. Viewers enter a sphere of suspended LEDs one at a time and stand in front of the Xethru sensor. As they breathe, the lights move up and down around them, triggering reactive animations. Sound design from New York sound studio One Thousand Birds adds to the meditative quality of the experience.




WALK ALONE Stepping forward through illuminated passageways into the woods, Calgarybased artists Caitlind r.c. Brown and Wayne Garrett’s The Deep Dark illuminates doorways of darkness through the woods. These doorways intend to illuminate the interspaces between our sacred and natural environments and cultural constructs of darkness. Drawing from interviews with participants from various Banff Centre residencies, faculty, and staff, the project asks why we fear the dark, whether dark is a presence of something or merely an absence of light and what separates real fear from imaginary fear. By unearthing commonalities between interviewed participants, a loose narrative emerges, illuminating a collective insight into the nature of our human relationship with the deep dark. Meditative, iconic and evocative The Deep Dark invites each viewer to participate in a 600ft solo night hike through the forest surrounding the Banff Centre, alone in communion with the woods, voices in the foliage and their own thoughts. Utilising the domestic imagery of doorways as a

All content copyright Caitlind r.c. Brown & Wayne Garret

literal entry point, the installation imposes artificial light into the wild darkness – brightness by which the darkness grows darker and disillusions the night. Working with diverse mediums and materials ranging from artificial light to re-appropriated architectural debris. Their practice combines divergent aesthetic and industrial backgrounds, often resulting

in participatory public sculptures and installations, like The Deep Dark. Beckoning viewers with interactive contexts and novel materials, participants are invited to share in strange experiential moments. Playful, beautiful, and radically inclusive, their practice emphasises transformation above all else.





Having recently rebranded to Nulty+ we speak exclusively to Paul Nulty on the move towards a new future, why the lighting industry needs a “shake up” and what he plans to do about it... It’s been three years since we last caught up, what’s been happening? We’ve really stepped it up a level. The practice has more than doubled in size and we’re being asked to tender some of the largest projects in the UK. It seems like such a short space of time but in that time we have evolved and matured. My aim was always to build a team that’s full of characters and has lots of charisma; I like people who have ideas and who aren’t afraid to express them and the team are really blossoming into cool designers with opinions and a lot of skill sets. And in the industry – how are things different? Alongside squeezed budgets, in recent years we’ve seen more demands from clients and the deadlines have been harder and tighter than ever before. While this is not so much the case today, it has played to our advantage because it has given us a great platform for learning; we’ve now got more experience in dealing with pace and we’ve been able to nurture the team in tackling this. As such, we’re in a position where the whole team is able to anticipate customers’ needs and respond much more quickly than before. The practice is rebranding to Nulty+. Why now? From day one it was always an aspiration. Having been at Light Bureau for eleven years I wanted to make people aware I was out on my own and calling the practice after myself was the most obvious way. It wasn’t about my ego... I love light, I live and breathe it and am very grateful for the opportunities I’ve had to develop as a lighting designer. I want to create a legacy and would love the practice to become a nursery for the future industry. I always wanted to depersonalise the practice from myself and we’ve now got to the point where it doesn’t really need me - the right people are in the right places. Nulty+ signifies a celebration of what we’ve achieved and a team of people who are experienced, energetic and charismatic – in reality, I’m just a cog in a bigger machine! How have you prepared your team for life as lighting designers? I’m very demanding in what I expect from them! We don’t pigeon hole people, and we try to expose the team to as much project experience with the support of the more senior members. It’s about making all of the team an integral part of a project and we encourage staff to take ownership as much as possible. “Anyone can become a lighting designer”, is this something you truly believe? Yes and no. You’ve got to have a creative eye and a passion for lighting – but everything else can be taught - sharing knowledge will improve our industry. Historically, there’s been a reluctance to share information between rival practices, but to me the ‘old school’ days are changing. Some in the industry don’t like manufacturers calling themselves lighting designers, I’m the opposite - if it’s a good piece of lighting design delivered on time and on budget then what’s the issue? I would rather lighting design was done well regardless of who undertakes it – it’s more about education. Today’s generation is really interesting, there’s more willingness to share – this is a lot to do with social media. It has changed the way we communicate and I think it’s commendable.

Is this part of your aim to “challenge the status quo”? We need to professionalise our business like other creative industries do. Many agencies are set up by designers who didn’t really intend to become business people, or actually want to – they wanted to design and be creative. But I would like the industry to become more educated in the way its practices are administered. There are companies out there that do it very well, but there are others that lurch from project to project, slashing fees and delivering a poor service. This undermines the industry. I really believe one of our differentiators is the level of service and the way we work with clients; our aim is to make it fun and collaborative. Challenging the status quo means challenging the way the industry presents itself as well as challenging the reasoning. I want us to be a leading voice in that and the new philosophy we’re bringing with the rebranding is going to be central to this. What do you think the lighting industry is lacking? One of my frustrations with lighting awards is that while beautiful projects are rewarded no one ever stops to think about whether the project was delivered on time and on budget and whether the lighting designer went bust in the process. We really need to start looking at the way we present ourselves professionally and if all we’re doing is cutting our throats in terms of fees and throwing work out of the door we’re never going to be treated as equals around the table with architects and interior designers. Most lighting education in the UK is geared towards engineering and not design but we need to focus more on the emotional concept that lighting brings to a space, not just the functional. Is Speirs + Major status something you aspire towards? Not just Speirs + Major, there are many other good lighting design practices and we would love to be counted amongst them. Our aim is for us to be at the pinnacle of our industry and who knows, even surpass them. I want Nulty+ to become a practice that in years to come, people talk about. As mentioned, it’s about creating a legacy rather than looking at where we are now – it’s about living and planning for the future of the business. You’re well-known for your retail lighting what does the future hold? Retail lighting actually only makes up about 25% of our business but yes, I absolutely want to remain at the forefront of retail design as we’ve worked hard to get there – my team knows it’s important to me to remain innovative. We’ve already completed a lot of projects in a short space of time and we’ve currently got some amazing projects on our books – our client list is pretty extensive! There’s also been a lot of collaboration with clients and other designers - they are buying lighting advice and understanding the need for it a lot more than perhaps they used to. Our designers have got some great opportunities for growth in the industry.

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[snapshot] With more than 200 projects in 30 cities spanning 5 countries, Design Matrix has made its mark as a practice that welcomes experimentation with scale, typology and technology in their work. Ranging from hospitality to heritage, workspaces to entertainment; each project is a unique tale of lighting mastery over visual jugglery. MASTERPLANNING FOR LUCKNOW REDEVLOPMENT

Pics: Harmeet Singh Issar

LUCKNOW As part of the Lucknow redevelopment plan, Design Matrix was solicited to design the lighting master-plan for certain areas of the city. Their scheme was a concerted effort to comply with government protocols, cultural practices and respect the city heritage. Located at the heart of the 100-acre campus of the Ambedkar Smarak, the Ambedkar Stupa is designed as a four-petal flower, the lighting for which is based on the panch-varna, the highest state of meditation in which matter begins to transform into pure light. The monumental structure is awoken from silence as RGB LED fittings illuminate the monolith in various tones of white. A meandering wall with softly changing light paints a colored band across the base of the structure. The rows of resplendently uplit columns leading to the stupa are complemented by a series of small bollards. Fashioned as traditional glowing lanterns, the streetlights use a color-coding feature, to divert, guide and manage traffic from a central control room.

IBIS HOTELS VARIOUS LOCATIONS Design Matrix has been responsible for illuminating 8 of the 10 properties of the Ibis chain of hotels. Featuring a fresh interior layout with bold pops of colour, the public areas are designed to cheerfully welcome natural light. Juxtaposed with artificial light, this adds a layer of contrast to accentuate the chromaticity, textures and patterns in the space. Emphasising interesting elements, light is used to highlight various textures of the wall and floor finishes, upholstery fabrics, furniture and artworks. Accent light gives a softly illuminated ambience. Coves in the ceiling allow for concealed linear fittings that cast a warm glow in the space. The al-fresco dining area straddles an indoor-outdoor setting. Tables placed under a cantilevered roof are lit in pools

Pics: Interglobe Hotels

of illumination by downlights recessed in the timber ceiling. Neighboring gazebos enclosed in timber slats are rendered in intimate volumes of warm light. The lighting scheme is prudently controlled through an automated system that allows for flexibility in illumination levels and offers a variety in setting lighting scenes in the dining and bar areas.



Pics: Danish Afroz Siddiqui

GURGAON Design Matrix has used lighting to facilitate a comfortable customer experience in the new series of Looks Salons.Three large disc-like structures mounted on the ceiling emanate brightness similar to that of daylight, creating a general ambient glow. Flower vases placed on the counter at each workstation encase a small halogen uplighter. These lighting tools compliment each other in creating adequate levels and keeping a balance of colour, intensity and direction. While the discs hover above the six coloring and styling stations that require brighter illumination for the artistes to work with precision, the therapy areas are kept in subdued mood light for a more relaxed ambience. Layers of indirect lighting allow for dispensing intimate scenes, while

overhead and frontal lighting serves the make-up artistes in the bridal room. As one walks out of the salon, the experience is a gradual one through a more brightly lit reception that accentuates merchandise to draw the customer’s attention.

Pics: Sunshine Group

SUNSHINE TOWERS MUMBAI Design Matrix was initiated to light the Raja Aederi designed Sunshine Tower, the tallest steel structure in India. The task of providing electrical services to the external façades of the tower at a stage when it was nearly complete was daunting. However, the designers conceived a concept that communicates the architectural integrity of the structural form. Sixty-four LED grazers fabricated in custom RAL color to match the steel finish were installed on the building faces. Mounted 200mm from the bracing members at structural cross points, the 100-watt fixtures with precise narrow beam distribution are tactfully placed to emphasise the form of the building. Topped with an elaborate crown, illuminated with a series of 4000K white LED bulkheads mounted atop each radial, renders it in an enchanting brilliance. These dots are complemented with a softly changing colored light that washes the structure. As the night deepens and offices shut shop, the façade lights are also dimmed. However, the crown remains lit, symbolic of the bustling energy of Mumbai, the city that never sleeps.

DESIGN MATRIX • PARTNERS: Sanjeev Nangia, Harmeet Singh Issar and Nivedita Sehrawat • HEAD OFFICE: New Delhi • NODAL OFFICES: Mumbai and Sydney • ESTABLISHED: 2005 • EMPLOYEES: 15 • CURRENT PROJECTS: Grand Hyatt Hotel & Residences, Gurgaon; DIAL Hospitality District Lighting Masterplanning & Redevelopment, Delhi; Hotel Westin, Kolkata; Shree Cutch Satsang Swaminarayan Temple, Nairobi; Antara Senior Living, Dehradun; RNA Residence at Kemps Corner, Mumbai; Pioneer Lakeview Residence, Bengaluru; Hotel Lazizi Premiere, Nairobi; Hotel Taj Gateway at Theog & Bannerghata, City Palace, Jaipur




David Chipperfield Architects are internationally celebrated as masters of sensitive, intelligent and thought provoking architectural design. Henrietta Lynch takes an in-depth look within the context of light at the architectural palette of DCA’s London and Berlin Design Directors Rik Nys and Alexander Schawrz.




DCA’s rennovation of the Neues Museum, Museum Island, Berlin, Germany.

David Chipperfield Architect’s portfolio of international work spans over 30 years with examples of their prestigious buildings found in diverse nations from Mexico to Sweden. With offices located in London, Berlin, Milan and Shanghai they are well placed to deliver their expertise globally. The Berlin practice has recently been highly acclaimed for the renovation of the culturally significant Neues Museum in Berlin; an intricate and difficult project, which took over twelve years from start to completion. It boasts some of the most carefully considered and beautifully detailed design ever seen in a museum refurbishment project; all of which works to deliver impressive, flowing and tactile spaces glowing with natural light. It is


this very specific approach to light as an intrinsic part of architecture that can be argued as breathing life into DCA’s designs. The Berlin office is now working on another renovation project for Die Neue Nationalgalerie from Mies van der Rohe, also based in Berlin. This is one of Germany’s most important contemporary art galleries and a jewel of late modernist design in which the play of light, shadow, space and the structure of the building are as important as the exhibits. The practice admits to having a democratic and consensus approach to the design of their projects, which is promoted by David Chipperfield himself. This is facilitated through specific team structures that help to deliver clarity of communication.

Each office around the world is staffed by architects and support staff but led via a team of directors who shadow and enable the project managers and architects in their work. Many of the directors have unusual and diverse backgrounds, which help the offices with the delivery of their specific approaches to design. I spoke to Design Directors Rik Nys, from DCA London and Alexander Schwarz from DCA Berlin to try and find out how they work with light as part of their architectural palette. Schwarz originally trained as a violin maker, but despite being rewarded and happy in this profession, found it lonely and partly based in a bygone time and culture. He wanted to extend his expertise to deliver more holistic and universal

designs, so decided to study architecture in Stuttgart at the ETH Zürich (Eidgenössische Technische Hochschule). It was in Stuttgart where Schwarz met Chipperfield who was working as a guest professor there and asked Schwarz if he would like to join his practice. In 1996 Schwarz went to work for DCA in London on the competition for the Berlin Neues Museum. After winning the competition he moved to Berlin in 1998 and became one of the founding members of the Berlin office. DCA was the first architectural practice that he had worked for and he found this experience, together with that of the design for the Neues Museum, as life changing. He describes the design process for the museum as being like a ‘second study’ for all the designers and the museum



Above and below right The Hepworth, Wakefield gallery in West Yorkshire, UK

directors who worked on it, and seminal to the definition of the DCA office culture and attitudes. When asked about the most interesting and influential projects for DCA in terms of lighting design Schwarz cited the Neues Museum, the James Simon Gallery and the Gallery building ‘Am Kupfergraben 10’ which are located near to the Neues Museum in Berlin; but also The Hepworth, Wakefield gallery in West Yorkshire, UK, the Museum Folkwang in Essen, and from a personal perspective the Museum of Modern Literature in Marbach am Neckar; which is located near to his home town, and is the birth place of Friedrich Schiller and houses many of Kafka’s original works, including ‘The Trial’. Schwarz considers daylight to be the most important form of architectural lighting with it often acting as the richest material. He believes it to be at the core of architecture and the most interesting phenomenon with its ever-changing fluid

nature lending the experiential qualities to space and the perception of the architecture. In the context of the Neues Museum, it is used with subtlety to help guide visitors through the exhibition spaces enabling them to democratically choose how to view the exhibits without being specifically directed. He sees this approach as particularly successful in the Egyptian courtyard where the valuable Armana collection is displayed. Schwarz considers that careful modulation of both natural and artificial light are important when defining and controlling space, right through from the skin of the building to its interior. He describes the recycled glass cladding of the Folkwang museum as having a special quality somewhere between that of glass and stone as it “kind of eats up the light and then radiates it back”. In the Museum of Modern Literature, lighting is used sparingly to protect the valuable manuscripts but also to create the appropriate contemplative

atmosphere. He believes that lighting defines the mood of a space and that “if you light a room well, a person and the art can be seen in the same light”. Achieving the specific lighting in a building requires attention to its material qualities and working with those who understand them. DCA have often worked with engineers Arup in the UK and Germany to achieve this, and with key designers such as Andy Sedgwick, who Schwarz describes as “being a pleasure to work with”. Schwarz’s experience as a violin maker taught him the process of making, and gave him an understanding that architecture is also about making things albeit doing so in a dirty and heavy environment with a specific palette of materials including light. He believes that in this environment you must discover where the boundaries lie; learning to work with and love these boundaries thus defining the limitations of architectural possibility and the starting points for creation; bearing in mind that


DCA Berlin Design Director Alexander Schwarz

DCA London Design Director Rik Nys

these boundaries are culturally specific and need to be respected. Any battles waged to be carefully chosen. DCA’s approach to lighting design varies according to projects and within the different offices and as relevant to the design brief. The London office is now working on retail projects including the refurbishment of and design of new space for the Selfridges department store on Oxford Street, London. According to Rik Nys, Design Director in London, this project requires a number of different design solutions including those for shop windows, which interface with the street and connect the merchandise environment with customers and the products available inside. Within the retail space, market streets are created to connect specific brands and sales messages using material and light to sign routes and directions through the store. The aim of this is to create holistic identity but not to override individual brand identities. Here design is



DCA’s rennovation of the Neues Museum, Museum Island, Berlin, Germany.

often used to focus attention and provide orientation. The contrast of light and dark, umbra and penumbra are allowed to define space using a variety of different lighting fixtures and luminaires but also importantly natural light. Nys who said: “and when I say light, I almost always mean natural light,” is adamant about the importance of daylight as part of architectural design. Similar to Schwarz, Nys has an unusual and varied background; as a Belgian he studied architecture in Ghent, Louvain and at the Architectural Association in London. He also studied history and philosophy and has taught extensively in schools of architecture. Again like Schwarz and the DCA approach, he champions an understanding of the processes involved in actually making things as integral to

the production of good design. This vitally includes for the building of scale models of buildings and building components which can be used to tangibly understand space and model light together with other aspects of a building’s design such as façades and shading etc. Such models are also important to communicate designs and design intentions to clients and are often much more useful than digital models in achieving this. Nys admits that creating the desired lit environment for a space also often requires the production of special luminaires and to do this DCA have built up relationships with a number of manufacturing and design partners including Artemide, Viabizzuno and Zumtobel. The production of such individual design items means that the identity of

the architecture can be reinforced and supported, but also creates design items that can be used as part of other projects and potentially by other architects and designers. Schwarz and Nys have different but similar ideas about the use of light in architecture, but their combined approaches start to describe an overall DCA philosophy. A central theme of this is the use of natural light as a key design material but also the use of intricate and careful details and a respect for cultural significance and meaning. Light is used to build architecture and experience, and to focus, guide and reflect attention within physical, emotional and intellectual space, allowing for relevant boundaries to be observed.

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THE ‘GLOCAL’ COMMUNITY Planting the seed of lighting design, Barbara Horton, president of the International Association of Lighting Designers, is making her mark as teacher, leader and visionary within the global and local design community. Vilma Barr discovers how a short term project turned into a life long passion, her biggest challenges and aspirations for emerging talents within the industry.


Barbara Horton, FIALD, MIES, LC, oversees five HLB Lighting Design offices around the US. She is president of the International Association of Lighting Designers, is a member of the Illuminating Engineering Society, serves on the Board of Directors of the Nuckolls Fund for Lighting Education, has served as a judge in the Next Generation Luminaires competition sponsored by the Department of Energy SSL Steering Committee, and is an affiliate member of the American Society of Landscape Architects. What’s Horton’s biggest challenge? “Time!” she answered emphatically. In her role as president and chief executive officer of HLB Lighting Design, Horton combines a visionary perspective of the firm’s growth with a pragmatic approach to every design. Now, as president of the International Association of Lighting Designers, she is intent on giving a strong voice to all the organisation’s geographical components, and to gaining support for credentialing for lighting designers worldwide. Horton, a native New Yorker, earned a degree in interior design at the Fashion Institute of Technology. She took on a temporary three-week assignment in the office of Jules Horton. “It stretched into three months, then three years, and now it’s been over 30 years,” she affirmed. Horton has maintained the high-energy profile that characterised the office that she initiated, and has focused on encouraging a firm-wide entrepreneurial spirit as a major factor in the firm’s growth.

UC Berkley Memorial Stadium, Berkley, California, USA

With the opening this spring of the HLB office in Miami, the professional and support staff now numbers over 60, the largest independent multi-office lighting design consultancy in the US, with additional offices in New York, San Francisco, Los Angeles and Boston. Horton is a strong advocate of shared leadership. “If you want to describe our style, it is that collectively we are design and client-focused,” described Horton. “There are eight principals, they have strong input into go/

no-go decisions in their offices for selecting work, design approach and managing their staff while working collaboratively among all offices,” she stated. Based in New York are Stephen W. Lees, Hayden N. McKay, and Lee E. Brandt; with E. Teal Brogden and Tina Aghassian in Los Angeles; Angela L. McDonald in the San Francisco office; and Carrie Hawley in Boston. Horton is leading the Miami office while based out of New York. The firm will invest marketing and promotional efforts in introducing the HLB




Miami office to professional designers in the southeast market along with other markets in which it sees strong opportunities. “Our principals are looking ten years into the future with continued opportunities for growth. To support this objective, the firm has built a strong support infrastructure, employing a human resources specialist and a national multi-media marketing and communications manager. A succession plan is in place along with a detailed ownership transition guide. Adherence to high design standards and operational decision-making are on a near-equal par on any business day,” Horton estimated. Approximately 80% of HLB’s projects are commissions from architects and interior designers, with the balance from developers and owners. Currently, there are over 250 active projects on the books, ranging from lighting master plans for mixeduse environments, to airports and other transportation facilities, corporate offices, embassies, plus academic, hospitality, and retail projects. The HLB staff is a mix of designers with backgrounds in theatre, architecture, interiors, landscape architecture, and engineering. “It’s important to plant the seed for the future of lighting design into

design schools… making very apparent to the students what makes the lighting industry exciting and rewarding, and establishing a welcoming environment for new talent,” Horton emphasised. She has been an instructor in lighting design at the Parsons School of Design, where her objectives included exercises in abstract thinking, the introduction of a practical design process, and the importance of developing communications skills, which she feels is a necessary ingredient in making presentations that explain a concept to others on the design team and to clients. She approaches her duties as president of the IALD with the same type of wideranging, encompassing, empowering style that distinguishes carrying out her company’s managerial duties. Horton consulted with past IALD presidents and asked them about experiences during their terms, posing queries relative to what they felt had been successfully accomplished, and what they would do differently if they could. She created a wish list aligned with the IALD plan of work, and at the top was encouraging an increase in involvement in sharing ideas and experiences from chapters located at considerable distance from North America.

“An important goal of mine is membership outreach,” she stated. To express her agenda to its best advantage, she would do it in person. She established a travelogue that took her virtually around the world: Berlin, London, Paris, Tokyo, Singapore, and Sydney and Melbourne in Australia, where she met with many designers. “In this way, designers everywhere get to relate to an individual and see the IALD as a community, comprised of others who have the same issues as you do. The IALD and its members can provide the information that can help the membership with solutions that apply to the ongoing success of their practices,” explained Horton. The designer pointed out that the IALD’s global growth initiative started well before she became president. “We recognise that we needed someone who can be on the ground in various locations to facilitate communications and create the synergy

Left page Top left Coney Island Steeplechase Plaza and B&B Carousel, New York, USA Top Right Langham Hotel Lobby, Boston, USA Second row Hall of Wines Saint Helena Vineyard, California, USA Bottom LAX Tom Bradley International Terminal Curbside Development, LA, USA On this page Pandora Media HQ, New York, USA



HIGHLIGHTS Projects that you’d like to change: I would like to re-do the WWII Memorial which was completed in 2004 to LED because of changes in technology. Projects you admire: Working with clients that challenge my thinking and design approach is very enjoyable to me. Landscape architects particularly, are great to work with because of the magic that light creates at night within parks and giving back to the community.

Pandora Media HQ, New York, USA

locally. In addition to those in Chicago, we now have staff in the UK, Japan, and Brussels.” With the accelerated pace of changes in the industry, she foresees the need for open dialogue connectivity and a working feedback system. Horton continued: “The IALD has many avenues to foster community ‘glocally’ as we like to say. The Enlighten Conference is a key component of our professional development and educational programmes for our members and is well established in North America, Japan and Europe, in addition to our partnership with Lightfair and alliances with many other lighting design-related and professional organisations around the world.” Horton’s activism in the global approach to the practice of lighting design started when she joined the IALD Board of Directors in 2009 and participated in the movement to accredit lighting designers worldwide. “IALD members and staff began a taskforce to study the possibilities, joined by other industry organisations, to evaluate the pros and cons. This process led to us retaining a psychometric consultant whose expertise is to help organisations develop credentialing. There is universal agreement that lighting

design is a complex undertaking, from energy conservation to the effects of light on health and wellness and the psychology of light, that needs to be addressed on a day-to-day basis. One of the first tasks was to define just what a lighting designer is.” On-going recognition by designers is a major component for the establishment of credentials to gain recognition from authorities in the governing bodies in countries around the world. Horton emphasised: “I am hoping that within a few years we will be well on our way with both. The CLD program was launched just prior to Lightfair in May 2015, which gained greater exposure through open forum discussion and overview sessions.” There is an independent governance body and 30 international reviewers to evolve the program that will meet the needs of lighting designers worldwide. “I admire the resolve of the CLD task force, governing body and thoughtful industry leaders for giving their time and expertise throughout the process, and on to its fruition,” concluded Horton, voicing a strong positive outlook for the success of the program.

Projects you dislike: I have seen many lighting projects that don’t inspire me, and the recent relighting of the Empire State Building in New York City for one leaves me cold. This building is a wonderful symbol of an architectural era and of an important city. The current lighting is less about revealing the architectural form and more about LED technology (colour change and flash). I’m a proud native New Yorker and I’d like to see the building use light to reveal the grand form in white and use colour and motion with considerable restraint for special celebration. Lighting Hero: Jonathan Speirs of Speirs + Major. He possessed the creative and technical expertise I admire. He raised the bar for the entire profession of lighting design. Notable projects: San Francisco City Hall, World War II Memorial, LAX Tom Bradley International Terminal, Tobin Center for the Performing Arts, Boston Symphony Hall. Most memorable project: My most memorable project continues to be The National World War II Memorial in Washington, DC. The project enlightened me on a moment in history, and the symbolism of transforming a world out of darkness in the memorial, was a rewarding challenge for our design team. Current projects: The Underline, Miami, High Bridge Renovation, New York; Louis Armstrong New Orleans International Airport, Telus Sky Tower, Calgary; Vancouver House, Hynes Convention Center, Boston Awards: Verizon Innovation Center, San Francisco; Hotel Bel Air, Los Angeles; City Creek Center, Denver; Marriott Long Wharf, Boston; Langham Hotel Lobby, Boston; Stanford Law School, William H. Neukom Building, Stanford, California; UCLA Pauley Pavilion, Renovation and Expansion, Los Angeles; Vancouver Convention Center Expansion

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Photograph by Bas Princen, Courtesy of Fondazione Prada

Photograph by Bas Princen, Courtesy of Fondazione Prada


CONFRONTING CONDITIONS Thanks to the work of Rem Koolhaas and his team at architectural practice OMA, along with lighting practice Les éclaireurs, the new Milan venue of Fondazione Prada provides a popular environment for artists, while bringing old into the new.

The new Milan venue of Fondazione Prada, conceived by architectural firm OMA and led by Rem Koolhaas, expands the repertoire of spatial typologies in which art can be exhibited and shared with the public. Characterised by an articulated architectural configuration, which combines seven existing buildings with three new structures: Podium, Cinema and Tower, the new venue sees a gin distillery dating back to the beginning of the 20th Century restored and transformed.

