mondo*arc December/January 2015 - Issue 88

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mondo*arc magazine


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NIGHT OF HERITAGE LIGHT, UK issue 88 * December/January 2015/16



A r c h e Ty p e X

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[dec/jan] Front cover pic: Robin Goodlad

044 Interview Robert Such meets up with Toh Yah Li, one of the first professionals to become a Certified Lighting Designer and regional co-ordinator for IALD South East Asia.

DETAILS 024 Editorial Comment Looking back to the year just gone and what lies ahead. 026 Headlines The latest lighting industry news. 028 Eye Opener Lucent by Wolfgang Buttress. 030 Drawing Board Our preview of proposed projects. 034 Spotlight A selection of brand new projects from around the world. 040 Briefing We talk to Sakchin Bessette of Moment Factory about what makes them tick. 042 Snapshot Presenting Kate and Sam Lighting Designers. 044 Lighting Interview Robert Such talks to Toh Yah Li. 050 Architect Profile Following their recent exhibition at Aedes Architecture Berlin, Living the Nordic Light, Henrietta Lynch caught up with the Norwegian architects Snøhetta to explain the concept. 162 Inspirations Foteini Kyriakidou’s My Light.



082 Dark Source Stories The latest installment in Kerem Asfuroglu’s dark vision of light. 084 SLL Night of Heritage Light The Society of Light and Lighting and CIBSE celebrate the International Year of Light by

105 Delta Light expansion

illuminating some of UK’s most iconic locations. 090 IALD Chase the Dark The IALD’s third annual Chase the Dark Event saw 30 cities taking part - the biggest participation yet. 092 Lights in Alingsås Lights in Alingsås brings the small town outside Gothenburg to the forefront of lighting design through its annual workshop and festival. 098 MyCup A light installation that educates and inspires employees to recycle at work. 100 Many Hands Make Light Words Based on Ford Dagenham’s poem I Love Lamp and developed through a collaboration between Light Collective and PhotoActivate. 102 To See The Sound Russia’s National Centre for Contemporary Arts (NCCA) launches an audio-visual project in Moscow dedicated to the study of sound in contemporary art...with help from lighting.

A selection of innovative lighting projects. 128 PLDC 2015

The Belgium manufacturer celebrates in style. 109 LUCI City under Microscope The international network of cities on urban lighting visits Glasgow. 112 Case Studies

A snapshot of the events that took place in Rome during October’s PLDC. 130 IALD Column Tad Trylski discusses project management in the work of the lighting design consultant. 133 IALD Enlighten Americas Is TM-30-15 the method that will supplant CRI? 136 Bench Test David Morgan reviews Lumino ColourCORE. 138 Geoff Archenhold Dr Archenhold provides an annual review of lighting technology developments. 148 Product Review 2015 Our selection of some of this year’s highlights. 154 Light Middle East A review of product launches and winners. 156 Hong Kong Lighting Fair Product highlights from this year’s event.

1990 2015

Pictures by George Fakarosâ„¢



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Online See a video of Maggie’s Centre Lanarkshire by Reiach & Hall and Speirs + Major. Pic: Dave Morris

PROJECTS 056 Solo Sokos Hotel, Finland Having won this year’s Finnish Lighting Award, Valao’s façade lighting scheme shines brightly among the winter darkness, reflecting the dynamic urban atmosphere that surrounds it. 062 Sonnenhof, Germany Challenged by J.MAYER.H’s angular design, lichttransfer’s bespoke lighting scheme celebrates the contemporary architecture, while creating an inviting communal space.

PROJECTS 068 Marienplatz, Germany Ingo Maurer goes bold with his lighting concept for Munich’s Marienplatz subway mezzanine, bathing the area in red-orange tones that transform the space.



Pic: David Franck

PROJECTS 072 The Ivy, UK Maurice Brill Lighting Design adds super-moody, dramatic architectural lighting to Martin Brudnizki’s refurbishment of the iconic Ivy restaurant and bar. 076 Maggie’s Centre, UK Carrie Donahue Bremner, Design Associate, Speirs + Major, talks to mondo*arc about the dynamism of daylight and its impact on space and environment at Reiach and Hall’s Maggie’s.


Pic: Friederike Klesper



[editorial] Paul James, editor, writes: That was the International Year of Light that was! Those that predicted that 2015 would be a year of flux in terms of restructuring of the lighting industry were right. The ‘Big 3’ of Philips, Osram and GE all had major announcements starting with the sale of an 80% share of Philips Lumileds to Chinesefinanced venture capital company Go Scale Capital for just over $3 billion. This all but confirmed that 2016 will be the year that Philips will be without lighting for a first time in over a century. Then, in April, Osram finally announced that it would be selling its lamp business to focus on its specialty lighting and components for the automotive sector and project lighting. The GE Lighting brand has all but been wiped out through their recent decision to re-brand to Consumer and Conventional Lighting that will include incandescent and fluorescent lighting as well as residential LEDs. Surely it won’t be long before virtually all of general lighting is produced in Asia. But all this won’t see the evacuation of the traditional big brands from the architectural lighting sector. Osram will be consolidating its projects business with the advancement of Siteco and Traxon & ecue into their new Projects & Solutions division and now companies like the Zumtobel Group are expanding their portfolio with specialty project companies like UK manufacturer acdc. This is exciting news for the architectural lighting profession especially when you consider that some independent lighting design practices are also beginning to expand geographically - see Electrolight’s rapid rise from Australian consultancy to having branches in London and San Francisco. The architectural lighting fraternity is a specialist and knowledgeable one and it should celebrate its expertise in the quality of light from it manufacturers and the quality of creativity from its designers.

Helen Fletcher, deputy editor, writes: It has been a full twelve-months since my first editorial column introducing myself to the lighting design world and what a year it has been! Having managed to attend some great industry events it feels as though my feet have barely touched the ground and it has been wonderful to get to know so many of you in such a short space of time. I’m looking forward to meeting plenty more of you over the coming year, as I really believe it’s the people that make an industry and strong relationships are essential to success. With this in mind if we are yet to cross paths and you’ve been involved in some interesting projects, or you’ll be attending a big industry event such as Light + Building in March, feel free to drop me an email to arrange a meet-up or visit! Moving on to editorial content, as this is the last issue of 2015 we bring you our selection of some of the more interesting product launches from the year, starting on page 148, while Geoff Archenhold’s give us his take on the past twelvemonths. In our art and design section, with an abudance of light festivals and events taking place over the past few months we bring you coverage from Lights in Alingsås, Wellington Lux, Chase the Dark, Nights of Heritage Light, and To See The Sound audio-visual project. Projects covered range from the Solo Sokis hotel in Finland on page 50, which saw Valoa create an award-winning scheme for the façade; Marienplatz in Munich, which has been brought alive by striking design from Ingo Maurer on page 68; the iconic Ivy in London, designed in part by Maurice Brill Lighting Design on page 72; and an interview with Carrie Donahue Bremner from Speirs + Major on the dynamism of daylight at Maggie’s Centre in Scotland on page 76. See you in 2016!



Publisher / Editor

Danielle Ramsden

Paul James


Deputy Editor Helen Fletcher

David Bell

Editorial Assistants

Mel Robinson

Laurence Favager

Zoe Willcox

Femke Gow



Damian Walsh

Advertising Manager

Jason Pennington

Finance Director Advertising Sales

Amanda Giles

Andy White

Credit Control

John-Paul Etchells

Donna Barlow

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

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news headlines

For the latest news stories, head online:

Aurora Group announces changes to brand structure

Speirs + Major announces digital video project

(UK) – International LED manufacturer implements three key changes to streamline brands for preparation into smart environments.

(UK) – Made of Light Too: A Closer Look at Light celebrates tenth anniversary of best-selling book with twelve visual experiences based on themes of light.

Read the full story online...

Read the full story online... 1

Electrolight opens San Francisco Studio (USA) – Multi-award winning lighting designer Claudio Ramos to head Electrolight’s fourth studio, building on success of Melbourne, Sydney and London practices. Read the full story online... 2


Rosco opens Middle East office (USA) – Kees Frijters, Rosco’s President of EMEA, to head new office in Dubai while continuing responsibilities in Europe, Asia and Africa. Read the full story online... 5


Fête des lumières cancelled

Turrell to take ARoS to next level

(France) – Following terrorist attacks in Paris, this year’s event became a tribute to victims.

(Denmark) – schmidt hammer lassen architects collaborates with James Turrell to take Aarhus Art Museum to ‘The Next Level’.

Read the full story online...

Read the full story online...

Luxonic expands (UK) – Design-led lighting manufacturer opens first sales office in Scotland at Tannochside Business Park, Glasgow. Read the full story online... 7 In pictures

1 Video projects on architecture, design and built environment 2 Claudio Ramos (left) and Paul Beale (right) 3 Aurora integrates smart technologies in LED lighting

4 Last year’s ‘Night of Dreams’ installation by artist Damien Fontaine 5 Kees Frijters, President of EMEA 6 James Turrell 7 Luxonic’s recent work – Hotel Football, Manchester

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eye opener Lucent, Chicago, USA Lucent is a newly unveiled sculpture by UK artist Wolfgang Buttress, created as part of the lobby refurbishment of the iconic John Hancock Center, Chicago, USA. Deriving its name from the Latin Lucere, meaning ‘to shine’, this sculptural installation is based on a starmap. The piece draws on celestial mapping research by astrophysicist Dr Daniel Bayliss at the Australian National University. The sculpture has a four metre-diameter hemisphere, perforated with 3,115 holes representing stars visible with the naked eye from Earth’s Northern hemisphere. Fiber-optic cables emerge from each point, emitting a glowing ambient light. Affixed to these points are hand-blown glass orbs that diffuse the light. These points are triangulated, creating delicate stainless steel filigree. The Southern hemisphere is suggested in the ceiling reflection and a sense of infinity is implied by a double reflection set-up between the reflecting pool below and mirrored polished steel above. Pic: Mark Hadden




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

Visuals: Courtesy of Chris Finch and CCI

LUXURY LINER Earlier this year (2015), Crystal Cruises International (CCI) was sold to Genting Hong Kong. Having worked closely with CCI over the last twelve years, dpa lighting consultants has built a valuable relationship with the company. Since the acquisition, many exciting new ventures have been announced. dpa lighting consultants is now working closely with Alexandra Don of CCI and lead designer Chris Finch of AD Associates on a new yacht project, for which Finch and CCI provided their visuals for, illustrating the overall vessel and its luxurious spaces within. Lighting is an important part of creating a luxurious experience for discerning Crystal guests, so it has been carefully developed and integrated into the fabric of the vessel. The project will utilise long life, low energy LED sources in a variety of formats. All the suites and public areas will also benefit from a computerised scene set lighting control system, allowing simple instinctive use to create different ambiances at different times of day or night, to suit the mood of guests.

National Theatre, London, Lighting Design: Atelier Ten, Photography: Philip Vile

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[drawing board]

BELGIAN BEACON The city of Knokke-Heist in Belgium has undertaken an extensive redevelopment project in its Maes Boereboomplein neighbourhood. Working alongside architects Jakob & Macfarlane and landscape designers Sempervirens, French lighting design agency les éclaireurs has produced a scheme for the main lighting. The architecture and the adjacent public spaces are to be illuminated in a simple and efficient manner. From the ground to the façades, the design is centred around the perspective of the building at night.

The community building will itself be treated as a nighttime signal, with multiple colours that reflect the diversity of its uses, including: residential, performance hall, police station, library, restaurant and more. The integrated LEDs have been designed so that they don’t impose on the façades during the day and give a complete and balanced reading of the building volume. Additionally, les éclaireurs’ scheme includes the interior lighting and the balconies, adding to the comfort of the inhabitants.

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


Pics: Courtesy of Grimanesa Amorós, SHARE, Circa 1881 and Peninsula New York

This October, The Peninsula New York hotel was pink with pride in honour of Breast Cancer Awareness Month, through its ‘The Art of Pink’ charitable program. In celebration, the hotel presented PINK LOTUS, a large-scale light installation sculpture by Peruvian artist, Grimanesa Amorós. The installation was on show from 1 October to 15 November and exclusively curated for The Peninsula by Circa 1881. In keeping with the initiative’s pink theme, Amorós used LED lights to create a pink lotus flower that highlights the hotel’s landmark Beaux-Arts façade. By placing the installation on the main façade, Amorós supported Breast Cancer Awareness Month by drawing attention to the Roman Goddesses Ceres and Diana, who represent the power of women worldwide and to the lotus flower’s symbolic associations with creation, enlightenment and rebirth. PINK LOTUS features a dramatic elevenminute light sequence that provides the public with a unique visual experience created by the LED lighting. Amorós commented: “The first time I saw a pink lotus was in Shanghai, and I was immediately overwhelmed by its beauty, shape and movement. It is known to be a source of enlightenment, purity and abundance. It is this spiritual principle that is anchored in my work and is a determining factor for my perspective and perception of nature and landscape. My work is an ongoing investigation of the human condition such as migration, interpersonal relationships, and the roles of women in today’s society.’’


Pics: Jeroen Verrecht

BENEATH THE SURFACE 88888 (a collaboration between Karel Burssens and Jeroen Verrecht) has recently unveiled a new installation in the water surrounding the ancient castle of Horst, Belgium. As part of the Horst Arts and Music Festival, Untitled is one sculpture among more, curated by Gijs Van Vaerenbergh. The installation is a rectangular shaped hole of 12-metres x 1.2-metres with an undisclosed depth, which borders the water surface, forming an abstract interruption in the water. The unexpected aspect of this hollow space is amplified by cutting through the water, feeling like an unnatu-

ral, near to impossible gesture. The pond limits the work’s accessibility, therefore its experience remains on a visual level, enforced by curiosity. Standing on the pond’s shore, it’s hard to define the hole exactly. Its depth is unclear, as is its material and construction method. The hole appears as a container of emptyness, of indefiniteness. This bare, rectangular void stands opposed to the surrounding water. The pressure between them appears maximised and almost tangible. A constantly shifting contrast appears between the rigid black of the hole

and the visual play of currents, reflections and colours surrounding it. The work’s perimeter includes these elements, their serenity and force, effort and indifference. At night, the dark hole turns into a white, bright element within a vast dark surface. The light effect is created with six LEDstrips of 250cm, all with a waterproof protection. Seemingly invisibile at the bottom of the hole, the LEDs define a certain but unclear activity within this area.




Pics: Ronald Smits

LOWLANDS LANTERN For this year’s Lowlands Festival, Studio Dennis Parren created Lift, a continuously changing, eighteen-metre high light sculpture that sparked the curiosity of more than 48,000 visitors during the three-day music festival in The Netherlands. Inspired by the festival’s theme ‘Kiss Another Sky’, the studio set itself the goal to create a unique sculpture that would stand out in the energetic surroundings, a tower of light to function as a central point of orientation. The sculpture was made out of scaffolding and fitted with 80 triangular banners,

250-metres of steel cables and over a 1,000-metres of evenly divided straps to create the shadow effects. The ‘light-robot’ inside the tower consisted of a computer-controlled LED platform that was fitted with four LEDs producing over 1,000W of bright light, moving up and down in sync with the program of light. Studio Dennis Parren explained: “We wanted to show the audience white light in two ways, resulting in two different kinds of shadows. Being an entertaining mystery to some, and a challenging puzzle to others.’’

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Pics: Acrylicize/Nikhilesh Haval

Top Left 99 Green Bottles. Left On The Line. Above Ice Creams, 99 Green Bottles and On The Line.

GARDEN ART Acrylicize was commissioned by UBS, owners of the new office building 99Shoreditch, on 99 Clifton Street, London to create a comprehensive art scheme for the building’s exterior areas. In the garden area are five site-specific art installations, focused on a theme nodding to the building’s number – 99. GOOD LOOKING, 2015 This piece plays on the horticultural theme of the garden. Acrylicize designed and created a series of plant-based artworks, which, upon closer inspection, reveal themselves as flower-covered CCTV cameras. Referencing the surveillance that is ever-present across London, the art studio softened up the concept, making it something inviting. ON THE LINE, 2015 A hand-sketch of a typical East London

Street is transformed into a sculpture using weathered steel, referencing the industrial heritage of the area. Hanging between the houses is a neon washing line, complete with dirty undies - a nod to the student accommodation on the other side of the wall. 99 GREEN BOTTLES, 2015 A custom-made installation playing on the lyrics of the popular song. The fully illuminated piece even has one last bottle on its side echoing the lyrics “and if one green bottle should accidentally fall…” ICE CREAMS, 2015 The 99 Ice-Cream is a much-loved British institution. Oversized sculpted ice-cream cones are hung in a star formation, a nod to being outdoors under the stars. Paint drips in classic vintage tones on the wall referring

back to the ice-cream cones of old. 99 RED BALLOONS, 2015 In collaboration with heavyweight graffiti artist Will Vibes, Acrylicize painted a new piece of street art for Shoreditch, entitled 99 Red Balloons. Sitting 25-metres high, five storeys up from the ground on the side of 99 Clifton, passersby are invited to let their eyes scale the building and look up, to appreciate the city and their surroundings. The subject matter refers to the number of the building and the well-known 80s song. BIKES, 2015 Will Vibes also created a painted mural as the backdrop to the building’s bike storage. The 30ft painting of a bike wheel is a broken image in style, in keeping with the artist’s signature style.

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[briefing] Having recently opened an office in London to add to their HQ in Montreal and subsidiary in LA, we speak to Moment Factory’s Creative Director Sakchin Bessette about what makes them tick... How and why did you establish Moment Factory? Moment Factory began because we were following amazement. In the beginning, I was VJing at nightclubs and raves and at after-hours parties… doing a lot of slideshows in the days before I had access to all the digital equipment and technology available now. One thing led to another and a core group of friends rented a small loft space together, each chipping in a little to pay the rent. Slowly, we started getting more gigs and contracts, with Cirque du Soleil for example; then we got into rock shows and permanent installations. Our studio was born because we were following our passion for visual performance and new styles of storytelling. Perhaps we were also fortunate to be part of a revolution in multimedia arts and at the forefront of something new. Now, we have approximately 150 people working full time at Moment Factory; a multidisciplinary talent pool that collaborates together and cross pollinates. How would you describe Moment Factory? Moment Factory is a new media, art and entertainment studio that specialises in creating shows and destinations. ‘we do it in public’ is our motto because we believe in creating engaging experiences in public spaces. Though there are many great companies and people developing customised entertainment for personal devices, Moment Factory is dedicated to creating new types of entertainment in public, where people from all walks of life gather together and cross paths; whether that’s at rock shows, or in a natural landscape, or at airports. What we really care about is connecting people physically to each other through the experiences we create for them. What has been your favourite project? It’s hard to choose only one, but I often say that my favourite project is the studio; that is, the people that make up Moment Factory who are learning and growing together and really pushing each other to create completely new experiences. Ultimately, we learn from one project and we apply it to the next. More and more, we have been taking on turnkey projects: driving the creative, technical design, installation and the operations. We are also taking on permanent infrastructure projects. Therefore, I’m super excited by our project Foresta Lumina, an illuminated trail in the forest where people can journey and discover various installations within a nighttime environment. I’m equally proud of our collaboration with the Tom Bradley International Terminal at Los Angeles International Airport (LAX), which is an outstanding permanent piece; it is very exciting to be able to give birth to something that will last. I feel like we have really pushed innovation in the rock show world by collaborating with various bands, lighting designers, stage designers and show directors. For me, it is extremely motivating to see Moment Factory’s culture grow as the medium and our audiences expand. You have opened an office in London. What’s the reason? The choice was a natural one: London is known

for being a creative hub and for its cutting-edge entertainment. By opening a new office in London, we are looking to nurture relationships with existing clients, as well as to build new ones in the industry with partners, freelancers and local providers. Who is heading the office and what’s their background? The new office is headed up by Simon Lupini, who has many years’ experience working in the entertainment and events industries both in the UK and abroad, for example as the Head of Events for the Royal Albert Hall and as the Company Manager for Cirque du Soleil. Simon was a producer on Moment Factory’s first original theatrical and multimedia show on board the Royal Caribbean International’s new ship, the Quantum of the Seas. At the London office, he will soon be joined by a creative director. You recently gave the keynote address at IALD’s Enlighten Americas conference in Baltimore. How did you find the experience? It was a great opportunity to be among talented, knowledgeable and amazing individuals who have been the force behind iconic architectural lighting design projects. We had really great discussions. It’s not every day that I have the opportunity to be in the company of so many people who are as passionate as I am about light. What do you think the professions of lighting design and multimedia arts could learn from each other? I have always been fascinated by light and amazed by its mysteries. However, sometimes as lighting professionals we see light as something scientific; as something that has lumens and brightness and colour and shape, not as something that is magical and fundamental to life. At Moment Factory, we don’t work necessarily with code specifications and safety requirements, for example with respect to light intensities in public spaces; we work with light for entertainment and to create emotion for people. So, there is a difference between how we use light as a medium and how architectural lighting designers use light as a medium. However, these are definitely complementary disciplines. I am in this industry because of my fascination with light and I think it’s important to collaborate with all kinds of lighting designers. That’s why when we were commissioned to illuminate the Jacques Cartier Bridge in Montreal, a project that will launch in 2017, we invited a group of independent lighting designers to work with us. So far, this collaboration, while at times challenging, has proved rewarding because our collaborators have brought to the table a whole different set of approaches and points of views.