Photograph by Bas Princen, Courtesy of Fondazione Prada

The expansive project came with two conditions – preservation of the existing building and the creation of new architecture, which although separate confront each other in a state of permanent interaction. Located in Largo Isarco, in the south of Milan, the compound covers an overall surface of 19,000m². Working alongside OMA, lighting practice Les éclaireurs was responsible for the lighting throughout, providing a flexible and powerful tool for Fondazione Prada

Photograph by Bas Princen, Courtesy of Fondazione Prada

to exhibit modern and contemporary art pieces. For the renovated elements there was a strong desire to retain traces of the intervention and restoration that took place and so reinforcement beams have been exposed and painted with contrasting colours; the plaster refection has been left raw; and breakthroughs and doors are clearly identifiable through the use of brushed aluminium and large windows. Haunted House, a permanent exhibition

Photograph by Charlie Koolhaas, Courtesy of Fondazione Prada



Pic: copyright les éclaireurs - Lucas GOY

Lighting inside the Podium presents the sculptures in a mineral and artificial landscape composed of marble-travertine slabs laid on transparent acrylic slides. This central museum section features glass façades on three sides.

Picture taken during commissioning: copyright les éclaireurs - Lucas GOY

in the space, takes up a four level section of the renovated distillery. Designed with gold leaf cladding it displays masterpieces from the Fondazione Prada collection and required complete concealment of all technical equipment. Lighting was realised by three phase tracks featuring ERCO Parscan 24W spotlights - used with wide flood distribution to achieve uniform ambient lighting in the exhibition spaces, while ERCO Parscan 12W with spot and flood

lenses allow the exhibits to come to the foreground of attention. The minimalist design of the grey Parscan spotlights blends unobtrusively into the structural steel work of the existing building, directing the focus entirely on the illuminated exhibits. The flanking galleries feature Parscan 12W spotlights and 12W lens wall washers for perfectly uniform illumination of the paintings, emphasising their expressive colours.


DOPPIO Successful new product developments emerge from a sense for materials and shapes in combination with high attention to handicrafted details. This harmony, caught and implemented in the clear design of glowing rings, is the vision for our product series DOPPIO. You have the choice between 7 sizes with direct and direct/indirect light distribution.







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Inside the Cinema, the space gives a nod to the 1970s with its black carpet throughout and fluorescent lighting, slipped under a perforated, folderd, metal mesh, creates a strong welcoming into the room.

Pic: copyright les éclaireurs - Lucas GOY

JAPANESE 建築事務所 OMA により考案され、 Rem Koolhaas の指揮のもと プラダ財団 (Fondazione Prada) は新たにミラノに設置され、 空間のタイポロジーの幅を広げました。 プラ ダ財団の空間を利用して、 アートの展示や公 開が可能です。既存のビル7棟と新たに3つの 構造を組み合わせた、明確な建築物の構成 が特徴的です。 新しい会場 (演壇、 映画、 タワ ー) では、 20世紀初期のジンの蒸溜所が改 築、改装されています。 この幅広いプロジェクトには、既存のビルを 保存することと、新しい建築を生み出すことと いう条件が2つありました。 この条件は、 それ ぞれは全く別のものですが、不変的に絡み合 い、 それぞれが対比されます。 当財団は、 ミラ ノの南部にあるラルゴ・イザルコに位置し、総 面積19,000平方メートルの土地に設立され ています。 照明業者Les eclaireurs は OMA

と協力し、広大な空間全体の照明を担当し、 プラダ財団が近代/現代のアート作品を展 示できるように柔軟で力強いツールを提供し ています。 Les eclaireursは、 ビルの照明を提供し、 オー プニング時の展覧会の2つでの 照明 を委託 しました。 1)古典彫刻にフォーカスし、演壇と ビーム部分で実施される Serial Classic (連 続する古典)

CHINESE Fondazione Prada 设在米兰的新场馆由建 筑公司 OMA 承担设计任务,设计团队由 Rem Koolhaas 担任领导。艺术馆扩建后, 向公众展览的展品更为丰富。以精良的建 筑结构为特色,同时在现有的七所建筑中 融入三种全新结构:Podium、Cinema 和 Torrre。新场馆对一家建于 20 世纪初的杜 松子酒厂进行了恢复和改造。 这项扩建项目需要处理两种情况:保护现

有建筑和新建建筑,这两种情况相互影 响。场馆位于米兰南部的 Largo Isarco, 总面积达到 19,000 平方米。照明设计公司 Les eclaireurs 与 OMA 合作,负责整个区 域内的照明工程,为 Fondazione Prada 提 供现代艺术品展览所需的灵活且功能强大 的工具。 Les eclaireurs 在提供建筑照明的同时,设 计并策划了两次开幕展:Serial Classic 致 力于展览古典雕塑,展览设在 Podium 和 Beam 展厅。

FRANÇAIS Conçu par le cabinet d’architectes OMA et dirigé par l’architecte Rem Koolhaas, le nouveau lieu de la Fondation Prada à Milan élargit le catalogue de typologies spatiales dans lesquelles l’art peut être présenté et partagé avec le grand public. Caractérisé par une configuration architecturale articulée, qui associe les

sept bâtiments existants à trois nouvelles structures — un podium, un cinéma et une tour, ce nouvel espace rénove et transforme une distillerie de gin du début du XXe siècle. Le projet d’expansion présentait deux conditions ; la conservation du bâtiment existant et la création d’une nouvelle architecture. Bien que séparées l’une de l’autre, ces deux structures interagissent de manière permanente dans l’ancienne usine Largo Isarco au sud de Milan, où le complexe occupe une surface globale de 19 000 m2. Travaillant aux côtés du cabinet OMA, l’agence « les éclaireurs » régenta de son œil expert l’éclairage de ce vaste espace, fournissant ainsi un centre d’exposition d’œuvres d’art moderne et contemporain malléable et puissant à la Fondation Prada. En plus de l’éclairage du bâtiment, l’agence « les éclaireurs » conçut et mit en service l’éclairage de deux des expositions d’ouverture : Serial Classic »présentée dans le Podium et qui met l’accent sur la sculpture classique, et l’exposition «Beam »


Pic: copyright les éclaireurs - Lucas GOY

As well as delivering the building lighting, Les éclaireurs designed and commissioned the lighting of one of the opening exhibitions - Serial Classic, which focuses on classic sculpture and takes place in the Podium and Beam spaces. The Podium forms the central museum section and features glass facades on three sides; the lighting presents the statues in a mineral and artificial landscape composed of marbletravertine slabs laid on transparent acrylic slides. The lighting had to present the sculptures at every angle and seeks to avoid imposed views on the meaning or aesthetics of them. The sculptures are illuminated to minimise shadows and provide a complete

DEUTSCH Der neue Mailänder Veranstaltungsort von Fondazione Prada, der durch das Architekturbüro OMA konzipiert und durch Rem Koolhaas geleitet wurde, erweitert das Repertoire räumlicher Typologien, in denen Kunst ausgestellt und mit dem Publikum geteilt werden kann. Der neue Veranstaltungsort, charakterisiert durch eine architektonische Gliederkonfiguration, die sieben bestehende Gebäude mit drei neuen Strukturen kombiniert: Podium, Cinema and Torrre, ist eine restaurierte und umgebaute Gin-Brauerei aus dem beginnenden 20. Jahrhundert. Das aufwendige Projekt stellte zwei Bedingungen – Bewahrung des bestehenden Gebäudes und Schaffung einer neuen Architektur, die, auch wenn sie getrennt sind, in ständiger Interaktion stehen. Das Gelände in Largo Isarco, südlich von Mailand, umfasst eine Gesamtfläche von 19.000 m². Die für die Beleuchtung des gesamten großen Raums in Zusammenarbeit mit OMA verantwortliche Beleuchtungspraxis Les eclaireurs

reading of the details. Directions of light are specifically designed to reduce the shadows and allow light to penetrate into the sculptural volumes. ERCO Optec contour spotlights and Pantrac lens wall washers are combined in the space to deliver superb professional LED lighting tools. Parscan 12W with Spherolit lens with spot and flood distributions complement the Parscan 4W with narrow spots to illuminate and accentuate the ancient masterpieces, bringing out even the finest of details for a three-dimensional effect that is delivered with absolute photometric precision. On the first level of the Podium, Pantrac LED lens wall washers 24W, 4,000K,

stellte ein flexibles und leistungsstarkes Tool für die Fondazione Prada zur Verfügung, um moderne und zeitgenössische Kunststücke auszustellen. Neben der Gebäudebeleuchtung konzipierte und baute Les eclaireurs die Beleuchtung von zwei der Eröffnungsausstellungen: Serial Classic mit Schwerpunkt auf klassische Skulpturen im Podium und Beam.

ITALIANO La nuova sede milanese della Fondazione Prada, pensata dalla ditta di architettura OMA e capeggiata da Rem Koolhaas, amplia la gamma delle aree in cui l'arte può essere esposta e condivisa con il pubblico. Caratterizzato da una configurazione architettonica articolata, che unisce sette edifici esistenti con tre nuove strutture: Podio, Cinema e Torre, la nuova sede non è altro che una distilleria di gin che risale agli inizi del 20° secolo, ma restaurata e trasformata. Il progetto per l' espansione è nato con due condizioni: conservazione dell'edificio esistente e creazione di una nuova architettura che, anche se vede gli edifi-

ci separati l'uno dall'altro, restano comunque in uno stato di permanente interazione. Situato in Largo Isarco, a sud di Milano, il complesso si sviluppa su una superficie di 19.000 m2. Lavorando fianco a fianco con OMA, gli esperti Les Eclaireurs si sono occupati dell'illuminazione di tutto il vasto spazio, fornendo uno strumento flessibile e potente per la Fondazione Prada di esporre opere d'arte moderna e contemporanea. Oltre a fornire l'illuminazione dell'edificio, Les Eclaireurs ha progettato e commissionato le luci di due delle mostre di apertura: Serial Classic, che si concentra sulla scultura classica e si svolge nel Podium e Beam.

ESPAÑOL El nuevo lugar de la Fundación Prada en Milán, concebido por la firma de arquitectos OMA y dirigido por Rem Koolhaas, amplía el repertorio de las tipologías de espacio en el cual se puede exhibir el arte y en el que se puede compartir con el público. Se caracter-

iza por contar con una configuración arquitectónica articulada, la cual combina siete edificios existentes con tres nuevas estructuras: Podium, Cinema y Torre. El nuevo lugar da a una destilería de gin que data de principios del siglo 20, la cuál ha sido restaurada y transformada. El proyecto de ampliación tuvo dos condiciones - la preservación del edificio ya existente y la creación de una nueva arquitectura, la cual, a pesar de estar por separado, debía confrontarse una con otra en un estado de permanente interacción. Ubicado en Largo Isarco, en el sur de Milán, se desarrolla sobre una superficie total de 19.000 m2. Al trabajar junto con OMA, Les eclaireurs estuvo a cargo de la iluminación a lo largo del vasto espacio, ofreciendo una herramienta flexible y poderosa para la Fundación Prada para exhibir piezas de arte modernas y contemporáneas. Además de encargarse de la iluminación del edificio, Les eclaireurs diseñó y se hizo cargo de la iluminación de dos de las exhibiciones de la apertura. Serial Classic, que se enfoca en la escultura clásica y que se lleva a cabo en el Podium y Beam.



Photograph by Bas Princen, Courtesy of Fondazione Prada

Pic: copyright les éclaireurs Lucas GOY

Photograph by Bas Princen, Courtesy of Fondazione Prada

Photograph by Bas Princen, Courtesy of Fondazione Prada

illuminate the wall surfaces in a uniform manner in neutral white light resembling daylight a lighting concept that produces a wide and spacious impression of the room. The exhibition that takes place in the Beam space is more didactic and attempts to show techniques of copying and the differences between originals and copies, using video mapping on a block of marble to illustrate this. The Cinema acts as a mirror to the Podium; with its stainless steel mirrored façade it multiplies the Podium, extending its outlines. Inside, the room is lined with black carpet – a nod to the 1970s from OMA and Prada – while a large chandelier dominates the entrance hall and fluorescent

lighting, slipped under a perforated, folded metal mesh, creates a strong welcome sign, extending into the room. The lighting features Zumtobel Linaria with T5 seamless fluorescent lines, positioned between the metal beams of the ceiling with alternate beams forming black and white stripes on the ceiling of the cinema. Steel bars complete the system between each fluorescent line in order to be able to fix stage projectors and allow for different stage configurations. Zumtobel Linaria are also used for the Podium ceiling, general corridors and toilets, while Zumtobel ZE with T5 fluorescents, under PMMA grey cores are attached to the curved ceiling of the foyer.

Robert Juliat ZEP 340LFWW fresnel projectors with 150W LED have been specified for the exhibitions in the Great Hall, the Tank and the Cinema, along with Robert Juliat TIBO 533WW profile projectors with 150W LEDs. At almost 70m long and 20m high, the Great Hall is a huge space dedicated to monumental exhibitions and events. Having been partly dismantled for the construction of the tower, its structure has been reinforced by visible steel beams that have been painted orange. The Tank, which faces the Great Hall consists of three exhibition spaces each 15m in height and a totally transformed eastern façade, with the addition of balconies and large contemporary windows. In both


Copyright OMA

buildings lighting is achieved through stage projectors fixed onto a special cable tray system with a continuous scenic bar; RJ45 and power sockets allow for multiple configurations to be performed. General lighting for mounting and cleaning is delivered through high-power asymmetrical floodlights that are wall mounted. The original north and south galleries have been subtlety rehabilitated while leaving the structural reinforcements exposed. A series of clean rooms in raw and industrial atmospheres hosting the temporary exhibitions have therefore been created. The existing lighting with T26 fluorescent lines on the trunking system has been removed and replaced with

identical equipment but now featuring DALI ballast allowing for individual dimming. Three phase tracks for installing exhibition projectors were added alongside the fluorescent lines - again, working with lighting and general lighting enhancements of works with the use of spotlights. The venue is equipped with intensive and semiintensive LED spotlights, a number of LED profile projectors and wall washer lighting for artwork on entire sections of walls, all from ERCO. For such vast lighting design, a powerful centralised management system was required. Les ĂŠclaireurs designed a complete DALI management system, including execution studies: DALI relay,

The Cinema acts as a mirror to the Podium, with its stainless steel façade mirroring and multiplying the Podium, extending its outlines. The Great Hall is a huge space and having been partly dismantled for the Tower, its structure has been reinforced by visible orange steel beams. The original north and south galleries have been rehabilitated while leaving the structural reinforcements exposed.



Pic: copyright les éclaireurs - Lucas GOY

The lighting project designed multiple environments in the corridors and toilets; either exposed lines or highly integrated, making use of LED lines that all run on presence detection.

Pic: copyright les éclaireurs - Lucas GOY

dimmers, management for single lights and so on, with multiple lighting scenarios made for each space. A heliometer analyses the amount of sunshine and sky typology there is and automatically switches between different lighting scenarios: sunny, day, cloudy day, dusk, twilight, night, building closure. A wireless touchpad allows for control at any point with wall panels dedicated to each space. For the main exhibition spaces, lighting is reconfigurable via a graphic interface again designed by Les éclaireurs. It allows the user to select the fixtures one by one, in groups, or individually to graduate as they please. Moving outside of the space, the exterior sections between the individual buildings of the complex are illuminated using warm white light. Beamer projectors in 36W from ERCO with flood distributions set off the paved pathways, with the special outdoor

floodlights of ERCO’s Lightscan range providing lighting for the ground around the entrance areas. Excellent glare control from the ERCO outdoor luminaires ensures a high level of visual comfort and makes sure that the light shines precisely when needed. This once abandoned industrial space has become a popular environment for artists to display their work, with its predictable conditions non-conflicting with the artists’ intentions, merely enlivened occasionally with exceptional architectural gestures. Not a preservation project and not new architecture, the Fondazione sees two conditions confront one another in a state of permanent interaction – offering an ensemble of fragments that do not congeal into a single image or allow any part to dominate others.

PROJECT DETAILS Fondazione Prada, Milan, Italy Client: Fondazione Prada Architects: OMA Scenographers: dUCKS scéno Lighting Design: Les éclaireurs

LIGHTING SPECIFIED Disano Rapid System with T8 fluorescents ERCO Beamer LED spotlights ERCO Lightscan LED luminaires with oval filters ERCO Parscan small and medium fixtures with narrow and flood optics ERCO Parscan small and medium fixtures with narrow and flood optics and special bracket ERCO Pantrac asymmetrical ceiling washlight ERCO Optec spotlights with profile lense Zumtobel linaria with T5 seamless fluorescents Flux-Lighting Xline LED ramps Robert Juliat ZEP 340LFWW fresnel projectors with 150W LED Robert Juliat TIBO 533WW profile projectors with 150W LED Zumtobel ZE with T5 fluorescents Zumtobel linaria with T5 seamless fluorescents

LIGHT LIGHT EMITTING DREAMS Awaken your imagination with Lumascape precision engineered LED lighting solutions. Design. Create. Illuminate.




Pics: © Studio Dubuisson


DEVOTED TO ART Lighting design practice L'Observatoire International brings the artistic vision of Bernard Arnault and the architectural design from Frank Gehry to life through intelligent and intricate lighting design.

Standing in the heart of Bois de Boulogne, Paris, in October last year La Fondation Louis Vuitton opened the doors of its first commissioned stand-alone building, dedicated to the display of artistic creations in all forms. Commissioned by Bernard Arnault and designed by Frank Gehry, at the heart of the space the public is invited to discover the permanent collection made up of works belonging to the Fondation and drawn from Arnault’s personal collection, as well as temporary exhibitions – two per year – and musical events in the auditorium. Twelve mainsails, made up of 3,600 glass panels, shape the building, housing a total surface area of more than 11,000m², including 7,000m² available to the public. The building holds eleven galleries

dedicated to the collections, along with a 350-seat auditorium featuring a modular design. The visionary collaboration between Frank Gehry and Bernard Arnault inspired architectural lighting designer Herve Descottes, Principal of L’Observatoire International, to add his poetic vision and infuse La Fondation with the luminous vitality that the structure commands. The building has a very different presence during the daytime compared with at night because of the layering of the glass sails and the way the lighting works within it. During the day the exterior of the building feels more opaque – the glass and the frit embedded on it, reflects the daylight giving a sense that the exterior is more of a definitive shell with subtle cracks in

between, which are felt in the shadow. As night falls however, the structure undergoes a breathtaking transformation from opaque shell to glowing lantern, as the central core of the building begins to glow with warm light and the glass sails, made transparent by the night sky, take on a delicate, almost diaphanous quality. The lighting allows the glass to become cloud-like and the architectural layers behind it become more present. In this sense, elements that were in the shadows during the day are bathed in light at night. The lighting has been designed to allow the spaces in between, to glow subtly behind the glass while not completely losing the presence of the glass itself. It is about seeing and experiencing the building as a cloud-like object, but also as a series of



The intensity of the forms and spaces of the building mean the lighting needs to find a way to feel as though it is coming from the architecture, not simply applied to it. It was also important that there was an honesty about the presence of the lighting fixtures themselves.

This pic and opposite The candela intensity of the lamps was extremely important as was the CRI. Following numerous tests and changes from CRI80 to CRI90, along with adjustments to ensure a good level of candela intensity, Lucent Prospex Pinhole Accent Trim downlights with Xicato engines were specified by Ingelux, the technical lighting consultants, for high ceilings areas, while Lucent Prospex Pinhole 90 Accent downlights using LED50 Gen 1 engines feature throughout general public areas. A deeper baffle on the standard Pinhole to avoid any effect on the walls as initially there was an effect on the beam, which was to be avoided. Targetti Pyros are used on the ‘powerbars’.

moments that are woven together. The architecture is present and at the same time not present, with the lighting trying to evoke this. “His architecture is of course very distinct and dramatic,” comments Descottes on his collaboration with Frank Gehry, “so in turn, the lighting has to follow the movement of the architecture without overpowering it.’’ “With La Fondation we wanted people to see and experience the architecture as a series of moments woven together, creating a beautiful suspension of material reality.” Working within such a magnificent architectural structure naturally brought about challenges when implementing an appropriate lighting system. According to L’Observatoire International, when working with the Gehry team, lighting is always a

challenge – but one that the practice loves to embrace. The intensity of the forms and spaces of the building mean the lighting needs to find a way to feel like it is coming from the architecture, not simply applied to it. There also needs to be an honesty about the presence of the lighting fixtures themselves and as such, the Gehry team often exposes the building materials for what they are… steel members, glass and its systems etc and so the lighting needs to do the same. The fixtures are exposed, not over designed individually, but they blend with the honesty of the architecture in which they are integrated. At the most basic level, the main challenge is often where the fixtures can be located in such a complex architectural geometry while still being able to illuminate the

necessary floor surfaces and so on. Luckily, having worked with the Gehry team over many years (including Walt Disney Concert Hall in 2003 and the Guggenheim Abu Dhabi, due to open in 2017) L’Observatoire International was able to work with the team digitally to get the fixtures in the right spots. In the project’s infancy, LED technology wasn’t exactly at the point it is at today in terms of efficacy and refinement; the offering from the lighting industry was much more traditional, meaning comparisons with more mature technologies were recurrent and under serious consideration at points. However, as time has gone on and products have developed, dimmable integrated LED fixtures were chosen in the final design, aided by French

The façade is lit with Targetti Pyros (white 3,000k + RGB LED 42W) luminaires.

JAPANESE フォンダシオンルイ・ヴィトンは、昨年10月、 パリ のブローニュの森の中心に、 あらゆる形式のア ートを展示するためだけに開設されました。 フォンダシオンが所有する作品の常設コレク ション、 Arnaud の個人コレクションの一部、 一時的な展覧会 (年に2回)、 ホールでの音 楽イベントをご覧いただけるように、Bernard Arnault の委託、 Frank Gehry のデザインで 作られた当空間の中心部が一般公開されまし た。 3,600枚のガラスパネルからなる12個のメイ ンセイルでビルが作られています。 当ビルの総 面積は11,000平方メートルで、 そのうち7,000 平方メートルが一般に公開されています。 この ビルには、 モジュール設計のホール (350席 収容) だけでなくコレクション専用のギャラリー

11個があります。 Frank Gehry と Bernard Arnaud の夢のよ うなコラボが、 L’Observatoire International の社長で建築照明デザイナーの Herve Descottes 氏に対するインスピレーションとなり、 建物から 同士の空想的なビジョンが追加され、 の得られるイキイキとした照明の力がフォンダ シオンに注入されました。

CHINESE La Fondation Louis Vuitton 坐落于法国巴黎 的布洛涅森林公园的核心位置,将于 10 月 份对外开放其首个委托的独立建筑,专门用 于展览各种艺术品。 由 Bernard Arnaud 委托,Frank Gehry 进行 设计,届时将邀请公众参观艺术区的核心, 欣赏永久收藏品、临时展品以及在大礼堂举 办的音乐会。收藏品包括属于 Fondation 的

作品以及 Arnaud 个人收藏品,每年举办两 次展览。 十二个主帆由 3,600 块玻璃板组成,建筑的 总面积达到 11,000 多平方米,其中 7,000 平 方米对公众开放。建筑共设有 11 间用于举 办展览的画廊,以及设有 350 个座位、采用 模块化设计的大礼堂。 Frank Gehry 和 Bernard Arnault 之间的梦想合 作为建筑照明设计师 Herve Descottes(L’Observatoire International 的负责人)赋予灵 感,增加了诗意,并为 La Fondation 的建筑 照明注入活力。

FRANÇAIS En octobre de l’année dernière, la Fondation Louis Vuitton a ouvert les portes de son premier bâtiment autonome au cœur du Bois de Boulogne à Paris. Ce lieu est consacré aux créations artistiques sous toutes leurs

formes. Le public est invité au cœur de l’espace commandé par Bernard Arnaud et conçu par Frank Gehry, pour y découvrir la collection permanente composée d’œuvres appartenant à la Fondation et d’autres provenant de la collection personnelle de M Arnaud, ainsi que des expositions temporaires — deux par année — et des événements musicaux dans l’auditorium. Douze voiles constituées de 3 600 panneaux de verre concèdent sa forme à ce bâtiment de plus de 11 000 m2, dont 7 000 m2 sont mis à disposition du public. Le bâtiment présente 11 galeries destinées aux collections et un auditorium à conception modulaire de 350 places. La collaboration éclairée entre Frank Gehry et Bernard Arnault inspira le concepteur d’éclairage architectural Hervé Descottes, directeur de L’Observatoire international, qui rajouta sa propre vision poétique en offrant à la Fondation une vitalité lumineuse maitrisée par la structure.



The illumination from the Targetti Pyros gives the building a cloud-like appearance at night.

DEUTSCH Mitten im Bois de Boulogne, Paris, öffnete letzten Oktober La Fondation Louis Vuitton die Tore ihres ersten, in Auftrag gegebenen alleinstehenden Gebäudes, das der Darstellung künstlerischer Kreationen in allen Formen gewidmet ist. Im Zentrum des durch Bernard Arnault in Auftrag gegebenen und durch Frank Gehry entworfenen Bereichs werden die Besucher eingeladen, die Dauerausstellung zu entdecken, die sich aus Werken, die im Besitz der Stiftung sind, und einigen aus der persönlichen Sammlung von Arnault zusammensetzt, sowie die Wechselausstellungen – zwei pro Jahr – und musikalische Veranstaltungen im Auditorium. Zwölf Großsegel aus 3.600 Glasplatten formen das Gebäude mit seiner Gesamtfläche von mehr als 11.000 m², einschließlich 7.000 m², die der Öffentlichkeit zur Verfügung stehen. Das Gebäude besteht aus 11 Galerien, die den Sammlungen gewidmet sind,

sowie einem Auditorium mit 350 Sitzen und einem modulierbaren Design. Die visionäre Zusammenarbeit von Frank Gehry und Bernard Arnaud inspirierte den Lichtdesigner Herve Descottes, Direktor von L’Observatoire International, seine poetische Vision hinzuzufügen und die Stiftung mit der leuchtenden Vitalität, die die Struktur verlangt, zu durchfluten.

ITALIANO Nel mese di ottobre dello scorso anno la Fondazione Louis Vuitton, situata nel cuore di Bois de Boulogne (Parigi), ha aperto le porte del suo primo edificio autonomo dedicato all'esposizione di creazioni artistiche in tutte le forme. Commissionato da Bernard Arnault e progettato da Frank Gehry, al centro dello spazio espositivo il pubblico è invitato a scoprire sia la collezione permanente composta da opere appartenenti alla Fondazione e disegnate dalla collezione personale di Arnaud, sia le

mostre temporanee, due all'anno, e gli eventi musicali nell'auditorium. L'edificio, che vanta una superficie totale di più di 11,000m2 (compresa un'area di 7,000m2 aperta al pubblico) è formato da dodici rande a loro volta costituite da 3.600 pannelli di vetro. Inoltre il palazzo contiene 11 gallerie dedicate alle collezioni ed un auditorium da 350 posti che combina un design modulare. La collaborazione virtuale tra Frank Gehry e Bernard Arnaud ha ispirato il progettista d'illuminazione architettonica Herve Descottes, Principal de L'Observatoire International, in modo da aggiungere la sua visione poetica ed infondere la Fondazione della vitalità luminosa suggerita dalla struttura stessa.

ESPAÑOL El último Octubre, en el Bosque de Boulogne, París, la Fundación Louis Vuitton abrió las puertas de su primer edificio independiente dedicado a la exhibición de creaciones artísticas en todas sus formas.

En el corazón del espacio, del cual estuvo a cargo Bernard Arnault y el cual fue diseñado por Frank Gehry, se invita al público a descubrir la colección permanente compuesta de obras pertenecientes a la Fundación y de la colección personal de Arnaud, así como exhibiciones que se encuentran de manera temporaria- dos por año- y a los eventos musicales en el auditorio. Doce velas mayores, compuestas de 3.600 paneles de cristal, le dan forma al edificio que alberga una superficie total de más de 11.000 m2, incluyendo 7.000 m2 disponibles para el público. El edificio cuenta con 11 galerías dedicadas a las colecciones, junto con un auditorio con capacidad para 350 personas que presenta un diseño modular. La colaboración visionaria entre Frank Gehry y Bernard Arnaud inspiró al diseñador de iluminación arquitectónica, Herve Descottes, Director de L’Observatoire International, a que añadiera su visión poética e infundiera a la Fundación de una vitalidad lumínica que demandaba la estructura.

“(Gehry's) architecture is of course very distinct and dramatic, so in turn, the lighting has to follow the movement of the architecture without overpowering it.” Herve Descottes, principal, L’Observatoire International

practice Ingelux, which was tasked with the detailed lighting design, allowing for a degree of sustainability that exceed the most stringent energy policies. The outdoor pond and glass sail lighting however, was designed using more conventional fixtures but in a creative and subtle way - either concealed or sometimes voluntarily and blatantly exposed. The lighting in the galleries and various public spaces needed to be of the highest level of energy efficiency while maintaining excellent colour renditions. A broad range of fixtures were considered and tested for the gallery spaces, evaluating intensity, colour rendering, uniformity, contrast ratio, room cavity ratio, daylight harvesting, energy use and all associated control systems. The fixtures used in the galleries are extremely practical – a system that offers both a base uniform and smooth light level over the vertical surfaces and complemented by an additional layer of more focused lighting, offering extra accentuations when and where needed. Developed by L’Observatoire International and the Gehry team over a number of years, they call it the ‘powerbar’ – it has many incarnations and allows for gallery fixtures to be installed via a clamp mechanism on a bar that is suspended from a single point in the ceiling. When not in use, the bar can be removed and the point

lucent /ˈluːs(ə)nt /

adjective literary

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

Fondation Louis Vuitton, Paris Lucent Lighting is proud to have been selected as one of the lighting suppliers on this prestegious project. Lighting Designer: L’Observatoire International, New York London | New York

Lucent Products: — ProSpex Pinhole 90 Accent downlight with Lucent LED50 modules — ProSpex Plus Pinhole Accent Trim downlight with Xicato Artist LED modules

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30/09/2015 11:00



Twelve mainsails, made up of 3,600 glass panels, shape the building housing a total surface area of more than 11,000m².

use, the bar can be removed and the point in the ceiling closed up with a trim plate. The points also serve as structural hanging points for gallery installation purposes. The complexity of the project was increased as very little was known in terms of the curatorial experience and so a flexible system was required – one that would allow for versatile exhibition content. Another challenge faced by Descottes and his team was designing lighting for completely off the charts spaces with room proportions and shapes rarely seen or studied before, with the integration of lighting. Both inside and out, Descottes has struck a balance between integrating the fixtures into the architecture and complementing Gehry’s precise revelation of structural and material elements. The warm light from within highlights the astonishing architectural detail of both the central core and the sweeping sails wrapped around it, while never losing a sense of the

structure as a singular, holistic entity. Descottes’ elegant lighting design gives this monumental structure buoyancy and movement, as light from the reflecting pool dapples the billowing glass sails that weave around La Fondation’s prow, drawing it westward to the Arc de Triomphe. Floating, ark-like amidst the green, the luminosity of La Fondation provides it with an arresting sense of ethereal grace. “La Fondation Louis Vuitton opens an exciting new cultural chapter for Paris,” states Arnault. “It brings the city a new space devoted to art – especially contemporary art – and above all a place for meaningful exchanges between artists and visitors from Paris, from France, and from the entire world. By encouraging spontaneous dialogue, the new Fondation seeks to inspire both emotion and contemplation.”

PROJECT DETAILS La Fondation Louis Vuitton, Paris, France Client: LVMH Group Architect: Gehry Partners Lighting Design: L'Obersvatoire International Technical Lighting Consultants: Ingelux

LIGHTING SPECIFIED ERCO 34085.000 fixtures JC Lampes Ultralight 30° 2,600K luminaires KKDC KKSL 503 fixtures LEC Lyon bespoke LED linear 5631-Vuitton fixtures Lucent Prospex Plus Pinhole Accent Trim downlights with Xicato engine Lucent Prospex Pinhole 90 Accent downlights with LED50 engine Lucent LU-90413-A-LED-IP exterior recessed downlights Osram LINEARlight Power Flex Génération II light source Philips eW blast POWERCORE 21° 27,000K wash lights Robert Juliat LED 43 framing projectors Sammode NIEPCE 70 TF luminaires Targetti PYROS LED 43W projectors Targetti PYROS HIT 35W SP projectors Targetti PYROS HIT 70W projectors Targetti PYROS HIT 150W projectors Targetti NANO PYROS LED DALI projectors

Tradition of innovation Since the beginning, Targetti has been effortlessly combining design, technology, functionality and producing lighting systems with meticulous attention to details, in terms of lines and shapes. All this makes Targetti the most appropriate partner for the most discerning clients.

Fondation Louis Vuitton - Paris, France Architect: Franck Gehry Lighting design: L’Observatoire International Photographe: Jordane Bodin




CELEBRATING THE WORLD'S 'LOCAL BANK' In honour of its 150th anniversary, HSBC saw it only fitting that its main building and headquarters at One Queens Road in Hong Kong receive a digital makeover; a grand visual overhaul by Illumination Physics, featuring the latest in modern technology designs and software.

The Hong Kong and Shanghai Banking Corporation first opened its doors for business in Hong Kong in March 1865. In 150 years of trading, the bank’s headquarters became a stalwart symbol of prosperity and stability, standing on the same site in Central at number One Queens Road. Three magnificent structures have stood on this spot, none more world famous than the last edifice, designed by Norman Foster and built in 1985. So what better way of celebrating this company’s endurance and strength than by a commemorative revamping of its flagship building? HSBC kicked off its 150th anniversary in Hong Kong with a three-part programme that included a digital makeover of its main building at One Queens Road, a commemorative HK$150 banknote and an interactive exhibition at the Hong Kong Maritime Museum. Illumination Physics was commissioned to help bring to life the first wave of the 150th anniversary programme – the digital makeover of HSBC’s headquarters. The north façade of the building has been fitted with three high-resolution LED screens, which have been installed within the glass structure itself and are all but invisible during the day. However, at night these screens ‘come to life’. From 6.30 - 11pm they display images celebrating the city’s

character as well as HSBC’s place within it, while also entertaining the nightly passersby. These screens are so large and vivid that they can be seen from across the harbour in Kowloon. With respect to the design and installation, it was clear from the start that it would not be enough to simply replace the existing façade lights with superior modern technology designs. Something new and remarkable was required. A grand visual statement was essential to mark the 150th anniversary and distinguish the building from all others taking part in ‘A Symphony of Lights’. A lengthy evaluation of the proposal ensued and a lighting plan was born of necessity. With a six-month deadline, there was no time to completely re-wire the façade lighting and the existing power and data backbone was reused. Three new light fixtures were designed and manufactured by Illumination Physics specifically for this project. Custom versions of the manufacturer's Wash 48 and Wash 24 were designed so that they could be mated to the existing brackets without fuss, speeding up the work of Illumination Physics’ installation team. This was vital for the program; 90% of the façade lighting would be installed from the permanent gondolas and in a living building there is competition

from a number of tasks requiring the external access equipment. The lighting of this extraordinary building has always accentuated its main feature the Exoskeleton, comprised of two ladder trusses that extend the full height of the building. Suspended from the ladders are the horizontal and diagonal brace elements of the Exoskeleton, measuring between twelve and eighteen-metres long. Early in the design a decision was made to use RGBW fixtures allowing for a distinct improvement in colour variety and colour mixing capability. The IP Wash 48 was used for the grazing of the main members of the Exoskeleton; the major change to the fixture was in the use of composite lenses. These fixtures illuminate the Exoskeleton at very shallow angles. It is not possible to alter the height above the illuminated plane by extending the yoke, so two sets of lenses were created within the same fixture to cope with the extremely close mounting position and any possible aberrations. In order to properly deliver light to the illuminated surface closest to the luminaire, the twelve LEDs at the base of the fixture were fitted with an asymmetric 10º by 25º lens, this mitigates hot spots or shadows close to the fixture. The remaining 36 LEDs were fitted with 5º lenses to promote the longer throw of light



The HSBC main building is unique in more ways than one. It consists of large triangular shapes that make up the HSBC logo. Media content was created on a black background that displays dynamic diamond and triangular kaleidoscopes that a re a virtual metaphor of the building's physical Exoskeleton.

along the linear Exoskeleton beams allowing for a more uniform composite effect. The ladder truss required a similarly improved wash light. The IP Wash 24 was used with a composite lens of 10º by 60º. This enabled the accurate lighting of the underside of each rung of the ladder without spill. The refuge floors are another major feature of this building. These mandatory fire escape floors are wonderful open spaces; vast balconies affording magnificent views of Victoria Harbour and the city. Since 1983 the soffits above these double storey open floors had been illuminated as a feature. A wide angle lens version of Illumination Physics' IP Wash 48 was used, which resulted in more saturated, enriched and brighter colours. The replacement of the previous metal halide with LED dramatically reduced the electrical consumption with a saving of around 90%, depending on the programming of the dynamic display. So the façade lighting had met its new objectives. How could the building now be used to celebrate the bank's 150th

anniversary in 2015 and into the future? Illumination Physics designed three media walls that were integrated into the glass facades between the refuge floors. The top screen measures five floors high, the centre screen measures six floors high and the lower screen covers seven floors. This seamless integration of equipment is all but invisible from the outside. A linear LED strip just 15mm wide was attached to the inside of the outer double-glazed glass layer. Throughout extensive testing, a variety of horizontal pitches were tested until the optimal compromise was found which provided more than 90% transparency for the vision glass panels. Illumination Physics created three vast media walls which can be used to create one composite image or three separate scenes. Every evening, these media walls awaken and visually communicate the tale of the 150 history of HSBC in a spectacular way. The Exoskeleton HSBC main building is unique in more ways than one. It consists of large triangular shapes that coincidentally

make up the HSBC logo. Media content was created on a black background that displays dynamic diamond and triangular kaleidoscopes that are a virtual metaphor of the building’s physical Exoskeleton. The media is always combined with the façade lighting and together they create a lighting display that is synergistic. The Illumination Physics Systems and Control team faced many challenges when presented with the HSBC light show project. Not only were there 700 universes of DMX required for the mammoth task but these needed to seamlessly integrate with no visible lag in response times. Illumination Physics specified a control system that would meet these requirements. It was decided early on that a high capacity low latency network was essential for the media screen and façade lighting control systems. Cisco equipment was chosen for the task of distributing 708 universes of DMX control via Artnet and sACN. The media wall alone requires a consistent 130-140mbps of Artnet traffic

Underwater Lighting Exterior Lighting

Place de Navigation, Lausanne, Switzerland Townhall, Mondorf, Luxembourg


Dubai 6.-8.10.2015

Cologne 27.-30.10.2015

Official Sponsor PLDC in Rome 28.–31. October 2015

Moscow 10.-13.11.2015

Rathaus Leingarten, Germany Frankfurt


JW Marriott, Sahar Airport, Mumbai, Indien

WIBRE Elektrogeräte GmbH & Co. KG +49(0)7131 9053-0 Leingarten/Germany Anzeige_236x333.indd 1

Made in Germany. Since 1919.

01.10.15 15:11



Illumination Physics designed three media walls that were seamlessly integrated into the glass façades between the refuge floors. The top screen measures five floors high, the centre measures six, and the lower screen covers seven floors - a seamless integration of equipment that is all but invisible from the outside.

to be delivered with low latency and jitter across all 85 DMX nodes. System testing demonstrated 700us response times across the infrastructure thus avoiding any capacity and lag issues. The capacity and design of the network allowed for multiple control systems to be effectively separated while using the same physical infrastructure, reducing overall costs as changes were made throughout the planning and commissioning phases of the project. Remote control was also required for various emergency procedures and monitoring. A fibre connection was supplied by HSBC for this purpose and allowed reliable time synchronisation for the system’s master clock, as well as various triggers from third parties to control the system remotely. A Cisco firewall was used to provide secure access solely to the required devices. Longevity of the install was key criteria when selecting hardware for the project. All external components were chosen for

known reliability and service back up. These devices needed to be compatible with a wide range of control protocols. The nodes allowed for future proofing as well as control changes if required through the run of the project. The final commissioning of the system took place over January and February this year. Much of the lighting was programmed offline using Capture Argo, with final sign off live. The media content was also scheduled and added during the final commissioning period. In effect, Illumination Physics has employed a media system to deliver architectural lighting, with the same treatment used to improve the building’s performance during the nightly ‘A Symphony of Lights’ performance. The media walls are used as animated lighting effects that ‘dance’ in time with the music in the citywide daily audio-visual display.

PROJECT DETAILS HSBC Head Office, Hong Kong Client: HSBC Lighting Design: Illumination Physics

LIGHTING SPECIFIED External Lighting 129 Illumination Physics custom IP Wash 48 four colour with very narrow wash lights 96 Illumination Physics custom IP Wash 24 four colour with asymmetric lens wash lights Media Wall 2,652 custom X-Wall media strips utilising 217,464 RGB LEDs 5 Coolux Pandora's Box Player Pro 1 Coolux Pandora's Box Manager Std 1 Coolux Widget Designr Pro 7 Dell R520 custom servers 85 Pathpot Octo Nodes Façade / exterior lighting control 1 Dell R320 custom server 1 LSC Clarity lighting control 11 Pathport Quattro 2 Pharos LPC4 1 Pharos RIO A General system 1 Rosendahl MiF4 5 Cisco 2960XR Series switch

LIGHT DEFINES THE EXPERIENCE For Janet Echelman’s monumental sculpture on the Boston Greenway, Arup used Lumenbeam Grande luminaires to heighten the colourful, nighttime presence.

Janet Echelman Sculpture, Boston Greenway, MA

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Pics: vogtpartner


Left Due to its relatively moderate ceiling height, classrooms have been fitted with Fluora's custom pendants using Tridonic's TALEXXmodule SLE GEN3 LED module, designed to be used in spotlights and downlights.

LIGHT REVISION In keeping with the Sulzer site's industrial past, vogtpartner has created a clean and practical lighting scheme that celebrates the vast architecture, creating an inviting space for students of Zürich University.

The new Zürich University of Applied Sciences (ZHAW) library based on the Sulzer site in Winterthur, Switzerland is a state-of-the-art facility with a floor space of over 6,000 sqm. It houses more than 120,000 media items, a computerised selfservice borrow and return system, around 700 workstations, training rooms and a cafeteria. The Sulzer site is a former industrial park operated by Sulzer and the Swiss Locomotive and Machine Factory in the centre of Winterthur. Since 1990 a new district featuring a wide range of residential buildings, offices, leisure facilities and educational establishments has been created on the site. The latest

project involved bringing together five libraries of ZHAW in the former Sulzer Hall 87. In November 2012, following a period in which it was used as a concert venue, the building was converted into a modern library based on plans drawn up by P&B Partner Architekten. The three-storey workshop building was constructed as a steel skeleton with reinforced concrete floor slabs. The curtain-wall constructed façade consists of fibre-reinforced cement cladding and large glazing panels. During its renovation, the defining architectural elements were retained. With this in mind, mezzanine floors, detached from the façade, were

installed only in certain areas in the elevenmetre high hall; leaving the original riveted steel upright and crossbeam structure omnipresent, and even the old crane tracks spanning the rooms as before. Due to the cavernous nature of the building, lighting designers vogtpartner were faced with the challenge of finding luminaires that would suit the old industrial architecture but would also produce excellent illumination at desk level from a great height for studying. vogtpartner defined luminaires from Fluora along with LED components from Tridonic to offer the ideal solution. The classically shaped body of the luminaire, which comprises a cylindrical top section and a parabolic



Fluora Inline recessed luminaires populate the library's ceilings, providing an even, soft illumination to the vast study spaces. While on a more individual level, Tolomeo desk lamps from Artemide give students the option to control the light of their own personal workstation.

shade, houses LED modules and LED drivers from Tridonic. The original plan was to service the different room heights from three metres in the training rooms to eleven metres in the hall at ground level, with luminaires of different sizes, but the Tridonic LED portfolio offered all the necessary combinations of LED modules and LED drivers to equip a single luminaire type with the appropriate technology to suit the different requirements. TALEXXmodule FLE LED modules were used in areas in which the luminaires are mounted at great heights as they have been specifically designed for illuminating large halls. For areas with moderate ceiling heights, Fluora selected the TALEXXmodule SLE GEN3 modules, which Tridonic offers mainly for use in spotlights and downlights. Both LED module types operate in an output range that calls for active cooling, which is provided by a fan located at the top of the luminaire housing. Tridonic conducted a series of measurements to support the correct design of the active thermal management system and gave the customer approval for the combination of fan, LED

LED light building element with symmetrical light distribution, protection class IP 65, safety class II, and 4400 lumen. Developed for the energy-efficient illumination of outdoor spaces, this luminaire convinces by its high luminous efficiency, long service life and choice of colour temperature. It is particularly well suited for the structuring and guidance of people and vehicles. BEGA Lighting UK Ltd · Suite C1 · Paper Mews Place · 290-292 High Street Dorking · Surrey · RH4 1QT · UK · Tel. No. +44 (0) 1306 882 098 ·

Das gute Licht. For easier orientation.

BEGA_Lichtbau_AZ_MondoArc_06|15_236x333_ISOv2_GB.indd 1 15:18



Above On the second floor, Meyer's Fluxa B LED area floodlights provide an even wash to study pods, individually illuminated by Artemide's Tolomeo table lamps. Left LIG's custom made recessed LED strips illuminate the library's main staircase, keeping glare to a minimum by using 360° louvres and specific optic.

modules and LED drivers. The LED modules are supplied with power via TALEXXdriver LCAI 100W and TALEXXdriver LCI 35W. Martin Vorburger of Fluora commented: “Tridonic's extensive range of LED modules and matching LED drivers has enabled the very different lighting tasks in this project to be covered by a uniform luminaire design. The technical support that Tridonic offered us in integrating the components was an important factor in the efficiency and durability of the luminaires.’’ At the ground level, in the eleven-metre high hall, are three separate areas: the library, the administration offices and a café. On the first floor are classrooms and

SANT design: Rob van Beek

INDI design: Matúš Opálka



on the second floor, under large-scale skylights, students can use a room structure which serves as a learning and reading area. The lighting design has been tailored for purpose, providing a clean and bright working environment that supports focused and quiet study, a creative exchange in group rooms and encourages knowledge transfer in the classroom environment without feeling fatigued. Therefore the architectural features haven't been left in the background but have been integrated into the interior scheme with a conscious use of light and shadows. The large-scale skylights allow a large

JAPANESE 急勾配の屋根とシュチェチン市の高層マン 2012年11月、P&B Architekten 社により 工業団地から新たに作り変えられた Zurich University of Applied Sciences (ZHAW) の図書館 (拠点: スイス、 ヴィンタートゥールの スルザー) は、 ドイツで最大の大学図書館とな っています。 照明設計を行う vogtpartner 社は、 かなり の高さからでも研究/勉強ができる優れた 照明を提供しつつも、工業的な建築物に適 した照明器具を探すという課題に直面しまし た。理想的なソリューションが提供されるよう に、Tridonic 社の LED 部品を使用した Fluora 社のカスタム照明器具が選ばれました。 日中は太陽光が入り、 ま 大規模な天窓により、 た夜は、薄明るい空を再現させるために特別 に採用された LIG のリニア型ライトチューブ が暗青の色に発光し、 その空間を照らします。 グレアコントロールも考慮しつつ、 メインの階 段などの部分は、 スピルライトを軽減するよう に 360度カバーするLIG のカスタムの埋込

amount of daylight in during the day. In contrast, to avoid so-called 'black holes', at night the skylights can be illuminated by LIG's Linearlight Tube, specially adapted for the project with a deep blue light to create an association with the night sky during twilight. The rest of the lighting follows in this style despite the intervention of the architecture. Luminaires in the existing structure have been built-up or suspended to adopt the industrial theme. With glare control in mind, newly inserted spatial elements such as the main staircase are illuminated with LIG's custom recessed

み型LEDテープライトで照明が提供されま す。 オフィスエリア、 1階の仕切りのない作業ス ペースといった作業スペースは、細心の注意 が払われたベースの照明が設置されており、 太陽光が増えると照明を落とし、Artemide Tolomeoのテーブルランプで提供される照明 が理想的な状態を保てるようにします。 全体的として、vogtpartner は、建築物のあり のままの美しさを犠牲にせず、実用的で多様 性のある照明を通して、工業スペースを再利用 しました。

CHINESE 全新的苏黎世应用科学大学 (ZHAW) 图书 馆位于瑞士温特图尔的苏尔寿原址,是德 国规模最大的大学图书馆,2012 年 11 月由 P&B Architekten 在一处工业园的基础上改 建而成。 灯光设计师 vogtpartner 面临的挑战是,寻 找适合工业建筑并能够在较高位置提供出 色学习照明的灯具。精选 Fluora 的定制灯 具和 Tridonic 的 LED 部件,提供理想的解 决方案。

大尺寸天窗确保白天采光良好,夜间使用 LIG 的 Linearlight Tube,专为本项目进行 调整,以深蓝色光模拟暮色,提供照明。 设计中考虑了眩光控制,主要楼梯等建筑 采用 LIG 的定制嵌壁式 LED 灯带,设有 360 度通气道以减少散射光。一层的办公区 域和无休工作区域等工作区采用非常安全 的基础照明,随着日光增强而减少照明, 借助 Artemide Tolomeo 台灯提供理想照 明。 总之,vogtpartner 通过切实可行的多功能 照明对大型工业场所进行了改造,同时并 未影响建筑物粗犷的魅力。

FRANÇAIS En novembre 2012, le cabinet P&B Architekten créa la nouvelle bibliothèque de l’Université des sciences appliquées de Zurich (ZHAW) dans un ancien parc industriel. Inspirée du site Sulzer à Winterthur en Suisse, cette bibliothèque universitaire est la plus grande en Allemagne. Les concepteurs d’éclairage vogtpartner durent trouver des luminaires qui conviendraient à la fois

à cette architecture industrielle très grande et qui fourniraient un excellent éclairage aux étudiants. Des luminaires sur mesure de Fluora avec des composants LED de Tridonic furent sélectionnés, car ceux-ci offraient la solution idéale. De grands puits de lumière laissent entrer la lumière naturelle pendant la journée et le soir, les tubes Linearlight de LIG spécialement conçus pour le projet arborent leur lueur bleu profond imitant un ciel étoilé. Gardant à l’esprit la maîtrise de l’éblouissement, des éléments tels que l’escalier principal sont éclairés par des bandes à diodes électroluminescentes intégrées fabriquées sur mesure chez LIG, et qui possèdent des persiennes à 360 degrés pour réduire la diffusion de la lumière. Les espaces de travail, tels que les bureaux et les grands ateliers de travail du rez-de-chaussée disposent d’un éclairage de base intelligent, diminuant à mesure que la lumière du jour augmente, sachant que l’éclairage idéal provient des lampes de bureau Artemide Tolomeo. Globalement, vogtpartner a restauré un vaste espace industriel grâce à un éclairage pratique et polyvalent sans pour autant sacrifier le charme rustique du bâtiment.


Left Low-level Fluora pendants use Tridonic's TALEXXmodule SLE GEN3 LED modules and a parabolic shade to create an intimate study atmosphere on the upper floors. Centre To avoid 'black holes', the large skylights are illuminated by LIG's adapted Linearlight Tubes in a deep blue light to mimic the night sky during twilight. Right custom made recessed LED strips from LIG guide students down another of the library's staircases.

DEUTSCH Die neue Bibliothek der Züricher Hochschule für angewandte Wissenschaften (ZHAW) war ursprünglich ein Industriepark und wurde durch P&B Architekten im November 2012 umgebaut. Sie befindet sich auf dem Sulzer-Standort in Winterthur, Schweiz, und ist die größte Universitätsbibliothek Deutschlands. Die Beleuchtungsdesigner vogtpartner wurden mit der Herausforderung konfrontiert, Beleuchtungen zu finden, die zu der industriellen Architektur passen und dabei gleichzeitig eine hervorragende Beleuchtung aus großer Höhe zum Studieren schaffen. Maßgeschneiderte Leuchten von Fluora mit LED-Komponenten von Tridonic wurden ausgewählt, um die ideale Lösung zu bieten. Die großflächigen Dachfenster lassen tagsüber Tageslicht ein und bei Nacht können sie durch Linearlight Tubes von LIG, die speziell für das Projekt mit dunkelblauen Glanz angepasst wurden, um den Himmel in der Abenddämmerung nachzuahmen, beleuchtet werden. Mit der Blendungsbegrenzung im Hinterkopf werden Elemente wie die Haupttreppe mit kundenspezifisch versenkten LED-Leisten von LIG beleuchtet, die 360°-Lüftungsschlitze haben, um Streulicht zu reduz-

ieren. Arbeitsbereiche wie Büroflächen und unzählige Arbeitsbereiche in Bodenhöhe haben eine dezente Grundbeleuchtung, die mit zunehmendem Tageslicht abnimmt und die ideale Beleuchtung hinterlässt, die durch Tischlampen von Artemide Tolomeo stammt. Insgesamt hat vogtpartner eine riesige Industriefläche durch praktische und wandlungsfähige Beleuchtung umgenutzt, ohne den schroffen Charme des Gebäudes zu opfern.

ITALIANO IRicavata da un parco industriale dalla P&B Architekten (nel mese di novembre 2012) la nuova biblioteca dell' Università di Scienze Applicate di Zurigo (ZHAW), che si trova nel complesso della Sulzer a Winterthur (Svizzera), è la più grande biblioteca universitaria in Germania. Il progettista luci Vogtpartner ha affrontato la sfida di trovare apparecchi che più si adattassero all'architettura industriale, ma fornendo un'eccellente illuminazione per lo studio da una grande altezza. Per offrire la soluzione ideale, sono stati selezionati apparecchi personalizzati della Fluora con componenti LED della Tridonic. I grandi lucernari permettono alla luce solare di entrare durante il giorno e di notte sono illuminati da un tubo

fluorescente lineare della LIG che, appositamente adattato per il progetto, imita il cielo del crepuscolo con il suo bagliore blu profondo. Avendo in mente l' idea del controllo della luce, elementi come la scala principale sono illuminati con le strisce a LED ad incasso personalizzate della LIG che hanno delle alette a 360 ° per ridurre la dispersione luminosa. Per quanto riguarda le aree di lavoro, come gli uffici ed il grandissimo laboratorio al piano terra, hanno un' illuminazione di base che diminuisce al crescere della luce solare, lasciando l'illuminazione ideale fornita dalle lampade da tavolo Artemide Tolomeo. Nel complesso, Vogtpartner ha riproposto un vasto spazio industriale attraverso un'illuminazione pratica e versatile che, però, non ha sacrificato il fascino aspro dell'edificio.