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[snapshot] Kate and Sam Lighting Designers is a small independent consultancy with a diverse design background focused on the creative approach to lighting. It’s aim is to bring fresh ideas to each project, both large and small, ranging from enhancing space and form to unique lighting installations, keeping function and maintenance in mind.

THE INERTIA VARIATIONS GOTHENBURG, SWEDEN Kate Wilkins recently joined forces with musician Matt Johnson of The The and visual artist and film maker Johanna St Michaels to create The Inertia Variations – a new light and sound sculpture in Gothenburg. The focus of the first stage of the installation is a nine-metre high sculpture on the roof of Gothenburg’s Röda Sten Konsthall. Inspired by the Soviet-era Sukhov radio tower in Moscow, its mesh of illuminated strands is intended to evoke propaganda tools used by both dictators and revolutionaries. A subsequent stage will see the tower move inside the gallery, when the viewer will be encouraged to step inside and become immersed in an unsettling combination of narration, soundscapes and music. The ‘transmission’ of The Inertia Variations is the first instalment of an Anglo-Swedish collaboration that will move between Sweden, the UK and the US.

WAHACA CARDIFF, WALES Working in the impressively sized restaurant, Kate and Sam predominately used Booo soft rubber pendants supplied with a 2,700K 650K lumen LED, fitted with custom yellow and orange flexes. Fulfilling multiple objectives, these pendants create a warm tone while transforming the large volume into a more intimate space. The Booos work in conjunction with colour changing discs, which subtly and gradually add variation to the restaurant. Both relaxing and uplifting, these changes in atmosphere are designed to be felt but not seen. These pendants and cables are then arranged with consideration given to the different levels, designed to appear more intense and immersive at a higher level.


HYATT LE CAMPUS PARIS, FRANCE Hyatt Le Campus is an atmospheric meeting space located at Hyatt Regency Hotel at Charles de Gaulle Airport. The lighting enhances the overall design concept, aiming to evoke memories of schooling while tending to the needs of independent professionals. Throughout the design, bold colours, textures and fittings offer a different and refreshing approach to

corporate office space, resulting in a unique working environment. Retro-inspired pendants are expressed at particular moments, drawing attention to objects within the spaces and conjuring nostalgia within themselves. The lighting scheme adapts to the range of flexible spaces within the design, creating a series of moods to allow for a variety of uses. Each room in the design is conceived to have a slightly different atmosphere based on the various

teaching spaces of a school. The main breakaway space features a simple lighting scheme to mimic a stereotypical canteen, while wall lights are used to emphasis a feature blackboard wall. Elsewhere, meeting rooms are decorated drawing inspiration from a science block, a headmaster’s office and a traditional classroom, where light and glass fittings vary from playful, colourful pendants to more traditional lighting where suited.

LLANELLY HOUSE LLANELLI, WALES Llanelly House-Wales’ finest Georgian house has been painstakingly restored for public use, incorporating retail, function rooms, exhibition space and a restaurant. Replicating a historic residential approach, Kate and Sam used darkness and contrast in the almost minimalistic lighting plan. The feature of the project is in the grand room, showcasing a central chandelier and highlighting important works of art and architectural details, including the original comices. The combination of chandeliers and wall lights is again replicated in the restaurant. On this occasion, however, the duo worked with porcelain artist Anna Usborne, who created two contemporary pieces as chandeliers inspired by the famous pottery of Llanelli. This project was filmed as a BBC documentary fronted by Laurence Llewelyn-Bowen.


• PARTNERS: Kate Wilkins & Sam Neuman • HEAD OFFICE: London • ESTABLISHED: 2015 • CURRENT PROJECTS: Bonhams, London; Wahaca Restaurant, Bristol; Hilton Opera Hotel, Paris • DESIGNER BIO: Kate Wilkins’ wide-ranging experience in theatrical and architectural lighting has produced designs that range from the playful and intimate to drama on a grand scale. Her best known work includes: Arsenal Diamond Club, The British Pavilion at the Shanghai Expo, and the opening of the Tate Modern. • DESIGNER BIO: Sam Neuman developed his passion for lighting through his training in art at the University of Brighton and working in night venues preparing and operating multimedia lighting events. He has worked on numerous high profile projects including: Burberry, The Body Shop, West-Quay shopping centre, Gatwick airport, Stansted airport ans Heathrow Terminal 5.




THE LIGHT COLLABORATOR One of the first professionals to become a Certified Lighting Designer and regional co-ordinator for IALD South East Asia, Toh Yah Li has burst onto the scene since establishing Light Collab in 2010. Robert Such catches up with the bright light in Singapore.

Currently one of just a handful of Certified Lighting Designers (CLD), Toh Yah Li’s work ranges from simple, low-tech lighting installations made from everyday objects like plastic bags to carry drinks (albeit everyday in Toh’s home country, Singapore) or breath mint boxes and matchboxes to commercial and residential interiors. Toh’s work also includes a Chinese temple and a 46-metre-high glass monument. Work on lighting a casino in Malaysia is also underway. “When I started Light Collab, I never imagined I would actually complete a casino project or a monument,” says Toh. Toh is also currently the regional coordinator for IALD Southeast Asia, organising events to raise awareness about lighting and to engage the public in thinking about light, its effect on perceptions of space and changing the atmosphere of a space. “We are also interested in the temporal effects of lighting and how temporary

light art contributes to the city and public spaces,” says Toh. One such Light Collab installation, We The Light, was part of the Singapore-wide Torch-Up! programme of community art events for the 2015 SEA Games (South East Asian Games). The idea behind the installation was to explore “the possibilities of involving people and communities in the illumination of sculptures, attempting to defy the notion that a sculpture is an object of visual appreciation.” Collab, a diminutive of ‘collaborators’, refers to the four lighting designers that work together at the firm. Headed by Toh, the Singapore-based design team’s other members are Nicole Ban and Chua Li Qi. The fourth member of the team, Teruhiko Kubota, works on Singapore projects too, but is also in charge of the Light Collab Japanese office. Since founding Light Collab back in 2010, Toh has worked in a number of countries

across Asia, including Japan, Bangladesh, Indonesia, Myanmar and Malaysia. Notable overseas projects include lighting a 46-metre-high (150ft) glass tower, the Tower of Light, built as part of the Liberation War Museum and Independence Monument in Dhaka, Bangladesh. “Bangladesh was a real experience as I never thought that we could travel to such exotic places; as well as this, being commissioned to design the lighting for the important monument of freedom, which is a symbol of light,” says Toh. “This was one of the most meaningful experiences I’ve had as a lighting designer, as well as the fact that what you design can impact so many people.” Along with the lighting of the glass tower, the firm’s first job in Japan was also a turning point in Toh’s career. It was a “flagship terminal of an Audi centre in a very prominent location of Yokohama, Minato Mirai,” she says. “The project was



meant to be a showcase for the region.” For Toh, yet another turning point was when the lighting design of the same building - the Audi Minato Mirai - received an IES (Illuminating Engineering Society) Award of Merit and also a Good Lighting Award from the Illuminating Engineering Institute Japan (IEIJ). The CLD qualification that Toh holds is relatively new. Five years in the planning, the CLD application process opened in 2015. “Until now there has been no official codified definition of the architectural lighting design profession,” says David Becker, lighting designer and Chair of the Certified Lighting Designer Commission (the CLD governing body). Standardising the measurement of competency among lighting designers, the CLD credential “legitimises the profession,” continues Becker. It also “offers the only international, evidencebased benchmark of lighting design competency.” Drawing on ten year’s working experience, since graduating from the Hochschule Wismar, University of Applied Sciences, Technology, Business and Design in Germany with a Masters in Architectural Lighting Design, Toh spent around a month putting together the necessary documentation for

the CLD application. It paid off and “in a field where almost anyone can say they are a lighting designer without first establishing legitimacy, CLD is a mark of proper distinction,” says Becker. Before moving into lighting design though, Toh studied architecture at the National University of Singapore (NUS). Her initial interest in architecture came partly from “looking at images of the beautiful spaces created by the master architects, and also architects such as Tadao Ando, Antoni Gaudi, Philip Johnson, Mies Van der Rohe,” she says. “The spaces are able to move my heart, because of the way light is filtered or fills the spaces.” Toh graduated from the NUS with a Bachelor of Arts (Architectural Studies) degree in 2002, and worked in an architectural office in Singapore, until she realised that little attention was being paid to lighting spaces and how the volumes and forms of architecture integrates to give a narration. Poorly lit spaces were missing something important. “Without it buildings become empty, cold spaces and unfeeling,” Toh says. It was then that she decided to pursue a career in lighting design. After graduating from the Hochschule Wismar, where she had interned at Stilvi in

Above Parkroyal Nay Pyi Taw is set in the new administrative capital of Myanmar. The white exterior of the building is enhanced with uplighting to bring out the eaves of the roof. Bamboo screens are washed with light from the top with indirect lighting, such as in the tiered coves complemented with accent lighting, bringing out the expanse of the space. Top Left The Shadows of our City utilised three iconic Singaporean scenes – Sentosa, the Housing Skyline, and Changi Airport. This installation was designed using nostalgic or daily objects such as matchboxes, tic-tacs, and erasers to portray a complex scene in miniature through the use of light and shadow. Top Right For The Legend of Red Hill the Light Collab team – Eddy Iskandar and Nicole Ban Xiu Fen, Junior Associate IALD, along with student volunteers – narrated and performed the story of how Red Hill (a place in Singapore) got its name, using overhead projector and transparencies. Middle Left ‘We The Light’ is a platform that allows communities from different walks of life to give support to the athletes of the 28th SEA Games and aims to limit and reduce the use of permanent lighting fixtures, providing opportunities for people to dictate the outcome of the sculpture. Middle Right Bukit Timah Tua Pek Kong Temple in Singapore established the temple as a night time landmark in the midst of urban bustle. Right Audi Minato Mirai is an Audi flagship store in Yokohama, Japan. The idea of visually enhancing the clean, corporate architectural identity of Audi using light was central to the lighting design concept.




The Tower of Light in Dhaka, Bangladesh is one of Toh Yah Li’s most memorable projects. When the team posted pictures of the completed project on Facebook, they received numerous responses from the residents of Bangladesh who were delighted with the final result.

HIGHLIGHTS Projects that you’d like to change: I hope to have the opportunity to work on projects such as illuminating heritage buildings or UNESCO sites. Closer to home, as Singapore is a garden city, I hope to change the way parks and gardens are illuminated in Singapore. Projects you admire: Those that push boundaries and ideas, those where clients, the consulting team and contractors are supportive and collaborative and of course have a good budget for lighting! Projects you dislike: Every project poses new challenges while we seek innovation. However, projects I dislike are those with team members who insist on their old comfortable ways and are not collaborative nor willing to open up for improvements and changes. When dynamics of people pose the greater challenges, it greatly limits the potential outcome of the project and energy is wasted on politics rather than giving the client a better solution on the whole.

Athens as part of her studies, Toh joined the Singapore office of Lighting Planners Associates. There, she worked on numerous large-scale projects, such as the National Museum of Singapore and the Peranakan Museum, whose collection explores the Peranakan culture of people of mixed ethnic origins that immigrated to Peninsular Malaysia and Singapore. Four years later, it was time to move on. Toh taught architectural and lighting related courses at various polytechnics in Singapore. Then in 2010, after talking to Kubota about working together, she started Light Collab. “It happened quite naturally,” she says. Commissioned work came from existing contacts, and “it felt like the right time as well after working with young inspiring students. I was energised.” Toh also wanted greater freedom to choose which projects to work on and since working for herself, she says: “I can now decide what kind of projects to do. I can try out and test out [things]. Be different.” Light Collab’s first commissioned assignment was quite different from what she had been used to working on at LPA. Smaller in scale, it involved lighting a house designed

by Singapore-based architecture firm K2LD. A referral landed her the job. In fact Light Collab takes part in few competitions. Work comes their way from recommendations. Since then, work that has come their way includes the firm’s current projects, which, along with the casino, comprise hotels and an office tower in Indonesia, a library in India, and a pedestrian mall in China. What excited Toh about light and lighting back then, when she started her career, still excites her today. She was fascinated by the way “an intangible medium can manifest itself,” she says, “and also affects the way objects [and] spaces are perceived. It is a very magical material.” And what continues to excite her now is “experimenting with it and finding new ways to use light as a medium,” she says, “and how it interacts and reacts with the spaces, materials and most importantly, people. I am also very fascinated by the way people interact with light and also discover new insights about light, spaces and sometimes, even about themselves, when light connects with them successfully.”

Lighting Hero: Many heroes such as Kaoru Mende, Jonathan Speirs, Howard Brandston but one special mention of a lighting heroine, Barbara Horton. I have met Barbara only two times so far but during our encounters, I have been very inspired by what a great leader she is, how passionate she is about lighting and about IALD. Her energy and encouragement gave me the courage to take on a more active role in IALD too. Notable projects: Audi Minato Mirai, Yokohama, Japan; Tower of Light, Dhaka, Bangladesh; Parkroyal Nay Pyi Taw and SICC Yangon, Myanmar; Bukit Timah Tua Pek Kong Temple, Audi Centre Singapore, Nucleos Singapore, HSBC Liat Towers Singapore, National Museum of Singapore, Peranakan Museum, Singapore. Most memorable project: Every project has its memorable moments. However, the Tower of Light (Dhaka Freedom Glass Tower / Shadhinata Stambha) at Suhrawardi Uddyan, Dhaka, Bangladesh remains as one of the most memorable on the whole. In addition to the illumination of the tower being technically challenging, we also had the pleasure of ministers and government officials attending the mock-up reviews. When we posted the photos of the completed project on facebook, we received numerous responses from the residents of Bangladesh - they were proud that such a beautiful monument exists in their country, and some even commented that it looks like a pathway to the sky, and even saw the effects when cycling around the outskirts of the city. Current projects: Library of Nalanda University in Rajgir, India; Pedestrian Mall in Yingde, China; Premier Inn in Makassar, Jogjakarta, Indonesia; Genting Crockford private Casino, Malaysia; office building along Cecil Street and private residences in Singapore.

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SNØHETTA: LIVING THE NORDIC LIGHT Since 1992, the Zumtobel Group has commissioned renowned designers to give artistic expression to its annual reports. The 2013/14 report by Snøhetta was recently the subject of an exhibition at Aedes Architecture Berlin. Henrietta Lynch caught up with the Norwegian architects to explain the concept and their fascination with natural light.

Living the Northern Light was the title of an inspiring and magical exhibition hosted by Aedes Architecture Forum in Berlin from 08 August – 01 October 2015. The exhibition documented the 2013/14 Zumtobel Annual Report and featured four 3m x 4.5m stunning, high resolution, black and white portrait photographs of people over 100 years in age who were born and live (or lived at the time of the report) within the Arctic Circle. The portrait photographs acted as banners for the exhibition and a psychological link appealing to visitors; enticing them to explore further. Beate Engelhorn the Aedes curator of the exhibition was amazed at how well they worked to attract people, commenting that “...when we were constructing the exhibition, people working around the Aedes complex were immediately drawn to the portraits and wanted to know what they were all about.” The 23rd and 2013/14 Zumtobel Artistic

Annual Report was produced by Norwegian architects and designers Snøhetta, an international architecture, landscape architecture, interior architecture and graphic design firm founded in 1989 - named after one of Norway’s highest mountain peaks and are based in Oslo and New York. The theme of the report is described by Zumtobel Group CEO Ulrich Schumacher as being “a very special take on the fascination of natural light” in which the readers are invited to “discover the phenomenon of light in the arctic circle; with its never ending summer days and long winter nights, all the way to the mysterious northern lights.” The report features interviews with four main protagonists who were the subjects of the portraits; two being Swedish nationals and the other two Norwegians. The geographical co-ordinates used under the photographs are the geographic co-ordinates for the home

locations of the four; Olaug Bastholm (70˚51’28’’N,29˚5’5’’E), born 06 February 1914 in Berlevåg, Finnmark Norway, Marie Gulbrandsen, (69˚8’48’’N,18˚9’22’’E) born 30 September 1912 in Sørreisa in Troms, Norway (sadly now deceased), Apmut-Ivar Knolijok, (66˚37’0’’N, 19˚50’0’’E) born 22 March 1928 in Nautijaur, Sweden and Helny Zingmark , (65˚50’0’’N, 21˚43’ 0’’E), born 28 July 1913 in Boden, Sweden. Using the subject’s stories combined with additional artwork including portrait busts made of the characters, the documentation of three of Snøhetta’s architectural projects; Lofoten Opera Hotell, Norwegian Wild Reindeer Pavilion and Bjellandsbu; and results of scientific research, the report examines the special experiences of living above the Arctic Circle. With all this taking the extreme natural lighting conditions and the vast social-political changes that have occurred there over the last hundred years into consideration.



The Arctic Circle is an imaginary line of latitude at 66˚33’. Approximately four million people live above the Arctic Circle in climatic conditions that include 24 hour daylight during the summer months and almost complete darkness, known in Norway as ‘Mørkertid’, between the end of November and the end of January every year. These conditions also include very low levels of solar irradiation in comparison to most other global locations, extreme cold and harsh weather, meaning that no full sized trees can grow there but beautiful and ethereal events such as the Aurora Borealis or Northern Lights occur. The report tries to gain an understanding of what makes people who live in the far north and in such extreme conditions different from other people, if at all. It is

also an exploration of the actual lighting conditions using established research and data gathered from in-situ light sensors. Most intriguingly it is an insight into the psyche and behaviour of residents of this polar region. Due to the natural bias of Norwegian architects Snøhetta, boundaries to the report were drawn with a focus on the residents of the Arctic Circle from Norway and Sweden. Of the people who live within the Arctic Circle, approximately 10% are Norwegians. This in turn makes up about 10% of the Norwegian population. More Norwegians live in this region than Swedes due to different government demographic polices over the last century. Many members of this population are originally from ethnic Sammi communities who worked, and still,

The exhibition features portraits of four centenarian Norwegians and Swedes, who recount their lives north of the Arctic Circle. With his close-up facial portraits of them, Norwegian photographer Sølve Sundsbø succeeds in revealing the physical effects as well.


Pic: Ina Niehoff

Clockwise from main pic Snøhetta’s Senior Director Greger Ulf Nilson and founding partner Kjetil Trædal Thorsen; Kristin Feireiss of Aedes Berlin, Kjetil Trædal Thorsen and Stefan von Terzi, Marketing Director Zumtobel Group, at the opening event of the exhibition.

Pics below: Hans Scherhaufer

to an extent work as nomadic reindeer herders. In previous times, this indigenous population experienced various forms of racial discrimination from the different Scandinavian governments. All the residents lived subsistence level lifestyles until the mid-twentieth century with few possessions and little money and had to work closely with the natural environment to survive. One of the most interesting facts about the four featured protagonists from this extreme environment is that they were all born, and initially grew up, without electric lighting and grid supplied power. Instead they were reliant on kerosene lamps and heating provided with fuel from local sources. During their lifetimes, they saw the introduction of electrical supply and the development of various types of new

infrastructure, including for water and communications, and the provision of food and new types of commodities. Snøhetta founding member Kjetil Trædal Thorsen saw these people’s experiences as a valuable record of social development over the last century, and key to the report and exhibition content as a whole. “People born in the beginning of the last century are the last living generation to have experienced changes that have had a tremendous physical impact on the humanity in the Western world.” Snøhetta as architects and designers are fascinated by the way that people live, work and evolve over time, and within their environments and surrounding landscapes. This fascination has helped to shape their design projects over the years and was an



inspiration for their work with Zumtobel. Within this context, Thorsen sees the human ageing process as the development of expertise and particularly inspirational. “Our inspiration is the fact that age has become a kind of expertise,” he says. Thorsen also sees the processes of time and human experience working to help sculpt space and form design. “Time is an integral part of any human light/space/landscape experience. Lived time is the manifestation of continuous relationships between sequential events and the fluctuating conditions of the physical surroundings influencing those events.” Thorsen worked together with Senior Director Greger Ulf Nilson and the Snøhetta team to develop the concept for the Zumtobel report and later the exhibition in Berlin with Aedes. The architects also chose to work with a team of writers and artists including Åsne Seierstad and Po Tidholm who carried out the interviews with the centenarians; and the Norwegian, but London based, photographer Sølve Sundsbø to produce the portraits. The portraits are so detailed that they show every line on the character’s faces. The lines and contours work like landscapes and seem to document the life experiences and inner emotional space of the sitters. Thorsen refers to the portraits as being like frozen light.

“The visual expression of each individual was captured in daylight, freezing their faces in a daylit timeframe.” The portraits work individually or as a series, but their psychological content means that they directly complement the written interviews and architectural design work presented. The four characters have quite different personalities. This becomes evident when reading the interview texts. They do however share some common experiences and some anxieties about the changes that have taken place over the last century. Olaug Bastholm, who is still physically very fit and enjoys daily walks, explained that when she grew up, everybody played outside all the time no matter the weather, and that children created their own games and handmade toys. Now she is worried that “the kids don’t go out and play anymore. They’re inside. They’re not able to come up with games on their own. They sit and stare at a screen or push a few buttons. It’s an abomination. What will become of them?” Whereas Apmut-Ivar Knolijok, who has Sammi origins and is concerned that indigenous Sammi knowledge is now being lost, describes how life used to be different without modern telecommunications. “Nowadays nobody can manage without a telephone or radio, but in my day you tried to keep track of other families’ migration routes. Sometimes you had to wait for each

other for days. It was a little impractical.” Marie Gulbrandsen, who lived without running water and electricity until 1959, remembers the magical experience of watching the dancing northern lights from her window. She also describes hunger between the wars and the luxurious childhood experience of eating kohlrabi for the first time. She also explained that oil and wicks for lamps and lighting were expensive and to be used carefully. Helny Zingmark also talks about the previous scarce resources of power and light and how the scarcity worked to bring people together and re-inforce community. “But when the electricity came, we grew apart. The circle of candles disappeared. We could go our own way. The house got bigger.” The Zumtobel Annual Report 2013/14 is truly a work of reflective genius and definitely worth reading. It is especially poignant when considering how, over the last century, we have sadly learned to need so many things, and take the provision of expensive commodities and power supply for granted. It is also a reflection of the value and wisdom that can come with age and experience, a concept that also often seems to be forgotten, but which is particularly relevant for today’s ageing European and Western populations.

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INTO THE DARK Having won this year's Finnish Lighting Award, the faรงade lighting of Solo Sokos Hotel Torni in Tampere, shines brightly among the winter darkness, reflecting the dynamic urban atmosphere that surrounds it. Pics: Juhana Konttinen unless otherwise stated



The upper part of the new building tower was taken from the architecture as the building is characterised by the rhythm of steel elements. The same rhythm was repeated with the media panels placed around the building at its top.

With just a few hours of daylight a day during the winter months in Scandinavia and Finland, artificial lighting has an extremely important role to play in the mental state of its inhabitants. With this in mind, when illuminating the façade of the Solo Sokos Hotel Torni Tampere, the expectations on the lighting design were high. While the hotel’s commercial operator Sokotel initially wanted the building to look as though it had just been transported from Las Vegas or Times Square, the city architects were hesitant; lighting a tower hotel to such a level would significantly effect the cityscape and the image of the city during dark periods and so the task was to find a lighting solution for both. It was decided that the lighting should, in a modern and harmonic way make the hotel building come alive while brightening the city’s image at the same time. It had to fit in with citizens’ everyday life yet reflect the dynamic and urban atmosphere of the city. While Finland is mainly a country of low urban architecture, in contrast the hotel is a significant landmark in the City of Tampere. Found on the former train depot, it can be seen from any point in the city and in turn modifies the cityscape seen from almost every street view. The hotel consists of two parts. The restaurant and congress premises are located in the lower part - historically valuable old locomotive stables, with the building representing traditional red brick architecture typical for Tampere region. A new tower building as a contrary, represents modern high-glass Finnish architecture. The old building has been highlighted in a very

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Found on the former train depot, the hotel can be seen from any point in the city and modifies the cityscape of Tampere significantly.

Pic: Joonas Tähtinen

traditional and simple way. The lighting for the hotel yard was designed to be detailed. The main idea was to open views to the interior spaces and also leave room for dramatic darkness. For the tower section many alternatives were considered. It had to combine architecture, cityscape and commercial viewpoints. The solution was to highlight the architectural facet in a sophisticated way by giving a little bit of liveliness and delicate change to the tones of the lighting used. The idea behind the upper part of the tower was taken from the architecture, as the building is characterised by the rhythm of steel elements. This same rhythm was repeated with the media panels placed around the building at its top. The media facade has 360º of visibility and as such has become a dynamic, yet harmonic part of the cityscape. As the lighting design process advanced,

it led to the creation of light art Signal, bringing the media façade and architectural facet lighting together. Despite media panels being separate from each other they still work together coherently, with the design idea to show only abstract movement of light on the media surface. While the steel elements reflect the sunlight in various cardinals in dark periods, the media surface aims to reflect natural light and everyday life, changing according to the day of the week, whether it is night or day, depending on the seasons, festivals and national holidays. This award-winning project is an example of how modern technology can be applied as part of the city's architecture and scenery. The media façade draws the urban landscape in harmoniously, standing as a signal to the surrounding areas and enlivening the cityscape. In dark periods, every hour, the flammable light show spices things up in the city.

The building has become a unique and famous attraction in the country, with many tourists, construction professionals and architects making excursions to see this rewarded installation. The hotel has also become a popular destination for weekend travellers and a good reason to get to know Tampere, the largest inland city in Scandinavia – tourism in winter has particularly been boosted thanks to the addition of the hotel, which is consistently booked up.

PROJECT DETAILS Solo Sokos Hotel, Torni Tampere, Finland Client: Sokotel Architect: Arkkitehtitoimisto Seppo Valjus Municipality Architect: Eija Muttonen-Mattila Lighting Design: VALOA design Electrical Engineers: Aurecon Group Lighting Suppliers: traxon & e:cue



ANGULAR ATMOSPHERE Challenged by J.MAYER.H's angular design, lichttransfer has created a bespoke lighting scheme that celebrates the contemporary architecture, while creating an inviting communal space for workers, residents and visitors of Sonnenhof's courtyard.

Pics: David Franck

Sonnenhof consists of four new buildings with office, retail and residential spaces. Located on a consolidated number of smaller lots in the historical centre of Jena, Germany, the separate structures allow for free access through the grounds. Each building has been placed on the outer edges of the plot, defining a small-scale outdoor space congruent with a medieval city structure. “The idea was to fill the huge site in the middle of the historic centre with buildings of about the same size as the ones from the past,’’ explained J.MAYER.H’s Founding Partner Juergen Mayer H. “We didn’t want to build one huge building there, so we decided to create four smaller

volumes. The separate structures allow for free access through the grounds,’’ he added. Its outdoor facilities continue the building’s overall design concept past the edges of the plot. The planned incorporation of commerce, residence, and offices enables a flexible pattern of use that also integrates itself conceptually into the surroundings. While working with J.MAYER.H Architects (JMH) for the exhibition Level Green at Autostadt Wolfsburg, lighting design practice lichttransfer was asked to support the architects with its scheme for Sonnenhof as well. In particular the exterior lighting with some consultancy for

special parts of the interior, such as the staircase, office and lobby lighting, using iGuzzini iN60 light lines in varying lengths. Katrin Söncksen, founder of lichttransfer commented: “It has been very challenging for us to complete the lighting design for this project because, on the one hand, the outdoor place is a pathway for the public and, on the other hand, it is a kind of private space for the occupants of the buildings. But we have been lucky to work with such a great architect and for a sensitive client. Only this close collaboration made the detailed lighting design and the development of all the custom-made luminaires possible.’’


Top Six polygonal light columns from Lichtbau, using Xicato LED modules, provide a soft direct light through a semi-frosted light field; Inground light lines from Lichtbau, using LED-Linear Phobos LEDs, provide a diffuse light for the walkways into the courtyard; and Lichtbau light lines, using Osram LEDs, illuminate the shops windows for a pleasant appearance at nightfall. Bottom The stairs, ramps and space around the benches is illuminated by diffuse linear light lines from Lichbau, using Osram LEDs, recessed in balustrades.

The design for the exterior lighting seeks to create a warm and welcoming atmosphere. “We wanted to provide an adequate luminance level for security reasons as well as a pleasant and almost private atmosphere for the residents,’’ Söncksen explained. This atmosphere wasn’t created through the use of regular streetlights as the buildings’ slanted walls made it difficult to place them between the buildings and aesthetically, typical streetlight styles wouldn’t have suited the architectural design. This made it even more important for lichttransfer to analyse the different zones of the outdoor space and to reconsider the various

special requirements. As a result of this, the lighting design scheme consists of the following separate components, aiming at creating a consistent impression: • Illumination of the shop windows for a pleasant and light appearance at night (no black glass panels) by linear light lines recessed within the reveal. • Illumination of the entrances by diffuse linear light, recessed in the ceiling. • Illumination of the pathways by diffuse linear light, recessed in the ground. • Illumination of the stairs, ramps and space around the benches by diffuse linear light, recessed in balustrades and benches.

Illumination of the ramp by linear light, recessed in the hand rail. • Polygonal light columns with semifrosted light fields for a soft direct light. Starting from the footprint, the design of the light columns is firmly rooted in the architectural design of the buildings and the use of polygonal fields on the ground. In summary, a diffuse linear light, used in various mounting situations, is complemented by six free-standing polygonal columns. The small courtyard between the four buildings is situated on private ground and could have been inaccessible to the



public, but the city of Jena insisted on a public passage, so lichttransfer had to plan according to particular regulations. “We had to provide a certain luminance intensity for the pathway but, at the same time, we aimed at a comfortable atmosphere for the occupants of the buildings,’’ said Söncksen. The result is a fully integrated lighting concept, fitting perfectly with the architecture of the buildings and the exterior design, no luminaires on the facades, no dark entrances and no dark shop windows at night, no use of a heterogeneous variety of luminaires and no use of luminaires featuring a high luminous spot.

Söncksen continued: “When we started working on this project (summer 2009), LED-lighting was still in it’s infancy. But being aware of the promises and the rapid development of LEDs, we developed light fixtures which would work with both fluorescent lamps and LEDs. In 2012 we decided to switch from fluorescent lamps to LEDs.’’ As a result of the challenging brief, lichttransfer had to develop custom-made luminaires to fit the project’s needs. Using mock-ups, the practice rigourously tested the light sources, refining the design of the luminaires. When switching from fluorescent lamps to LEDs, lichttransfer tested LEDs

Focal parts of the interior, such as the staircase, office and lobby are illuminated using iGuzzini iN60 light lines in varying lengths equalling 120 pieces / approximately 320m.



Left Custom made inground light lines from Lichtbau use LED-Linear Phobos LEDs to provide a gentle diffuse light on the slanted walls upon entering the courtyard, while bespoke polygonal columns reflect the architectural design of the buildings and the usage of polygonal fields in the ground. Below illumination of the ramp is provided by linear lights from Lichtbau, using Osram LEDs, recessed in the hand rail.

from several manufacturers before selecting products from Xicato, LED-Linear and Osram to suit the situation. By switching, the practice was able to reduce the overall input by approximately 30%. In response to the challenges faced during the project from scheme to completion, Söncksen commented: “Due to the construction of the ground of the courtyard, we had to design the in-ground light lines noticeably smaller than those used in the balustrades and underneath the benches. We would have prefered to use the same width everywhere.’’ Lichttransfer has approached Sonnenhof from an interesting angle, paying close attention to the incorporation of JMH's angular and abstract architectural scheme into both the internal and external lighting fixtures. The result is an interactive space, highlighted by bespoke luminaires that allow the buildings’ design to flow seamlessly into the project’s external communal areas.

PROJECT DETAILS Sonnenhof, Jena, Germany Client: Wohnungsgenossenschaft "Carl Zeiss" eG Architect: J.MAYER.H Architects Lighting Design: lichttransfer büro für lichtplanung

LIGHTING SPECIFIED iGuzzini iN60 light lines Custom made light fixtures: Lichtbau: 6 polygonal light columns, using Xicato LED-Module Lichtbau: 4 inground light lines (4m up to 6m), using LEDLinear Phobos-LED Lichtbau: 22m diffuse light lines for stairs, using Osram LED Lichtbau: 12m hand-rail lighting, using Osram LED Lichtbau: 4 light lines for benches, using Osram LED Lichtbau: 65m light lines for shop windows, using Osram LED

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SUBWAY SATURATION Ingo Maurer goes bold with his lighting concept for Munich's Marienplatz subway mezzanine, bathing the area in red-orange tones that transform the space. Pic: Friederike Klesper


Metal sheets lacquered with a slightly reflective finish in a red-orange tone have been implemented. Lines of LEDs designed by Ingo Maurer are arranged in groups of three with differing lengths integrated and placed irregularly across the ceiling. To complement this, light signs made by Osram are equipped with LEDs and a diffusor lacquered in the same orange-red as the ceiling.

As you walk down the steps to the mezzanine level of Marienplatz, Munich’s central square, you experience what a fresh lighting design and colour concept can bring to difficult public spaces. Marienplatz provides access to two subway lines and all of Munich’s suburban trains. On October 26, 2015 it reopened to the public with a new design offering a clear, bright, modern and customer friendly setting. Having been awarded the project in 2011, the joint design from Allman Sattler Architects and lighting designer Ingo Maurer sees a modern, tactile guidance system with handrail inscriptions in profiled letters and Braille that serve to improve the accessibility for the visually impaired. Additional orientation is provided by safety markings on all glass facades, handrail lights and contrasting materials in the floor and staircase area. The mezzanine floor at Marienplatz is a new unique room created in the heart of the city. The original, shapeless and vast space has been reduced to elementary rooms with secluded corners and once intimidating areas eliminated. As well as concentrating on public facilities in the counter hall, additional spaces for trade and services have been developed along the passageways to the exits. The durable natural stone flooring in the counter hall and passageway reflect the light optimally, with the structured silvergray stainless steel strips of the façade creating additional light reflections. The blue tiling that has existed as a distinctive element in the access routes to the suburban railway and subway platforms since 1971, have been retained - due to their colour they stand out and provide orientation. An essential element of the design comes from Ingo Maurer's lighting design, with the



ceiling almost glowing in an orange-red tone, reflective of the platforms designed by Baron Alexander von Branca and as homage to the Munich artist Rupprecht Geifer. The lighting adds a unique touch to the space and underlines the relevance of the city centre as a major junction in public transport. To create this effect, metal sheets lacquered with a slightly reflective finish in a red-orange tone have been implemented. Lines of LEDs – specifically designed for the project by Ingo Maurer – are arranged in groups of three with differing lengths integrated and placed irregularly across the ceiling. To complement the red-orange glow, the light signs, developed by Ingo Maurer and made by Osram, are equipped with LEDs and a diffusor lacquered in the same orange-red as the ceiling. Throughout the corridors that lead from the mezzanine's entrances to the central area, the ceiling sheets feature a matte stainless steel finish with integrated linear lights from Pracht, making the room feel more spacious. For the staircases leading up to Marienplatz, LED lighting from Korona Leuchten has been integrated into the hand rails. As expected, when the time came to unveil the new look of the Marienplatz mezzanine, there were some questions over the bold new look from local press and media. However it would appear that the city officials that a took a leap of faith on such a decision, were right to do so, with what would normally be considered an unforgiving, drab space, coming alive through thoughtful lighting design.

PROJECT DETAILS Marienplatz, Munich, Germany Client: City of Munich Architect: Allman Sattler Wappner Architects Lighting Design: Ingo Maurer Lighting Suppliers: Ingo Maurer, Osram, Korona Leuchten, Pracht

Top Right Korona Leuchten LED lighting can be seen in the hand rails leading down to the main area of the subway. Throughout the corridors that lead from mezzanine's entrances to the central area, the ceiling sheets feature a matte stainless steel finish with integrated linear lights from Pracht. Right Architectural sketches of the space courtesy of Allman Sattler Wappner Architects.

Pic: Friederike Klesper

Pic: ©AllmannSattlerWappner

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HOLISTIC HOSPITALITY Maurice Brill Lighting Design adds super-moody, dramatic architectural lighting to Martin Brudnizki's refurbishment of the iconic Ivy restaurant and bar.

The Ivy has been a London icon for almost a century, first opening its doors to the public in 1917. Having started life as a tiny, unlicensed café in a narrow townhouse in Covent Garden, it took a decade before The Ivy became the most talked-about restaurant in London. It was at this time that the decision was made to pull it down and rebuild it, featuring brand new kitchens in the basement and private rooms on the first floor. The Ivy remained obstinately full and fashionable for decades, but was eventually sold by Monsieur Abel to Wheelers, the famous British fish and seafood restaurant group in 1950. Following this, The Ivy changed hands quite a few times and by the late ‘80s, the once shining star of London had began to lose its lustre. Until 1990 that is, when architect MJ Long redesigned the restaurant’s interiors as part of a major transformation, alongside a number of notable British artists who were commissioned to create new artwork for the restaurant’s walls. Recently refurbished and updated by interior designers Martin Brudnizki Design with decor focused around specially commissioned art works by artists such as Damien Hirst, Tracey Emin and Maggie Hambling, a key part of the new look is a modern and intimate lighting treatment by Maurice Brill Lighting Design (MBLD). “We were approached in late December

2014 as to whether we were interested in the project,” said MBLD’s Managing Director Rob Honeywill, “well this is the world famous Ivy, was I going to say no? With so many new and developing restaurants in the area it was felt that the Ivy was due for change. From the beginning there had to be an understanding about MBLD integrating into the team, which meant that we needed to be understanding, flexible and willing to give multiple options and mockups at a moment’s notice to get the design perfect within the context of the restaurant staging and ultimately support the interior designer’s vision within a neck breaking programme.” With this in mind, it was imperative that the lighting concept was strong from the beginning, with no time to make major changes. However, various sections were mocked up, looking at the detail of light and subtleties of detail by day and night and how MBLD could refine design ideas. The new feel of the restaurant had to be super-moody and dramatic, yet remain warm and invitin. Commenting on how the architectural lighting works within the space, Honeywill told mondo*arc: “Scenography is always our first focus and how the restaurant’s lighting narrative was to develop. From this, we could extrapolate the direction for the tone of each of the areas and create a three act lighting play.” For Honeywill, the architectural lighting

at The Ivy brings a holistic element to the space, capturing every aspect and facet of the restaurant dining experience. For him, the difference with lighting designers is that they are, ‘looking at every light from every angle, every seat, every walking journey from the front to the back of the space,’ considering what is being looked at in 360º of the restaurant. “The FF&E is a critical part of the lighting chemistry; the tone and brightness must play with space as part of the overall scene,” said Honeywill. “Then it’s all about the smaller details, like the back of house transitional spaces, the bar, fridges, wine cabinets and service station screens. All of these details can wreck the scene.” Within a series of ceiling coffers, MBLD installed a new LED linear lighting system by Lumino, ColorCORE, which offers a 2,000K colour temperature and allows a more truly warm rendered atmosphere using the TM-30-15 colour rendition method. These are supplemented by a series of custom-made pendants by ANDDesign, which use the Segula Vintage LED lamp – mimicking the warmth of the old GLS lamp. The same light source is used for the bronze and glass wall lights around the space. At the centre of the space is a new oval bar with a mirrored backdrop, which features integral Lightgraphix downlights shining down through the glasses. Additional lighting is provided by a series of decorative



Above The original leaded, stained glass windows were retained and Lumino linear LED ColorCORE strips installed in the window sills. The commissioned art works are picked out by a custom-designed picture light system from Hogarth Lighting. Far Left Decorative light fittings are mounted on the bar top featuring dimmable halogen capsule lamps. Left Each table features a cordless, rechargeable LED lamp by Neoz.

fittings mounted on the bar top, which have dimmable halogen capsule lamps. “An important part of the brief was that each of the tables should have its own glow to light guests' faces,” Honeywill continued. “So our rather original solution was to equip each table with a cordless, rechargeable LED lamp by Neoz, which has three brightness settings.” The small, portable table lamps are re-charged overnight by placing them on a special wheeled recharging trolley. The interior designers retained the original leaded, stained glass windows onto the street outside, and to highlight these at night, Lumino linear LED strips were installed unobtrusively in the window sills - while the commissioned art works are picked out by a custom-designed picture light system, installed by the makers, Hogarth Lighting. “Artwork lighting was a huge challenge,” said Honeywill. “We really needed to use framing projectors for perfect lighting of the artwork but we had nowhere

to mount the luminaires above the ceiling. With so much structural interference it made the approach virtually impossible for a consistent effect. In addition to this, time on site was intensive in terms of demands for mock-up and testing, but this is normal for the nature of the project… you just have to dive in, swim fast and don’t sink!” To guarantee appropriately moody lighting at all times of the day and night, all the lighting within the restaurant is dimmable and controlled by a KNX control system. Much like the theatres that surround it, The Ivy is made by its lighting, which has brought this classic space to the forefront of modern-day dining and entertaining. “The final outcome was much better than we had ever imagined mainly because of the lower dimming levels involved to create a well balanced atmosphere,” concluded Honeywill. “I’m really thrilled with the final effect.”