ESPAÑOL Habiéndola convertido, P&B Architekten en Noviembre de 2012, a partir de un parque industrial, la nueva biblioteca de la Universidad de Ciencias Aplicadas de Zurich (ZHAW) con base en Sulzer, Winterthur, Suiza, es la biblioteca de universidad más grande de toda Alemania.

Los diseñadores de iluminación, vogtpartner, enfrentaron el desafío de encontrar luminarias que encajaran con la arquitectura industrial pero que a la vez ofrecieran una excelente iluminación desde una gran altura para poder estudiar. Para ofrecer la solución ideal se seleccionaron luminarias hechas a medida de Fluora con componentes LED de Tridonic. Los tragaluces a gran escala permiten el ingreso de la luz natural durante el día, para que por la noche las pueda iluminar un Linearlight Tube de LIG, adaptado especialmente para el proyecto con un resplandor azul profundo que imita al cielo del crepúsculo. Teniendo en mente el control de iluminación, los elementos como la escalera principal, fueron iluminados con luces LED de LIG, empotradas hechas a medida con ventanas de 360° para reducir el desborde de luz. Los espacios de trabajo, como las áreas de oficinas y el espacio de trabajo sinfín en la planta baja, cuentan con una prudente iluminación de base, que decrece cuando aumenta la luz natural, dejando una iluminación ideal ofrecida mediante lámparas de mesa de Artemide Tolomeo. En general, vogtpartner ha reconvertido a un vasto espacio industrial a través de una iluminación práctica y versátil sin sacrificar el fuerte encanto del edificio.



LED strips that have 360째 louvres to reduce spill light. Workspaces, such as office areas and the endless-working space on the ground level, have cautious base lighting, decreasing as daylight increases, leaving the ideal illumination provided through Artemide Tolomeo table lamps and therefore controlled by the individual. The learning landscape on the second floor is also extensively brightened. Modern table and floor lamps from Artemide complete the lighting design to create adaptable discussion and work conditions. Overall, vogtpartner has helped to repurpose a vast industrial space through practical and versatile illumination without sacrificing the building's rugged charm.

PROJECT DETAILS ZHAW Library, Winterthur, Switzerland Client: Implenia Generalunternehmung Architect: P&B Partner Architeckten Lighting Design: vogtpartner

LIGHTING SPECIFIED Fluora Inline / Inline R / Micro Inline / Micro Inline R recessed luminaires Fluora MP56 Office 220, 320, 350, 425, 450, 613 pendants Artemide Tolomeo table lamps LIG custom recessed linear LED strips & Linearlight Tubes Meyer Fluxa B (LED) area floodlights ERCO Quintessence downlights BEGA Compact floodlights Philips StyliD ST510C surface-mounted LED projectors Bolichwerke Ebolicht Berlin hanging lamps Tridonic TALEXXmodule FLE LED & SLE GEN3 modules Tridonic TALEXXdriver LCAI 100W & LCI 35W drivers

Above The same luminaire shows its versatility when hung from the hall's eleven-metre high ceiling amongst original crane tracks from the building's industrial past, this time with Tridonic's TALEXXmodule FLE LED module, designed for illuminating large halls.

LONGER LIFE FILTERS FOR LED A new concept in LED filter design Regular lighting filter can often quickly fade when used with LED lights – the Zircon range is different. With a lifespan of up to 200 times longer than standard filters and at more than double the thickness (180 microns), Zircon filters are not only slower to fade, they are durable and easy to use, too. The four Warm Amber filters correct a range of different colour temperature white LEDs giving them a warmer feel. While the three Diffusion filters offer different strengths of diffusion specifically designed for LEDs.



Pics: Nikolas Koenig

HOSTEL TAKEOVER Inspired by the romantic streets of Paris, lighting design studio artec3 has created a cinematic lighting scheme that is seamlessly integrated into DesignAgency's warm and industrial interior. Generator Paris is the newest location in the quickly expanding chain of eclectic urban hostels. Located in the 10th Arrondissement – a Parisian neighbourhood known for its hip galleries, shops, cafés and bars, Generator stands opposite the French Communist Headquarters by Oscar Niemeyer, just steps from Canal SaintMartin and Buttes-Chaumont Park. Constructed in 1985 as an eight-storey office block, the property was gutted and transformed by Parisian project architect, Studios d’Architecture Ory & Associés, with interiors by Toronto-based DesignAgency, under the creative direction of Anwar Mekhayech and lighting design studio artec3. The property follows Generator’s universal concept of affordable and designdriven accommodation in prime locations, with an emphasis on a range of vibrant social spaces. Accommodating up to 916 guests in a range of rooms, this is the largest Generator property to date. DesignAgency's interior design was inspired by the cinematic experience of strolling

Paris’ streets and discovering its romantic moments, changing moods and rich colours. To highlight these themes, Mekhayech and his team created a series of mise-en-scènes that playfully flaunt their simultaneous fiction and reality. The atmosphere mixes the industrial backdrop with warm materials, varied textures, vintage finds from Parisian flea markets, signature design elements from Tolix, Jielde and Tom Dixon, and unique pieces made by emerging industrial and furniture designers such as Blom & Blom, Spain’s Lobster’s Day and local artists including Romain Guillet and You Talking to Me. Stepping off Colonel Fabien Place into the lobby, guests are greeted by the sparkle of a lit marquee, suspended over a lively, Mondrian-inspired reception desk. On the upper level, a Moroccan infused chillout space features custom wood pallet and kilim sectionals, and a typographic mural by Dutch designer and typographic artist, Ceizer. Channeling the vibe of Paris’ many brasserie-lined streets, Café Fabien and

its adjoining canteen open up to a garden and solarium. Finally, a curved concrete stair descends to the bar, conveying the impression of a secret Parisian metro party, complete with retro seat fabrics and curved metro tiles, terminating in a graphic print of a platform by local French photographer Ludovic Le Couster. According to Mekhayech: “this generator project allowed the opportunity to give the interiors a bold attitude and a unique spirit, taking the guests on a cinematic journey. Rather than connecting each space, the design becomes an exploration of ideas — both real and surreal.” The lighting concept, designed by Barcelona-based studio artec3, invites the guest to enter, generating welcoming sensations and, at the same time, creating stimulus through dynamic compositions of contrast, making the spaces interesting. Maurici Gines, director of artec3, commented: “We first got the call to improve the visual comfort of the existing


Left hand page Vario LED light lines from LED Linear provide dramatic illumination in the ground floor's lift area. This page Kap Surface downlights by Flos illuminate the basement bar from its curved metro tiles on vaulted ceilings and Lightnet's Caleo A2 surface-mounted ceiling luminaires provide the hostel's rooms with a soft, even glow.

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Previous page Flos Kap Suspension minimal pendants create an inviting ambience required in the lobby alongside the hostel's striking retro sign and fittings. Above CSA 900 recessed spotlights set the stage for a game of table tennis in one of the hostel's many lounge areas. Left Flos Kap Surface downlights provide an even illumination for diners of Café Fabien while retro fittings containing LED sources provide directional light for the café's tiled walls.

lighting, taking into account and reinforcing the Generator brand.’’ This was the beginning of a good relationship with the project manager, interior designers and client that led artec3 to complete the lighting scheme for Generator Paris, Amsterdam and now Rome. The studio treated light as a material that can be transformed throughout the

JAPANESE さまざまな都会のホステルが広がりを見せる 中、新たに Generator Paris が加わりまし た。 このホステルは、おしゃれなギャラリー、 ショップ、 カフェ、バーなどで有名なパリの10 区に位置します。 照明のコンセプトは、バルセロナを拠点とす る stuido artec3 により設計され、 内装デ ザインでナンバー1を目指します。 このホステ ルのロビー、 レストラン、客室は、LEDを使用 したレトロな内装を採用しています。 方向指示灯は、iGuzzini's Palcoの狭ビー ムプロジェクターと LTS' CSA 900 天井埋 込み型ダウンライトで実現されており、拡散 光を使用した空間を提供しています。全体的 には、建築物の照明は、カスタムメイドの内 装に LED Linear の Vario LED テープ ライトで統合し、 すべての照明シーンのベー

day. With this in mind, the communal spaces deliver a friendly ambience, inviting guests to get together and stay. The illumination, as in all Generator hostels, looks to be at one with the interior design, becoming a part of the space's decor. “The interior lighting for this project has been very challenging,’’ Fernando Rojo,

スを提供し、空間が暖色系の照明で覆われ るようにします。朝食キッチンの階段といった 共有サービスエリアでは、artec3 は必要な レベルに達するように、Flos の Kap Surface のペンダント什器を採用しています。公 共の空間で使用される照明は、制御システ ムで事前に設定されている各種シーンでの プログラム要件を満たすように、明るさの調 整ができます。

CHINESE Generator Paris 是一家新建的融合多元 文化的扩张型连锁城市旅馆。位于 Arrondissement 10 号,这个巴黎街区以时 尚画廊、店铺和酒吧而闻名。 总部位于巴塞罗纳的 artec3 工作室提供室 内设计照明设计;经过改良的 LED 复古 灯具为酒店大堂、餐厅和客房提供照明。 方位灯由 iGuzzini 的 Palco 窄光探照灯

studio director explained. “We had to think about the design in an old fashion way by using vintage fittings in order to follow the style of the Generator brand.’’ With this in mind a combination of retro fittings with LED sources fill the hostel. From the entrance lobby to the restaurant and rooms, lights form part of the decoration thanks to the shape of adapted

和 LTS 的 CSA 900 嵌壁式筒灯来实现, 为空间提供漫射照明。总体而言,通过 将 LED Linear 的 Vario LED 灯带放在 定制结构中来提供建筑照明,确保照明色 温温暖,覆盖整个区域,为所有照明场 景提供基础照明。在早餐厅楼梯等服务区 域,artec3 精选 Flos 的 Kap Surface 吊灯 来实现所需的照明要求。总体而言,公共 区域使用的灯具都可调节亮度,通过控制 系统的预设场景满足所有项目要求。

FRANÇAIS Generator Paris est le plus récent lieu d’une chaîne grandissante d’auberges urbaines éclectiques, situé dans le 10e arrondissement, un quartier parisien connut pour ses galeries, ses boutiques, ses cafés et ses bars branchés. Le studio artec3 de Barcelone a conçu un éclairage qui s’intègre parfaitement au design intérieur

du lieu avec des appliques à diodes électroluminescentes de style rétro dans le hall d’entrée, le restaurant et les chambres de l’auberge. La lumière directe provient de projecteurs à faisceau étroit Palco de iGuzzini et de lampes encastrées CSA 900 de LTS, fournissant un éclairage diffus à l’aire de travail. Dans l’ensemble, l’éclairage architectural est constitué de bandes pour ameublement LED Vario fabriquées sur mesure chez LED Linear, assurant ainsi un éclairage chaleureux qui offre une gamme de couleurs couvrant tout l’espace et fournissant la base des scènes d’éclairage. Dans les zones de services comme l’escalier de la salle du petit déjeuner, artec3 a choisi d’intaller des lustres Kap Surface de chez Flos, convenables aux domaines requis. Dans les espaces publics en général, l’intensité des luminaires utilisés est réglable, permettant ainsi de répondre aux exigences d’éclairage prédéfinies par le système de contrôle.

Photography: James Newton



fittings recovered from the past. Rojo explained: “The key point of the design was the integration of the architectural lighting design with the vintage fittings found in old-fashioned shops by the interior designer; and converting them into efficient sources of light, which could provide the different light ambiences we wanted to generate a cosy and intimate atmosphere.’’ In order to achieve this desired outcome, artec3 coordinated with the DesignAgency team to make sure the decorative elements could (as well as look appropriate) illuminate the different spaces effectively as per the concept's intentions. At the same time, converting the fittings into efficient luminaires by following the current electric standards and making sure the light sources wouldn't intefere with the original light effect of the fitting, proved a challenge for the studio. Taking this into account, artec3 selected efficient, visually comforting architectural fixtures that create contrasts in the lounge areas. Manager Lighting Designer Nikoletta

DEUTSCH Generator Paris ist die neueste Location der expandierenden eklektischen Städte-Hostel-Kette. Es liegt im 10. Arrondissement – ein Pariser Viertel, das für seine hippen Galerien, Geschäfte, Cafés und Bars bekannt ist. Das Beleuchtungskonzept wurde durch das in Barcelona ansässige Studio artec3 so entworfen, dass es der Inneneinrichtung entspricht. So füllen zugeschnittene Retro-Beleuchtungskörper mit LED-Quellen den Eingangsbereich, das Restaurant und die Zimmer des Hostels. Das gerichtete Licht wurde durch engstahlende Palco-Stahler von iGuzzini und CSA 900 Einbau-Downlights von LTS erreicht, die dem Raum eine diffuse Anwendungsbeleuchtung verschaffen. Insgesamt wurde die architektonische Beleuchtung durch VarioLED-Leisten von LED Linear in die maßgeschneiderte Ausstattung eingegliedert. Dies gewährleistet eine warme Beleuchtung einer Farbtemperatur,

Theodoridi explained how: “the directional light was achieved by means of iGuzzini's Palco narrow beam projectors and LTS' CSA 900 recessed downlights, providing the space with diffuse task lighting.’’ On the whole, architectural lighting has been integrated by LED Linear's Vario LED light lines in the custom made furnishing of the space, assuring a warm colour temperature that covers the space and is the base of all lighting scenes. In service areas such as the staircase of the breakfast lounge, artec3 selected Flos' Kap Surface minimal pendant fixtures to fulfill the lighting levels required. The luminaires used in the public spaces as a whole, were required to be dimmable allowing them to meet all program requirements by the established preset scenes of the control system. Rojo concluded: “All together it was tough and we had to fight until the last gasp to keep the re-purposed luminaires, but the result was worth it.’’

die den Raum abdeckt und die Grundlage für alle Lichtszenen verschafft. In Servicebereichen wie der Treppe der Frühstückslounge wählte artec3 Kap Surface Hängeleuchten von Flos aus, um das verlangte Level zu erfüllen. Die in den öffentlichen Bereichen verwendete Beleuchtung ist durchgehend dimmbar und ermöglicht somit, dass alle Programmanforderungen durch die etablierten voreingestellten Szenen des Kontrollsystems erfüllt werden.

ITALIANO Generator Paris è la location più recente della catena in espansione di eclettici ostelli urbani che si trova nel 10 ° Arrondissement, un quartiere parigino noto per le sue gallerie, negozi alla moda, caffè e bar. Il progetto di illuminazione è stato pensato da Studio Artec3 di Barcellona per essere tutt'uno con il design degli interni; accessori retrò così adattati con sorgenti LED che riempiono l' ingresso della hall, del ristorante e delle camere dell'ostello. La luce direzionale è stata prodotta dai proiettori a

Left Integrated into the custom made furnishing of the bar, Vario LED light lines from LED Linear assure a warm colour temperature that covers the space. Right Again, Vario LED light lines illuminate the hostel's signage and walls.

PROJECT DETAILS Generator Hostel, Paris, France Client: Generator Hostels Architect: Studios d’Architecture Ory & Associés Interior Design: DesignAgency Lighting Design: artec3 Studio

LIGHTING SPECIFIED Chromex Gamme B22 - E27 LEDs LED Linear Vario LED LD10, LD18 and LD5 LED strips iGuzzini Palco spotlights Lamp Ring recessed downlights Flos Kap Surface / Suspension pendants Flos Easy Kap wall washers LTS Series CSA 900 recessed spotlights Lightnet Caleo A2 surface-mounted ceiling luminaires

fascio stretto Palco di iGuzzini e da faretti da concasso a terra CSA 900 LTS, così fornendo vari tipi di illuminazione. Nel complesso, l'illuminazione architettonica è stata integrata da strisce Led lineari della Vario LED nell'arredamento su misura, garantendo un' illuminazione calda grazie ad una temperatura di colore che riempie lo spazio e fa da base a tutte le sfumature di luce. Nelle aree di servizio, come la scala della sala colazione, Artec3 ha selezionato gli apparecchi di illuminazione a sospensione Kap Surface della Flos per soddisfare i livelli richiesti. Gli apparecchi utilizzati negli spazi pubblici nel loro insieme sono regolabili, permettendo di essere adattati a qualsiasi tipo di esigenza stabilita dal sistema di controllo. o.

ESPAÑOL Generator Paris es el sitio más nuevo en la expansiva cadena de eclécticos hostales urbanos. Está ubicado en 10th Arrondissement – un barrio Parisino conocido por sus galerías, tiendas, cafés y bares de moda.

El concepto de iluminación para el diseño interior fue diseñado por artec3, un estudio con base en Barcelona- el lobby de entrada del hostal, el restaurante y las habitaciones cuentan con artefactos retro que fueron adaptados con fuentes LED. La luz direccional se logró con proyectores Palco de haces estrechos de iGuzzini y luces focales empotradas CSA 900 de LTS, otorgándole al espacio una iluminación difusa. En su mayoría, la luz arquitectónica ha sido integrada por tiras de LED Vario de LED Linear en muebles hechos a medida, asegurando una iluminación cálida de una temperatura de color que cubre el espacio y ofrece la base para todas las escenas de iluminación. En las áreas de servicio, como las escaleras del salón de desayuno, artec3 seleccionó artefactos colgantes Kap Surface de Flos para cumplir con los niveles requeridos. Las luminarias utilizadas en los espacios públicos, en su mayoría, cuentan con difusores permitiéndoles cumplir con todos los requerimientos del programa por parte de las escenas predeterminadas del sistema de control.


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Pic: Peter Bennetts

Dean Phillips Exhausted LED surface-mounted downlights are positioned inside custom made polished aluminium tubes to conceal the luminaire, sprinklers and emergency lights, revealing the textures of the hanging studio's timber.

THE DESIGN OF DESIGN In reflection of the space itself, Electrolight has developed a lighting scheme that is both fully-integrated and aesthetically pleasing for the students of Melbourne's school of design.

Completed in 2014, Melbourne School of Design is the new home to the University of Melbourne’s Faculty of Architecture, Building and Planning. Described as a pedagogical building, it is setting new standards in education. John Wardle Architects and Boston based architectural firm NADAAA designed the building after winning an international design competition conducted by the university. Electrolight was commissioned to work alongside these two notable firms in designing the specialist lighting scheme to many of the building’s common spaces, including the atrium. The atrium is the heart of the building, cutting over four levels with a beautiful faceted timber ceiling, allowing natural light to flood the space below. The entire building is designed as an education tool, with its exposed structures and materials giving an insight into the fabrication and construction techniques used. Custom designed spider pendants from Dean Phillips sit harmoniously in the space, providing functional illumination to the atrium through clusters of cone pendants. The design of these luminaires incorporates

simple, repeated elements and multiple LED light sources to create a comfortable working environment. One of the architectural feature elements of the atrium is the hanging studio, which is suspended from the ceiling and hovers over the main floor. This element provides a sense of scale and intimacy to the work area below. Lighting has been integrated into the fin detailing of the studio base, which reveals the materials and textures of the timber whilst providing functional illumination. This has been achieved through the use of Dean Phillips Exhausted LED surface-mounted downlights, positioned inside custom made polished aluminium tubes to conceal the luminaire, sprinklers and emergency lights. The design of the vertical circulation allows the stairs to float within the atrium, supporting the architectural aspirations of a space supportive of the flow of creative ideas. The ambitious scissor stair connect the four levels from the atrium up, allowing students and staff to meander through the building. Internal timber cladding and cleverly integrated lighting details created by Electrolight, made up of a satinice



Pic: Peter Bennetts

Pic: John Gollings

Left Custom designed spider pendants from Dean Phillips sit harmoniously in the space, providing functional illumination to the atrium through clusters of cone pendants. Above custom lighting details by Electrolight, incoporating a satinice diffuser and VueLite LED strip, illuminate the atrium's scissor staircase.

diffuser and VueLite LED strip, that appear to escape from between the timber joins, provide a warm and intimate path of travel. The lighting design was based on achieving appropriate light levels throughout and not overlighting. Efficient LED light fittings were specified to achieve this, resulting in the school of design achieving a 6-star Green Star rating by the Green Building Council of Australia and the first education building to be awarded 10 Green Star innovation credits.

JAPANESE Melbourne school of Design は、 メルボルン 大学の Faculty of Architecture, Building and Planning に新たに拠点を移し、 2014年 に完成しました。 John Wardle Architects お よび NADAAA の建築会社が、 メルボルン大 学が実施したデザインコンペに優勝した後に、 このビルの設計を行いました。 アトリアムなど、 ビルの共同スペースの多くを対象にした特別 照明スキームの開発がElectrolight に委託 されました。 このアトリアムは、 このビルの中心 部に位置し、 4階相当が吹き抜けになってお り、 その部分にカットされた木材シーリングが 施され、 自然光が下のほうに流れこむようにな っています。 Dean Phillips のカスタムデザイ ンされたスパイダーペンダントライトはその空 間に調和しており、 円柱形のペンダントライト の集まりで機能的な照明を提供しています。 アトリアムの建築の特徴の1つとして、 吊りスタ

Before taking on this project, Electrolight had a well-established, 10-year long relationship with JWA. “We are fortunate to have worked on interesting projects, however this was a great project with a great architect,’’ said Jess Perry, Director at Electrolight. Given the nature of the project, to be involved in the creation of the school of design was always going to be a challenge as lots of people in the design industry would feel the need to offer their

ジオというものがあります。 スタジオのベースの 細部に照明が組み込まれ、 木の素材や質感を 表しつつも機能的な照明も提供します。Dean Phillips Exhausted LED の表面埋め込み 型のダウンライトを使用し、照明、 スプリンクラ ー、非常灯が見えないように光沢のあるカス タムメイドのアルミニウム製チューブ内に設置 することで、 このような照明を実現しています。 この特定の照明スキームでは、空間の建築的 な特徴だけでなく、 クリエイティブな環境も後 押しします。

CHINESE 墨尔本设计学院是墨尔本大学建筑设计 学院的新校区,建成于 2014 年。建筑师 John Wardle 和建筑公司 NADAAA 在该大 学开展的设计竞赛中胜出,从而赢得了这 项楼宇设计项目。委托 Electrolight 为包括 中厅在内的多个建筑公共区域制定专业照 明方案。中厅是建筑的核心,分为四层,

opinions, good and bad, adding an extra level of pressure. As with all projects, lighting is a vital element in defining the space. Perry explained: “it needs to be carefully designed and integrated into the fabric of the space.’’ This ensured a seamless partnership between the architecture and lighting. Within this partnership with the architecture, the lighting scheme looked to encourage a creative environment and

天花板上饰有木雕花纹,保证自然采光充 裕。Dean Phillips 提供的定制设计蜘蛛吊灯 与整个空间相得益彰,通过多个锥形吊灯 提供功能性照明。 中厅的一个建筑特色是悬挂工作室。工作 室底部细节融入照明设计,在提供功能性 照明的同时,彰显木材的材质和纹理。将 Dean Phillips Exhausted LED 表面贴装的 筒灯放入定制的抛光铝管中,将灯具、洒 水器和应急灯隐藏起来,从而实现设计理 念。 这种特殊的照明方案与该区域的建筑特色 相得益彰,能够融入周围的创意环境。。

FRANÇAIS Achevé en 2014, la Melbourne School of Design est le nouveau siège de la Faculté d’architecture, du bâtiment et de la planification de l’Université de Melbourne. Les cabinets d’architectes John Wardle Architects et NADAAA conçurent le bâtiment après avoir rem-

porté un concours de design mené par l’Université. Le groupe Electrolight fut chargé d’élaborer un système d’éclairage spécialisé pour plusieurs des espaces communs du bâtiment, y compris l’atrium — le cœur du lieu, rassemblant quatre étages par un plafond articulé de bois d’où pénètre la lumière naturelle. Des amas de lustres-araignées Dean Phillips conçus sur mesure décorent harmonieusement l’espace, fournissant ainsi un éclairage fonctionnel. Une des caractéristiques architecturales de l’atrium est le studio suspendu, où l’éclairage fut intégré aux ailettes de sa base, révélant ainsi la matière et les textures du bois tout en offrant un éclairage cohérent. Ceci fut réalisé grâce aux lampes à diode électroluminescente ExhAusted de Dean Phillips placées à l’intérieur de tubes en aluminium poli fabriqués sur mesure pour dissimuler les luminaires, les extincteurs d’incendie et l’éclairage d’urgence. Ce système d’éclairage particulier défend les caractéristiques architecturales de l’espace et soutient également son environnement créatif.


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Pic: John Gollings

extend the learning experience found amongst the school's students. When asked about the main challenges faced during this project, Perry responded: “The atrium void was one of the main challenges. We designed various lighting schemes before the design team selected the custom pendant approach.’’ In order to achieve a balance between lighting the project in an efficient way and making the space inviting for students, Electrolight made sure that light distribution within the space was even and well thought out. Perry continued: “The balancing of light distribution within a space basically sums up what we do as lighting designers. The architectural design by JWA provided us with many opportunities and combined with the various task requirements,

DEUTSCH Die 2014 fertiggestellte School of Design in Melbourne beherbergt die Universität der Melbourner Fakultät für Architektur, Gebäude und Planung. John Wardle Architects und das Architekturbüro NADAAA entwarfen das Gebäude, nachdem sie einen von der Universität durchgeführten Designwettbewerb gewonnen hatten. Electrolight wurde mit der Ausarbeitung des speziellen Beleuchtungskonzepts für viele gemeinsame Räume des Gebäudes beauftragt, wie für das Atrium, dem Zentrum des Gebäudes über vier Etagen, mit einer facettierten Holzdecke, die das Tageslicht in den darunter liegenden Bereich strömen lässt. Maßgeschneiderte Spinnen-Pendelleuchten von Dean Phillips sitzen harmonisch im Raum und verschaffen eine funktionelle Beleuchtung über Anordnungen von konischen Pendelleuchten . Eines der architektonischen Merkmale des Atriums ist das hängende Studio. Die Beleuchtung wurde in die Flügeldetails der Studiobasis integriert, die das Material und die Texturen des Holzes freilegt und

Pic: Peter Bennetts

the challenge wasn't to work out what to illuminate but rather what not to illuminate.’’ When asked about the selection of particular fittings, Perry explained: “The process that we use is to consider (a) light effects and how to achieve them i.e. light output, beam distribution, colour temperature etc. (b) quality (c) budget and (d) ongoing support.’’ With this in mind, LED light sources were selected, ensuring optimal energy saving measures were implemented in the school. The LED lighting to non specialist spaces was undertaken by electrical engineers Aurecon. Electrolight's integrated lighting scheme for the atrium ensures a seamless partnership with the architecture, providing the space with a striking and functional illumination.

gleichzeitig eine funktionelle Beleuchtung bietet. Dies wurde durch die Verwendung von Exhausted LED Aufbau-Downlights von Dean Phillips erzielt, die in maßgeschneiderten Röhren aus poliertem Aluminium platziert wurden, um die Leuchten, Berieselungsanlagen und die Notbeleuchtung zu verdecken. Dieses besondere Beleuchtungskonzept unterstützt die architektonischen Merkmale des Raumes und die kreative Umgebung.

ITALIANO Completata nel 2014, la Melbourne School of Design è la nuova sede della Facoltà di Architettura, Edilizia e Pianificazione dell'Università di Melbourne. John Wardle Architects e lo studio di architettura NADAAA hanno progettato l'edificio dopo aver vinto un concorso di progettazione lanciato dall'Università. Electrolight è stato incaricato di sviluppare lo speciale sistema di illuminazione per molte delle aree comuni dell'edificio, tra cui l'atrio che ne è il cuore e che divide i quattro piani con un soffitto in legno sfaccettato che permette alla luce naturale di inondare

PROJECT DETAILS Melbourne School of Design, Melbourne, Australia Client: University of Melbourne - Faculty of Architecture, Building and Planning, Melbourne, Australia Architects: John Wardle Architects & NADAAA Lighting Design: Electrolight Electrical Engineers: Aurecon Group

LIGHTING SPECIFIED Dean Phillips Exhausted LED surface-mounted downlights Dean Phillips Cone Pendant suspended downlights VueLite recessed LED strips

lo spazio sottostante. Progettate a forma di zampe di ragno da Dean Phillips si ergono armoniosamente nello spazio, fornendo l'illuminazione funzionale attraverso gruppi di coni pendenti. Una delle caratteristiche architettoniche dell'atrio è lo studio appeso. L'lluminazione è stata integrata nei dettagli a forma di pinna che si trova alla base dello studio e che rivela i materiali e le texture del legno pur fornendo l'illuminazione funzionale. Ciò è stato ottenuto attraverso l'utilizzo dei faretti LED Dean Phillips Exhausted, posizionati all'interno di tubi in alluminio lucido su misura per nascondere le luci, gli irrigatori e le luci di emergenza. Questo particolare sistema di illuminazione supporta le caratteristiche architettoniche dello spazio e sostiene l'ambiente creativo.

ESPAÑOL Habiéndose finalizado en 2014, la Escuela de Diseño de Melbourne, alberga a la Facultad de Arquitectura, Edificios y Planificación de la Universidad de Melbourne. John Wardle Architects y la firma de arquitectos NADAAA diseñaron el edificio luego de haber

ganado una competencia de diseño conducida por la Universidad. Electrolight estuvo a cargo de desarrollar el proyecto de iluminación especialista para muchos de los espacios comunes del edificio incluyendo al patio interior- el corazón del edificio, que atraviesa cuatro niveles con un cielorraso de madera, permitiendo que la luz natural fluya en el espacio de más abajo. Las arañas colgantes diseñadas a medida por Dean Phillips, encajan armoniosamente en el espacio, ofreciendo iluminación funcional a través de grupos de colgantes en forma de conos. Una de las características arquitectónicas del patio es el estudio colgante. La iluminación ha sido integrada en el alerón que da el detalle de la base del estudio, lo que revela los materiales y texturas de la madera a la vez que proporciona una iluminación funcional. Esto se ha logrado mediante el uso de luces focales de superficie Exhausted LED de Dean Phillips, ubicadas dentro de tubos de aluminio lustrados hechos a medida para ocultar la luminaria, los rociadores y las luces de emergencia. Este proyecto de iluminación en particular, le da soporte a las características arquitectónicas del espacio y al ambiente creactivo.

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¡DARK! Compiled of past installations and site-specific exhibits, ¡DARK! explores the physical and metaphorical power of light in the face of darkness. ¡DARK!, exhibition taking place at the Centre for International Light Art in Unna, Germany, will run until Spring next year. Alongside Dark II – the co-exhibition interprets light and dark on a more metaphorical level and looks to explore the concept of darkness and the creation of

surfaces of light. The dark rooms at the centre envelop guests, allowing the installations by Anthony McCall, Diana Ramaekers, Regine Schumann and Vera Rohm to become discernible only after a short period of acclimatisation. Pic: Anthony McCall Courtesy Galerie Thomas Zander, Köln / Sean Kelly Gallery, New York / Galerie Sprüth Magers, Berlin, London

Diana Ramaekers: Sensing the Light (2015) Dutch artist Diana Ramaekers has created a new, site-specific installation for the exhibition. As with McCall’s, movement has a role in her installations through the use of two large mirrors. An artificial haze makes the light choreography become visible and the combination of three moving heads, LED spotlights, DMX control and moving mirrors creates a large light sculpture; with the light structures changing depending on the visitors’ positions in the room. The materialised light slowly makes its way across the room, along walls, floor and ceiling, occasionally grazing visitors, implying a tangible, physical body that is almost intrusive. Ramaekers' work suggests that light doesn’t just have a poetic but also a forceful, destructive character.

Pic: Diana Ramaekers

Anthony McCall: Meeting You Halfway II (2009) Since the early 1970s, UK-born artist McCall has been known for his individual light installations called ‘solid light’ movies. The technique involves animated black and white lines, projected into a room filled with artificial haze to articulate twodimensional drawings as seemingly tangible, sculptural shapes. Projected horizontally across a room onto a wall or – in the case of his latest work – from ceiling to floor, they envelop the viewer in a single, slowly moving cone of light. Meeting You Halfway II combines and divides different configurations of two ellipses. McCall explained: “In three-dimensional space this creates a complex sculptural shape in a state of slow, continuous change.” At the same time it appears movie-like, continually changing and evolving as the viewer explores it.


Regine Schumann: Jump! (2012 | 2014) Jump! consists of artwork Connect, Back to Back and additional artistic elements such as dance and language. Connect, Back to Back contrasts the other, exclusively black and white installations of the exhibition with its multi-coloured, playful aura. It is an installation made of wavelike acrylic glass. Kept in phosphorescent blue and fuschia red colours, the installation meanders across the exhibition room, inviting the visitors to take a relaxed walk through its space, offering new perspectives and confronting with a new experience of colour. Blacklight exentuates the acrylic glass, allowing the objects to draw lines across the room, becoming graphic elements. Architecture is the foundation to Schumann’s works and the idea that space demands and commands all her deliberations concerning colour, shape, light and staging.

Pic: Flo Fetzer

Pic: Maurice Cox

Vera Rohm: Night is Earth’s Shadow (2005-Present) Since 2005, German artist Vera Rohm has created 66 cubes in 66 languages with the linguistic starting point of the cubes, a sentence from German scientist Johann Leonhard Frisch. With his wording ‘Night is Earth’s Shadow’, Frisch enforces a radical change of perspective in a concise and clear form: away from the countless different atmospheres of night, which vary depending on subjectivity, cultural, temporal, or geographical circumstances, into a cosmic approach of the phenomenon of night. In a variety of languages, ranging from German and French to Greek, Hebrew and Thai, artist Rohm causes the sentence to become detached from the sides of black painted aluminium cubes with an edge length of 75cm. Each language has its own cube; the sentences, shaped by laser, are lit from inside the aluminium cubes behind white matt glass. This way, the visitors face different cubes with each language shining in its own unique letter type. Around 20 text cubes are being shown in the museum’s central exhibition space, better known as the ‘columned cellar’, creating a forest of cubes. In the room’s darkness, lightened shadows will throw glowing rays.



Pics: Mark Cocksedge


Tabanlıoğu Architects' Melkan Gürsel and Arik Levy have collaborated

to create Transition; Warm/Wet - a two-room installation exploring the interaction between our planet's elements. Unveiled at the London Design Festival 2015, Transition; Warm/Wet is a two-room installation at Somerset House co-designed by Arik Levy and Tabanlıoğlu Architects. The installation incorporates water, light and movement to create two different environments, each composed to trigger an emotion. The result takes inspiration from the interaction between the particles and elements that form our planet, with an emphasis on light and water. Integrating mediums of light and solid, dry and wet, and warm and cold, it spreads across two adjoined spaces: the ‘warm light room’ and the ‘cool wet room’. People moving through from one room to the other

connect the two contrasting environments. In the cool wet room, raised above the floor, the Solid Pool by Tabanlıoğlu Architects integrates movement through two kinetic metal plates that undulate in a choreographed sequence. The surfaces are covered in water, yet despite their movements, the glittering droplets remain still. The innate tendency of liquid particles to unite is challenged, to create a fascinating performance. In this way the reflective sculpture explores the nature of tension, attraction and intervention through a basic element water. In the warm light room, the

FractalCloudWarm is an extension of Arik Levy’s Fractal projects, a series of light sculptures formed of 960 micro LED strips, representing no beginning and end. Hyper intense light turns into a warm tangible material that one can walk into, just like walking into the sun. The radical characteristics of it and the presence of the wires, power units and connections, give it the existence of transformation from the industrial, tactile world into a weaving of colours, textures, material and its active part of the light sculpture. The juxtaposition of FractalCloudWarm to Solid Pool creates a new reality: warm meets wet, Earth meets sky. Created by Melkan Gürsel, Partner at Tabanlıoğlu Architects and instigator of the project, and Arik Levy, a long-standing friend of the practice, Transition; Warm/ Wet is an interdisciplinary collaboration between architecture and art.

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FESTIVAL OF FIRSTS Romania arrives onto the global lighting stage with LVMEN in Sibiu an ambitious event of conferences, light pollution discussions, Guerilla Lighting and design exhibitions.

From 8-12 September, the Transylvanian city of Sibiu hosted LVMEN, a celebration of light in Romania. The ambitious event was the brain child of Laurent Chrzanovski, president of the ILA in Romania and Dorin Beu, president of the Romanian National Committee on Illumination. The objective was to create a lighting event that was on a par with other conferences and festivals they had visited internationally with a view to attracting historians, lighting specialists, the media and the general public. LVMEN kicked off with a lighting history conference that presented the different techniques and materials used to create light through the ages. Day two

hosted a conference with three diverse speakers: Prof. Abraham Haim, the Chair of Chronobiology from the University of Haifa, Prof. Wout van Bommel, the former President of the CIE and Martin Lupton and Sharon Stammers of Light Collective. This was followed by a day of discussion on lighting and public spaces, based around the topic of light pollution. This theme ran throughout the conferences with a special stellar observatory open for the duration of the event. Light pollution is a relatively new topic of discussion in Romania. Previously, the country has endured many years of darkness when public lighting was switched off in order to save energy in the period of

Ceausescu. Therefore the aim was to learn from other countries in terms of avoiding light pollution as a new urban lighting infrastructure is built in Romania. To attract the media, the event needed to pull off some Romanian firsts. So it invited Ian Cheney, director of the documentary The City Dark to introduce a showing of the film, Light Collective to help run the first ever Guerrilla Lighting in Eastern Europe and a light mapping contest on the Brukenthal Museum. Not content with three conferences and four events, it also hosted four exhibitions: Paris-Sibiu - telling the history of public lighting in the two cities, Light in the Universe - a dark-sky photo exhibition,


Left hand page The streets of Sibiu were celebrated through lighting of its historical architecture Top LVMEN included a general exhibition presenting examples of contemporary Romanian luminaire design. Products shown include: Knitted Cuplo by Dragos Dogaru, Roca by Segal, Spontaneous Form by Adrian Balcトブ, N by Rizi Design and the Chimera Rosso tablelamp by Sarah Ambrozie. Left Highlighting an unusual feature of Sibiu buildings, Sarah Ambrozie's light installation created a pair of eyes, which eventually became the event logo - The Sibui Eyes.

an exhibition on the history of ignition techniques for light through time and a general exhibition on 2,000 years of lighting. This exhibition presented a mix of international renowned luminaires created by famous designers and architects but also presented examples of contemporary Romanian luminaire design. Products shown included: the knitted Cuplo by Dragos Dogaru, Roca by Segal, Spontaneous Form by Adrian Balcトブ, N by Rizi Design and the Chimera Rosso tablelamp by Sarah Ambrozie. Sarah Ambrozie also created a light installation that highlighted one of the unusual architectural details found only on the roof of a typical Sibiu building that

looks like an eye. This striking idea became the event logo; The Sibiu Eyes. The event was co-organised by The Romanian Association for Lighting (ARI.), the Romanian National Committee on Illumination (CNRI), a full member of the CIE, the International Lychnological Association (ILA) and the Sibiu 1191 Association. Romania has now made its first steps onto the global lighting stage and in 2016, the international conference Artificial Lighting At Night will be held in Cluj-Napoca.



INDUSTRY INVERTED As a part of this year's London Design Festival, design consultancy SEAM has provided atmosphere to Alex Chinneck's A Bullet from a Shooting Star, illuminating its evening silhouette with Osram Traxon fittings. Pic: Tara Mandahar/Greenwich Peninsula

Pic: Tara Mandahar/Greenwich Peninsula

Fifteen tons of steel, 35-metres tall, 120 tons of concrete: Alex Chinneck's A Bullet from a Shooting Star is an up-turned electrical pylon in the industrial landscape of Greenwich peninsula, London.The expression of this year's London Design Festival Landmark Project (sponsored by the area's developer Knight Dragon) creates a crisp silhouette against the sky, casting a sharp web of shadows on the ground. At night, against the jumbled backdrop of Canary Wharf and the Millennium Dome, London-based design consultancy SEAM created a lighting proposal that allowed the pylon to create its own contrast. “The sculpture drew us to themes of celestial bodies, the works of Nicola Tesla, lighting and electricity, inspiring our design concepts for illumination of the sculpture.’’ said Marci Song, Director of SEAM. Utilising Osram Traxon fittings, light is directed upward through the lattice-like structure by seven Traxon Technologies Washer Allegro luminaires, controlled by the e:cue Butler XT2 control engine. As the interior framework catches the light, it

Pic: Chris Tubbs

gains volume and the external framework becomes a silhouette against its internally illuminated structural members. Nicki Smith, Business Development Manager, International Projects at Osram said, “We are delighted to have worked with such a renowned artist as part of the London Design Festival. A Bullet from a Shooting Star is an eye-catching project for those visiting and living in the area.” Emory Smith, Director of SEAM explained: “Our challenge for the lighting design was clear: to enhance the sculpture's presence at night, but we also asked if there was another quality that we could bring out with lighting, one that might not be visible during the day.’’ Additionally, the dynamic DMX lighting controls provided brightness and colour, bringing subtle theatrical elements to the sculpture, complementing the artist's conceptual story. The ten minute progressive sequence reveals the lines of the sculpture's silhouette by gradually filling it with white light before it plumes with deep oranges and fades into the night sky. The colour is reminiscent of molten steel,

recalling how the sculpture was forged as well as a nod to the site's industrial history. “The colour choice and sequence came to the team quite easily when we were on site. What was challenging was getting the timing right - how long will people linger, when does animation of light become too much about itself, how can we leave space for the sculpture to just be a silhouette? In the end, the proposal was subtle and restrained. You catch glimpses of the artwork at different moments and there's a narrative, but the lighting is still second to the audacity of the piece,’’ said Smith. A collaborative tour de force, Alex Chinneck was pleased with the relationship with SEAM, admitting to the project’s ambitious nature. “It was a complex industrial process – welding, drilling, bolting, more welding, sawing. The end result is whimsical and playful. There’s typically an illusion at play in my work, but the path to that result is one of brute industry.”



HAPPY FAMILIES Mother and daughter design duo Akari-Lisa Ishii and Motoko Ishii present seven rooms filled with happiness created by the latest trends in lighting technology at Maison et Objet, Paris.

Room 1: Perception of Happiness

Room 3: Happy Time!

Room 2: Happiness to the Eyes

Room 4: Do I look happy?

Maison et Objet Paris 2015 saw Japanese lighting design team Akari-Lisa Ishii (daughter) and Motoko Ishii (mother) present the latest trends in lighting, after the success of their previous exhibition at the show over the past two years. With M&O’s redesign and new target marketing, the importance of lighting is prominent, notable in the wide coverage given to lighting designers in the thematic exhibition of their designs. The Japanese duo’s stand Light Trend was placed in the 'Projet' hall, along the red carpet linking the must-see stands throughout the fair. With increasingly evolving technology, lighting plays an ever more important role in interior design; Light Trend aims to present the latest technologies in lighting while suggesting integration

of light and fixtures in a space. The different spaces presented live exclusive lighting experiences comprised through a collaborative effort between lighting manufacturers and designers. Under the sub-theme of happiness, Light Trend strives to bring happiness to the heart, body and environment in honour of the UNESCO International Year of Light and M&O’s 20th anniversary, to be shared with leaders of light and guests within the field of lighting design from all over the world. Light Trend consisted of seven rooms, presenting different approaches to the pursuit of happiness. Visitors walk through each one, experiencing diverse expressions of light throughout. The first room, titled 'Perception of Happiness' featured a video realised by

I.C.O.N., Akari Lisa Ishii’s lighting design office, and Motoko Ishii Lighting Design, demonstrating the relation between facial expressions and light, using a Japanese mask of Noh as an example. In this space several lighting fixtures were presented to create a cheerful effect, with Artemide’s Cata and Picto lights behind the reception desk, and Artemide’s acoustic Egg Board to reassuringly stifle aggressive noise. The room also featured Artemide’s Spectral Light, a multi-coloured conceptual light object dedicated to well-being based on the concept of perceptible wave length of light. The second room then focused on 'Happiness to the eyes'. Here, organic LED (OLED) presented a colourful light composition manufactured by Sumitomo Chemical, showing the word happiness,


Room 5: Mental Happiness

Room 7: Technology and Happiness

Room 6: Environmental Happiness Akari-Lisa Ishii and Motoko Ishii

using exclusive technology to create dualcolour OLED panels. Moving through to the third room, 'Happy Time!', guests were greeted with a colourful lighting effect through ERCO's Cantax RGBW and balloons, while tasting sweets and sparkling drinks to activate the brain and complement the cheerful ambience. In the fourth room, 'Do I look happy?', guests were given the opportunity to experiment with how the angle of light cast across a face can affect mood and attitude projection in diverse scenes in daily life, demonstrating how light influences the way we perceive and are perceived by others. Lumenpulse Alphaled Spot Apto shone down above the guest, standing in front of a mirror, watching the way the shadow changed.

'Mental Happiness', the fifth room, featured a meditating room that used KKDC lights of soothing colours and healing music within an aluminium structure developed by Technilum, filled with Shiseido perfume to enhance feelings of mental happiness and tranquility. The sixth room focused on the idea of SOHO (Small Office Home Office) systems, titled 'Environmental Happiness'. This room presented propositions of lighting products by Okamura and Stanley Electric launched at M&O that aim to balance the productivity of a working space while maintaining the comfort of a home. The seventh room by the name of 'Technology and Happiness', used an interactive control system linked to a moving detector and an original chandelier,

custom-made for M&O, demonstrating previously unseen lighting effects, all manufactured by Stanley Electric. This room also included educational demonstrations of tips on lights in interior design, such as colour temperature and colour rendering. With all rooms designed by the mother and daughter duo, Light Trend presented a variety of applications in architectural lighting with a focus on its human importance in emotion and impact. The exhibition was a collaborative effort between leaders and trend setters in the field, and stood as a strong exhibition along the red carpet of Maison et Objet. All pics courtesy of I.C.O.N. and Motoko Ishii Lighting Design






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darc thoughts For those of you that attended darc night, the culmination of the darc awards process, I hope that you enjoyed it. I have been blown away by the response to the peer-to-peer concept of the darc awards making this a truly democratic awards programme. Over 450 entries and over 5,000 votes from the lighting design community has proved that the lighting industry - both decorative and architectural - was eager to embrace a fresh, subversive awards format. This alternative approach was replicated during darc night. Dress code was creative not black tie. Street food (no tables) and drinks were free all night and there was no comedian (unless you count me fluffing my lines!). The visual interest was provided by twelve inspirational installations created by the lighting design studio and manufacturer partners that bought into what we are trying to achieve and I want to thank them for their tremendous creativity above and beyond the call of duty. Empowering lighting designers by making them eligible for free tickets to darc night if they vote (as well as interior designers and architects if they enter) appears to have struck a chord with everyone out there and we will be continuing with this initiative in the coming years for more awards. If you are a designer this event is for you and changes the dynamic of most awards where you have to wait to be invited by a manufacturer or fork out yourself. Something that is out of the grasp of many junior designers or small practices. We look forward to welcoming you to many more events that we are organising and I hope you have found inspiration in what you have seen so far. Paul James Director, darc awards

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Best Decorative Lighting Product

WINNER DIMPLE – BYBEAU Dimple is a modular chandelier system designed to allow unlimited configurations. It is made from the highest quality handblown glass with a unique two way mirror-coated finish, available in both chrome and a bronze finish, unveiling the extra interior glass ball when it’s on. It offers a flexible modular chandelier


system to suit interiors of all sizes, starting from a single pendant through to multiple pendant configurations. Every drop of the chandelier can be configured with a RGBW LED chip, an LED chip with a combination natural whites or a single warm white LED. Each drop can be individually controlled via DMX to offer unlimited possibilities.

The system is designed to work with its own control system or already installed control systems like Lutron or Crestron. During the day the chandelier works like an organic sculpture with the mirror coating reflecting the natural light and it surroundings. At night it becomes an exquisite light show that can adapt to the moment.




Lighting Designers Favourite Architectural Lighting Product - Exterior

WINNER VARIOLED FLEX VENUS – LED LINEAR VarioLED Flex VENUS is a high quality, opal encapsulated, IP67/IP68 protected flexible LED design light line. Above all, the astonishing uniformity of the light in combination with a small cross section and a high degree of flexibility characterises the VENUS, making it an appealing and innovative product. Despite being, in principle, a semifinished product in terms of design, it is without doubt a finished luminaire that presents an air of fascination. It is available in two versions with


different bending characteristics. The Top View (TV) is vertically bendable and comes with a cross section of 16mm x 15mm. The Side View (SV) is horizontally bendable and comes with a cross section of 10mm x 20.5mm. Depending on the version it can be delivered in lengths of multiples of 62.5 mm or 125mm and with a maximum length of 7,540mm. In short, VENUS is a flexible neon tube with outstanding touch, look, feel and technical lighting properties. Products

of the VENUS family provides a lamp life time up to 53,000 hours, glare and dot free LED illumination and a colour rendering (CRI) of 85. The product comes in various colour temperatures of 2,400 K, 2,700 K, 3,000 K, 3,500 K, 4,000 K, 5,000 K, red, yellow, blue, green and RGB as well as IQ White. VENUS can be used for manifold in and outdoor applications, from furniture design to façade illumination.




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Lighting Designers' Favourite Architectural Lighting Product - Interior

WINNER LASER BLADE - IGUZZINI ILLUMINAZIONE Laser Blade revolutionises the concept of the downlight. The product with miniaturised optic, providing high visual comfort, uses the physical principle of pinpoint lamps, generating circular light emission. No more rigid frameworks, but instead ample opportunities for customisation. Innovative in its simplicity, Laser Blade is the result of an integrated process involving various disciplines: the science of lighting, technology, design and culture. The system is a multiple,


flexible, universal tool, having received international awards. A classic circular downlight forms a point in space. Laser Blade, with its linear geometry, forms a segment, a direction. The luminous effect being equal, Laser Blade introduces a new approach with visual stimulation, graphic lighting of rooms, surfaces, walls and ceilings. The possible configurations affect behaviour and the way people relate to space (“Field theory�).

The great care taken by iGuzzini in its constant and repetitive selection of LEDs, establishing partnerships with the best suppliers in the world, guarantees colour consistency which is not just constant over time, but also the same for different products in the same project. Laser Blade houses LEDs with a MacAdam Step value of <3. The chromatic difference between two or more colours is imperceptible.



Pic : N. Waltefaulge


Canot Bridge in Besanรงon (France) In use : LED linear 5633-Arches

Best Unrealised Lighting Concept

Project: Maritime Museum of Denmark Location: Helsingør, Denmark Concept: Lucia Moreno Abenojar, Lumabe, Spain

WINNER MARITIME MUSEUM OF DENMARK The research project has a purely academic nature and is part of a light plan that explores new approaches about a completed project that has been published and disseminated in several media. The concept rises up from the point of view of architectural analysis and its relationship with the environment. The proposal suggests a new means of interaction with people and environment, with the idea to create a frame of blue dots in a grid that can anticipate the sea state through sound and movement of


sea. Urban furniture is one of the key elements of the building, the peculiar design of which is based on Morse Code. The lighting proposal highlights each piece that makes up the furniture. Light is responsible for reading the hidden message through light pulses; dots (quick pulse) have a shorter length than dashes (slow pulse) - like Morse Code. Bridges connect the main entrances and exhibition spaces of the museum, while the lighting proposal is an intervention between plastic and nature like a light


art installation, inspired in luminescence that can be found in animals, creating an enigmatic atmosphere. The auditorium has an open design criteria with a lighting proposal that searches to adapt a free solution. The ceiling works like a big screen that can be turned off and on as needed, adapting to each specific use. The lighting project achieves to adapt to needs of the building through the previous analysis of the architecture, without altering its essence and environment.

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Best Decorative Lighting Installation

Project: Emergence Location: London Heathrow Terminal 2 – The Queen’s Terminal, UK Lighting Design: Cinimod Studio Client: Caviar House & Prunier Interior Design: Cinimod Studio

WINNER EMERGENCE, UK Upon the recommendation from the retail directors at BAA (British Airport Authority), Caviar House & Prunier commissioned Cinimod Studio to conceive, develop and produce an iconic sculptural intervention to mark their presence within Heathrow Airport’s new terminal, T2 “The Queen’s Terminal”, and to provide an impressive and memorable addition to the overall terminal. Emergence captures the re-imagined movement of a school of fish moving underwater, a playful reference to the core


business of Caviar House. It is a sculptural expression of the light patterns and shimmers that are created as a school of fish moves in harmony within water. The structure comprises bespoke LED arcs spiralling thirteen metres up to the ceiling, made from engineered carbon fibre composites as found in the newest airplanes. The resultant form manifests a kinetic moment frozen in time and then reanimated through cutting edge interactive digital lighting. The sculpture is an iconic and memorable scene that sets the brand


up for incredible exposure to the millions of travellers flocking through the terminal on a daily basis. Each arc of light, controllable in movement, mimics the shimmer seen against each fish when they move in unison. Held together through beautiful mechanical fixings, each sits in the space above the bar, as a weightless mesmerising glow. This fragmented shimmer of scattered light translated as a fish vortex achieves a light movement that mimics that of the lateral line system that fish have.

Best Light Art Installation

Project: Light Barrier Location: Nikola-Lenivets Art Park, Russia & Eindhoven, Netherlands Artist: Kimchi and Chips, Korea & UK Client: Comissioned by the British Council and FutureEverything

WINNER LIGHT BARRIER, RUSSIA / NETHERLANDS Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014. The light installation creates floating graphic objects which animate through space as they do through time. A fascination with natural light drove the technique of the impressionist painters, they explored new qualities of colour and the trail of time. Kimchi and Chips’ study of digital light discusses a new visual mechanic, their installation adding

to the visual language of space and light. As the artist’s inquiry deepens, brush strokes become descriptive like code, detailing reality and allying light with canvas. The Light Barrier is the universal law which separates light and material. Both by limiting the actions of materials so that they cannot move like light, and by defining Einstein’s mass-energy equivalence formula. The second edition of Light Barrier commissioned by STRP Festival

continues the work of the original ‘Light Barrier, 2014’ into a new story with new physical techniques. The visual story follows the journey of a digital form. It begins by passing through the Light Barrier, so that this digital form transcends the limits of its home reality and enters into our physical one. It then explores the possibilities of its new found physicality, whilst attempting to assert its digital identity. Finally the form travels through the Light Barrier again to pass away to the next reality.