PROJECT DETAILS The Ivy, London, UK Client: Caprice Holdings Lighting Design: MBLD Interior Design: MBDS

LIGHTING SPECIFIED Architectural Lumino ColorCORE linear LED strips LightGraphix downlights Hogarth Lighting customised picture light system Decorative &Objects, Neoz, A Shade Above, Urban Electric, Hector Finch, Circa Lighting, Light Partners, Collier Webb, Anthony Stern Glass, Segula, Orluna

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Pics: Dave Morris


Left The centre's artificial light is complemented by a reflected diffuse light off the golden inner surfaces of the courtyard light catchers, while direct daylight casts a shadow of the unique perforation patterning. Above Daylight studies conducted by Speirs + Major show the dynamism of natural light and how it interacts with Maggie's architectural design.

ABOVE US ONLY SKY Carrie Donahue Bremner, Design Associate at Speirs + Major, talks to mondo*arc about the dynamism of daylight and its impact on space and environment at Reiach and Hall's Maggie's Centre, Lanarkshire. Speirs + Major was ideally placed to collaborate with architects Reiach and Hall (R+H) on the design of the lighting for the eleventh Maggie’s, located in Lanarkshire, Scotland, having previously worked on the Stirling Prize winning Maggie’s Centre at Charing Cross by Rogers Stirk Harbour + Partners and the Maggie’s Centre in Newcastle by Edward Cullinan Architects. The building is a long low brick pavilion positioned within a walled garden. It is designed to connect with its surroundings, offering a progression of landscape, texture and light from the entrance path to arrival court, through the sequence of interior spaces and courtyards to the far end walled garden. Due to the relatively low height of the construction, the daylighting design became one of the key design challenges. The communal courtyards offered a relaxing space to connect with the sky but lacked a

direct connection to light. Carrie Donahue Bremner, Design Associate at Speirs + Major told mondo*arc: “Jonathan (Speirs) originally worked with Neil Gillespie from R+H on the conceptual architectural plan. They discussed the courtyard gardens that bring natural daylight into the centre of the building and considered how this could be reinforced. While these courtyards did allow for some degree of natural light penetration, for this to be properly felt, they realised that the light needed to be made more visible and they needed to find a way to bounce more light deeper into the space. “Following these discussions, we proposed the idea of a centrally positioned object that would sit within the courtyards and provide surfaces for light to land on and be seen. We knew that the design of the object would have the potential to not only receive light, but to reflect it and allow it

to penetrate through. This would bring the scenery deeper into the spaces, and provide a focal point, as well as creating dynamic shadow play. To bring the idea into being, we studied the daylight patterning that would occur, focusing in particular on the effect of the diffuse light, as this can be interpreted by surfaces in many different ways. We were able to confirm that four different kinds of light would occur: direct, patterned direct, reflected and diffuse, depending on the time of year and day, rotating throughout the space.’’ Donahue Bremner further explained: “R+H constructed some small mock ups of the structure and how the feature would sit proportionally within the gardens. Having analysed size, proportion and levels of penetration, we evolved the idea into the elegant, highly polished and perforated gold structures that have come to be known as ‘geode light catchers.”



Originally, there were four light catchers in the four courtyards, however due to cost the number had to be reduced to two in the central courtyards. “Having just the two in the central courtyards ultimately worked well within the building and strengthened their impact as they are positioned along the main axis of living and movement. This allowed the two peripheral softscape gardens to be a little quieter and more peaceful,’’ said Donahue Bremner. Although the inner gardens do not have a direct relationship with the boundary brick wall, it is the specialist pattern from this wall that is referenced in the texture of the light catchers. The height, materiality, and reflectivity were also key considerations. The outer surface is finished in a matte effect designed specifically to complement the highly polished interior surface. This matte texture allows diffuse light to scatter across it, creating a glow which is visible

from a distance. The polished gold stainless steel interior supplements this glow with dynamic interreflections of direct daylight that bounce in between the faces and escape through its perforations. The effect on the corridor spaces adjacent to the courtyards is both dynamic and beautiful. On any given day, the spaces appear brighter and warmer thanks to the golden diffuse light bouncing into the space. On a clear-sky day, the cooler crisper direct daylight passing through the perforations creates dynamic patterns, which layer over the diffuse golden light to truly spectacular effect. Speirs + Major were also responsible for all of the building’s artificial lighting. Given the purpose of the space as a support centre for the family and friends of those diagnosed with cancer, the lighting needed to have enough flexibility to cope with multiple tasks, as well as supporting a domestic level of comfort.

The pavilion's centralised courtyards sit perfectly in the main axis of living at Maggie's, providing an area for visitors to connect with the outdoors and enjoy the reflected views of trees and sky.

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.

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Extending the view of the trees and the garden by reflecting it in the interior surface of the light catchers was also part of it. Seeing the structure, the outer surface of the structure, the inner surface of the structure and pulling the sky deeper into the space.

In response to the architectural intent, the lighting marks the progression through the building, focusing on highlighting the major interventions. Light is integrated so that it frames vistas, drawing visitors into and through the building, while reinforcing the connection between inside and outside. Warm light washes the timber surfaces to bring out their inherent warmth, while a second layer of domestic furniture pieces contributes to a homely atmosphere. The space is used flexibly from day-to-day so a lighting control system was put in place, meaning luminaires could be altered to suit. The additional daylight from the Lightcatchers allow the artificial lighting to be reduced at certain times of the day, improving the overall energy efficiency. Maggie's Centre Lanarkshire is a perfect example of how a well-considered approach to designing with natural light can invigorate an architectural scheme.

PROJECT DETAILS Maggie's Centre, Lanarkshire, UK Client: Maggie's Centres Architect: Reiach and Hall Architects Lighting Design: Speirs + Major

LIGHTING SPECIFIED Exterior Lighting: iGuzzini iTeka, MiniWoody Wevre & Ducre Palluz KKDC MiMi Handrail Interior Lighting: Mike Stoane Lighting custom designed luminaire with Xicato remote phosphor LED Mike Stoane Lighting Reed Light, interior garden courtyards Pinch and Norm decorative pendants PJR Engineering T5 linear fluorescent, back of house areas

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MAKING HISTORY COME TO LIGHT The Society of Light and Lighting, along with CIBSE celebrate the International Year of Light by illuminating some of the UK's most iconic locations.

On 1 October, in an event designed to showcase the talents of SLL members and the lighting community, teams of dedicated lighting designers shone a ‘new light’ on UNESCO World Heritage Sites across the UK aimed at promoting lighting as both an art form and a science. Starting at William the Conqueror’s Tower of London, the Night of Heritage Light worked its way up the country as the natural light faded. For one night only, experts in the field of lighting put their designs on display to demonstrate the power of light. Other heritage sites include Edinburgh Old and New Towns, Fountains Abbey, Liverpool Maritime Graving Dock, Pontcysyllte Aquaduct, Ironbridge Gorge, Blenheim

Palace, Blaenavon, Jurassic Coast and Giant’s Causeway. Liz Peck, President of the Society of Light and Lighting, said: “By combining light with some of the UK’s most beautiful sights, we can capture the public’s attention in a way that showcases the best that the lighting industry has to offer. It’s about inspiring the next generation of minds to make the great breakthroughs in lighting by thinking big and realising the industry’s potential.” Combining their love of light and art, design teams showcased the practical applications of lighting and how it can improve and enhance architecture.

Pic: Rachel Ferriman

PARTNERS NOHL Team Liz Peck, Rhiannon West, Dan Lister, Simon Fisher, Brendan Keely, Juliet Rennie Lighting Practices Apollo Lighting, Arup, BDP Lighting, Cundall Light4, Designphase, DPA Lighting, G3 Lighting Design, Hoare Lea, Light and Design, Lite-ltd, Michael Grubb Studio, Edinburgh Napier University, Ramboll, Speirs + Major, Troup Bywaters & Anders Infrastructure & Equipment Amerlux, Black Light, Blue Parrot, Chroma Lighting, Core Lighting, Cree, Double Take Projections, DW Windsor, ERCO, Fagerhult, GE, HSS Hire, iGuzzini, Kemps, LED Linear, Light Projects, Lumenpulse, Martin Professional, Meyer, Osram, Performance In Lighting, Philips, Reggiani, Rosco, Rose, Bruford, Soraa, Thorn, Zumtobel

TOWER OF LONDON Colin Ball, BDP Lighting Iain Ruxtion, Speirs+Major The Tower of London has contained and secured a central part of the British identity for almost a millennia, through which the tower has constantly evolved. The design team led by Iain Ruxton from Speirs + Major studio and Colin Ball from BDP Lighting evoked the changing lighting conditions of this long history through their design. Iain Ruxton from Speirs + Major commented: “The Tower today is a living functioning palace of our government and crown system, still housing the Crown Jewels and Mace, the prime symbols of Crown and Governance. It’s such a central building to British history and to the psychogeography of London, one of the buildings that defines the city. You can’t live in London and not feel its significance. As such we wanted to show this presence of what the Tower guards for our collective identity, and that right here is the Shining Heart of the Nation.”


BLENHEIM PALACE Michael Curry, dpa lighting consultants The lighting scheme for the palace project show focussed on the main entrance and in particular the stunning roofscape that hasn’t ever been highlighted. Leading the design team for the Blenheim Palace project, Michael Curry from dpa lighting consultants, described the site grounds

EDINBURGH OLD & NEW TOWNS Malcolm Innes Design The Edinburgh design team, led by Malcom Innes from Malcom Innes Design, explored innovative ways to use community codesign to re-light the closes that lead off Edinburgh’s historic Royal Mile. The testing site location required battery-powered light sources with a lot of flexible and adjustable lighting stands to work as a synchronised whole. Innes explained that the idea for the design was to take lots of small sites that are largely hidden from view and reveal them in a creative way. “Because we were working on a very busy street, our lighting solutions had to be creative and required quite a few hands to make it all work," he said.

as stunning with a multitude of lighting opportunities in every corner. “Our profession equips us with such amazing tools to transform spaces, objects and people’s lives by improving the lit environment. The opportunity to light Blenheim Palace was clearly a significant driving force for

Pic: Robert Galloway

our enthusiasm for the event,” said Curry. “We wanted to splash a little light here and there and also dust it on the top to expose the architectural peaks against the back drop of a setting which again recedes back into darkness.”



Pic: Adam Glatherine

FOUNTAINS ABBEY David Battersby, Apollo Lighting & Adam Glatherine, G3 Lighting Design In a first for Fountains Abbey, lighting designers from Apollo Lighting and G3 Lighting Design illuminated the ruins, highlighting the east elevation with shafts of light and graphic light elements taken from the IYOL logo. Managing director for G3 Lighting Design, Adam Glatherine explained that the design

was focused on the often overlooked east elevation of Fountains Abbey by using light to draw it the attention it deserves. “The colour once present inside the abbey building's pre-dissolution was hinted at using the ethereal medium of light,” Glatherine said. “Shafts of light symbolise the centuries of culture built within these

walls. The particular way light was used on the east façade was intended to bring out even older historical aspects of the Abbey and tie them together with the contemporary values of the International Year of Light.”

Pic: Don Kinghan

GIANT'S CAUSEWAY Jim Patton, Light and Design Studio

IRONBRIDGE GORGE Simeon Kay, Designphase & Tim Pink, L.I.T.E

Since the 18th century, the Giant's Causeway has been described as the eighth Wonder of The World. Belfast-based lighting designer Jim Patton from Light and Design studio, used a mix of battery powered LED fittings with generatorpowered LED floods at remote locations along the Causeway, illuminating this magical site for the first time. Patton said: “I jumped at the chance to work on this project, as an Irishman, this site is part of my heritage. The lunar landscape of the Giant's Causeway, lurking below the gaunt sea wall where the land ends, must have struck wonder into the hearts of the ancient settlers and still does to tourists that visit today. I wanted to highlight each mystical natural element with several powerful flood lights to make the causeway stand out on Ireland’s beautiful coastal vista.”

Using a range of colour changing LED lights, the Ironbridge Gorge team illuminated the full width of the bridge and its apex. Leading the design team, Simeon Kay, SLL member and director of Designphase, said the idea was to light the iron structure with a range of colour changeable LED products, providing a full width panoramic of the bridge. “We also wanted to highlight the apex of this construction to bring out the central artistic detail and allow people to search for the famous silhouette of Abraham Darby,” he said. “I was really pleased to be allocated the Ironbridge scheme as I grew up just 20-minutes' drive away. Coming from a family of engineers, a day trip out to this amazing structure and the surrounding works would feed an appetite for design, innovation and construction.”



Pic: Kenton, Simons Story Photography

BLAENAVON IRONWORKS Ben Porter, Hoare Lea Lighting Blaenavon Ironworks, now the site of a museum, was established in 1797 and played a significant part in the industrial revolution, becoming the world’s foremost producer of iron and coal. Hoare Lea Lighting showcased the site's heritage using small LED tealights through a creative illumination of the Balance Tower, featuring the names of community members associated with the ironworks when it was in operation. Ben Porter, lighting designer at Hoare Lea said: “We wanted our design to emphasise the link between the community and the ironworks. We managed to obtain a list of the people from the community around the time the ironworks was in operation and illuminated them individually around the base of the Balance Tower." Subtle uplighting was also introduced to link the Balance Tower and introduce varying scales to the scheme.

Pic: Ian Robinson

LIVERPOOL MARITIME GRAVING DOCK Andrew Bissell, Cundall Light4 The design team allocated to Liverpool Maritime, headed up by SLL member Andrew Bissell of Cundall Light4, highlighted the graving dock, a key heritage site in Liverpool and one not often seen or valued by visiting guests to the museum. Bissell said: “The Night of Heritage Light is the perfect event to promote and educate the importance of lighting design and equipment. The scale of the event will raise the profile of the International Year of Light and the lit sites demonstrated what can be achieved by the lighting community for our communities. “With so much light in the area we really had to reign ourselves in. Our idea was to light the inside of one of the graving docks and we liked the idea that the effect wouldn't be seen until you arrived at, or walked past, the graving dock.”

Pic: Robin Goodlad

DURDLE DOOR Michael Grubb Studio The Bournemouth-based design team led by Michael Grubb created a scene that is reminiscent of an impressionist painting. Using a variety of lighting tricks, the studio filled the arch with reflected light, with additional lighting from the shore providing warmth to the landscape. Grubb explained that the challenge of lighting a location along the Jurassic Coast was too good an opportunity to pass, but with over 100 miles of coastline the selection process was not an easy one. “As part of the process we took a daytrip along the route, stopping over at numerous locations to admire the landscape and seek out possible lighting opportunities. We finally agreed on Durdle Door, which is arguably the most visually stunning and isolated spot we visited," he said.


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THE THRILL OF THE CHASE Through the power of social media and a global appreciation for the beauty of light, the IALD's third annual Chase the Dark Event saw 30 cities taking part - the biggest participation yet.

Social media was alight on 1 October 2015 as the International Association of Lighting Designers (IALD) hosted its annual global Chase the Dark event. Now in its third year, this international lighting movement gained momentum with more than 30 cities participating – up from seventeen in its first year in 2013. Open to anyone for participation, this year’s lighting concept was simple: 1) Create a unique lighting display or lit effect using only the flashlight function of a mobile phone. 2) Snap a photo and share it with the world via any social media network using the hashtag #IALDchasedark. 3) Watch as a wave of tweets, re-tweets, posts and comments brighten the globe one time zone at a time. As the sun set westward across the globe from Sydney and Melbourne, Australia to the West Coast of the United States and Canada, more than 500 images were shared and more than 1,400 tweets were sent, resulting in over two million impressions on social media timelines across the globe. Support from IALD India, the newest IALD region, came in strong, attracting over

300 participants from eight Indian cities including Bangalore, Chandigarh, Chennai, Delhi, Hyderabad, Kochi, Kolkata and Mumbai. The IALD Greater China region also delivered high participation with Beijing, Hong Kong, Shenzhen, Shanghai, and Taipei joining in on the social media movement. Enormous support also poured in from Canada, Europe and Mexico; and a tweet from a solo lighting enthusiast in Jamaica was a standout moment as the event crossed over to the Americas. In the past two years, IALD membership has grown by more than 40%, boasting more than 1,250 lighting practitioners in 54 countries. This annual global event serves as a means of bringing the lighting community together and keeping them connected. Chase the Dark revels in IALD members’ cultural differences and distinct design approaches, while engaging everyone in an identical activity that celebrates the power of light. The Chase the Dark program has been generously sponsored for the third year running by LIRC member acdc, a member of the Zumtobel Group.

Pic Selection: 1. @litespire - Twitter (Kolkata, India) 2. @DTimtchenko - Twitter (Toronto, Canada) 3. @iald-gcr - Twitter (Hong Kong, China) 4. kavitatauro - Instagram (Bangalore, India) 5. booker - Instagram 6. @IzumiTominaga - Twitter 7. duwayne08 - Instagram 8. Jamaica-iareaisha - Instagram 9. @Richard__Wagner - Twitter (Dubai, UAE) 10. @1-DIA - Twitter (Mexico) 11. Tumblr header 12. @SaraLappano - Twitter (DC, USA) 13. @Gerbal15 - Twitter 14. jordanh1118 - Instagram 15. @giannis_gin - Twitter (Athens, Greece) 16. @JennSk8s - Twitter 17. @Cloe_11 - Twitter (Mexico) 18. @SalexLUC - Twitter (Canada) 19. @rebechdion - Twitter (Canada) 20. ellemno_p - Instagram 21. @ferfiehn - Twitter (Mexico) 22. @aijazmn - Twitter 23. @rb_thiru - Twitter (India)




OUT OF DARKNESS COMES LIGHT Lights in Alingsås brings the small Swedish town just outside Gothenburg to the forefront of lighting design through its annual workshop and festival. Once a year in the darkness of the Swedish winter, there is one place that shines… In the west of Sweden lies the small town of Alingsås with its 40,000 inhabitants. Since the turn of the century its buildings, parks, lakes and playgrounds have been lit up every autumn when the international event, the Lights in Alingsås festival, takes place. It all began when a group of architecture students from Gothenburg needed somewhere they could experiment with lighting - and Alingsås municipality allowed them to use certain places in the town. The results sparked an interest and desire to see more; ever since Lights in Alingsås has evolved year on year and now consists of two different elements. Firstly there is a week's workshop where seven international lighting designers create and develop the year's theme, which is then designed and built with the help of 60 students from all over the world. The second part of the festival starts when the light trail is officially opened and visitors find their way

through the town centre, following a trail, which creates exciting new flows of people looking at the installations. Today Lights in Alingsås is the largest light event in northern Europe with 80,000 visitors a year. For restaurants, cafés and other businesses in the town, October has become one of the most prosperous months in the year. Alingsås municipality continues to be responsible for the festival, which is run in collaboration with Estrad Alingsås, IALD and several major sponsors of which the foremost are Alingsås Energi and Sparbanken Alingsås. This year's theme, The Development of Light Through the Ages, was selected in conjunction with the International Year of Light and Light-Based Technologies. “We share the hope of the UN for an enlightened world, in both senses of the word," said Anna Davidsson Project Developer for Lights in Alingsås. "One way for us to contribute is by offering financial

Above Under the Boardwalk Workshop Head Anna Sbokou Right 'Natural Light at Night' Workshop Head Kevan Shaw Far Right 'The Evolution of Iron' Workshop Head Andrea Hartranft.

Pics: Patrik Gunnar Helin




Left 'Big Bang Sun' Workshop Head Katja Winkelmann Right 'Living Room Under the Highway' Workshop Head Reinhard Germer.

help to students who are not well off." In September Anna Sbouko from Greece, Kevan Shaw from Scotland, Roberto Corradini and Marco Palandella from Italy, Reinhard Germer and Katja Winkelmann from Germany, Andrea Hartranft from the US, and Jan Ejhed and Katarina Hennig from Sweden led the groups responsible for lighting up Alingsås. Working in international workshops, they were assisted by around 60 students from countries including Japan, Israel, Panama, Colombia and Italy. The designers interpreted important events in the history of light to create experiences including lighting, sound and other elements to stimulate the senses. The aim was to give visitors to Lights in Alingsås an immersive experience where they could travel both back and forwards in time. Professor Jan Ejhed from the Royal Institute of Technology in Stockholm acted as a sounding board in the process. Sound was also an important element in the installations along the light trail. Collaborating with lighting designers, composer Sebastian Studnitzky from Germany produced haunting and exciting sounds that intensified and enriched experiences for the visitors.