Best Landscape Lighting Project - Low Budget

Project: Memories of the Mirror Location: Convent de Sant AgustĂ­, Barcelona Artist: Lupercales Client: Festival LlumBCN, 2014 edition. Ayuntamiento de Barcelona Main Lighting Suppliers: Lamp

WINNER MEMORIES OF THE MIRROR, SPAIN In ancient times, astronomers used a mirror over their desks in order to study the movement of the celestial sphere. This was an artistic installation that created a reflexive and out-of-a-dream atmosphere. The use of five circular mirrors of two-metre diameter allowed it to be even a daylight artefact, capable of articulating a spatial discourse during the day. The metaphorical use of the mirror wants to talk about the architecture of the place (a gothic courtyard of a former convent) and also wants to reflect the


(available) darkness of the sky, a situation that implies a strong issue in urban context. The mirrors also reflect, multiply and make visible from other points of view, two other light art installations (by James Turrell and Gina Cubeles). Any further object and light element in the scheme serves to complement and integrate with the existing installations, controlling the colours and the illuminated surfaces. Prior to the installation, the educative programme was expanded with

a workshop. That programme saw Lupercales working in downtown Barcelona with young people who had left school before completing their degrees. The students, who were following a first-job oriented programme in electrical installations and maintenance, attended classes on lighting fundamentals and techniques, with the objective being to increase their knowledge while motivating them to look beyond the restricted scope of a basic professional level.


Project: a Arena e Navarr d o n y e R Spain) (Navarra


Fernรกnd t: Architec iados, Carmelo oc TYM As r: Designe Lighting ALS er: Develop varra o de Na Gobiern ctor: Constru asa C Oben UTE FC Year: 2013 Lighting: inaire m Reyno lu

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Best Landscape Lighting Project - High Budget

Project: UK Pavilion Location: Expo Milan 2015, Italy Lighting Design: BDP, UK Artist: Wolfgang Buttress, UK Client: UKTI Landscape Architect: BDP, UK Structural Engineer: Simmonds Studio, UK Main Lighting Suppliers: Mike Stoane, Lumenal, LEDFlex, Lumenpulse AlphaLED, Light Projects, Luxonic Lighting

WINNER UK PAVILION, EXPO MILAN 2015, ITALY The two greatest challenges for BDP’s lighting designers were the one year programme, from design competition success to the grand opening in Milan, and a limited architectural lighting budget to provide 5* lighting on a 1* budget (£25k for all areas except the Hive). These constraints forced innovation and were overcome with close design team collaboration and assistance from UK manufacturers. The theme of the 2015 World Expo is ‘Feeding the Planet, Energy for Life’


and Wolfgang’s overarching concept for the UK Pavilion is the importance of the bee. This artistic vision is abstracted into various forms and fundamental throughout the design that culminates in the Hive structure. This is a multi-sensorial experience that uses sound and light mapped from a live stream of a real beehive in the UK. Accelerometers are used to measure the activity of the colony and algorithms are used to convert the bee colony vibrations into lighting effects. One

thousand individually-addressable LED luminaires allow the Hive to pulse and glow, acting as a visual representation of bee activity. In addition to the Hive, the pavilion has various spaces and functions. These range from the entrance orchard and meadow walkways, lit in warm white ‘honey’ light, to the conference suite with honeycomb pendants where high level UKTI meetings are held. In each of these spaces careful detailing was the key to the project’s success.


Best Exterior Scheme - Low Budget

Project: Shadow Play Location: Hämeenlinna, Finland Lighting Design: WhiteNight Lighting Client: Hämeenlinna City Architect: Architect FCG Finnish Consulting Group, Finland Main Lighting Suppliers: iGuzzini

WINNER SHADOW PLAY, FINLAND The 1952 Olympic swimming stadium was restored to its old glory after being abandoned for almost 30 years. The commission was to create a light art piece to bring the Olympic history back to life. The challenge was the Nordic location since the pool is used during the summer and in these latitudes the summer nights are short. Daylight became a crucial part of the installation; the surrounding ambience and history were connected in a shadow art that changes according to sunlight and weather. During night the lighting


gives the figures another feel compared to their daylight appearance. After analyzing the site we concluded that daylight was entering the main façade on an optimal angle and it should be taken into account on the design. The pool was also used at summer time during daylight hours so it made sense to make the art piece work also during daytime. The clients’ wish was to bring back the sites Olympic history. WhiteNight Lighting went to learn more about the modern pentathlon that took place

during the Olympics. The old black and white photos inspired the team to use them as a part of our installation. They even managed to find two old grandpas who had taken photographs during the Olympic Games. They wanted to bring the other four pentathlon events back since the outdoor pool was the only clue left. When you arrive to the swimming stadium the road comes down from a hill. From faraway you see the art piece can be seen from a side angle and figures look complete.


Best Exterior Scheme - High Budget

Project: Szczecin Philharmonic Location: Szczecin, Poland Lighting Design: Anoche Iluminación Arquitectónica, Spain Client: Barozzi Veiga Architect: Barozzi Veiga, Spain Main Lighting Supplier: Traxon

WINNER SZCZECIN PHILHARMONIC, POLAND The Philharmonic Hall of Szczecin, in Poland, is an example of architectural creativity. Without this expression that puts the architecture of Barozzi Veiga on the table, the rest would not exist. It has been a challenge to endure the design process from the beginning, working together hand by hand with the architects. Audacity and risk taking have resulted in this as a successful project, working together with the architects to find solutions to all their ideas. The concept


of the façade of this building, born from the architects, emphasises the need to use the lighting that crosses the façade like a link of union with the people of the city. A façade of glass, lit from inside, contains a conceptual load, transmitting different perceptions according to the use and the moment. This illuminations transmits what happens in the building’s interior, while sensors situated in the outside light as the sun sets, to stand in all its splendour.


Best Interior Lighting Project - Low Budget

Project: Sorae Sushi Sake Lounge Location: Ho Chi Minh City, Vietnam Lighting Design: ASA Studios, Vietnam Client: District 1 Concept Interior Design: LW Design, Hong Kong Main Lighting Suppliers: Philips, Osram, NVC, ELEK

WINNER SORAE SUSHI SAKE LOUNGE, VIETNAM Sorae is one of the most spectacular

experience of “dining in the sky”, with the

is that it was achieved within a very low

Japanese Sushi and Sake Lounge

ceiling illuminated softly by concealed light

budget using simple lighting techniques and

destinations, located at the top of a high-rise

strips, accentuated by the glowing cloud

technologies. Lighting helps “dining in the

building at the heart of the Saigon district

lit in dynamic warmwhite tone to imitate

sky” become an unforgettable wonderful

(HCMC), with a panoramic view of the city,

the sky after the tropical rain in Southern

experience for the guests.

where tasting and dining are taken to an

Vietnam. This scheme connects very well

exciting new level.

with the real sky images reflecting on the

The lighting concept is to create high

large glazing offering an extensive view to

contrast of light and darkness with a

the city nightscape.

dramatic visual effect for guests to

Every design feature is carefully treated

experience the authentic Japanese cuisine

with integrated lighting to focus on the

and culture heritage.

presentation rather than the details.

The lighting scheme also enhances the

One of the major successes of this project



Best Interior Lighting Project - High Budget

Project: Fulton Center Location: New York, NY USA Lighting Design: Arup, USA Client: MTA Capital Construction Architect: Grimshaw, UK Artist: James Carpenter Design Associates, USA Main Lighting Suppliers: Beta Lighting, Edison Price Lighting, Gammalux

WINNER FULTON CENTER, USA From the inception of the project, light

to allow more direct sunlight and skylight

the building, allowing electric lighting to be

and daylight played a critical role in this

to enter, which during summer months

turned off during the daytime.

reinvisioning of a downtown transit hub

penetrates as far as two levels below

The reflector panels of the cable-net

that serves eleven subway lines and

ground, to the delight of passengers

structure have a custom semi-specular

300,000 daily commuters, by acting as a

stepping off platforms into daylight.

coating that dynamically reflects light as

key wayfinding element. By studying the

A cable-net structure with reflective panels

both exterior conditions and viewer position

solar geometry of the site, the design team

fabricated of a custom designed reflective

change. The unique surface finish of the

was able to determine the influence of

aluminium coating surrounds the interior

panels allows for subtle direct reflections

surrounding buildings on daylight access,

of the space below the oculus, reflecting

without direct glare from reflected sunlight.

which informed the location, height, and

both the direct sun and diffuse skylight, and

Perforations in the panels vary from 30%

angle of the primary feature of the building,

folding subtle images of the surrounding

open at the top of the structure to 70%

a 50-foot diameter skylight oculus. The

environment into the space. The oculus

open at the bottom, designed to optimize

skylight is tilted gently towards the south

and reflector-net illuminate the interior of

reflection of light.



0 darc night installations

Pics by Sven Eselgroth Photography unless otherwise stated

LSE LIGHTING / TROUP BYWATERS & ANDERS LSE lighting partnered with the Lighting Solutions team at Troup Bywaters & Anders (TBA) to create an installation for darc night. The core aim was to create something that was both immersive and offer a photo opportunity. It is a lighting designers dream to design lighting for a dark (darc) space, this gave the team the opportunity to create something minimal and striking. To make the allocated space feel even larger they decided to use mirrors to create the illusion of an even better space. The linear concept came from the idea of creating a tunnel effect that would occupy our space and beyond.

LSE distribute for a range of lighting manufacturers. The company that TBA thought would best help them achieve the brief was ProLED with their RGB LED Flex Strip and RGB glass brick. The glass brick RGB was used to create the digital branding idea, these bricks create their own infinity effect and have DMX control as well as being IP rated. The linear strips of light combined with Proled M-Line profile with square diffuser to create a neon styled effect. The installation won the ‘best darc night installation’ vote on the night.

CREDITS Lighting design and concept Troup Bywaters + Anders, Manchester office (Nick Meddows, Faye Robinson, Zoe Faulkner) Equipment ProLED RGB LED Flex Strip, ProLED RGB glass brick, Meanwell drivers (supplied by LSE Lighting)



Pic: Jim Ashley-Down

Pic: Jim Ashley-Down

Pic: Nulty+

GRIVEN / NULTY The concept for THE WAVE POOL was to design an interactive light installation and space that truly immersed people in light. Nulty+ wanted to create something that was refreshing and new, that inspired a childlike sense of wonder and play and that would manipulate mood and senses as the light changed. The piece was centred round a mirrored wall erected from a deep ceiling void to form a wave of facets and reflections that culminated into a pool of light. The pool was filled with over 9,000 translucent balls for people to submerge themselves and the team designed the light effect to mimic a ‘rainfall’, where a sequence of different coloured light

fell down through the void and dripped from the pixel sticks before spreading out into the pool. The light was able to pierce through the translucent balls flooding the swimmers inside and the area around them. With a focus on scale and interaction, the installation encouraged viewers to become participants, impacting on their perception of the environment, stimulating the imagination and changing their visual perspectives and inviting them to swim in light. Not only was the installation a success during the event it also created a wave of ‘bubble bath’ inspired pictures and took social media by storm,

winning the hearts of the so-called grown-ups of the lighting industry, who really are all kids at heart.

CREDITS Lighting design and concept Nulty+ (Christina Hébert, Philip Copland, Ellie Coombs, Daniel Blaker & Emilio Hernandez) Equipment Griven - Diamond RGBW floodlight, Graph-i-Line media façade pixel sticks, Parade X RGBW linear floodlights, Ruby recessed RGBW uplights Programming Griven (Alessandro Pederzani)

darc night installations

MEGAMAN / DESIGN IN PROGRESS Johannes Brahms was a German composer and pianist born in 1833. Franz Liszt was a Hungarian composer, pianist and conductor born in the same century. They were joined together by some cheeky cockneys to form a popular rhyming slang phrase that leant itself perfectly to the goings on at the darc night bar… The installation used MEGAMAN’s 6W golf ball Dim-to-WARM LED to illuminate the lettering and the mirrored dimmable Crown Silver LED to provide a contrasting glow on the treble clef. Eaton’s lighting controls provided the perfect platform to showcase the smooth dimming curve of the

MEGAMAN Dim-to-WARM lamps. When dimmed to 10% the LEDs appeared so warm (1800K) that many commented that they ‘must be halogen’. There was also a popular interactive element to the design. With so many of the lighting and design industry’s greatest minds in attendance, it would have been a shame not to capture some of their inspiration – and so the ‘#Megathought bubble’ was born. A MEGAMAN filament lamp would light up above the head of anyone who came to offer a #Megathought - as if in a cartoon. The warm glow from the lamp illuminated the #megathought and was shared via social media.

CREDITS Lighting design and concept Design in Progress (Deb Wythe) Equipment MEGAMAN 6W Golf Ball Dim-to-WARM LED, MEGAMAN 5W Dimmable Crown Silver LED, MEGAMAN 3.2W Classic A75 Filament LED lamp (2200K) Controls Eaton Lighting Controls

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









darc night installations

Day Scene Visual

Day Scene Sketch

Night Scene Visual

Night Scene Sketch

Darc Awards Light Installation Design Concept

CONCORD / SPEIRS + MAJOR The Well is an experiential light installation that stimulates the memory of a day using both visual and auditory aspects of an urban lightscape. An excerpt from Paul Bowles’ Sheltering Sky projected on the entrance wall sets the tone of the piece: “Because we don’t know when we will die, we get to think of life as an inexhaustible well. And yet everything happens only a certain number of times, and a very small number really. How many more times will you remember a certain afternoon of your childhood, an afternoon that is so deeply a part of your being that you can’t even conceive of your life without it? Perhaps four, or five times more? Perhaps not even that.

How many more times will you watch the full moon rise? Perhaps twenty. And yet it all seems limitless...” Within a brick built shaft-like space, niches are converted into windows with curtains and flowerpots, and laundry is hung out, contributing to the illusion of life behind the panes. A fan gently animates the fabrics with natural movement. Birds sing, the sun rises. A careful blend of warm and cool coloured light appears to fill the space with daylight. The light and soundtrack shift continuously, and eventually daylight fades. Warm light begins to appear in the windows, signalling a playful transition to night.

CREDITS Lighting design and concept Speirs + Major (Kerem Asfuroglu, Sam Tuck, Neville de Sa, Jack Wates, Ting Ji, Luciana Martinez, Jaime Fuentes McGreevy) Sound design Harry Wills Equipment Concord Lumistrip, Beacon; SIMES Movit Projectors Controls Enliten (Paul Simson)

L&L LUCE & LIGHT / LDI Gathering around a camp fire, standing around an oil drum fire, or eating around candle light, we are all drawn towards light but over time the source of light has changed from fire, to incandescent, to halogen and now LED. Warm white focused artificial light can replicate feelings of intimacy, welcoming the viewer closer and calming uncertainty of what the dark may hide. Artificial light now brings our cities and spaces alive at night more creatively than ever before, fighting back the dark, and transforming our environment. In contrast, daylight has intensity far in excess of artificial light, and its full colour spectrum bathes our world in colour daily, inviting us to use its potential alongside the

fantastic LED alternatives. Warm white Smoothy 5 fittings uplight the string trees, representing artificial lighting and creating an intimate mood lighting effect. In contrast the installation sequences at varied rates and orders to more intense cold white Bright 5 fittings, representing daylight, and reflecting colour back up from the barrel lids below. The varied reflected colours are intended to illustrate how light is made up of spectral colour wavelengths, and how the world around us reflects these colours for us to see.

CREDITS Lighting design and concept Lighting Design International (Graham Rollins, Nathan Gummow, Alex Bittiner, Ben Ferris, Emily Hopper, Cristina Escofet, Theofili Machairidi, Katerina Chanioti, Gavriil Papadiotis) Equipment L&L Luce&Light Smoothy 5.0 2700K and Bright 5.0 5000K (supplied by Lightworks)

darc night installations

INNERMOST / ELEKTRA LIGHTING Innermost and Elektra Lighting’s installation at darc night featured the newest additions to innermost’s lighting collection. Ambient Stupa pendants by Freshwest and Latitude spotlights by Flynn Talbot floated amidst a series of illusionary funhouse mirrors. Six commanding mirrors defiantly rejected the common reality, and substituted their own. Suddenly, the same pendant lamp transformed into six different designs; the same person, into six different individuals. As one weaved in and out of the illusions presented by the mirrors, the contrasting lighting installation – with the ambient glow of Stupa lamps

against the striking outlines of the Latitude spotlights – seemed to come to life. YOYLight table lamps, also present at Innermost and Elektra Lighting’s installation, mirrored the playful theme of illusion versus reality by projecting it’s own halo of a classic lampshade onto the wall. Elektra Lighting commented: “Innermost are suppliers of a large range of creative and cool pendants. We wanted to show them off in a similar creative and cool way; not just hanging in the space, but in a way that would encourage interaction and for designers to look at them with a fresh perspective. We

created a “hall of mirrors” with the pendants reflected in each one. Using distorted circus mirrors forced people to look at the pendants in a new light, and to see them as if for the first time. To encourage this, we created a dedicated hashtag so people could take selfies and tweet them with the hashtag – with a prize for the best.”

CREDITS Lighting design and concept Elektra Lighting (Neil Knowles, Marta Michalski and Rachel Tunnicliffe) Equipment Innermost Stupa lamps, Latitude spotlights, YOYLight table lamps

darc night installations

LUCENT / MICHAEL GRUBB STUDIO Working with Lucent Lighting, Michael Grubb Studio’s (MGS) concept stemmed from the idea of celebrating ‘more than the downlight’ with particular emphasis placed on integral lighting and a hand-crafted construction process. The team CNC’d a pattern of scaling triangles that were cast out from the circular ‘Source’ in the centre of the installation. The Source was inspired by the definition of Lucent; glowing with or giving off light ‘the moon was lucent in the background’. MGS then used Artex to create a landscape texture which was side illuminated by the entire Lucent ProStrip Black range in it’s various formats. The team individually addressed the LEDs and created an

animation, which tied together with a projection. Both teams from Michael Grubb Studio and Lucent worked as one to construct the light installation and wire the 112 triangles back to the DMX drivers. Both teams enjoyed exploring ideas and solutions and were proud to create something new and different. “Finding a use for Artex was one of our proudest moments at Michael Grubb Studio!” commented Michael Grubb.

CREDITS Lighting design and concept Michael Grubb Studio (Michael Grubb, Greta Smetoniute, Stuart Alexander, Matt Waugh, Alberto Romero) Equipment Lucent ProStrip Black

Pic: Arup

Pic: Arup

ZUMTOBEL / ARUP Arup and Zumtobel were co-creators in the lighting installation ‘chromatic fantastic’, held inside the Doodle Bar within a warehouse space in Battersea, London. As a fully functioning bar, the team had very limited installation time, completing the installation in just six hours on the day of the awards! The concept for the installation was lava and naturally occurring movement of light, as well as looking at interior space and how light can accentuate and change an environment. The installation had moving projections on the back wall, drawing people in, and created a contrasting lit effect to the ceiling. On the ceiling, linear fittings were mounted aiming up from the top

side of suspended timber blades, and created a strong colour wash. The way they were mounted upwards created a silhouette effect for any other objects on the ceiling, which added interest. The bar also had a large blackboard wall, which prompted people to ‘doodle’ on the wall. The team used this wall to write and project poetry on the wall, by a local poet Tom Mansfield on the topic of light. This poetry was reflective of the title of the piece and lit effect of the installation. In terms of lighting equipment, Zumtobel’s Hilio, Aphrodite, and Arcos projectors showed off the space in the best possible way.

CREDITS Lighting design and concept Arup (Tim Hunt, Joni Foster, Lauren Blow, Signe Lindberg Iversen) Equipment Zumtobel Hilio, Aphrodite, Arcos Control Zumtobel (Colin Swinton)

darc night installations

COOLEDGE / LIGHT BUREAU The connection between music and food are many and varied, from quotes such as ‘if music be the food of love’. and of course great parties always have great food and great music. However we are told from an early age not to play with our food, we want to give the participants of darc night a chance to not only play with their food but play with light. The installation designed and built in partnership between Light Bureau, an award-winning lighting design and consulting studio, and Cooledge Lighting, manufacturer of the industry’s first Flexible LED Light Sheet Technology. Inspired by the piano and trying to create an interface where the

guests could latterly play light as an instrument. The system was designed so that when visitors touched the fruits, they affected and essentially controlled the illumination of selected album covers. Because of the responsive nature of the installation, the lighting continually changed depending on each individual’s interaction with the lighting installation. Light Bureau designed the installation and used Cooledge LINE and SQUARE light sheets as standalone decorative fixtures that could be easily suspended from the ceiling. Others hung from the TESTBED1 bar wall and a special illuminated counter-top was created to house the wireless interactive lighting

controls. Throughout the evening, darc night attendees were able to control their environment, introduce light into the relationship between music and objects, and enjoy playing with their food.

CREDITS Lighting design and concept Light Bureau (Valeria Surrente, Joe Vose, Emilios Farrington-Arnas, Paloma Pulmed Martin) Equipment Cooledge Lighting LINE & SQUARE Controls & Technical Support Cooledge Lighting (Gianmarco Spiga)

Pic: Electrolight

Pic: Electrolight

Pic: Lumino

Pic: Electrolight

LUMINO / ELECTROLIGHT Darkness is the absence of light. That was the conceptual premise for Umbra and Penumbra - a two-part bespoke lighting installation created by Electrolight with Lumino for the Darc Awards in London. Light is not just an optical perception; it’s a psychological influence on the human experience. We live in an environment that is ever-changing; every day we experience natural light and artificial light within the context of darkness. Umbra and Penumbra represent opposing views from the same location above London at an elevation of 18km. Umbra is a work that celebrates the natural light of a thousand twinkling

stars in the dark infinity of space. The constellations that were visible from the awards venue - on the awards night are represented. The work explores how the oldest light in the universe is visible only against the darkness and infinity of space. Penumbra is a work which reflects a more personal relationship with light. The edges of our city, populous and animated; a work of art meticulously created by the human hand. In the absence of natural light we create our own tapestry of light as rich as the skies above.

CREDITS Lighting design and concept Electrolight (Maria Rosaria Favoino, Christopher Knowlton, Jackson Stigwood) Equipment & Fabrication Lumino (Chris Small, Iaroslav Vychemirski, Jago Wickers)

darc night installations

Pic: Andy White

Pic: dpa

Pic: dpa

KKDC / DPA “Light is our guide. Light assists when darkness falls. But what if light were a barrier? An obstruction? Enter the Light Tunnel, where you must find your own way.� Light Tunnel creates the illusion of a seemingly impassable route by utilising a series of full height lit vertical lines placed carefully so the participant perceives a barrier that prohibits them from travelling through. The use of mirrors to the ceiling, walls and the edges of the lit profiles provides infinite inter-reflections, extending reality and the sense of obstruction so one is left to discover the pre-defined passage. Dynamic control of the installation alters the appearance of the Light

Tunnel, ensuring continuous way finding adjustment amongst the blurred visual boundaries. The installation used homogenous illuminated double faced RGB & tunable white LiNi Glow XL modules complete with mirrored side facias. Each light element was installed at floor to ceiling within a secondary tunnel structure designed to conceal the existing building fabric with mirrors continuing along the entire ceiling length.

CREDITS Lighting design and concept dpa (Nicholas Belfield, Michael Curry, Tommaso Gimigliano, Shayne Grist, Ingo Kalecinski) Equipment KKDC LiNi Glow XL

REGGIANI / BDP BDP’s Manchester based lighting team focused on the element of ‘fun and games’ when it came to designing their installation for the darc awards. With the area already playing host to a series of table tennis and foosball tables, the theme was extended so guests would be able to immerse themselves in much loved games and have some fun! The heart of the space featured a pingpong ball installation suspended above the tables with RGB spots at high-level. The installation extended across the width of the space connecting the tables together. A small seating area featured oversized playing cards, a hearts and diamonds window display and suspended pendants from high

level. The pendants featured an array of transparent dangling hearts / diamonds, providing a subtle sparkle whilst also localising the lighting to the games on the tables below. Childhood favourite board games featured Connect4 and a bespoke version of guess who; ‘A Lighting Designers Special’. Continuing with the card theme, a joker silhouette was located towards the rear of the space featuring the BDP – Reggiani branding. Lastly, the floor featured a way-finding pac man game for guests to navigate around the space.

CREDITS Lighting design and concept BDP (Rhiannon West, Katja Nurminen and Katerina Konsta) Equipment Reggiani YORI Track and Spot, UNISIO, ROLL IOS

darc awards trophy design

Pics: Kerem Asfuroglu

APPLELEC / KEREM ASFUROGLU Kerem Asfuroglu: “I felt privileged designing the darc awards trophy. It was great fun working collaborating with mondo*arc & Applelec on this bespoke project. I never liked the trophies that utilised light as a decoration rather than considering it as a source. A trophy for the lighting design community had to be a light bearing object just like a candle which was my initial inspiration. Often we see trophies that are ruined by the amount of inscription and advertisement all over them. This design needed an industrial look which meant it had to be decoration-free. It had to be the light which hints you where to find the information, so we decided to embed the inscription label with the

light source. Materiality and weight are the key aspects of any transportable object, that’s why we wanted the trophy to feel raw and heavy. 3mm thick caststeel made this possible. Rough inner finish provided the textured surface for the light to reveal. Having a cut out image from the steel tube provided depth and contrast to the design. This design came to life thanks to the brilliant engineering and production work done by Applelec. They have done an excellent job in realising the trophy exactly how I envisaged it. Circular LED Light Sheet and the gear was designed and manufactured with precision. The inscription label is designed by graphic designer Hasan Gozlugol and manufactured by Applelec.”

CREDITS Trophy design and concept Kerem Asfuroglu Inscription Hasan Gozlugol Manufacturer Applelec

ILLUMINATING THE POSSIBILITIES Characterised by a slim profile and created to bespoke requirements, LED Light Sheet is a versatile backlighting unit suitable for architectural, retail and commercial lighting applications.

We’re proud to have manufactured the 2015 darc awards trophies. Congratulations to all the winners! 01274 774 477

LED Light Sheet is manufactured in the UK by Applelec

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30/09/2015 15:37:30

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Technology expert Dr Geoff Archenhold was recently a speaker at the LED Professional Symposium and Expo in Bregenz, Austria. Luckily for us, he hung around to find out what the future holds for the lighting industry in the next five years.

WHAT’S NEXT FOR LIGHTING? The last five years have shown the lighting industry changed by the potential of LEDs. With that being said, it will be the next five that see fundamental shifts. mondo*arc asked me to visit the LED Professional Symposium and Expo (LpS) in Bregenz, Austria to find out which new technologies will impact the industry in the near future. The event began with the concept of design meets technology, with Rogier van der Heide discussing the second wave of lighting innovation – lighting beyond illumination. Over three days, parallel sessions from academia and industry, covered three topics areas: light quality; connectivity, security, reliability and lifetime; and standardisation and light measurement. In terms of light quality, the three main topics of discussion were: 1. Human Centric Lighting (HCL): The non-visual effect of light on humans has gathered pace since the discovery of the third-receptor, known as the intrinsic photosensitive retinal ganglion cells (ipRGC) in the eye, providing evidence that light is capable of suppressing the hormone melatonin (attributed to good sleep patterns). A presentation by Zumtobel detailed the outcome of the ATKearney report for the potential of HCL within Europe, quantifying the benefits. At full market penetration, the macro simulations state that HCL effects can benefit up to a value of €12.8Bn in 2020 through improved productivity and healthier staff. The key challenge is to now understand the full impact of the ipRGC cells. The CIE has published a technical report (CIE TC3-46), identifying the challenges of understanding how the third cell affects the central nervous system. Several laboratory studies have shown HCL to impact health and wellbeing but reasons why are still not fully understood. However, I think the lighting industry will drive technical change with the ability to offer quality HCL for many applications.

2. Dynamic White and tuning CCT: The main discussion within this topic area was how HCL requires lighting to change both the CCT throughout the day as well as the relative intensities of the fixtures concurrently, posing a challenge for control solutions. An area leading the way is chronobiological adapted lighting, used by airlines to improve sleep on planes and promote greater alertness on arrival. A study by the Fraunhofer institute, Germany showed that bright blue light does two things. Firstly, it stimulates the stress hormone cortisol, creating alertness and secondly it suppresses melatonin. With HCL, as fixtures are dimmed and dynamically tuned in CCT, the human eye will detect colour changes and visible colour shifts when the CCT moves above or below the blackbody curve. Therefore, when colour tuning the CCT, the fixture should remain above or below but not exactly on the blackbody curve due to measurement errors. Light Cube and the University of Padova highlighted that, in order to implement HCL correctly, a complete lighting solution is needed, including: a control unit, simple human interface, control protocol and networking means, LED driver, multi-wavelength light sources and luminance, presence and other detectors. A straightforward HCL system would contain two white light sources, covering the extreme CCT requirements (warm white at 2,700K and cool white at 5,700K) as they are a broadband source of light, easier to design and control. The main issue is that there are some clever (expensive) solutions appearing on the market with little evidence to prove whether such complicated solutions outweigh more straightforward approaches. Having HCL in my office, I can say that it improves the workplace compared to standard non-HCL based fixtures but I don’t know if I will see a substantial health benefit from a two-channel to three+ channels of HCL.

3. LED flicker: After years of discussing the health implications that the LED lighting industry has been inflicting by deploying systems that exhibit low frequency output current ripple, LpS discussed issues and possible solutions. Interestingly, flickerfree drivers were significantly discussed yet everyone also stated they used PWM to dim lights even if it was below 30%. Unfortunately, my definition of flickerfree lighting is: light amplitude output of a fixture shouldn’t deviate more than 25% at any forward current. I hear a great deal about the 100Hz flicker but in reality we should take note of studies that state operating LED flicker frequencies in the 1000 to 3000 Hz is the minimum. Also, many years ago a DIN standard stated: fluorescent lamps using electronic ballasts should be at least 30,000 Hz frequency, so I don’t see why the LED industry can’t deliver in advance of this at no extra cost. A start-up company, SwitchTech, from Sweden discussed the use of software to control LEDs in real-time and is definitely the way to go, providing the cost premium isn’t significantly high. Overall, flicker is on the agenda and that’s great for the industry moving forward. An unaddressed area was how the lighting controls sector is falling behind the innovation cycle. I see advances in LED driving, colour control within fixtures, colour science understanding, thermal management and LED packaging but control systems still seem to be clunky, difficult to install, maintain and change, and struggle with new concepts such as HCL. Perhaps that will be the industry focus in 2016. 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:



Professor of Building Daylight Modelling John Mardaljevic of Loughborough University recently spoke at the CIBSE Technical Symposium. Here’s his take on the importance of natural daylight in schools for pupils’ academic achievement, health and wellbeing.

THE DEAN OF DAYLIGHT The launch of the Priority Schools Building Programme heralded a new era in daylighting design. It is the first major application of climate-based daylight modelling (CBDM) and the first significant change to building daylighting design since the Daylight Factor was introduced over half a century earlier. Its inclusion in the PSBP is set to have a major impact on the design of building façades and the inclusion of light-admitting features such as atriums and light-shelves. Natural daylight is the best source of illumination for schools. There is a growing body of evidence to suggest that classrooms with good daylighting can result in improved academic achievements and that it may even impact on pupils’ long term health and wellbeing. Daylight can also save energy by ensuring artificial light is only used when absolutely necessary. Predicting daylight levels at the design stage of a scheme is vital to ensuring an effective, efficient lighting scheme while avoiding problems of glare and overheating from excessive solar gains, which can result in blinds being drawn and lights turned on. The conventional method of establishing daylight performance is the Daylight Factor that takes no account of the fact that daylight varies with location and time. By contrast, CBDM makes use of actual weather data, usually on an hourby-hour basis over a year. Its inclusion in the PSBP will enable both diffused and direct daylight to be analysed and used effectively, minimising the need for artificial lighting. The PSBP was launched in 2011 as a successor to the Building Schools for the Future programme. In May 2012, under Phase 1 of the programme, it awarded funding to rebuild or refurbish 260 schools. This year it named another 277 schools that would receive a share of £2bn of funding to refurbish or rebuild their accommodation in the second phase of the programme. Under the PSBP, the UK Education Funding Agency has made funding dependant on a design’s compliance with a facilities output specification (FOS). The FOS covers all aspects of a school’s

design including the building’s form, structure, fabric, materials and energy use. It also covers environmental criteria, which includes a mandatory requirement that school designs meet targets for useful amounts of daylight based on CBDM. Because CBDM is based on annual weather data it more accurately simulates the real world and provides far greater detail about light distribution and its intensity. This enables a building to be designed to maximise the use of sunlight and daylight through the development of different lighting solutions for the different orientations. Using daylight and sunlight effectively will change the focus on how daylight is introduced into schools, because daylight is often admitted from the side of a room it needs to bounce off the walls and ceiling in order to illuminate the horizontal plane. Under CBDM, light-shelves are proven to be beneficial by helping bounce light to the rear of a room while cutting glare close to the window (under Daylight Factor modelling light-shelves appear as obstructions). Similarly, devices such as light pipes and roof-lights or building elements such as light-wells and atriums can all be shown to be beneficial under CBDM. Daylight levels under the PSPB are based on

What is the Daylight Factor? The daylight factor is the ratio of internal illuminance to the external horizontal illuminance expressed as a percentage. One of the major a drawbacks of a Daylight Factorbased approach is that it is based on the Commission Internationale de l’Eclairagre’s (CIE) standard overcast sky, which has a zenith brightness three times that of the horizon. Critically, there is no variation in brightness with compass orientation and there is no illumination from the sun so, for a given scene, a north-facing classroom in St Petersburg will have the same solution as a south-facing classroom in Miami.

achieving a metric called Useful Daylight Illuminance (UDI). The UDI metric was adopted by the EFA on the recommendation of its consulting engineers; it is based on occupant responses to what are acceptable minimum and maximum daylight levels. The UDI should ensure there will always be a usable level of daylight without necessarily needing to pull down blinds. The FOS requires the space-averaged UDI value to be in the range 100 to 3000 lux during the period 8:30am to 4pm for 80% of the occupied time. The UDI value currently adopted by the EFA is a compromise, selected to work reasonably well for various orientations. There are concerns, however, that the target values chosen by the EFA are not sufficiently onerous so that a contractor may decide to cut costs by adopting standardised designs across all classrooms. If the UDI were more onerous it would force different window detailing on different elevations and push designs to be multi-aspect by articulating the façade. CBDM evaluation reveals that daylight performance has a significant dependency on window orientation and that, if nothing else, the north-facing façade should be different to the south. With this in mind, perhaps a solution is for contractors to develop two or three different classroom façade/glazing configurations without incurring excessive overhead costs. However, even at its current value, the UDI may actually result in changes to façade design with some schools being designed and built with smaller windows than would have been the case with Daylight Factors. This is not necessarily a bad thing, particularly when it comes to preventing overheating. More importantly, it should be remembered that there is no daylight benefit to having larger windows if the classrooms are used with the blinds down and lights on. Note: This article is a synopsis of a paper presented by Mardaljevic on CBDM at the recent CIBSE Technical Symposium.

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PAINTING WITH PRECISION Highlighting his hyper-realist techniques, Matthew Penn has selected the latest LED spotlight technology from ERCO to further bring his oil portraits to life.

Pic: Courtesy of Matthew Penn Art photo: Giles Toller

Pic: Courtesy of ERCO GmbH photo: Frieder Blickle

Pic: Courtesy of ERCO GmbH photo: Frieder Blickle

The sculptural effect of the hyper-realistic artwork of 27-year-old British artist Matthew Penn is the pinnacle of the Chiaroscuro style, which naturally works with dramatic contrasts between light and dark, helped by the precision accentuation delivered by ERCO spotlights. Penn is now proud that some of his exhibits are being showcased at the ERCO showroom in London, in an exhibition called Illuminating Characters. In striking similarity to the works of Caravaggio, Rembrandt and Titian, subjects in Penn’s focus seem to jump off the canvas in extremely directional light projected onto a dark background. In this style, light finds a new, dramatic role, and with an expert use of strong contrasts between darkness and light, the personalities and the body

language of the characters are emphasised giving the spatial depth of the artwork even more power. Penn regards light holistically and as an integral component of all his artwork. This does not only apply to the technique in its own right, but also to his creative process. The portraits’ hypnotic qualities are only revealed with the right lighting systems in place. Not only does Penn use ERCO lighting in his studio, but he also equips every piece of his artwork with ERCO spotlights – these, in turn, emphasise the Chiaroscuro effect thanks to their precise accentuation. The goal is simple – collectors should be able to enjoy the artwork with exactly defined illumination, and in this way, the artist can be sure that the full power of his work can

be enjoyed. The exhibition space in which Illuminating Characters will take place is a temporary black cubicle room. ERCO Pollux spotlights will be used, either with 2W narrow spot distribution or as a 6W contour spotlight, which will be ideal for the illumination of the three extremely large paintings. “I use the Pollux lights because they allow me to sculpt the light on the painting with more control and a refined definition,” reported Penn. He uses ERCO lighting tools to deliver very targeted accent lighting onto specific details, lending further depth, and beyond that, true emotion. In order to achieve this goal, ultimate precision of the photometric technology is key to avoid spill light on unwanted areas of the artwork.


Pic: Courtesy of ERCO GmbH photo: Frieder Blickle

Pic: Courtesy of ERCO GmbH photo: Frieder Blickle

Pic: Courtesy of Matthew Penn Art photo: Giles Toller

A further very important theme was the selection of colour temperature. The artist selected Pollux luminaires in warm white, with 3,000K, in order to emphasise faces, skin, hair and even wrinkles. For example, Penn’s Portrait of an Unknown Man in Oil is brought to life using ERCO spotlight systems, which he tailored precisely to his painting to enhance its production and the display of his art. The Unknown man’s skin shows delicate nuances in colour – tiny wrinkles, pores, each hair, silvery stubbles stand out from darker parts of the face in almost three-dimensional reality. More precise, it seems, than a photo, the whole image appears to be emerging from the deep black of the background. Artistic lighting within the paintings is

Pic: Courtesy of Matthew Penn Art photo: Giles Toller

highlighted in neutral white, at 4,000 K, creating a life-like effect. Penn explained: “This way of sculpting and manipulating the light on the painting enhances it to complete the piece. The combination of lighting and finished hyper-realistic painting takes the work into a darker atmosphere where the viewer is transported and immersed within the portrait – a way of lighting not just to display the art but to enhance it and become part of the art itself.” The new Pollux LED compact spotlight selected is versatile, featuring a compact, cylindrical light head made of cast aluminium. This carries the patented LED Spherolit technology already found in ranges such as Light Board or Optec. To offer scope for design, this lens technology enables free

and flexible creation of light distribution patterns, ranging from spot through to wide flood with a single luminaire. The framing attachment produces a crisp focused beam that can be adjusted to suit the format of images and objects in the room or on the walls – for a striking, three-dimensional presentation of image motifs. Illuminating Characters represents a new collaboration between the artist himself and ERCO, highlighting the significance of light in Penn’s creations. The exhibition is designed to be mobile, starting at the ERCO showroom in London and moving on to the showroom in Paris in November 2015. Further locations will be announced for 2016.



A LIGHT SPIN A project close to home for mondo*arc, Artemide fit out Jaguar Land Rover showroom and workshop designed by Taylor Design Architects in Stockport, Greater Manchester.

Pics: Steve Sharp

With Taylor Design Architect’s vision for the new Jaguar Land Rover retail point in Stockport, lighting manufacturer Artemide was instructed to create an atmosphere of relaxed luxury with a homely feel, more hospitable than a standard retail point, in line with Land Rover’s identity of comfortable luxury. Artemide realised the lighting brief, utilising the Algoritmo light in two very different ways, combining the use of cold and warm lighting options. In the highest level of the main showroom’s ceiling, the Algoritmo recessed is utilised in the warmer 3,000 kelvin light emission, giving a soft and mellow light to set the mood for the showroom. In the display area, directly above the cars, the Algoritmo system is utilised in 4,000 kelvin, whiter and colder, allowing for a more vivid and realistic perception of the colours and shapes of the auto vehicles, with a 1,000 lux pointed

on the car bonnets. A six-metre system of Algoritmo on the sides of the car ensures the product takes centre stage, whilst the warmer lights on the higher ceiling create a softer ambience. Some areas of the floors and the offices are fitted with recessed Linea LED, in 600 x 600 LED panels. The service area is then fitted with Luceri LED, which can be grouped as down-lighters for general lighting purposes. The IN-EI Issey Miyake Hakofugu micro stelo are used on the desks in the offices; the task light is made in recycled PET, and the light has a soft and opalescent quality that adds to the sense of luxury and soft elegance. The meeting rooms are fitted with Luceri and Luceri LED. The Land Rover bay, where customers finally receive their vehicle, is a heavily theatrical area. With its black ceilings and minimalistic furniture, the light plays a major role,

pointing and highlighting the car. Artemide’s Hide and Parabola recessed luminaires have been installed to create a theatrical spotlight on the car, casting shadows around it, which enhances the car as the true protagonist of the space. In the outdoor area, Sostituto LED lights have been installed, offering very strong and bright illumination. Special double-headed lights, mounted on brackets, have been specially designed for this project. The illumination of a Jaguar Land Rover showroom should be nothing short of spectacular to reflect the drama of these iconic cars. Artemide’s lighting scheme goes above and beyond in achieving this, highlighting these vehicles as paragons of cool under the sleek illumination of Italian flair.

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RETAIL THERAPY Reggiani dazzles shoppers in Birmingham’s Selfridges department store, providing luminaires for interior design studio Ab Rogers Design and lighting consultants NDY’s lighting scheme.

Lead by Ab Rogers Design, the interior of Birmingham’s Selfridges department store has been refurbished with Reggiani’s luminaires. The studio undertook full master-planning of levels two and three, with new circulation, navigation strategies and concession area layout in addition to structural internal façades incorporating new display store entrances. For level three, the studio completed base-build finishes in addition to mechanical and electrical high-level services and lighting layout. The lighting concept, led by lighting consultants NDY, uses the orientability of Reggiani’s YORI LED projectors to illuminate the goods showcased in the displays. Creating

accents, the projects highlight colours and materials in the garments and accessories on show, enhancing them thanks to the high colour-rendering index of the latest generation LEDs used. The minimal and elegant design in black finish creates a discrete yet effective impact on the ambience of the store as the luminaires are fully integrated into the store ceiling. The overall effect improves the customer’s in-store experience while presenting an eco-friendly choice of energy saving technology with the correct implementation of these fixtures.

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CLS’ Sapphire LED fixtures highlight the sophisticated and timeless beauty of the sports car at Porsche Centre Gelderland in Heteren - The Netherlands’ largest Porsche dealer. Porsche Centre Gelderland in Heteren is the largest Porsche dealer in The Netherlands. One of the reasons for its success is the huge offer of new as well as used vehicles. From everywhere in The Netherlands Porsche fans find their way to Porsche Centre Gelderland as even the most exclusive model (for example the new 918) can be seen in several variants and delivered to customers quickly. Another reason why so many people find their way to Porsche Center Gelderland, is the owners’ - Mark Wegh - drive for perfection. As the CEO of a

60-employee company, he is available 24/7 for his customers, who all have his personal number. When it came to the centre’s illumination, it had special offers for the adaptation of existing fixtures from almost all the leading brands. After several tests it became apparent that Sapphire fixtures from CLS had the best results. The LED module with a 4,000K colour temperature in combination with its high CRI values, happened to be a huge improvement compared to the existing CDMT lamps.

Furthermore, the new LED modules exhibit an energy conservation of over 45% and additionally, the dealer won’t have to change the light source within the first five-eight years of use. CLS has used its Sapphire fixtures and specialist knowledge to advise Porsche, as a retailer, on how it can make its products even more appealing to its customers, through functional, directional illumination.



Pics: James Newton


acdc’s luminaires use a varied intensity and flexible control to create a layered illumination, offering a pleasant and homely environment for those staying at Maggies Cancer Caring Centre in Newcastle.

Maggie’s Cancer Caring Centres are places where patients, friends and family can get the comprehensive support they need to help them through and beyond cancer. The centre in Newcastle, UK designed by the Cullinan Studio, opened in May 2013, just a short walk from the Northern Centre for Cancer Care (NCCC) at Freeman Hospital. Speirs + Major’s design for the lighting creates a welcoming, domestic ambience that contrasts typical clinical hospital environments. Also tasked with achieving a BREEAM excellent rating on a tight budget, largely funded by charity donations, the design of the lighting is varied in intensity and flexible in control. Wall mounted luminaires, low-level task lights, alcove lighting and pendants in warm white provide both the functional and accent lighting. These layers of light create a pleasant, homely environment and complement the timber finishes. Local lighting control provides visitors with the opportunity to adjust the lighting to suit their individual preferences. Finding the right products to deliver the required atmosphere, as well as meeting the energy targets and budgetary constraints was a major challenge for Speirs + Major designer Clementine Fletcher-Smith. She selected acdc’s Hurricane 50 LED downlights to use at the entrance, filling the area with soft warm light and creating an inviting first impression. These downlights feature a similar light output to low voltage halogen, creating the required level of domesticity with their minimal design and warm colour,

while meeting the BREEAM requirements in terms of efficiency. The Hurricane 50 is adjustable to 35°, allowing the designers the flexibility to tune the final effect. For the bookshelf alcoves, another fitting from the acdc Hurricane family was specified. The Hurricane 35 features an output comparable to 35W halogen, creates an accent in the alcove void and allowing visitors to clearly see the book titles on offer. Outside, wall recessed acdc Eclipse LED luminaires have been used to light the exterior steps, selected for it’s incredibly compact form and the smooth eyelid design that minimises glare for added safety. The finished building is everything the architect’s envisioned - a calm, warm and flexible space that facilitates the support of those experiencing a difficult time in their lives. In testament to this, Maggie’s Newcastle was awarded two architectural honours in 2014 – the RIBA North East Award and the RIBA North East Sustainability Award.




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Megaman’s latest LED lighting technology has been installed throughout the new BMW dealership in Sabah, Malaysia, delivering an enticing, low cost and low emission retail space. The new 53,500sq.ft BMW dealership in Sabah, Malaysia, has been fitted with the latest in LED lighting technology from Megaman throughout, delivering drama and customer impact while minimising energy costs and CO2 emissions. Located in Lido, Jalan Penampang, the FM Autohaus owned showroom is the first in the state to be an authorised dealer of the company’s BMW, Mini and BMW Motorrad brands. Designed by Daniel Koh, Principal at Arkitek Daniel Koh, the dealership includes a showroom that has eight display areas, two service receptions - including a rooftop lounge - six repair bays and two diagnostic bays, as well as a BMW Premium Selection section for pre-owned vehicles. Spread over four floors, the remit for the showroom was for it to reflect the quality of the BMW brand whilst guaranteeing long-term energy efficiencies. To achieve

both the required levels of drama and significant energy and cost savings, Koh chose to replace the proposed 150W metal halide lamps in the project with Megaman AR111 and PAR38 LED lamps. Known for powerful, directional beams, the Megaman lamps were combined, in a range of beam angles, to draw prospective customers’ eyes towards the cars and signage throughout the showrooms. In addition, the lamps were used to create a welcoming environment in the dealership’s rooftop lounge, bring drama to the colourful fins on the showroom’s exterior façade and bring focused lighting to the customer reception areas. A range of Megaman LED lamps were used throughout the BMW dealership, including Megaman PAR38 20W 25° 2,800K, and Megaman AR111 15W 2,800K and 4,000K LED lamps in 8°, 24° and 45° beam angles. With the reduction of energy consumption

one of the key requirements within the lighting brief, Megaman’s LED AR111 and PAR38 reflector equivalents were the ideal choice for the downlight, surface mounted and track mounted fittings; delivering in terms of performance and cost. Due to their unique axial geometry and the patented Thermal Conductive Highway (TCH) technology of Megaman’s lamps, precise light direction was possible, minimising glare throughout, whilst maximising impact for showroom visitors. Syed Faiz, Dealer Principal and Chief Executive Officer of FM Autohaus, concluded: “The new FM Autohaus facility is now well placed to deliver total satisfaction and provide customers in Sabah with the outstanding premium ownership experience they deserve. It is equal to any BMW Group 4S facility anywhere in the world.”



LIGHT SHARES Casambi brings lighting control to the hands of the German people in a public scheme controlled using its lighting control smartphone app.

Pic: Hans Henrich

Bingen am Rhein in western Germany has recently introduced a unique lighting project in Europe to its public space, whereby lighting can be controlled individually by anyone with a smartphone using Casambi’s lighting control smartphone app. The town council’s specially developed lighting concept has been designed to make the square more attractive during the darker months of the year, and entice people to stay around with an interactive, immersive lighting scheme that the town residents control individually via a smartphone. The concept envisaged creating “islands of light” using LED spotlights. To achieve this, one light has been fixed to every tree on the south side of the square, illuminating the benches underneath. Each light can be controlled individually using the app allowing individuals to create their own personal

lighting situation. To make such customisation possible, accented lighting was required for the spacious outdoor area. The lighting control system had to be resilient to weather conditions, while being easily and inconspicuously placed within its surroundings. The focus is then on making each of the LED lamps individually controllable. Each spotlight requires its own open network for individual access, and must also be easy to install and technically user friendly. Five LEDS-C4 Hubble LED spotlights provide 20W (1458lm). To be controllable using a smartphone, the concept requires one Casambi CBU-ASD module (1-10V) for each LED spotlight. These modules are roughly matchbox-sized and are installed directly into the lamps, making them almost invisible to the user.

With no WiFi available in public spaces in Germany, transmission protocol options were severely limited. The Casambi modules can be controlled by smartphone via bluetooth, a feature included in every smartphone. When the user opens the free app, they see one open network per bench, via the network, the user can dim the lighting from anything between zero and 100%. Without a user in range, the spotlights are set to 50% brightness. The Casambi app can be downloaded via a QR code provided on the benches. As the first and only project of its kind in the whole of Europe, Casambi has provided an interactive and generous lighting scheme in a public space, allowing practically anyone to be involved in the appearance of their surroundings and their city over a wireless network.






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Pics: Children’s Hospital of WI

ETC brings quiet to recovering newborns at the Children’s Hospital of Wisconsin NICU.

The Children’s Hospital of Wisconsin in Wauwatosa is consistently ranked as one of the best children’s hospitals in the US, and contains the first and largest Level IV Neonatal Intensive Care Unit (NICU) in the state. Following its record of excellence, the hospital recently called on ETC to contribute to its mission of supporting shorter stays and a better quality of life for its patients. During the first phase of its NICU transformation, private patient rooms were designed to address the unique developmental needs of its smallest patients, while a second redesign and expansion phase is scheduled to open in late 2016. ETC distributor DesignLab helped the Children’s Hospital equip 26 of its 59 NICU rooms with a smart audio monitoring system. Premature infants are in a rapid state of development and are very sensitive to noise, which can greatly affect recovery time within a hospital setting. Ann Grippe, clinical nurse specialist at the Children’s Hospital, commented on the current procedure for monitoring noise levels: “Previously we only relied on ourselves to monitor the noise levels. We would do intermittent checks with a decibel reader, but we needed something that could remind us of noise levels continuously.” The hospital needed a simple, maintenance-free system to alert its staff of critical noise levels. The Children’s Hospital worked with DesignLab to install two ETC Unison Mosaic Show controllers and thirteen Mosaic remote audio devices with several Mosaic LED drivers at the helm. Systems Group Manager at DesignLab Doug MacDonald discussed his

choice of Mosaic products as his preferred solution: “I have used most of the alternatives on the market and it’s clear to me that Mosaic is top class in its field. The wide variety of inputs and outputs makes it easy to adapt the controllers to many needs, whether it’s audio, DALI, contact closure, analogue inputs, DMX, serial DVI or Ethernet. It’s hard to imagine a type of sensor or other system we might need to interface with that Mosaic could not handle.” One of the largest challenges the team faced was figuring out how to install 26 individual audio inputs without overloading the controllers. Mosaic Show Controllers can run sophisticated triggers and light cues without the need for complex programming, making it an easy and instant compact solution for all venues. “We’re probably handling over 100 audio triggers per second when the rooms are all occupied,” said MacDonald. “Keeping the programming clean and simple was necessary to avoid bogging the system down.” Small LED lights embedded within the walls of each of the 26 rooms change colour to indicate rising noise levels. When audio levels reach 55dB, the LEDs turn amber; and when noise reaches a critical level of 65dB, they

turn bright red. They even blink if the room is too noisy for too long. Once the 26 private suites were opened for regular use in November 2014, the benefits of the Mosaic installation were immediately clear. “Having a visual reminder to keep voices low is an example of how we’re integrating technologies into the hospital to promote better outcomes for babies, which can lead to shorter hospital stays,” commented Grippe. Several ETC technicians helped DesignLab and the Children’s Hospital get the cutting edge technology. Gripped continued: “We were very pleased with the support and dedication the team of engineers gave us. They were meticulous.” MacDonald, whose own triplets spent time in the hospital’s NICU facility, recognises the positive impact this installation will have on the hospital’s preemies and newborns: “I think this type of audio-monitoring system can provide a real value to hospitals that strive to improve their patient care, and real improvements to patients who need to recuperate. It was an honour to be allowed to work in this environment.”


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NEXT GEN With energy efficiency in mind, high street clothing brand Next has opted for the latest lighting control technology from Lumenpulse for its Rugby store. In an ongoing effort to improve efficiency and customer experience, UK fashion retailers Next has turned its store in Rugby, Warwickshire, into a laboratory for new lighting applications and technology. To accomplish this, the chain turned to Lumenpulse and Lumentalk technology. “Next had been looking to reduce energy consumption across its stores, so the goal at the outlet in Rugby was to increase flexibility, allowing it to test and measure the effect of different dimming and control scenarios,” said Simon Morrison Senior Vice-President Global Business EMEA at Lumenpulse. Lumentalk was chosen to deliver control, with individual DMX addressability and scene setting, yet without the cost and disruption of having to install new data wiring. Lumentalk is a patented technology that uses existing AC mains as a carrier for lighting control data. The technology is independent of any protocol, making it compatible with DMX, 0-10V, Dali or phase dimming. With Lumentalk, Next can individually dim and control over 500 Lumenpulse luminaires including: Lumenalpha Multi 3 / AlphaLED Cube 3 downlights, Lumenalpha Multi 4 / AlphaLED Cube 4 downlights, Lumenalpha Spot Large / AlphaLED spotlights and Metropole 2 via DMX, over existing power lines. “The lighting system also uses sensors in a lot of areas to trigger dimming and light levels, but the idea here is to give them the ability to push savings as far as they can go, all while measuring the effect it has on the customer experience and sales. What impact, for example, will it have if they dim down 70% during quieter periods? How about 80%? Now they can find out,” Morrison said. This ability to test, and then fine-tune, different control strategies may end up having a transformative effect on Next, influencing operations and the appearance of the chain’s stores across the UK.