The ‘Lights’ workshop was made possible by international collaboration and the commitment of sponsors who provided the equipment. But there is another element too - and that is local involvement. “The group that came to Alingsås this year were great,” said Davidsson. “People worked well together, discussions were lively and ideas flowed freely among the lighting designers. The last thing German designer Reinhard Germer said before he left was that Alingsås felt warm and welcoming - and that the professional organisation had made him feel at home. It bodes well for the future.” Students come from all over the world, but for some of them the adventure can be an expensive business. Plane tickets, accommodation and the registration fee add up to quite a substantial amount, in particular for those who come from outside Europe. With this in mind Lights in Alingsås, acting through its project owners Alingsås Town Hall (ABAR), started to award grants making it possible for more people to participate; grants covering course fees were awarded to 25 applicants this year. “We don't want attending Lights in Alingsås to create financial problems for students, but would like to be able to offer all





'Mediterranean Breeze' Workshop Head Roberto Corradini & Marco Palandella

students with a keen interest in light design the chance to participate in our workshop and we can do that now,” said Davidsson. After the workshop, the events organisation takes over and the light installations go on show in Alingsås for five weeks. At the same time there are a variety of different activities taking place such as shopping evenings, illuminated cafés, runs, special events for children and evenings of cultural activities. Every evening there are guided tours from Alingsås tourist office along the light trail. Visitors can hear more about the history of light, the work behind the light installations and learn about the international light designers and their work. There were also several new developments this year: the Children’s Park of the Future was one - a series of workshops on the theme of the future, created by Alingsås nursery schools and after-school centres. More than five hundred children, attending five different after-school centres, were free to make their own light creations. The children's own mini-installations were exhibited in the centre of the town as part of the light trail, the idea being that visitors would bask in light from the future. “It’s fun, but also really important, to work with innovation and development in this way; they are two of the festival’s most crucial areas of interest," said Angelica Larsson, Event Manager. "In children, developments and new discoveries come quite naturally out of their desire to learn. And of course, children are our future." Currently, planning for next year's Lights in Alingsås festival is in full swing and lighting designers interested in applying for a workshop place or head designer position can now register their interest through IALD.

LIGHTING PARTNERS acdc, Barco, ETC, Fergin, iGuzzini, Insta, Irrlicht, Kungsbacka Lighting, LED Linear, Luce&Light, Lumenpulse, Luxlight, Martin Professional, Meyer, Rebel Light, Stockholm Lighting, Traxon, Uplight, Wibre, Wireless Solutions, Zumtobel

'The Rhythm of Flames' Workshop Head Vivi Katarina Hennig

Visit our Stand C31 in Hall 4.2 at March 13-18 2016 in Frankfurt, Germany



WAR ON WASTE Commissioned for Earth Day by Bank of America Merrill Lynch and Create London, MyCup is a light installation that educates and inspires employees to recycle at work.

Lighting technology has undergone a disruptive change since the introduction of LEDs. The desire for energy efficient lighting is putting more pressure on making LEDs ever-present in buildings and around cities. This has led to the idea of smart lighting, which lies at the convergence between an internet of things and LED technology. By connecting lighting using the protocols and languages of the web, an internet of light can be created. As light is everywhere, it can be used as an infrastructure to unlock hyperlocal services inside and outside buildings. For instance, it can distribute

sensors and communication devices inside buildings and around a city. By coupling microcontrollers and proximity-based connectivity and communication, light sources can become aware of themselves and their surroundings, with which they can interact and develop an emerging behaviour. This would allow the creation of buildings where lighting systems adapt parameters to keep a state of visual equilibrium with the environment and occupants. Arup and Xicato recently put this thinking into action in a lighting installation called MyCup. The project was in the form of an

interactive light sculpture, installed at the Bank of America Merrill Lynch London corporate headquarters at No.2 King Edward Street. Designed and installed by a collaborative team formed by Create London, William Bondin, Francois Mangion and Ruairi Glynn from the Interactive Architecture Lab at University College London’s Bartlett School of Architecture and Francesco Anselmo from Arup, it was launched for World Earth Day in April 2015 as part of an initiative to stimulate reflection about the planet's personal and collective waste streams. Waste generation is usually discussed on


Pics: Simon Kennedy

mass but MyCup brought awareness to individuals, using plastic cups as a marker. On average, a person discards four plastic cups a day in an office environment, equalling over 8,000 cups in a decade. In light of this statistic, 8,000 cups were used in the suspended six-metre diameter globe. During its six week installation, Merrill Lynch pledged to use 8,000 less cups as part of the bank’s commitment to environmental sustainability. The lighting core at the centre of the geodesic structure illuminated the surrounding space through the filtering layer of the translucent outer envelope created

by the plastic cups. The positioning of the LEDs revealed the inner structure and the surrounding space through the glowing skin of the sphere, using a multiplicity of dynamic lighting behaviours. The lighting core included 40 Xicato XIM modules, 1-10V version, 4,000K, controlled with 0-10V DMX dimmers. Arup developed a 3D interactive web-based interface for visitors that allowed anyone to play with the lit sculpture through an ad-hoc Wi-Fi connection. In this way, the richness of visual sensations offered by the interplay of light, darkness and reflections, both inside the sphere and in the surrounding

environment, can be created by the visitors who have a direct role in shaping the sculpture’s lit behaviour. The afterlife of the installation was also an important factor in the design and so the cups were used in workshops with local school children in discussions about waste and in building their own artworks. For example, the structure was used at the Bartlett School of Architecture on the reEarth project and the lighting will be incorporated into ongoing research at UCL.



COMMUNITY CREATION Centred around the poem I Love Lamp by Ford Dagenham, Many Hands Make Light Words is a community-created light installation, developed through a cross-continent collaboration between Light Collective and PhotoActivate.

Wellington LUX is a free public light festival that turns the city's waterfront and laneways into a captivating celebration of light, art, technology and design. In August, the festival featured Many Hands Make Light Words: an installation that came about through a cross continent collaboration between Light Collective in the UK and PhotoActivate in New Zealand. Centred around a poem by UK poet Ford Dagenham, the first Many Hands Make Light Words is part of a series of community created light installations that

will be taking place around the world and led by Light Collective. In Wellington, PhotoActivate and their dedicated team made the project come alive. Together, both teams invited Wellington LUX visitors to help create a piece of text about light using light, encouraging groups of passers by to each write a word in light writing. Each image was photographed and projected onto a building faรงade so that the participants could see their contribution magnified. Each word was combined together after the festival to create a huge

image and a film containing all the photos and therefore all of the participants. This large scale community light art piece stands as a legacy of everyone's involvement after the festival was concluded. People literally became part of the picture and by participating, an integral part of Wellington LUX. The poem I Love Lamp was created by maverick poet Ford Dagenham and features a huge number of quotes from popular and classical culture, including: the Rolling Stones, Prince, The Kinks, Gladiator, Velvet


Underground, Led Zeppelin, Phillip Pullman, The Clash, Sonic Youth, Pink Floyd and many more. The festival showcased a fantastical array of high quality light sculptures that wound their way through an urban light trail within the city’s laneways and spilled out into a promenade of light installations along the waterfront. These were accompanied by talks from national and international artists, designers, and researchers; pop up exhibitions and installations; and free activities. LUX was also fortunate to

showcase the work of leading practitioners including Ruari Glynn, Kimchi and Chips, Anti VJ, Visual System, Squidsoup, James Nizam, Nonotak, Kit Webster and HC Gilje. The next Many Hands Make Light Words will take place as part of the Aberdeen Light Festival Spectra in February 2016 and will feature the work of 250 school children.

Groups of Wellington LUX visitors were encouraged to write about light, using light. Each word written was photographed and projected onto a building façade for all to enjoy.



LIGHT & SOUND Russia's National Centre for Contemporary Arts (NCCA) recently launched a large-scale audio-visual project in Moscow dedicated to the study of sound in contemporary art... with a little help from lighting.

Misterium Cosmographicum by Walery Martynchik

Geometry of Light VVV by Nargiza Usmanova

The TO SEE THE SOUND festival is an organic continuation of a joint project of Russia's National Centre for Contemporary Arts (NCCA), and TodaysArt - LUCIDA Space (which took place in January-March 2014) - in collaboration with the Goethe Institute and Moscow City Galleries Network as part of the 6th Moscow Biennale of Contemporary Art. While LUCIDA Space was mainly dedicated to the phenomenon of light, this time the main object of aesthetic reflection was sound in all the multitude of its manifestations. Aesthetic images that simultaneously affect all senses are born out of the never-ending dialogue of light and sound. TO SEE THE SOUND began in September at different venues around Moscow. The

festival program included exhibitions, performances, concerts, lectures and public talks with artists. The festival presents the work of numerous contemporary artists that use integrated installation forms, where the sound creates a new artistic integrity organically interacting with the image (video projection, photography, computer animation), with technology and situational developments, thereby showing its limitless phenomenological presence in the world. Four projects by two artists (Walery Martynchik and Nargiza Usmanova) in two galleries (Beliaevo and Kashirka) are technically partnered by GVA using the company's full range of products. The exhibition at Gallery Beliaevo is built on the principle of the Mobius sound loop

and reflects the idea of perpetual motion and return of the sound to its original state. In this case, the sound itself, acoustics in general and music are subject to movement and circulation as a cultural phenomenon. The imagery of the exhibition is based on quotations and references to previous historical experiences of a contemporary listening audience - a huge and varied sound-music culture, including the minimalism of casual human speech. The uniqueness of sound and acoustics in our current modern life realises itself in the fullness of historical experience of a person, the experience of hearing and sound production - from Vladimir Tarasov’s audiovisual bass installations to Maxim Ksuta’s electroacoustic projection. Music, sound, light and acoustics in the optics of


Wittgenstein's Light Logic by Walery Martynchik

12 by Nargiza Usmanova

artistic vision - a myriad of possibilities of recourse to the world, its understanding and savouring. At the heart of Mobius sound loop exhibition is the idea of cyclic development of the sound and music in contemporary culture. Geometry of Light VVV by Nargiza Usmanova portrays the cyclicity of lights and repetition, infinite like Mobius loops to represent the geometry of lights. Geometry of Light VVV, like an encrypted abbreviation, represents the infinite zig-zag lines of light. The huge structural geometric shapes organise spatial composition. The figures are constructed from GVA linear product Highlighter HL-DL with round and flat diffusers. Plastic film acts as a connecting reflector combining shapes and drawing the movement of light using GVA

INFINITY Technology, Highlighter HL-DL, STR9 RGB and LIRA products. Mechanical and technical support was from Julian Verrall and Peter van Nuland. Usmanova's 12 installation consists of twelve hand-made braided spheres with 60 GVA IP-SF-3 LEDs inside each ball. They look like alien organisms, meteorites or small sphere planets, living and highlighting their independent life. Usmanova is the Chief Designer at GVA Lighting. Originally from Belarus, she graduated from the Belarusian Academy of Arts and is passionate about the integration of art and light. Her original works are in private collections in Belarus, Russia, Kazakhstan, Finland, Turkey and Canada. Originally from Belarus, Walery Martynchik has lived in London since 1990 exhibiting

nationally and internationally. His Misterium Cosmographicum installation is named after the 16th century book of cosmological theory by astronomer Johannes Kepler. The installation consists of abstract structures lit from the inside by coloured LEDs. The other installation is devoted to the work of the 20th century philosopher Ludwig Wittgenstein. Wittgenstein's Light logic consists of a number of tall rectangular semitransparent boxes covered with text and photographs of the philosopher, lit from the inside by white light. The TO SEE THE SOUND festival runs until 31 January 2016.














CELEBRATION OF LIGHT Belgium-based Delta Light celebrates its continued growth with an architecturally impressive headquarters extension and ‘pop up’ light art installations from renowned artists. On 22 October, the West Flanders-based family business Delta Light inaugurated the new wing of its headquarters, which features an impressive, 26-metre high architectural lightbox - by presenting unique pop-up light artworks by four internationally renowned artists. The expansion is a symbol of the company’s international ambition for growth. “We have an unshakeable faith in our future in Belgium and thanks to this major expansion, we intend to double our turnover yet again in the decade to come,” said Managing Director Operations Peter Ameloot. With the brand-new, 26-metres high, monumental lightbox structure that has a total of 307m² surface area in glass, the Delta Light headquarters have become an architectural eye-catcher. Designed by Bruges architect Damiaan Vanhoutte, the building reflects the company’s lighting philosophy: functional but with that little extra touch of design and high-tech

simplicity. The new wing took fifteen months to build and will provide an additional 5,500m², bringing the total area of the complex to 37,500m². According to founder Paul Ameloot, the main reasons for investing in this project were the non-stop expansion of research and development, international growth, future ambitions and the extra logistical challenges posed by the increasing complexity of the sector. “Since it was founded, Delta Light has focused on inhouse design, product development and production. This creative process requires constant alertness and the use of new technologies. If we are to realise the company’s ambitions in terms of innovation and R&D, we are going to need a lot of extra space,” said Ameloot. Belgian and British artists were invited to create pop-up art installations, each of which expresses one of the core values or differentiating factors of Delta Light.

Fred Eerdekens – Shine In his sculptures, Eerdekens explores light and shadow, thus raising questions about our perception. At first sight, his works often appear to be an incomprehensible tangle of shapes. But adding the element of light brings out a different dimension, and through the play of shadows, they come into focus. For Delta Light, Eerdekens created the seven-metre-long work Shine, a reference to the success story of Delta Light and the warmth of the family business. “The sculpture itself does not shine,” said Eedekens. “On the contrary, it is a matte object that absorbs all light. Only its shadow is legible. This contradiction is an ongoing theme in my work. You can also associate Shine with the Dutch word schijnen, ‘to appear’. Something that is not what it appears. There again you have that constant uncertainty, and the duality between light and shadow. What’s more, as an artist, I always stay in the background and let the work speak for itself. I see a




Top Left Fred Erdeken’s Shine installation Top Right Bombas & Parr installation Chromaphagia Left Tom Dekyvere installation Them Sculptures - Digital Jungle Right Ian Wright installation Portrait of Paul Ameloot

certain parallel there with Delta Light: its lighting allows buildings, interiors and objects to tell their own stories.” Them Sculptures - Digital Jungle Tom Dekyvere is a young artist who also has roots in West Flanders. He has built an international reputation for his dramatic geometric cord sculptures. His work for Delta Light incorporates 2km of fluorescent cord, onto which light is projected. In this way he visually expresses not only Delta Light’s worldwide network, but also the contrast between the natural and the artificial, technological world. “In the production at Delta Light analogue and digital, humans and robots, go hand in hand,” he said. “The connection with the new building is also important, because the projecting glass volume in which the work is installed suggests a sort of museum / greenhouse, created to ‘cultivate’ the work.”

Ian Wright – Portrait of Paul Ameloot As an illustrator, Wright has gained renown for pieces created for the likes of Tony Bennett and Givenchy. He often incorporates everyday and recycled materials into his work, such as buttons and paper. For Delta Light, he took the famous Lighting Bible as a starting point, in order to emphasise the company’s unique craftsmanship. “It’s the first time that I’ve used a catalogue as raw material,” he said. “So for me, the commission was a challenge to develop new methods of working. The paper has a specific character and there’s a tremendous variation in colour tones. The inspiration photos could be understood as light in a kind of static, printed form. Just like a painter, I worked layer by layer to create a playful, larger than life portrait of founder Paul Ameloot.” Bompas & Parr – Chromaphagia In their work, the British ‘culinary wonderboys’ Bompas & Parr explore the

science behind taste, and how it can be influenced by an environment. For Delta Light, the design duo created the installation Chromaphagia. “This installation is an expression of our philosophy that space changes our experience of taste,” said Harry Parr. “We invite visitors to eat the same food in three different atmospheres, so as to experience the way the flavour is affected by light, colour and sound. Since light is a crucial element in creating atmosphere, it is the primary ingredient. What’s more, by controlling the light, we cannot only create an experience, but we can also control how the visitors feel about it. Light is therefore essential to our experience. After all, according to the science of synaesthesia, our senses mutually interact.” In their installation, they show how light also often indirectly plays a key role in our experience, with a nod to the ‘Pure Lighting Pleasure’ credo of Delta Light.

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Pics: Stephen Hosey Glasgow City Council

PEOPLE MAKE GLAS-GLOW In collaboration with Glasgow City Council, LUCI’s City under Microscope event brought diversity, innovation and discussion to a celebration of Scotland’s largest city. LUCI (the international network of cities on urban lighting) City under Microscope programme in Glasgow took place from the 11-15 November, bringing together over 110 city representatives and lighting professionals from 20 cities in a unique participative event that addressed urban lighting in all its facets. This included: • The inauguration of the Radiance Reflected exhibition in the Lighthouse - Scotland’s centre for Design and Architecture. The exhibition, which outlines the role of light in Glasgow’s development in the past ten years as well as the city’s role in LUCI, will be on display until Christmas. • A walk along a lighting trail in the city centre, featuring several temporary and permanent installations from, amongst others, LUCI associated members: Philips, Blachere and Craig Morrison. • Conference sessions that presented the

ways in which urban lighting is integrated in Glasgow and its role in helping it become a sustainable city. In one initiative, called Linked via Light, the Westburn Viaduct, a former railway bridge linking the Carmyle area of Glasgow and Westburn in South Lanarkshire, was illuminated by young people from communities on both sides of the river to transform their shared landmark. • Talks on Glasgow’s intelligent street lighting as the city was one of the first to use LEDs on its bridge structures about ten years ago. It is now planning to replace over 10,000 lamps on main roads with LED, financed by the Green Investment Bank. Presentations highlighted that 90% of the world’s data has been produced in the past two years and that this could be a valuable source of creativity and innovation. In this context, the city is working towards an open-data model in which all non-sensitive

data could be publicly available – a step that would increase transparency and enable innovators to create new initiatives and services. It is also implementing intelligent lighting pilot projects in the city centre, incorporating sensors that gather all sorts of data combined with new LED street lighting. • A hands-on lighting design workshop, a first for City under Microscope, with materials and help from Philips. Participants were put into teams to compete with lighting design concepts for three sites on the University of Strathclyde campus. An afternoon of brainstorming lighting design ideas resulted in three unique winning designs that were implemented on-site by the winning teams and displayed during the course of the evening. Alongside the conferences and workshops, several special initiatives linked to City




Pic: Kirsten Gibson

under Microscope were also on the agenda. The event featured a keynote presentation celebrating the International Year of Light by Professor Martin Hendry, the chair of IYL2015 Scotland. It also featured a presentation by NVA, the designers of the award-winning Speed of Light Ghost Peloton light art performance piece, which took place on Friday evening. In addition, the façade of the City of Glasgow College in the city centre featured large projections, created by LUCI associated member, Glasgow-born Craig Morrison, in collaboration with students and staff from the college. Entitled the Glasgow Portrait Project, this showed over

Pic: Courtesy of Philips

150 portraits of the people (including LUCI participants!) that make Glasgow. Another site-specific artwork by Craig Morrison in collaboration with Hartung and Trenz, entitled I Love You was also shown on the college facade. Overall, LUCI City under Microscope presented a diverse programme that presented the many ways in which urban lighting is an integral part of the social, urban and economic development strategy of Glasgow, providing participants with spaces and experiences for discussion, debate and innovation.

Previous Page At the heart of Glasgow’s urban landscape, The City Chambers comes to life at night. NVA performs its award-winning Speed of Light Ghost Peloton light art piece. This page The City under Microscope Glasgow programme included a number of talks, tours and interactive discussions; All of which celebrated light, culture and the future of sustainable, resilient urban environments.

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ERCO has relit Dussmann das KulturKaufhaus in Berlin to create a homely atmosphere for guests to indulge in literature and music. Established almost two decades ago, Dussmann das KulturKaufhaus in Berlin is upgrading its in-store design experience with a new ERCO LED lighting system. KulturKaufhaus is proud of a good growth rate, encouraging its management to invest in a store upgrade, with light as central to the new concept. As planning got under way in 2013, several lighting suppliers were invited to present their design solution in an on site mock-up. The quality and longevity of ERCO luminaires were chosen, as Managing Director of KulturKaufhaus Julia Claren explained: “Significant investment costs would easily be compensated by the efficiency of the ERCO lighting solution.” Claren’s main concern regarding the lighting was to use light to create a pleasant ambience for customers and staff, but also to prioritise the presentation of merchandise on the shop floor. The store boasts a culturally wide array of books, CDs, DVDs and sheet music across 7,000sqm divided over five floors. “Books and CDs are products that shoppers like to examine and this must be possible without tiring influences,” explained Claren. A critical aspect was optimised visual comfort to facilitate reading, requiring light that offers precise colour rendering, efficient glare control and a consistent

colour temperature. Claren also wanted the light in the store to subdivide the extensive space by defining separate zones that facilitate orientation and create hierarchies of attention. With this in mind, the lighting concept was based on vertical illuminance to achieve optimal illumination of the considerable shelf space. Dynamic accent lighting with efficient ERCO spot and oval flood distribution sets off individual zones and merchandise displays. Throughout the store, the concept deploys just three luminaire ranges: Light Board, Logotec and Quintessence downlights, with each luminaire emitting a warm, white light. Previously, KulturKaufhaus had followed the principle of brightness at all costs, resulting in diffusion and insufficiently differentiated light that failed to set off the diversity of products in all their detail. Meanwhile, the new concept enables a controlled use of light, illuminating only and precisely the target surfaces with optimised illuminance levels as well as superior light quality. As well as demonstrating once more the power of light to draw attention instinctively onto the products, the meticulously aimed light contributes to a pleasant, homely atmosphere in the upgraded store.

Pics: Rudi Meisel

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30/11/2015 13:49




ETC light art adorns Tilikum Crossing to create the Bridge of the People across Orgeon River.