Providing a new level of luxury and control to the fitness experience, Core Collective in South Kensington, London is the first gym in the UK to be automated with Crestron technology.

Pics: Courtesy of Core Collective

The newly opened Core Collective in South Kensington, London has become the first gym in the UK to be automated with Crestron technology, allowing for sleeker workouts. Born from the vision of Jason de Savary, Core Collective incorporates a complete AV, lighting, heating, cooling and security system from Crestron, all installed by London-based automation specialist, Knektd. Within the reception, Knektd created a Crestron X-Panel for ultimate control of all zones, including the AV, heating and cooling, lighting and CCTV. The spinning room is kitted out with rows of circular luminaires that pulsate and change with the tempo of the music, controlled by an intuitive Crestron TSW-750 touch screen or the instructor’s smartphone. Knektd worked very closely with the lighting designer, Alex Stileman of Stileman Lighting, and together programmed 45-minute lighting sequences to match the spinning class, with pre-programmed buttons on the

trainer’s Crestron keypad to provide easy switches. In addition, the touch screens and switches are pre-programmed to allow for personalised graphical user interfaces (GUI) and engraving, in keeping with the Core Collective branding. The Crestron system also allows for sleeker transition between classes as set up is as simple as pressing a button on the touch screen and hitting play on the instructors chosen music source. “We have used Crestron for many of our residential projects in the past, but this was the first time we have utilised it for a commercial space,” said Shaun Wilson, Director of Knektd. As an added security feature, the fire alarm triggers the shutdown of all the air conditioning and air-handling units in the building, and the Crestron mutes the music and turns on all the lights to 100%, enabling a quick and easy evacuation if needed. Jason de Savary, Owner of Core Collective, commented: “The Crestron system has

given a new level of luxury to the fitness experience. We pride ourselves on offering the very best service to our clients and the automation has certainly helped us to achieve this.’’ The Crestron lighting panels and control gear used in the automation of Core Collective gym includes: DIN-PANEL-CUSTOM Pre-assembled DIN enclosure including wiring and installation, DIN-AP3 DIN Rail 3-Series Automation Processor, DIN-HUB DIN Rail Cresnet Distribution Hub, DIN-PWS50 DIN Rail 50 Watt Cresnet Power Supply, DIN-1DIMU4 DIN Rail Universal Dimmer, DIN-8SW8 DIN Rail High-Voltage Switch, DIN-4DIMFLV4 DIN Rail 0-10V Fluorescent Dimmer and CGDMX-512BI - Interface DMX512, Bi-Directional. By adding automation to the workout experience, you can enhance the momentum of a workout session with intensity building lighting and sound. | |

Light is art Natural daylight for museums The new Kunstmuseum Ahrenshoop, designed by Staab Architects Berlin, is a modern interpretation of traditional buildings, typical for the art colony of Ahrenshoop. Licht Kunst Licht AG Bonn/Berlin has won multiple awards for its outstanding lighting design. The museum features five single room buildings, each equipped with a prismatic Siteco daylight system in the skylight. The system distributes daylight evenly into the room almost without creating any shadow. Simultaniously the art is protected from direct sunlight and heat. An ideal solution for conservators and visitors alike. Light is OSRAM

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David Morgan reviews Osram’s Lightify Pro wireless lighting control system, offering a wide-ranging system for medium size projects and is already being well received by the lighting design community.

TAKE CONTROL OF YOUR SURROUNDINGS For a lighting company that celebrated its centenary in 2006, Osram shows that being well over 100 years old is no impediment to successfully incorporating new technology into its lighting control systems. One of the most active areas of the lighting market in recent years has been the introduction of wireless lighting control systems. In this area it seems that innovation in the consumer market has been the starting point that then leads on to more sophisticated commercial systems. Philips was an early entrant in the consumer market with its well-received Hue range: a smartphone app controlled lighting system. Osram has taken a slightly different approach and introduced its Lightify system in two versions. Lightify Home for the consumer market, with up to 50 lighting points, was introduced last year and Lightify Pro for medium size commercial projects, with up to 100 lighting points, has just been launched for commercial applications. The number of lighting points controlled by Lightify Pro can be increased up to 800 by using DALI luminaires via the Lightify DALI interface that can communicate with standard DALI drivers. Lightify Pro fits in between simple consumer applications and the larger commercial and architectural projects where other more complex Osram systems would be more suitable. The underlying operating system for the


Lightify system is ZigBee, a low power and low cost wireless data transmission system specifically developed for small packets of data. While its low power consumption limits transmission distances to 10–100 metres line-of-sight, ZigBee devices can transmit data over long distances by passing data through a mesh network of intermediate devices to reach more distant ones. The obvious applications for Lightify Pro are in heritage and retrofit projects where wireless communication eliminates the need to add wiring for digital LED dimming, thus speeding up project installation and reducing costs. However, comments on applications for the system from lighting designers suggest that it may not be the panacea it at first appears to be. Iain Carlile at DPA, said: “Wireless dimming is great for refurbishment but for new construction projects, it may not be much of an advantage since mains wiring has to be installed in any case and the current additional cost of using wireless control may not be justifiable.” The Lightify system incorporates a wide variety of elements including ZigBee enabled retrofit LED lamps, LED luminaires, interfaces to DALI drivers, switches and sensors. The range of ZigBee enabled LED lamps includes single colour, dynamic white and full RGBW types. Other brands of ZigBee enabled lamps can also be controlled

by the system. At the moment, most of the Lightify Pro luminaires are for office and commercial lighting applications with a limited range of simpler luminaires for the Lightify Home range. The Lightify Pro DSE / SSE interface to DALI drivers includes inputs for connection to sensors and can dim or switch up to eight DALI luminaires individually. The Lightify Pro Gateway unit is the heart of the system and provides the link between the luminaires and DALI interfaces and WiFi systems. The system can be integrated with larger IT systems or run independently. A real-time clock can also be integrated into the system to automatically control lighting scenes. Commissioning, which in the past has been an expensive and sometimes fraught process, should be much simpler using Lightify Pro and can be done by the lighting designer, end user or contractor. Layout drawings of the project can be loaded into the free commissioning app loaded onto a tablet and luminaires are then grouped in a simple drag and drop process onto the layout graphic. Sensors and switches can also be integrated into the scheme in the same way. There are predefined lighting schemes for offices, corridors and staircases to speed up the commissioning process. In-depth control of Lightify Pro is via a smartphone or tablet with a free app but push button wall switches, sensors and a clock can be used for simple and automatic

running. The Lightify Pro control app allows access and control of all the preconfigured settings and scenes. Dimming of individual and groups of luminaires can also be controlled. One of the appealing features of Lightify Pro system is that it generates a QR code that can be read by a smartphone or tablet. In a hotel room, for example, pre-set room lighting scenes could be accessed via the guest’s smartphone by downloading the control app and scanning a QR code thus giving the guest complete control of their room lighting. Lightify Pro offers a wide-ranging system for medium size projects and has already been well received by the lighting design community particularly for refurbishment projects. It will be interesting to see how quickly this type of wireless system replaces hard wired dimming systems as the costs fall.

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



IN CONTROL A selection of the latest lighting control and dimming products in the industry.

connecDIM Tridonic LIGHTDRIVE Aura Traxon & e:cue Easy Ansorg Easy lighting control system permits easy and wireless lighting control for salesrooms. By means of Bluetooth technology, LED luminaires from Ansorg can be easily controlled and individually regulated via a tablet. Easy provides the retailer with the opportunity to adapt lighting directly and creatively to changed merchandising and by means of lighting scenes to create attractive experience values. With an additional calendar function, lighting design can be scheduled according to date and time, and can be shared between other tablets.

The e:cue LIGHTDRIVE Aura is an easy to use wall-mounted standalone controller for DMX512 controlled monochrome, dynamic white, RGB and RGB-W fixtures. It features keys and a jog wheel with colour LEDs for intuitive selection of colours and adjustment of intensity and speed which makes it an accessible user terminal for small to mid-sized projects in a variety of retail and hospitality applications. For this purpose, LIGHTDRIVE Aura is designed with a glass front and features dry contact inputs and outputs as well as an Ethernet port.

Remote Device Management Lumenpulse 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.

Remote Device Management (DMX/ RDM) is an enhancement of DMX, allowing full bi-directional control and communication for simple, convenient commissioning. With DMX/RDM, luminaires can communicate important information, such as their address, status, temperature and predicted lifetime expectancy. They can also be discovered, updated or re-commissioned at any time. By giving luminaires a voice, RDM simplifies the maintenance of your lighting system, isolating and identifying potential issues and problem devices.

connecDIM is Tridonic’s new platform for intelligent lighting control. The connecDIM Gateway is the heart of the system; this hardware offers data acquisition and the conversion of control commands from TCP/IP to DALI. This means that wireless lighting management will be possible from any iOS or Android smart device. The gateway operates both with the tried and tested DALI standards and with IT technologies. Existing and newly installed DALI systems can be easily connected with the connecDIM cloud.

Light Control System Casambi The Casambi all-wireless Light Control System is designed to be practical and simple to use. Easy to install into luminaires or existing wall switches, the compact unit supports highvoltage 85-240V or 1-10V / DALI LED drivers to intelligently manage any number of lights. No new wiring or additional controllers are required. Casambi supports motion sensors, wall switches and timers for switching, dimming, dynamic white and RGB, and is also compatible with smartphones/tablets.



LED Player V.1.5.1 Chromateq

LED Dimmer PRO Series Dalcnet

The new release for Windows and Mac OS offers additional features, including a new firmware for LPSA-SLIM, as pictured, that can automatically repeat a scenario every week, month and year. Scenes can stop automatically at a specific time and date; memory content can be read and loaded in the software. It also has four additional master/slave modes and merges DMX signal. LED Player includes many new powerful options like Studio DMX to quickly create and simulate complete outdoor and indoor 3D environments in real time.

The LED Dimmer PRO can have four independent channels or RGB+W. It has been studied for professional applications and is available with different commands: DMX/RDM, DALI, MODBUS protocols. All versions have analogic command such as a pushbutton, 0-10V, and potentiometre. Its supply voltage is from 12 to 48V DC, with an output current of up to 20A. With its extended range of working temperature (-40°C +60°C), it is perfect for harsh environment applications. The dimmer is also available in constant voltage or inconstant current.

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.

Ultra-cool Touchpanel Delmatic

EyeNut Harvard

With its clean, contemporary design, optically-bonded screen and highresolution graphics, Delmatic’s latest Touchpanel delivers the ultimate touch screen experience. Precisionengineered from aluminium and glass, the Ultra-cool Touchpanel can control a single room, a whole apartment or an entire building. Vibrant, animated graphics provide powerful and intuitive control of services including lighting, blinds, shades and temperature, including a built-in thermostat, as well as a comprehensive dashboard and monitoring functions.

EyeNut, a monitoring and management system for indoor lighting, allows facilities and lighting managers to control their own lighting wirelessly through a computer, tablet or smartphone. Easy to retrofit to existing lights, or install alongside a new LED lighting system for maximum savings, EyeNut provides significant energy and cost savings. The simple to install solution, suitable for retailers, commercial premises and public buildings, has been installed at a number of high-profile locations.

Premium Series Electron Premium Series of multifunctional custom made power controllers is now available with new power units with Trailing Edge dimmers for LED lamps, CFLs and electronic transformers for Trailing Edge dimming. Premium Series is available from six channels up to 48 channels. There is a possibility to have different power units that control different types of loads in the same Premium. Thus, one Premium can have Trailing edge dimmers, Leading edge dimmers, HF fluorescent controllers (1/10V) and relay switches, in the same enclosure.

Lighting that fits the purpose Lighting to match the interior, occasion and mood. Casambi smart lighting control via existing wall switches, mobiles, tablets, sensors, timers and more.

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MESO 50 ROAL Electronics The new MESO 50 LED Drivers Series features the Multi-unit wireless programmability. This technology offers measurable benefits by enabling simultaneous feature set programming of multiple devices without the need to turn on the unit, or to remove the product from its packaging. in its compact size (105x73x27mm), MESO has worldwide AC input voltage range (120/230/277 VAC) or optional DC power input. The product also features multiple dimming options; adjustable dimming and optional independent unit kit, with five years warranty.

Warm Dimming LED Downlight Lucifer Lighting The soft warm-dimming downlights feature LED modules developed exclusively for Lucifer Lighting Company. The unique LED source maintains a stable colour performance down to very low light levels while preserving a 2SDCM colour consistency with 90+ CRI throughout the dimming range. It maintains Ra>90 and R9>80 down to 1% with colour temperatures ranging from 3,150K to 1,880K, fostering a sense of intimacy without washed out colours. These features are available in all Lucifer Lighting downlight families.

RDM-SF-2CH StrongLED RDM-SF-2CH is a field proven DMX/ RDM decoder/PWM driver developed specifically for LED luminaires. It has two programmable output channels each capable of >10A and 256 or 2048 greyscale levels for stable, flickerfree and smooth DMX colour changing effect. The product also features RDM detection and feedback functions for ID, temperature, voltage and current on each channel. It is opto-coupled on all ports to prevent static and RF interferences, with an automatic addressing function.

visDIM Dali Sub-Controller KKDC The visDIM control series is complemented by the addition of the visDIM Dali sub controller. With a high PWM frequency of 1100Hz, this fully addressable unit helps to overcome dimming complications faced by designers. Reduced stroboscopic effect, smooth dimming, reduced parasitic capacitance and longer wiring distances are a few of the many advantages to using the unit. The visDIM control series are now also UL registered components.

LiveLink TRILUX LiveLink makes light management an accessible technology for all applications. The system offers optimally matched hardware components and intelligent, intuitivelyoperated software tools. Luminaires and sensors are grouped according to the application and pre-equipped with the correct parametres. The LiveLink commissioning app, with graphic user interface, guides users step-by-step through the installation process and commissioning. The intuitive programme makes use of well-known touch screen commands such as tapping, wiping and drag-and-drop. LiveLink also saves energy by responding to daylight levels, ensuring artificial light only is used to achieve brightness levels.

Ingenium Blu Megaman Ingenium Blu is a series of LED lamps which uses Bluetooth technology to connect to and control lighting fixtures in homes and commercial spaces. With Ingenium Blu’s integrated Bluetooth technology all the benefits of smart lighting can be enjoyed with instant and easy set-up. Suitable for small areas with up to ten-metres of coverage, the value-added functions include turning on/off the lights, dimming, programmed scene setting, grouping of lamps for easier control, and pre-set of time.

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AVANT-GARDE A selection of newly released products on the market.

D700+ Brightgreen Featuring a deeply recessed lens, the Australian-designed D700+ provides directional low-glare 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, the 13W D700+ is designed to restrict airflow, increasing overall home efficiency ratings. Available in black and white, the design is compatible with Brightgreen’s range of interchangeable coloured fascias.

Downlight Series Danson Danson Downlight Series offers the user an efficient low energy alternative to low voltage halogen downlights. It is available in white powdercoat and brushed aluminium. It comes with a digital dimmable driver and can be dimmed using phase cut dimmers. It is available in two wattages, 9W and 14W.

Zicron Filters LEE Filters A new range of lighting filters designed to offer quality, consistency and durability, Zircon circumvents the problem of filters that struggle with fade times when used in conjunction with LED lighting set-ups. Zircon offers a selection of warming and diffusion filters. Designed to correct a variety of white tones, warm amber comes in a range of four strengths, while diffusion offers three filter strengths that act to blur pixels when placed in close proximity to the LED chip.

Swerve mLight Luxeon C Color Line Lumileds Lumileds’ Luxeon C Color Line reshapes its approach to colour mixing to deliver optically consistent colours and whites with unprecedented high centre beam candle power (or ‘punch’). A platform has been designed to offer multiple colours with a single focal length. When secondary optics are applied, the consistent focal length maximises optical efficiency and provides matching emission patterns, enabling sleek colour mixing. Applications such as tall, narrow wall washers take advantage of Luxeon C Color’s low dome design, keeping the source size small and leading to higher punch.

Taking creativity to a new level, the Swerve allows a huge leap in customisation, with curved lighting, one of the fastest growing design trends. The curved luminaire broadens possibilities for designers and architects to create beautifully lit spaces. Until recently, this product faced obstacles in the development of the Swerve that proved too big a challenge. However with ingenuity and technological advancements in manufacturing, these obstacles were overcome and the Swerve was created.

Minimo Precision Lighting A family of miniature recessed LED luminaires, Minimo offers 95+CRI accent lighting. With a choice of three interchangeable optics covering 12°, 30° and 60° beam angles, additional Tilt and Eye versions provide flexible beam control. Multiple bezel options, including trimless variants, and a chioce of exquisite finish options as standard are combined in a family that has a remarkably small footprint. The family shares the same clean lines and minimal appearance as Precision’s LED spotlight collection, ensuring design continuity for mixed-use schemes.

Don’t just take our word for it...

Julian Sutcliffe, Finance Director LED Hut

Integral LED trust Recolight to manage all aspects of our WEEE compliance. As members of the UK’s leading WEEE lighting compliance scheme, we know that we are meeting our WEEE environmental obligations responsibly.

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

Andrew Gooding, Technical & Compliance Manager, Integral LED

Steven Reed, Marketing Manager, GE Lighting

LEDHut are pleased to have joined the Recolight compliance scheme as a B2C member. Recolight’s straightforward per unit fee structure means we can be confident in our WEEE costs, with no hidden surprises.

0845 601 7749 stand n o s Join u N29



Itza Fagerhult Fagerhult attempts to take time out of the equation with Itza. Future-proof in all aspects from life expectancy and energy efficiency to material utilisation and design, Itza remains when other fixtures and fittings are replaced. Belonging to a new generation of LED luminaires with extremely high energy efficiency, its luminaire efficiency of 120 lm/W and a life expectancy of 80,000 hours are two strong arguments that appeal to a demanding market. Itza provides a comfortable combination of direct light and space-creating indirect light against walls and ceilings.

Liner Quattro AC XB RGBW Traxon & e:cue This outdoor LED Liner Quattro AC XB RGBW provides close-field colour mixing and light performance suitable for urban and coastal environments. The flexible luminaire mounting allows the Liner Quattro AC XB RGBW to be used for wall washing and flood lighting applications. Due to active over-temperature protection, Liner Quattro AC XB RGBW enjoys a long LED lifetime. Remote Device Management, simple configuration and addressing makes it an easy luminaire to install and maintain for powerful illumination of office buildings, shopping malls, bridges, hotels and stadiums.

VarioLED Flex AMOR is a miniaturised, opal encapsulated, IP67 protected, flexible LED design light line. It is characterised in its uniformity of light in combination with an unequalled small cross section of 5 x 13mm that exemplifies the AMOR to make it an appealing and innovative product. The light line is horizontally bendable with a minimum radius of 3cm and offers easy installation and high resistance.

alvia Regiolux

ELG Series Mean Well The ELG series can be defined by its exterior aesthetics and intelligent interior, with power range 100-150W for street lighting. Engineered around the needs of the European market, not only does it offer excellent value for money but also combines a range of beneficial features including energy saving, easy to design-in and install, lower maintenance costs, quicker time-tomarket and most importantly the user selected adaptive dimming profiles. DALI and conventional analogue dimming models are also available now for five years warranty.

VarioLED Flex AMOR LED Linear

Die Cast Appliqué Lucifer Lighting Simplifying zero-sightline installations, Die Cast Appliqué introduces precision engineered with a low profile, accommodating for trimless versions of Fraxion models to be installed completely flush with the ceiling with no visible trim. Die Cast Appliqué provides maximum structural reinforcement for plaster to resist cracking, and is also available in both round and square profiles.

Designed by Busse Design+Engineering, alvia LED is equipped with powerful LED modules which achieve a high efficiency factor of up to 133 lm/W. With precise and high quality light direction using micro prismatic glass, it achieves light output of almost 10,000 lm. Equipped with glare reduction for workstations, more energy can easily be saved, also in existing buildings, using variants with integrated sensor system using the EnOcean technology. alvia provides ideal options for balanced, ergonomic and efficient lighting of rooms.


WITH ENDLESS POSSIBILITIES Award winning products from Acclaim Lighting allow you to do just that. Consider our extensive line-up of durable and reliable solid-state LED fixtures to give your creativity and vision the freedom they deserve. DYNA DRUM QW . Over 10,000 Lumen Output . On Board Power And Driver Technology

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18 - 19 November 2015 | ExCeL London

Landmärket residential tower, Stockholm Luminaire concept and lighting design by Andreas Ejhed and Daniel Hodierne of ÅF lighting

Radiant Water effect light - Dynamic, DMX controlled LED luminaire - 4 LEDs with different colour temperatures dim in sequence through rippled glass

Design by

LUX Live 2015 - Visit us at stand R8 in the Lightspace dot London section of the show

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ADVERTISERS INDEX Acclaim .................................................... 189 Anolis ....................................................... 4, 5 Applelec .................................................. 151 Architectural Area Lighting ...................... 195 Bega .......................................................... 79 Bright Green .............................................. 15 Casambi................................................... 183 Chromateq .............................................. 185 CLS .............................................................. 6 Dalcnet .................................................... 183 David Morgan Associates ........................ 190 Delmatic .................................................. 181 Design LED Products ............................... 121 Dextra ...................................................... 157 Dial .......................................................... 187 Dyson Research Ltd (Jake Dyson Light)..... 37 EBV .............................................................. 7 Edison ...................................................... 171 Electron ................................................... 171 Elektra...................................................... 191 EMFA ....................................................... 131 ETC .......................................................... 173 Forge-Europa .......................................... 167 Griven ........................................................ 19 Guangzhou Intl Lighting Exhibition ......... 139 GVA ........................................................... 35 Halla .......................................................... 81 Heper....................................................... 103

Huda Lighting ............................................ 13 IALD ......................................................... 117 Illumination Physics ................................... 25 Insta ........................................................... 91 Instrument Systems ................................. 185 Lighting Design International .................. 191 Into Lighting ............................................ 191 Kim Lighting ................................................ 3 KKDC ....................................................... 119 L&L Luce&Light ....................................... 143 Lamp Lighting.......................................... 127 LEC-Lyon ................................................. 121 LED Linear ............................................... 196 Lee Filters ................................................. 85 Light at Work (SchrÈder) ............................ 97 Light Source Europe (LSE) ....................... 129 Lighting Design International .................. 191 Lucent ........................................................ 67 Lucifer ........................................................ 21 LUG ......................................................... 167 Lumascape ................................................ 63 Lumenpulse ............................................... 75 Lumino ..................................................... 123 Lunoo ...................................................... 163 MBLD....................................................... 191 MBN .......................................................... 11 Mean Well ............................................... 175 Neonlite ................................................... 115

Nicolaudie ................................................... 9 Orlight ......................................................... 2 Paviom ....................................................... 10 Precision .................................................... 47 Prolicht....................................................... 99 Recolight ................................................. 187 Rising Dragon Technology ........................ 12 Robert Juliat .............................................. 63 SAT ............................................................ 99 Sattler ........................................................ 57 Signcomplex .............................................. 14 Siteco....................................................... 177 Sleep Event ............................................. 112 Soraa ......................................................... 93 StrongLED ................................................. 16 Studio Due ................................................ 17 Synthe FX ................................................ 175 Targetti ...................................................... 69 Teknolight .................................................... 8 Titan......................................................... 189 Traxon & e:cue......................................... 133 Trilux ........................................................ 107 Unilamp ................................................... 169 WAC Lighting ............................................ 23 Wibre ......................................................... 73 Wila ......................................................... 159 Xicato ........................................................ 53

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.

Elektra Lighting Design is seeking a Junior Lighting Designer Based in central London (Holborn), award winning architectural lighting design consultancy Elektra are seeking a creative and enthusiastic individual to join our talented and experienced team. Our current portfolio includes hospitality, retail, workplace and other projects in 16 different countries across 4 continents. Dealing with projects from conception to completion, you will learn through working alongside senior experienced lighting designers on complex projects. This is an exciting opportunity for candidates with some experience in lighting or lighting-related fields to join the team. The position may require some European and further afield travel. You need to have: a university degree in Lighting Design or Architecture, Interior Design, Product Design or similar. Or even just something really cool and random. Candidates should be proficient in as many of these as possible; AutoCAD, Photoshop, Microsoft Office, Dialux/Relux and Adobe InDesign. Previous work experience in a lighting design consultancy is greatly advantageous, but not essential if you have other talents. You should be creative, independent, organised, have good presentation skills, self-motivated and hard working. We are a close-knit, friendly and supportive team with an exciting working environment with a wide range of stimulating projects, personalised training and development, a competitive salary and a company pension scheme. Also we normally bake a cake for your birthday. We are committed to equal opportunities. Applicants must be eligible to work in the UK; we will not be able to obtain a visa for you. Independent applicants only, please. No agency appointments considered. Note: Just to be completely clear; we are not product designers. We don’t design light fittings, in the same way that architects do not design bricks. We create well-lit architectural spaces using light. Please send your CV and portfolio before 19th October to: Neil Knowles Elektra Lighting Design


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


INALIGHT Indonesia May 18-20, 2016 Jakarta, Indonesia

ISE 2016, February 9-12, 2016 Amsterdam, Netherlands

technical partner

member of

supported by

awards manufactured by

in collaboration with


Strategies in Light Europe November 18-19 London, UK

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


A unique new event from

Interlight Moscow November 10-13 Moscow, Russia

Rethink the Night October 12-16 Kea Island, Greece

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

Lightfair international April 24-25, 2016 San Diego, USA

LEDEXPO Benelux 27-28 January, 2016 Brabanthallen Den Bosch, Netherlands

Batimat November 2-6 Paris, France

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

Lighting Japan January 13-15, 2016 Tokyo, Japan

Acetech October 28 - November 1 Mumbai, India


Guangzhou Intl Lighting Exhibition June 9-12, 2016 Guangzhou, China

Ecobuild 2016 March 8-10, 2016 London, UK

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

PLDC October 28-31 Rome, Italy

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

Iidex Canada 2015, December 2-3 Toronto, Canada

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

Codega International Lighting Prize October 9 Venice, Italy

IALD Enlighten Americas October 8-10 Baltimore, USA

Iluminotronica October 8-10 Padua, Italy

Light Middle East October 6-8 Dubai, UAE





The Claudia Paz Lighting studio is based in Lima but is a name that people are starting to know about all over the world due to their recent run of award winning projects. You’ve definitely seen images of the Light Garden in Peru… South American lighting design is making its voice heard. Light Collective heard Claudia talk about her work in Medellin last year and thought she would be a perfect subject to share her inspirations in mondo*arc. We think their back page sums up their approach to lighting design perfectly, reflecting their distinctive playful and interactive style. Claudia says: ‘We tried to draw all the things that we feel about working with light, the things that inspire us. We enjoy dreaming about the magic of light and how this reaches the hearts of people. We like to feel how children would when they play with light. Light makes children happy. Light makes us happy.”

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