Pic: TriMet

Spanning the Willamette River in Orgeon, US, lies a confluence of nature, light, art, engineering and architecture. Tilikum Crossing, Bridge of the People, is the first new bridge in the Portland area in 40 years. Accessible only by pedestrians, cyclists and public transport, the eye-catching spectacle was designed and lit to emphasise the importance of the river to the city. San Francisco-based architect and designer of the bridge Donald MacDonald commented: “I’ve always made sure that a bridge evolves out of the community, the environment that it’s in.” Tilikum Crossing was designed to integrate compelling architecture and dynamic river conditions with a thrilling display of light art that accentuates the Portland skyline, keeping the 55-metre structure visible and changing throughout the night. The system design, crafted by Reyes Engineering in Portland, involves a lighting system that alters the bridge’s lighting effects. As environmental data is collected by US Geological Survey equipment, it is translated by specialised software designed by programmer Morgan Barnard. That software triggers a series of commands to an ETC Ion Remote Processor Unit (RPU), which executes a series of cues programmed specifically for each of those changing conditions. The late San Francisco artist Anna Valen-

tina Murch and her husband Doug Hollis were commissioned to compose the lighting effects that adorn the bridge structure after dark. Murch’s design called for an aesthetic lighting scheme that would change with the behaviours of the Williamette. Water temperature determines the base colour, while river speed affects the timing of colour changes and intensity shifts that move the light across the bridge. River depth is conveyed by a secondary colour pattern that transitions on the crossing’s two towers and array of suspension cables. Jon Friedemann of HL Stearns, ETC’s representative in Portland, originally worked on the project as a control gear and system engineering task. But once Murch discovered the diverse colour offerings of ETC Selador Desire LED fixtures, the decision came easily to award ETC the lighting package as well. “Colour was the centrepiece of Anna Murch’s lighting design,” explained Friedemann. “Only the D40 XTI offered a colour palette broad enough to bring her artistic vision to life.” Fortunately, ETC’s US manufacturing operations offered full compliance with the project’s ‘Made in America’ requirements. Unmatched colour capability, paired with Ion RPU control and a season field service team meant the through line of the Reye’s

system design was set. 178 Desire D40 XTIs, a series of DMX opto-isolation repeaters in outdoor enclosures, and over 4.5km of data cable complete the lighting system and integrate it with the collected river data. Since bridge workers were not allowed to work at night, the D40s were focused by mounting a rifle scope to each fixture, allowing them to be aimed at specific points on the structure. Programming was another hurdle, with logistics and support provided by ETC dealer Hollywood Lights. At night by the riverside, Tervor Burk of Visual Noise Creative in Los Angeles, working alongside ETC technical support engineer Josh Selander, programmed cues on a Gio console ina rented recreational vehicle – their lodging and control booth for the three consecutive nights of programming. “It was a small price to pay,” said Karl Haas, ETC’s architectural national sales manager, “to see a vibrant display of light art, cast on such a breathtaking structure, programmed by one of ETC’s most adept technicians, while living in a van down by the river.” With much fanfare, Portland held a long-awaited bridge lighting ceremony on September 10, and Tilikum Crossing Bridge of the People, officially opened two days later.

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Pic: George Fakaros

Pic: Eduard Lupescu

VERTIGLOW Griven has provided a five star illumination to the exterior of Bucharest’s Sheraton Hotel in Romania. With the re-branding of the former Howard John Grand Plaza Hotel, the American Resorts Starwood chain has introduced for the first time the Sheraton brand in Romania, after signing a franchise agreement with Grand Plaza Hotel. Offering a 360° view of Romania’s capital city, the five star Sheraton Bucharest Hotel is located close to the most renowned artistic and entertainment local attractions. As part of the recent rebranding and renovation process, a new lighting scheme was conceived for the outdoor walls of the building in order to revive the façades, previously illuminated in white light, with stripes of bright colours reaching up to the top roof. This was achieved by a powerful, long throw LED lighting fixture that also complies with the save energy, eco-friendly demands of the project. Conceived and implemented by Sheraton Bucharest Hotel’s General Manager Daniel Ben-Yehuda, the lighting project took around one year to be completed. BenYehuda wanted to establish the Sheraton Bucharest as an icon within the city’s architectural panorama through the biggest permanent illumination system ever installed in Romania.

Once initiated, Sorin Stanescu of Professional Sound Impact technically specified the project together with Griven to set up the mock-up phase and final installation of the lighting scheme within eight weeks from inception. The lighting design saw stripes of coloured light reach the top of the 50-metre high tower with a perfectly uniform beam of coloured light. The fixtures have been installed at the base of the main tower, with seven units along the two longer sides and five units along each of the two shorter sides. A total of 24 units of Onyx units with ultra spot optics in RGBW colour configuration were enough to successfully reach the required light effect on all the hotel sides. Specific for architectural projects demanding impressive and sustainable lighting performance, Onyx features a functional, ultra-narrow, sharp, long-shot beam of light capable of reaching far distances with precision and even light distribution. Fitted with a combination of 96 RGBW high brightness LEDs that provide a high light output quality, Onyx is also available in cold, warm and dynamic white light for the utmost design flexibility. With 1,024 DMX output channels and the

capability of storing 500 scenes across ten zones, Wall-TSC console manages the DMX lighting control. WALL-TSC is a high-power DMX controller fitted with a colour screen displaying scene name, area name, colour dimmer and speed changes. The relevant light programming and product installation was directed by Mirel Petcu, General Manager for audio-video company SevenSys Group, well-known for its innovative custom solutions. For this project, due to technical issues, it was necessary to design special stands with three-axis orientation. Stanescu commented on challenges faced throughout the process: “It took us more than a year to finalise this very important project in terms of artistic design and technical solutions. After many on-site tests and mock-ups, Onyx was the best choice to fulfil the required architectural lighting scheme. It was a really challenging job and we are all very happy about the final result. Through the high impact design achieved with Griven’s lighting fixtures, Sheraton Bucharest has already become a major visual reference in the area.”



A SPOT OF PRECISION Mallett Antiques’ showroom features a seamless integration of antiques and modern technology with Precision Lighting’s Evo X spotlight. Renowned antique dealer Mallett Antiques’ latest showroom in Dover Street’s Ely House, London, UK, uses Precision Lighting’s Evo X spotlight to integrate with the listed architecture while offering the performance needed by a gallery. British architect Robert Taylor designed the neo-classical styling of Ely House, with original features remaining intact within the interiors. The lighting scheme needed to be sympathetic to the architectural features, including breathtaking open arches and columns with defined mouldings. The minimalist appeal and flexibility of the Evo range ensured a juxtaposition between the styling of the luminaire and the vintage interiors. Given Mallett’s role as a commercial dealer with frequently changing inventory, the lighting solution also required adequate flexibility. The Evo range uses a bearing aided rotation mechanism allowing the

luminaire head smooth rotatation to focus on exhibited works. The constant torque tilt mechanism also ensures correct aim, crafted in a similar way to high-end laptop hinges with no slack. The rotation through both the pan and tilt allows for precise focusing of the Evo X spotlights. Architectural integration was not limited to the choice of the luminaire. While a track system was required to follow the lines of the ceiling plane, Mallett required a discreet track system that could effortlessly blend in with interiors. Precision’s Basis Track system, a low voltage system with minimal lines, was an obvious solution. The discreet size of the system allowed it to be hidden behind the moulding work running the length of the tiled corridor. To ensure the system was inconspicuous, the track has a bespoke white finish, complementing the similarly finished luminaires and interior décor.

The versatility of the Basis Track system was underlined by its installation over the grand staircase that leads to the first floor of the dealership. The stairwell features large mullioned windows that offer an abundance of daylight for a balanced aesthetic. Mallet uses the wide staircase landing to display freestanding works, including decorative ceramics, while the Basis Track descends over the staircase to provide the mounting point for the Evo X luminaires. The system’s ability to be factory curved to a custom radius allowed the Basis Track to follow the internal curve of the stairwell wall; the result is that light emanating from the spotlights is discreetly positioned away from the objects to be illuminated as well as avoiding glare for those ascending the stairs to the first floor of the gallery. The layering of the ambient daylight allowed by the large windows and the precise accent glows from spotlights creates a light aesthetic in the stairwell that draws collectors further up the Grand Staircase towards the landing. Luminaires from Precision’s sister company RCL were also specified in the front exhibition room. RCL’s DR2 spotlight offers a flexible lighting solution that allows the luminaires to be controlled in pan and tilt from ground level via a handheld remote control. Precision has created a fresh lighting scheme to match a clean, neo-classic interior, illuminating antiques in the light that they deserve.




PJC Light Studio chose Reggiani for new Harvey Nichols designer concept store in Birmingham. Reggiani supplied two of its prime luminaires for the new Harvey Nichols concept store at The Mailbox, Birmingham, UK. The store is at the heart of the iconic Mailbox building and has been created to offer 45,000sq.ft of luxurious retail space, transforming the retail environment with cutting edge technology and ambient illumination that has been specifically designed to offer a more sophisticated shopping experience. London lighting design practice PJC Light Studio selected two Reggiani fittings to use across the store in womenswear, menswear, perfumery, lingerie and shoe departments. Over 800 large Reggiani Yori luminaires incorporating 30W LEDs were selected in black, fitted onto pre-existing tracks and placed within black channels to blend seamlessly with the dark ceiling design. Equipped with a narrow beam reflector and a cross-blade louvre to eliminate glare, the Yori luminaire offers precise illumination for merchandise areas and can be easily adjusted for more defined lighting control. Lighting Designer at PJC, Fabio Cristini, commented: “With challenging ceiling heights of 4.2-metres in particular areas of the store, it was imperative to ensure we had a good delivery of lumen output and a wide range of beam angles on offer to allow us to create the right ambience for these particular areas. Reggiani’s Yori fitting is also aesthetically pleasing – another important consideration. The performance of the Yori is very good and the use of the cross-blade louvre accessory was invaluable for this high-end retail project.” PCJ specified the large Yori luminaire in white for the lingerie and swimwear department with the fittings, once again, secured on pre-existing tracks but within white ceiling slots against a white ceiling to create a very different style to this particular area. The extended changing room space for the new store utilises Reggiani’s Trybeca round recessed luminaires using 8W LEDs. The Trybeca fitting complements the opulent design of the very spacious changing area and harmonises well with the existing, relaxing surroundings, whilst providing the quality of light imperative to a superior dressing room for discerning shoppers.



Pic : Š LEC

The Citadel of Bonifacio pays tribute

A number of cities from around the world paid tribute to France and the Paris attacks victims from last Nov. 13th. Standing in solidarity, they lit up prestigious monuments to the colours of the French tricolor. The City of Bonifacio in Corsica also paid tribute and made of the Citadel a symbol of freedom. The 78 LEC Corsica-4660 LED projectors, already in place, contributed to marking the flag.




Studio Due has illuminated famous Italian shoe brand’s 70th anniversary celebration at Villa Pisani along the Riviera del Brenta, Italy.

Lighting distributor and installation company Tondello Tecnologie chose Studio Due to light up the late baroque Villa Pisani along Riviera del Brenta, Italy, to celebrate the 70th anniversary of a famous Italian shoe brand. Taking its name from an ancient patrician Venetian family, it is the ‘Queen of Venetian villas’ located along the Riviera del Brenta, conserving eighteenth and nineteenth century works of art and furniture. For the first time, the Villa was illuminated for a corporate event using a mix of LED lighting fixtures, compact and small, controlled via wireless technology in order to minimise the visual impact on site. The architecture of the villa was separated into three areas; the main and rear façades,

and the orangerie. For the main façade, red was chosen to illuminate the building’s exterior to coordinate with the brand colours of the shoe manufacturer. Studio Due’s Easy Colour 12 RGBW/FC was chosen to illuminate this section with its wireless colour changer with twelve powerful RGBW (12W) full colour LEDs, which were placed along the façade. This rechargeable lithium battery pack fixture is ideal for events when set-up time can be a problem and the installation of cables is an issue. The rear external façade was illuminated with Archiled FC RGBW (full colour). These compact luminaires were positioned a few centimetres from the façade to offer uniform illumination coverage, with no

cable passing along the façade. The Archiled FC is the latest version of the Archiled range, renewed in design while maintaining its key advantages. To illuminate the façade of the orangerie on the opposite side of the villa, Studio LED 600 was used for its motorised optic system, allowing flexibility of the beam angle from 15° to 40°. The control panel with touch control technology and 2.5-inch graphics display with flip function allowed control of the fixture, presenting a reflection of the light on the water’s surface. In a well deserved celebration, Studio Due provided a fitting glow for an evening of glamour and appreciation of Italian fashion.




In need of the most diligent illumination, auctioneer Phillips entrusted Dedo Light with their new headquarters in Mayfair, London, UK. Pic: Ossie Jung

Last year, when international auctioneer Phillips moved from London’s Victoria to new headquarters in Mayfair it started to rethink how it could best display some of the most important pieces of contemporary art on the planet. Phillips wanted to show pieces creatively - to accentuate the subtlety or drama appropriate to individual works and gave the responsibility for the review of exhibition and gallery spaces and object specific illumination to its in-house Gallery Manager Ian Bell. Following on-site trials of several manufacturers, Bell chose Dedo Light fixtures based on their performance, precision and flexibility. Dedo is a German company whose architectural products are widely used all over Europe, Russia, north and south America. Acknowledged for excellent light quality and control, Dedolight is used by some of the world’s best known cinematographers and photographers but is less well known in the heritage and exhibition sector. Working with designer Ossie Jung of Precision Gallery Lighting Bell initiated work on a site-specific system for the new galleries and display facility. Jung’s background is in film and TV lighting

and had already worked with Bell on several projects. “Ian came to me to see what Dedo could offer. It was obvious that Phillips were looking for the best and most flexible equipment,” he commented. Bell’s ambitions for the new system were demanding. It had to illuminate works in all media – oils, watercolours and acrylics; photographs, ceramics, sculpture, as well as every sort of installation imaginable. Each would come with their challenges and colour rendition would be critical. A wide variety of shapes and every edging gradation from soft to laser sharp was needed. The dimensions of the new spaces would also mean some unusually long and precise throws. It was essential the new kit was flexible and easy to rig. Maintenance and servicing had be predictable with no interruptions to the gallery schedules and environmental sustainability was a must to meet Phillips’ in-house standards. “We wanted to break with the perception of a gallery as a place with pictures on walls with a few spots glaring at them,” said Bell. “We re-imagined a system that would work to support the pieces, to augment and compliment what the artists were attempting to do.” After considering and rejecting updates

on the old Victoria kit (underpowered for the large spaces), Jung had his light bulb moment – why not use the film and TV version of the DLAD? Dedolights were originally designed for digital and film production. They offer across the spectrum tungsten to daylight with perfect colour reproduction where subtle colours are represented. Its beam delivers an evenness of light with no fall off at the edges or hotspots in the middle. It can also be controlled to offer everything from soft razor sharp edging to soft focus. Dedo film lights had only ever been used with DMX so Dedo worked closely with track manufacture Hoffmeister to ensure that the power and DALI control fittings would all work with the track. After the choice of lens for the new fixtures had been made, all the light housings were custom painted and, six weeks after the order was placed, the lights were delivered. “We are delighted with the finished product and are only just starting to understand their full potential and what they can achieve” said Bell. “The project has been a partnership journey and the support we have had from Dedo, Ossie and everyone else has been outstanding.”

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Dior store Centria Mall, Riyadh Lighting design by Metis Lighting

Radiant 3D LED Flex 40 system. Modular, 3D flexible LED linear lighting system. IP20 lensed version with anti-glare snoot accessories and adjustable angle mounting brackets.

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Pics: Lagranja Design

TEST YOURSELF Lamp Lighting’s new showroom LightLAB by Lagranja Design studio inspires, educates, and enlightens all those who enter. Lamp Lighting has opened a new showroom in Lamp Lighting’s headquarters in Terrassa, Spain, under the name LightLAB. This multipurpose room, a 150sq.m dark box, is an open and interactive space, where lights can be tested, turned on and applied in spaces to check the CRI and light beam. The space is open to all, including customers, universities and schools who come for educational visits, or out of pure curiosity. Trained lighting professionals may also present innovative workshops related to light, and company meetings can be held to surround those in the industry with the very essence of their professions, allowing them to experiment with and nurture their creativity. It serves to be a meeting point where light is the star of the show. Designed by Lagranja Design, the Barcelonabased design firm specialises in opening up the field of structural and spatial design,

moving ideas from one context to another and presenting fields of discovery. Its work on the LightLAB is no exception; the neutral structure is comprised of two corrugated screens formed by tubes of different colours and textures. While colour and structure are the main features of one screen, the other is comprised of wood stained in several shades. Both work to separate three spaces, one for retail lighting, another for hospitality and a third for general lighting. The modular oak ceiling plays a practical role in the installation of the luminaires and in turn, dignifies the metal design of these in contrast with the wood. LightLAB serves as a hub of creative generation; it is there to inspire, to experiment, and above all, stands to be the interactive space in which brave and bright ideas are born.

Architectural Accents in Flat Form The flat light luminaires in various sizes and colours provide great design freedom. Mounted on ceilings or walls they achieve the desired atmosphere in corridors, stairwells, waiting areas and similar interiors. The decorative, indirect portion of light pleasantly brightens up ceilings and walls making luminaires appear to hover. The opal micro prismatic cover diffuses the light into the room. @WILA_lighting #TrustWILA



AN EDUCATED DECISION This year’s Professional Lighting Design Conference was considered by many as ‘the’ place to see the latest in product innovation and inspiring presentations, while providing plenty of opportunities to socialise with old and new friends alike. Here, we bring you a taste of mondo*arc’s experience of the event. The interdisciplinary structure of the Professional Lighting Design Conference (PLDC) promotes future-oriented discussion on the importance of light and the lighting design profession. In Rome, lighting designers, architects, clients, researchers, educators and the lighting industry were present and open to discuss the quality of light in architecture, and to discover and develop trends. PLDC 2015 took place under the patronage of the Roman Chapter of Architects, Urban Planners, Landscape Architects and Curators. The main theme this year was Light and Culture. The organisers chose Italy as a location because historical roots and modern lighting technology make for

an especially exciting contrast, and this is especially evident in Italy. Museum and gallery lighting, and the illumination of historic sites such as the Colosseum can benefit from modern technologies, bridging the gap between the past and the future of urban life in a tourist city. Keynote speakers included: Prof. Dr. Arnold Nesselrath; Ricardo Marini; Ilaria Abbondandolo; Klaus Obermaier; Daniel Latorre; and Michele Molé. The event closed with a spectacular gala dinner and PLDR Awards ceremony at the Cinecittá film studios. Prinicipal Designer and Artistic Director for the evening was ACET’s Koert Vermeulen with the awards moderated by Sharon Stammers and Martin

Lupton of Light Collective. Winners included: Pernille Krieger and Eik Lykke Nielsen from the University of Aarhus/DK, winners of The Challenge; Best Newcomer went to Kerem Ali Asfuroglu; Best Industry Innovation went to Arduino; Dorit Malin from Israel received the Award for Education; The Award for Research went to Dr Karolina Zielinska-Dabkowska; Artist Raphael Hefti won the Award for Best Daylighting Project; Gunver Hansen from Copenhagen won Best New Project; The Award at Large was presented to Daan Roosegaarde; and finally the Lifetime Award went to Motoko Ishii for her life’s work. PLDC 2017 will take place in Paris, for more information visit:

NULTY+ / XICATO During this year’s PLDC, Claire Hamill of Nulty+ gave a talk detailing her research paper on one of the largest issues facing cosmetic retailers; the number of customer complaints and returns due to mismatched foundation shades. Carried out alongside the University College London (UCL) and supported by Xicato, for a leading global cosmetics brand, Hamill was supported by fellow designers Anna Sandgren and Christina Hebert, who developed a controlled experiment to investigate optimum light source specifications for foundation colour matching within cosmetics stores and concessions. The research, which in part was continued during PLDC in one of the experience

rooms, aimed to prove that by finding the correct quality of light / Spectral Power Distribution (SPD) for colour matching, customers would in turn have a better brand experience, reducing product returns and ultimately increasing profits for cosmetics retailers. The results were collated and analysed by UCL and from there Xicato has developed a commercial LED module Beauty Series in direct response to the research findings and aiming to produce the best balance between beautiful, natural skin tones and colour discrimination. Hamill said: “Accurate rendering of skin tone is a difficult challenge, because skin is such a rich and complex palette, consisting of many subtle shades. Our studies show that people feel good when they

look good. This means that human-centric lighting should be applicable anywhere it is important for people to look and feel good.” Roger Sexton, VP of Specifier Services at Xicato added: “Nulty+ together with UCL defined a retail lighting issue, weighed up scientifically different possible solutions and now continue with an in store longitudinal study. I find this a fantastic model of how to carry out market based product research.” The Beauty Series LED module has since been designed into a new lighting scheme at a flagship cosmetic store in Covent Garden, London by the team at Nulty+. Over a one year test period sales, dwell times and product returns will be compared with averages within other stores across London.


Pic: House of Augustus - Andy White

LINEA LIGHT GROUP On the Wednesday evening ahead of PLDC 2015, Linea Light Group, a Gold Sponsor of the event organised an exclusive excursion to the House of Augustus (Domus Augusti), as well as the chance to visit the House of Livia and the Baths of Diocletian. In 2014, the Special Superintendency of the Colosseum, the National Museum of Rome and the archaeological area of Rome reorganised the archaeological tour from the House of Augustus to the Palatine to mark the 2,000th anniversary of the Emperor’s death. Carolina De Camillis and Riccardo Fibbi, architects and lighting

designers, worked on the restoration project and were responsible for the creation and overseeing of the lighting for the duration of the works. An innovative lighting system was installed throughout the Domus Augusti, focusing light on the pictorial decorations that adorn it, and in particular the fresco in the Room of Perspectives and the walls decorated with masks and garlands of pine cones inside the Emperor’s private residence. The restoration work also focused on the House of Livia, highlighting its splendid frescoed walls and the opening of the Triclinium, the dining room of the day.

Pics: Courtesy of iGuzzini

iGUZZINI This year’s PLDC saw Italian manufacturer iGuzzini take its position as the event’s very first Diamond sponsor. On the Friday evening of PLDC, the manufacturer treated a select number of guests to La Dolce Vita Vespa tour followed by a luxury dinner and entertainment. Deputy Editor Helen Fletcher was one of the lucky guests and thanks to the excellent driving skills of BDP’s Giorgos Kourtelis, she managed to survive the Vespa ride around the city centre to tell the tale!

ERCO Gold sponsor ERCO invited its guests to celebrate the future of digital light against a historical backdrop during this year’s PLDC. Following welcome drinks and canapés on the Terrazza Caffarelli, a tour took place around one of the most exciting LED relighting projects of the year – the Imperial Forums in Rome, led by the lighting designers responsible Francesca and Vittorio Storaro. Due to the fragile nature of the archaeological site and power requirements being limited to 28kW covering a surface area of over 20,000m², ERCO’s LED luminaires were installed, while Helvar designed the lighting control and light management system. This was carried out by using Helvar 910 DIGIDIM router’s and hundreds of digitally controlled DALI LED luminaires.

Pics: Andy White



LD FOR PM Taken from his presentation at the IALD Enlighten Americas conference in Baltimore, Tad Trylski explains why Project Management is just as applicable to the lighting designer as it is to the lighting manufacturer.

Ask any practice principal what can go wrong on a project – it doesn’t matter how large or small the practice or what kind of project work it undertakes – the list will always be similar: difficult client, too many changes, delays, incompatible products and, the all-time favourite, fee overrun. Professional project managers would pigeon-hole these issues applying their own jargon under headings like: Stakeholder Management, Change Control, Critical Path, Configuration Management and Earned Value. Unnecessary gobbledegook, perhaps, but more deserving of our attention when we understand that there is a suite of tools available to deal with each; in some cases, to avoid altogether. So, what makes a successful project? Is it one that makes a profit..? Satisfies the client..? Wins awards..? Helps a community..? Without setting out the Project Success Criteria at the outset, it’s difficult to know at the end whether a project went well. To improve success, we must first define success. It’s rarely a good idea, though, to wait until the end of a project to find out whether or not it was successful; we need also an ongoing sense of ‘is it on track?’ and a plan for how to get there. If the purpose of professional project management were to be summed up in two words, they would be Monitor and Control. Together, they ensure that a project is delivered on time, on budget and meeting the brief. In lighting design, who is responsible for this? Although ours is fundamentally a project-based business, for a practice to have trained project managers is generally

the exception, rather than the norm eg, advertising industry makes a clear separation between account managers and creatives. Larger architectural and engineering practices do this too. In the lighting design profession and especially in the smaller practices, this rarely happens. More often than not the lead designer on a project is thrust into the role. So what do these de-facto project managers need to help them in this secondary role? One for which they are unlikely to have trained. Professional Project Management is an established set of concepts, tools and techniques with remarkable relevance to the type of project work we do and need not be the preserve of the large corporate machines. Any practice can benefit; instilling a rigour of process or merely cherry-picking useful tips and tricks of good practice. Project Management is treated as an intrinsic part of many professions and industries, from the military, through software development to theatre and events. Many seek formal qualifications from the APM (Association for Project Management), PMI (Project Management Institute), IPMA (International Project Management Association) - yes, they have nearly as many professional associations as we do - or specialised methodologies such as Prince2, but all are based on the same fundamental principles and a common vernacular. Professional project management provides a set of tools; a language; a discipline. In many ways, it is similar to lighting: wherever you’ve learnt your project

management, the underlying concepts are the same. The subjects that make up a basic project management syllabus apply equally to running lighting design projects. The cornerstone of Project Management is a concept known as the Triple Constraint – Time, Cost and Scope – often depicted as a triangle, it is the idea that a project requires time and incurs cost in order to deliver a specified result. It is a balance; put another way, you can’t have it Fast, Cheap and Good. At the outset, every project needs a Business Case – a justification for why we should take it on at all. Is it doomed to fail or make a loss, even before we start? Will it prevent the team taking on other more profitable or fulfilling activities? What are the long-term gains versus short-term? Assuming the business case does support the endeavour – of course, the best way to avoid a bad project is never to take one on – then the decision to open a new project sets in motion other activities: Scope Definition, Stakeholder Mapping, Communication Planning, Risk Management, among others, and the opening of various registers to Monitor and Control progress. As the project progresses, the registers are maintained and monitored – drawingissue registers, for example, to look after Configuration Management and ensure that drawings and equipment specifications are up-to-date and, importantly, remain synchronised with the minimal amount of re- issuing. Other disciplines come into play later, important in maintaining control – Scope Management, and Change Control are particularly relevant; this will sound familiar


IALD ENLIGHTEN AMERICAS, BALTIMORE The IALD hosted its 15th Enlighten Americas conference on 8-10 October 2015 at the Hilton Baltimore in Baltimore, MD USA. More than 375 lighting design professionals from sixteen countries came to IALD Enlighten Americas for three days of world-class lighting education, association business and networking. 43 of these attendees were young professionals sponsored by the Emerging Lighting Design Professionals initiative, a joint effort of the IALD and the Lighting Industry Resource Council (LIRC), now in its fifth year. Sakchin Bessette (see interview in Briefing on page 40), Creative Director of Moment Factory, opened the educational component of the conference on Friday, 9 October with a keynote sponsored by Landscape Forms. Moment Factory’s work tells stories in new ways, engaging the public through new media. Bessette’s keynote explored several of the most important examples of Moment Factory’s work, including the façade of Antoni Gaudi’s Sagrada Familia in Barcelona and the new Tom Bradley terminal at the Los Angeles Airport’s

to anyone who has found themselves just about to send off a set of drawings only to receive an updated base set from the architect, or suffered the dreaded ‘scope creep’ where small additions can spiral into significant extra workload. Formal changecontrol procedures can be applied in both cases to provide fee protection or even, to take a cue from some contractors, revenue enhancement. For those who have to oversee design teams, there are the ‘softer’ disciplines of Leadership and Teamwork theory whilst the more tangible Resource Management tools can help to smooth out the inevitable peaks and troughs in workload and predict periods of extreme resource demand. In the context of a design studio, it is the designers’ time which is the greatest resource required to deliver a project. This too can be expressed in financial terms (some practices even use an internal currency – a kind of ‘Disney Dollar’ to quantify resource costs). The necessity to make estimates crops up regularly throughout a project – everything from fees, to energy use. Understanding Estimating techniques can be enormously valuable. There are generally considered to be three methodologies: Breakdown (or Top-Down), where a Breakdown Structure is created of all the tasks and deliverables that make up a project. This is the way many practices calculate fee proposals, multiplying designers’ anticipated time input for each task by their respective hourly rates; Comparative Estimation, where the item to be estimated is compared against other similar cases (this is how estate agents price properties); Parametric Estimation, where a series of

international terminal. The keynote set the tone for two days of lighting education in three tracks: Art, Science and Professional Tools. This year marked the fifth year of the Emerging Lighting Design Professionals Initiative, a program launched in 2011 by the Lighting Industry Resource Council (LIRC). Envisioned to assist design firms in providing professional development for junior staff—and ultimately to grow the architectural lighting design profession by inspiring early practitioners to stay in the field—the program financially supports designers within their first five years of on-the-job practice to attend IALD Enlighten conferences around the world. This program has made it possible for more than 200 emerging professionals to attend IALD conferences in the past five years. The 43 designers who joined seasoned lighting professionals in Baltimore would otherwise not have been able to attend the conference. “Receiving the scholarship made all the difference,” said one attendee.

known parameters – eg. floor area, target illuminance, market segment, etc. – can be used in calculations against precedents (this is how insurance companies estimate premiums) Even difficult concepts like Critical Path Analysis (from which we get Gantt charts) and Earned Value for monitoring progress have relevance and give real protection to a project’s success – however it may have been defined. All projects have a Life Cycle; the best known will be the RIBA plan of work with its familiar stages. Project-based businesses often have their own internal equivalent – a defined project process as a best-practice guideline. A well defined life cycle will end with Handover and Close Out, followed by a PostProject Review stage. Formally closing a project protects against the well-known 99% complete syndrome’ which erodes profit. It draws a line with the client allowing the project to be reviewed – itself a valuable process, ideally yiedling a Lessons Learnt Report and an opportunity for repeat sales effort with the client. Lessons Learnt Reports are more than a ‘wash up’ for a project; valuable as a resource for future projects, for avoiding problems and providing statistics to improve accuracy of parametric estimating All of these concepts are interwoven and all are relevant to lighting design. Keeping an eye on the triple constraint, controlling time, cost and scope, is the main objective. Whether this be through adopting a formal project management culture or simply borrowing from a compendium of tools, tips and tricks, visible benefits can be achieved.

All that is required is for the whole staff to be on board with understanding of the concepts and a few techniques. Perhaps a new approach might streamline the universally loathed time-sucker that is writing fee proposals. After all, time spent on writing fee props is money spent, often lost. Could a parametric or comparative method possibly improve not only speed but accuracy too? A grounding in the basic concepts also provides a universal lexicon; a shared professional shorthand with construction industry project managers, architects and other design team members. Introducing professional project management processes ultimately reduces cost (for a design practice, that means primarily in terms of staff time) especially in scope and change control. Cost savings, of course, directly affect the bottom line but improvements to project success can be measured in other ways. Like lighting design itself, project management is both a science and an art – a discipline which can pay real dividends for productivity and profit, not to mention, practice harmony. Founded in 1969 and based in Chicago, the IALD is an internationally recognised organisation dedicated solely to the concerns of independent, professional lighting designers. The IALD strives to set the global standard for lighting design excellence by promoting the advancement and recognition of professional lighting designers.

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TIME TO CRY FOR CRI? During the IALD Enlighten Americas conference, Randy Burkett, Michael Royer and Kevin Houser, IES Color Metric Task Group members, unveiled their findings for ‘TM-30-15, the IES Method for Evaluating Light Source Color Rendition’. Here is their summary of the work they have carried out. The IES TM-30-15 colour rendition method [1, 2] consolidates and synthesises numerous research efforts that have been underway for several years [e.g. 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13]. It was developed by representatives of the manufacturing, specification, and research segments of the lighting industry. The work was motivated by limitations of the CIE’s general colour rendering index (Ra) [14], which have been documented by others [e.g. 15, 16, 17, 18, 19], while also drawing from and improving upon CQS, GAI, and nCRI, among others. Beyond addressing the technical limitations of past metrics, a guiding principal was that colour rendering cannot be appropriately evaluated by considering colour fidelity alone. Fundamentally, the method is based on comparisons of colours as rendered by a given test source and a reference source, where the test and reference sources are at the same correlated colour temperature (CCT). This is a familiar approach. The new calculation methods focus on objectively and statistically quantifying fidelity and relative gamut. The basic two-measure system includes the fidelity index (Rf) and gamut index (Rg), which together allow for the evaluation of trade-offs between fidelity and saturation via a single, unified calculation engine, as well as the subjective evaluation of preference tailored to a specific application or user. While this approach requires more user knowledge, it provides more information than a singlenumber preference index, and thus allows for better, customised solutions. Beyond Rf and Rg, standardised graphical representations of colour rendition (the colour vector graphic and colour distortion graphic) are effective for quickly communicating more complex information. These additional features of the method are critical for overcoming the limitations of average performance measures, although it is recognised that simple average values are often important for commerce. Numerous sub-indices for fidelity and saturation of specific hues or specific samples may also be calculated. A new set of 99 purposefully selected

colour evaluation samples (CES), as well the use of the CAM02-UCS, are two key features that, combined, distinguish the IES TM-30-15 method from others. The 99 CES each represented by a spectral reflectance function - were statistically down-selected from an initial collection of more than 100,000 measured objects, which were considered to theoretically represent the world of possible colours [2]. The included colour samples represent real objects from the database, including natural objects (e.g. leaves, flowers), paints, textiles, plastics, colour system samples, and human skin. The set of CES has two distinct features: • It is uniformly distributed in wavelength space, meaning the set shows little preference for any wavelength. The test colour samples of CIE Ra have been criticised because they permit selective optimisation (sometimes called ‘gaming’) [7], which allows Ra scores to be increased or decreased by adjusting the wavelengths of light emission, with a potentially unrelated change in colour fidelity. This new set of CES prohibits such selective optimisation of Rf and Rg scores through spectral engineering. • It is uniformly distributed in colour space, and thus fairly represents the range of objects that may be encountered in architectural environments, leading to more appropriate average characterisations. The CES cover the gamut of common interior colours. CALCULATION PROCEDURES The full calculation procedures are documented in [1] with additional explanation in [2, 22]. Two calculation tools are also available from the IES. The key features of the calculation procedure are: • Reference Illuminant. The reference illuminant - matched to the CCT of the test source - is Planckian radiation below 4500K, a proportional blend of Planckian radiation and a CIE D Series Illuminant between 4501K and 5499K, or a CIE D Series Illuminant at or above 5500K. This method prevents discontinuity at 5000K that occurs with the CIE Ra calculation.

• Colour Evaluation Samples (CES). The 99 CES were chosen from a library of more than 100,000 real objects. The first step in the down-selection process was to limit consideration to samples with the gamut of the Natural Colour System (NCS), which was considered a better representation of objects present in typical architectural environments and is within the approximate limits for which colour difference formulas have been tested. From the resulting set of 65,000 samples, 4,900 that provided three-dimensionally uniform coverage of the CAM02-UCS were selected. The 4,900 samples were also selected to induce overall spectral flatness, such that any particular wavelength does not unduly influence subsequent calculations [2]. Finally, a new set of 99 samples was chosen based on maximum correlation to the 4,900 samples set based on Rf and Rg; 95% of 5,000 real and modelled SPDs were within ±1.2 points. Two of the 99 CES were forced to be skin tones, because they are of particular interest to some users. • Range and Interpolation of Data. Calculations are to be performed over a range of 380 to 780nm, which corresponds to the range of each CES. An increment not greater than 5nm is needed to achieve reasonable accuracy [20]; 1nm increments are preferred. The SPD of the test source should never be interpolated or extrapolated. 4. Colour Space and Colour Matching Functions. Calculations occur in the CAM02 Uniform Colour Space (UCS). The intrinsic CIECAM02 chromatic adaptation transform replaces the outdated von Kries transforms employed in the computation of CIE Ra. Calculations are performed using the CIE 1964 10° colour matching functions (CMFs), which are more representative of general viewing than the CIE 1931 2° CMFs. The 2° CMFs are only retained for the computation of CCT, since that procedure is standardised by CIE [21]. • Fidelity Index (Rf). Rf is calculated as the arithmetic mean of colour difference between the test and reference condition for the set of 99 CES, where the colour difference is calculated as the Euclidean



The CIE method for measuring CRI Ra relies on just 8 colour samples contributing to the Ra value. TM30-15 uses 99 new colour evaluation samples (CES) to measure colour fidelity Rf with an additional measure Rg for gamut area.

distance in the CAM02-UCS. The mean difference is scaled by a factor of 7.54— which was determined so that the CIE F1–F12 standard illuminants have the same average Rf score as Ra score—and then subtracted from 100. A logarithmic conversion is also applied so that the minimum score is zero, making the full range 0 to 100. Fidelity scores for each of the 99 CES may also be calculated, as well as an average of the two samples representing human skin (CES15 and CES18). • Gamut Index (Rg). To begin calculating Rg, the 99 CES are divided into sixteen hue bins, each subtending a 22.5° slice of the a'-b' plane of the CAM02-UCS. The samples are sorted based on the coordinates under the reference illuminant. Next, the average (a', b') coordinates are calculated for the samples in each bin based on the test and reference condition to form two sixteensided polygons. Rg is 100 times the ratio of the area of the polygons corresponding to the test and reference condition. As such, sources that result in an average increase in saturation have scores greater than 100, and sources that result in an average decrease in saturation have scores less than 100. There are no limits to the possible range of Rg scores, although there is a relationship with Rf such that as Rf decreases, the possible range of Rg scores increases. For Rf scores above 60, the range of Rg scores for nominally white light sources is approximately 60 to 140. • Fidelity and Saturation by Hue (Rf,hj and Rg,hj). For each of the sixteen hue bins, a specific fidelity or chroma change value can be calculated. This information can be used to asses colour rendering of individual hues, such as red or green.

• Colour Vector Graphic. The colour vector graphic is produced by plotting the colour difference for each of the sixteen pairs of coordinates generated for the calculation Rg. The reference source polygon is normalised to a circle. The graphic shows both hue and saturation changes in one view. ADVANTAGES AND LIMITATIONS The IES TM-30-15 method provides measures of colour fidelity and relative gamut, using a set of wavelength-neutral colour evaluation samples comprising real objects covering the full range of colours typically present in architectural interiors. The IES TM-30-15 method also incorporates recent advances in colour science. The method does not provide a single number for colour preference, but instead provides objective information that allows users to make better design decisions. Such decisions require increased knowledge, and a change in the paradigm that a higher number is always better. IES TM-30-15 relies on a common reference based approach, which has inherent underpinnings that must be understood to interpret results. It also includes average values, which can potentially be misleading; best practices suggest using the supplemental graphics and sub-indices. The calculations do not consider preferred chromaticity or fluorescence/whiteness; these important aspects of colour quality should be considered separately. The book ‘IES Method for Evaluating Light Source Color Rendition’ is available to buy priced $50 ($35 for IES members).

References 1. [IES] Illuminating Engineering Society of North America. 2015. IES-TM-30-15 Method for Evaluating Light Source Color Rendition. New York, NY: The Illuminating Engineering Society of North America. 26 p. 2. David A, Fini P, Houser KW, Ohno Y, Royer MP, Smet KAG, Wei M, Whitehead L. 2015. Development of the IES method for evaluating the color rendition of light sources. Opt. Expr. 23(12), 15888-15906. 3. Sandor N, Schanda J. 2006. Visual colour rendering based on colour difference evaluations. Lighting Res. Tech. 38(3):225– 239. 4. Davis W, Ohno Y. 2009. Approaches to color rendering measurement. J. Mod. Opt. 56(13):1412–1419. 5. Davis W, Ohno Y. 2010. Color quality scale. Opt. Eng. 49(3), 033602. 6. Rea M, Freyssinier JP. 2010. Color rendering beyond pride and prejudice. Color Res Appl. 35(6):401–409. 7. Smet K, Ryckaert WR, Pointer MR, Deconinck G, Hanselaer P. 2011. Correlation between color quality metric predictions and visual appreciation of light sources. Opt. Express. 19(9), 8151–8166. 8. Smet K, Whitehead L. 2011. Meta-standards for color rendering metrics and implications for sample spectral sets. Proc of the 19th Color and Imaging Conference, San Jose, CA, USA. 9. Smet K, Whitehead L, Schanda J, Luo MR. 2015. Toward a replacement of the CIE color rendering index for white light sources. Leukos. Online before print. 10. Li C, Luo MR, Li C, Cui G. 2012. The CRI-CAM02UCS colour rendering index. Color Res Appl. 37(3):160–167. 11. Houser KW, Wei M, David A, Krames MR, Shen XS. 2013. Review of measures for light-source color rendition and considerations for a twomeasure system for characterizing color rendition. Opt. Express. 21(8), 10393–10411. 12. David A. 2014. Color fidelity of light sources evaluated over large sets of reflectance samples. Leukos 10(2):59–75. 13. de Beer E, van der Burgt P, van Kemenade J. 2015. Another color rendering metric: do we really need it, can we live without it?” Leukos. Online before print. 14. [CIE] Commission Internationale de l’Eclairage. 1995. Method of measuring and specifying colour rendering properties of light sources. 3rd ed. Vienna (Austria): CIE Publication no. 13.3:1995. 16 p. 15. Walter W. 1981. How meaningful is the CIE color rendering index? Light Design Appl. 11(2), 13–15. 16. Seim T. 1985. In search of an improved method for assessing the colour rendering properties of light sources. Lighting Res. Tech. 17(1):12– 22. 17. Houser KW. 2002. Lighting for quality. Light Design Appl. 32(11):4–7. 18. Worthey JA. 2003. Color rendering: asking the question. Color Res. Appl. 28(6):403–412. 19. DiLaura DL, Houser KW, Mistrick RG, Steffy GR. 2011. The IES Lighting Handbook, 10th Ed. New York, NY: The Illuminating Engineering Society of North America. 1328 p. 20. Sandor N, Ondro T, Schanda J. 2005. Spectral Interpolation Errors. Color Research and Application 30(5): 348–353. 21. Ohno Y. 2014. Practical Use and Calculation of CCT and Duv. LEUKOS 10(1): 47–55. 22. Smet KAG, David A, Whitehead L. 2015. Why Color Space Uniformity and Sample Set Spectral Uniformity Are Essential for Color Rendering Measures. Leukos 12(1). DOI :10.1080/15502724.2015.1091356

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David Morgan reviews Lumino’s new ColorCORE LED technology. Producing an attractive quality of light and scoring highly for both CRI and TM-30-15, it is set to be wellreceived by the lighting design community.


Lumino started life over 30 years ago as an importer and distributor of high end European lighting brands. More recently, the business model has changed and the company is now a designer and manufacturer of custom lighting systems for architectural projects. The change in direction has gone well and the company now has distributors in 20 overseas markets with a growing range of products including linear lighting, downlights and accent lighting. The company is run by its Founder Andrew Small and Technical Director Jago Wickers, who both studied 3D design at Ravensbourne University. The Vector range of linear lighting systems is the largest product group, and is based on Lumino’s own high quality LED tape with aluminium extruded profiles in various shapes and sizes used for indirect and

accent lighting. The binning of the LEDs used in Lumino systems has always been very well controlled and in response to the demand from designers for higher quality LED lighting, Lumino has worked closely with its LED supplier over the past couple of years to create a new range of phosphors with improved colour rendering. Lumino has created new LED packages in seven CCTs ranging from 4,500K cool white to 2,000K candlelight warm white with a CRI of over 90. Lumino launched its new high CRI ColorCORE technology at PLDC in Rome with an innovative advertising campaign, using an attractive CRI chart based on common colourful objects including tomatoes, red cabbage and cocktails. The Lumino development coincides with moves in the lighting design, engineering

and scientific communities for more accurate colour rendering metrics than the IES CRI that has not been updated since 1974. While CRI has been useful as a general measure of colour rending quality, it is easy for manufacturers to improve their rating by boosting particular frequencies as only fourteen colours are measured. This doesn’t necessarily produce a pleasant lit effect. When comparing two LED light sources from different manufacturers, or even two different types of LED from the same manufacturer with the same colour temperature and CRI, the lit appearance in a scene can be very different. The IES in North America has been working to develop a new index known as TM-3015 based on earlier work from the CIE. This new index describes light in a more complete way using a fidelity index based


Left Lumino’s new LED packages are available in seven CCTs, ranging from 4,500K cool white to 2,000K candlelight warm white with a CRI of over 90.

on 99 colours and a relative gamut index, which describes the extent to which a light source increases or decreases the saturation of surface colours. A new graphic representation, known as the ‘colour vector graphic’, has been created that illustrates how closely the light source matches a reference illuminant. Lumino aimed to launch its new ColorCORE technology at PLDC and planned to undertake tests based on TM-30 requirements as well as standard CRI tests and present the results at the conference. Since TM-30-15 has been developed as a North American standard, no one in the UK at that point had experience in undertaking the required testing. Fortunately, Lumino’s photometric test house Lux TSI was able to rapidly implement the new test protocols and produce data in time for PLDC. All of the

new Lumino ColorCORE phosphors score highly for CRI and also get very good results when tested to TM-30. It is understood that Lumino is the first UK company to present its data in a TM-30 format. Lumino has already completed projects using the ColorCORE LEDs, including indirect cove lighting in The Ivy restaurant (see page 72) with a very warm 2,000K colour temperature that also allows good colour rendition of the food and decor. Lumino is now working on incorporating its new phosphor technology into the other, higher power, products in the range. The adoption of new metrics, such as TM30-15, will certainly give light source and luminaire manufacturers a more complete way of testing and presenting information about light source colour rendering quality to lighting designers and lighting engineers. However, I suspect that practical colour

appearance problems, such as mixing LED luminaires from a variety of different manufacturers or combining LED sources with other types of light source in the same space, will persist for quite a while. The new Lumino ColorCORE LEDs certainly produce an attractive quality of LED light and I believe that they are likely to be well-received by the lighting design and architectural community. David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: Web: Tel: +44 ( 0) 20 8340 4009 © David Morgan Associates 2015



Technology expert Dr Geoff Archenhold reviews the technological innovations of 2015 – a year of industry restructure and where LED overtook traditional volume manufacturing.

2015 TURNS UP THE VOLUME Last year saw the beginning of the lighting industry restructure with announcements from Samsung and Philips. This year was more of the same with OSRAM announcing it will spin-off its US$2.5bn general lighting business, including LED lamps and GE moving its lighting business into Current - a new energy focussed business. One could be forgiven to think that 2015 has been quite uneventful with yet more of the me-too LED lighting fixtures launched by a raft of well-known, start-up and huge but unheard of Asian lighting players. However, there has been seismic shifts within the lighting industry that will have ramifications for the lighting industry over the next few years and beyond. Several of the key points from 2015 include: • The loss of one of the great LED pioneers; • The expansion of the general lighting industry restructure; • The rise of the Chinese superpower lighting industry; • The last remaining lighting applications fall to LED technology; • LED lighting becomes the most popular light source by volume. DR. ROLAND HAITZ One of the few pioneers of the solidstate lighting revolution and an engine of innovation that inspired a generation of scientists and engineers to create the LED industry, Dr. Roland Haitz sadly passed away at the age of 80. Dr Haitz’s career in science, opto-electronics and solid-state lighting spanned more than 50 years, most of it while associated with Hewlett-Packard and its offspring companies, Agilent, Avago, and Lumileds. Although a large proportion of people in the general lighting industry may not know of Dr Haitz, those of us who have been in LED lighting for many years regard him as the catalyst for changing the lighting industry forever through both scientific excellence and political persuasion. His predictions

Dr Roland Haitz, who died earlier this year.

through Haitz’s Law – the metric he formulated – and his personal efforts in securing national funding in the US for developing a then-nascent LED technology, helped to usher in the solid-state lighting revolution in less than a decade. Haitz’s Law was a fundamental stepping stone for the industry and I have constantly referred to it since my very first article for mondo*arc in 2005, initially as a way of persuading a very sceptical lighting industry that LEDs were its future as well as persuading the UK government it should devote resources to this technology. Haitz’s Law is the equivalent for LEDs and lighting what Moore’s Law is for transistors and microprocessors, stating that every decade, the amount of light output by an LED (measured in lumens) increases by a factor of 20, while the price per lumen falls by a factor of ten. In formulating this, Dr. Haitz was the first to grasp the potential for massively reduced energy consumption and correctly predicted the time-scale and degree to which LEDs would triumph over all other lighting technologies in efficiency and cost. Like Moore’s Law, his predictions for LEDs were so accurate that they guided the investment and R&D strategies of the solid-state industry, initiating and sustaining an ongoing transformation in lighting that has progressed from his personal vision to global revolution in the last fifteen years.

His zest for the lighting industry didn’t wane at all and at 76 he teamed up with fellow luminaries to join a new start-up, QuarkStar, and filed over ten patents in just the last four years alone. His last remarks on solid-state lighting underlines the progress yet to come: “Solidstate lighting is where the internet was in the 1980’s. Just as we could not then have predicted what the internet is now, 30 years later, we cannot foresee all that light and lighting will become in the next decades. We know simply that it will be wondrous and beautiful.” Dr Haitz was an incredible person, father and grandfather and I truly hope history will remember him as a great pioneer of the lighting industry. INDUSTRY RESTRUCTURING The biggest news this year has been the continual restructuring of the leading industry players with key announcements from Philips, Osram and GE, all of which will change the landscape forever. The sale of Lumileds to Go Scale Capital from Asia by Philips was continuing apace until it recently hit competition fears in the US. Although the divestment is inevitable, the total spin-off of Philips lighting from group was a less expected announcement. The latest move by Philips confirms the divestment of Lighting is moving at pace, and 2016 will be a year we will see Philips without lighting for a first time in over 100 years. In April, Osram followed suit and announced it will be spinning off its general lighting business, including general LED lamp based lighting, into an independent company. This was again a major industry decision as in fiscal 2013/14 this business generated worldwide sales of about €2bn (US $2.15bn) or approximately 30-40% of Osram’s turnover and has over 10,000 employees. Reasons given at the time were Osram (like Philips) were trying to




Company Name



Revenue (FY14A)

Market Cap (€Bn)

EV/Sales (FY+1)

PE (FY+1)


Foshan Electrical and Lighting (Felco)

General Lighting







MLS (Forest Lighting)

General Lighting













Shanghai Felo

General Lighting





Shenzhen Changfang LED

General Lighting/LED Chips






General Lighting





NVC Lighting

General Lighting





Opple Lighting

General Lighting

IPO pending



TCP International

General Lighting




San’an Optoelectronics

LED Chips







Leyard Opto

LED Chips







Guanghzhou Hongli Opto

LED Chips






Ledman Opto

LED Chips






Foshan NationStar

LED Chips






Shenzhen Jufei Opto

LED Chips







Shenzhen AOTO

LED Chips







Shenzhen Refond Opto

LED Chips

Yes / State




keep pace with rapidly rising Asian LED lighting manufacturers by spinning off less profitable general lighting businesses. Recent updates from OSRAM indicate the division will be divested by mid-2016 and most probably sold to an Asian company as it will allow an acquirer to gain channel access overseas whilst consolidating a lowcost manufacturing in China. I totally understand that remaining in the LED lamp industry isn’t suited to western companies due to wafer thin profit (and mainly loss) margins, a market in future decline by volume and the need to be a low cost manufacturing economy. However, I also see the impacts of transferring these large scale businesses will have future consequences on the industry we know today. Similar to when IBM sold its PC business to Levano that within a few years dominated the globe and became the world’s number one PC manufacturer! The world’s third largest lighting company, GE, also decided to restructure its commercial and industrial LED lighting into a new energy services business called Current as part of an overarching Industrial Internet strategy. The GE Lighting brand has all but been wiped out through the rebranding to Consumer and Conventional Lighting segment that will include incandescent and fluorescent lighting as well as residential LEDs. I expect this segment of the business to be divested within the next two years with the likely acquirer being from the Asian region. Other large players such as Acuity Brands (see below) and Zumbtobel (acdc) have been making smaller strategic investments based on either technology or project

focused businesses and I see this trend continuing as smaller businesses continue to innovate ahead of the curve and small acquisitions allow the incumbents to keep ahead of the competition. THE RISE OF ASIAN LIGHTING The global restructuring of lighting is creating large numbers of billion dollar Asian players, many of which are unknown in Europe or the US but if they were residents would place them in the top ten. A selection of companies have begun to enter Western markets successfully, building brands and market share. For example, San’an Opto (Luminus Devices owner), NVC Lighting and Opple have successful bases already established in Europe but as can be seen in the above table there are many more lighting companies that are unfamiliar yet to establish themselves. There is also a raft of new Chinese LED and lighting companies looking to float on overseas markets during 2016, all of which will be looking to put their new found equity to good use! REMAINING APPLICATIONS FALL TO LEDS There have been very few lighting application areas that hadn’t already succumbed to LED sources. However, 2015 has seen the removal of the last remaining light sources. It’s well known that the efficiency of T5 tubes has been tough to beat in offices but with the ferocious price erosion of LED panels, combined with advanced LED controls, the return on investment metric holding back the LED panel onslaught have been slayed forever. In outdoor applications, LEDs also struggled







to match the output of high intensity and high power floodlights. However, this year’s Super Bowl took place under 100% LED lighting and, in the past twelve months, manufacturers who had clung to old technologies such as metal halide and cold cathode have now had to embrace LEDs! Consequently, the major manufacturers announced that the majority of their sales were derived not from traditional light sources and fixtures but from LED based systems for the first time. This rapid switch to LED based products vilifies Dr Haitz’s forecast that LEDs would reign supreme but fifteen years for a new technology to dominate an incumbent industry is very impressive. All in all, 2015 has been a solid year of commercial growth but in terms of technology innovation there has been a relative pause as less emphasis is made on increases in efficacy and colour quality improvements. This pause will not happen for long as 2016 and 2017 will lay the foundations for major disruption in lighting that will see companies scramble to become systems providers and develop or acquire controls technology, followed by the gradual shift to data/IT companies. If you don’t think this can or will happen then just look at how GE is transforming itself into a software data company. So, if you are not already thinking about how you will deploy advance control systems that monitor how a building is being used, you could become a dinosaur overnight as you will not be able to survive on wafer thin margins that will become commoditised LED fixtures.



ACUITY BRANDS Acuity has been one of the most aggressive lighting companies in the market by acquiring a raft of businesses to make it one of the most dynamic and interesting companies to watch over the next few years. The acquisitions range from startups through to established players and it appears their management are navigating the market disruption well with clear strategic value creation for shareholders. In March 2015, Acuity acquired Distech Controls Inc. from Canada - a leading provider of building automation and energy management solutions that allow for the seamless integration of lighting, HVAC, access control, closed circuit television, and related systems. The reason for the acquisition was Distech provide the digital backbone of intelligent lighting and building systems which are converging to form a platform for the Internet of Things within commercial, industrial and institutional buildings allowing. In April 2015, start-up ByteLight was acquired, allowing Acuity to offer indoor position location systems using Visual Light Communications (VLC) and have consequently started to offer systems to large retailers such as Target in the US. In October 2015, Acuity announces the acquisition of Juno Lighting a leading provider of downlighting and track lighting fixtures for both residential and commercial applications from Schneider Electric. ARTISTIC LICENCE Artistic launched its lightJuice technology that streamlines the way power and data are delivered to IT rich environments through Power over Ethernet (PoE). lightJuice sits at the interface between the PoE supply and the device that is being controlled, such as an LED lamp. A raft of Lightjuice products are set to be launched in 2015 and 2016. PoE is set to become a major disruptor for the lighting and electrical industry as it eliminates the AC mains wiring that conventionally powers the electrical devices within a building. This equates to significant infrastructure cost savings, particularly as network cabling is a standard feature of modern commercial buildings (and, increasingly, the highend domestic market). PoE also provides benefits to the end-user through an integrated, connected and reconfigurable solution that use human-safe, low voltage DC (< 60V), so cabling can be moved without the need for an electrician and because the network enables two-way data flow, devices can ‘talk’ to each other and

relay status information. CASAMBI Casambi, a start-up from Finland, launches a wireless light control that can work with any manufacturers’ range of existing lights, switches and sensors to enable absolute design flexibility for demanding office, retail, industrial and residential applications. Through the addition of a matchbox sized module installed behind existing light switches or in the luminaire, a system can be setup within minutes. The modules are connected to each other automatically via Bluetooth 4.0 Low Energy (BLE) to form a mesh network and can be configured with the smartphone and via a timer function in the app so illumination can be automatically adapted to the exact time when the sun rises and sets for example.

Example of how Casambi’s module is added to a system.

CREE Cree launched its latest LED technology platform SC5 to power its next generation of high brightness LED. The SC5 provides twice the light output (185 lumens at one watt) of a single LED at temperatures up to 105°C to create a new Extreme High Power class of LEDs such as the XP-L High Intensity LED - the first single-die LED to deliver over 100,000 candela with a 50mm diameter optic at 10W. The XP-L 3.45-mm x 3.45-mm package is characterised and binned at 1050 mA, 85°C, and is available in up to 90 CRI and colour temperatures ranging from 2,700K to 8,300K. In April, Cree also launched its WaveMax waveguide technology to compete against similar technologies launched by Eaton and GE. The waveguide technology offers 90% optical efficiency whilst providing high uniformity and beam control. Cree haven’t really captured significant market share in Europe but this may change in 2016 with the appointment of Nick Farraway as Vice President and General Manager for Cree Lighting EMEA. Nick’s move from Sorraa in Europe is a hint that perhaps Cree will push its brand into the LED bulb market, which it has successfully achieved within the USA.

Cree’s SC-5 Technology image.

GOOEE New start-up Gooee launches its wireless RF solution based upon Bluetooth Low Energy (BLE) and announces it has signed deals with seven OEM lighting partners (Architectural FX, Gerard Lighting, Interlight, Havells Sylvania, Mosaic Eins, John Cullen Lighting and Aurora Lighting). Gooee is providing sensing, control and communication components that integrate



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with an enterprise scale cloud platform. IST IST, a provider of flicker-free LED power solutions, has expanded its strategic offering by launching a range of centralised Power and Ethernet LED driver solutions covering Art-Net, sACN, DALI and DMX across a versatile product range covering constant voltage and constant current solutions. The centralised driver solutions offer significant advantages compared to distributed LED drivers allowing improved system reliability, placement of drivers in easy to reach places for maintenance and allowing fixtures to be up to 300m away. The centralised concepts have been installed at several prestigious sites such as the Vienna International Conference Centre (with over 3,500 Ethernet controlled fixtures), the Dubai Opera House and Sydney Cricket Ground amongst many others. The IST team are now working on extending the Ethernet concept by delivering a totally secure, resilient and reliable control system for large-scale projects called iMune.

rendering index (CRI) with Ra90. They offer exceptionally smooth, flicker-free dimming from 100 to 0.5% LG INNOTEK In September, LG announced the launch of high-power LED packages (H35C4 Series) featuring 182 lm/W efficacy, which practically achieves 152lm/W at 85°, 700mA. Through optimising ‘white conversion technology’, the lifespan of the product has increased greatly to over 150,000 hours. LG Innotek will further stay focused on developing high performance and value product such as High Power LED Package, featuring more than 5W and UV LED. The company also has a plan to enhance its LED lighting line-up for automotive as well as mobile application.

Lumileds seem to be focusing on the launch of a range of new solutions, including emitters and board-level solutions, and perhaps their independence will allow a renewed focus on what the market wants moving forward. The mid-power colour solutions definitely allow human centric lighting panels to be created with ease!

Lumileds mid-power colour line-up.

LUMINUS In October, Luminus announced a new high efficacy 3V 3030 Mid-Power LED range, delivering 200 lm/W, 97 CRI and 2,200K Candle-Warm Options. One feature of the Luminus MP-3030-1100 family is ‘hot colour targeting’, which means that the LEDs are engineered to produce light with chromaticity tightly centred in the ANSI bin under normal operating conditions of 85°C.

LED ENGIN LG’s H35C4 Long-life LED.

Havells-Sylvania’s Beacon retail fixture incorporating LuxiTune.

LED Engin announced LuxiTune’s colourtuneable LED product family had integrated ZigBee connectivity. LZ9 LuxiTune enables independent colour and brightness control for compact track light heads, guarantees stable flux and CCT over the entire temperature range. The company also introduced its latest addition to the multi-colour emitter product line with the new 7-colour LZ7 geared for architectural lighting with a fuller spectrum and exceptional colours across a uniform beam angle. Presented with a 7-58° zoom mixing lens, the LZ7 emitter adds amber, cyan and violet to existing RGBW channels to achieve a richer and wider colour combination for more sophisticated mixing. Enabled by LuxiTune, Havells-Sylvania’s Beacon Tune spotlights feature tuneable white light from a bright 4,300K down to a warm 2,100K, while maintaining high colour

LUMILEDS Lumileds as an independently run organisation launched a range of new products, such as the high optical power UV flip-chip emitters to the innovative LUXEON 3535L Colour Line, specifically for colour tuneable bulbs and architectural lamps that require access to high quality, single colour mid power LEDs in Red, Red-Orange, Phosphor-Converted (PC) Amber, Lime, Green and Blue. The PC Amber LED can replace three 2,200K LEDs in a warm dimming lamp, while also delivering best-in-class flux and best-inclass hot/cold factor (flux at 85˚C relative to flux at 25˚C). The Lime LED features a typical flux of 56 lumens (100mA, 25˚C) and a stellar efficacy of 190 lm/W, which when mixed with Red enables a warmer White light to be created compared to Off-White plus Red combinations. In September, Lumileds launched the high power LUXEON C Colour Line of LEDs to achieve flawless colour mixing by removing the problems of beam halos and mismatched, unmixed colour by designing the platform to offer multiple colours with a single focal length. Performance of the compact LUXEON C 2x2 mm package is achieved through impressive thermal resistance substrates as low as 2.8°C/W.

Luminus high efficacy 3030 Mid-Power LED.

NANOCO In 2015, Nanoco made significant strides with its Cadmium-free quantum dots (CFQD) for LED lighting, announcing a partnership with MARL that enabled the launch of the world’s first CFQD LED fixture, Orion QD - a Quantum Dot Linear Lighting solution. In July 2015, Nanoco formed a new lighting division to help accelerate the development of quantum dots for initial lighting applications, including retail and specialty, architecture and agriculture. The advantage of CFQDs means it is possible to tune the light to exactly the emission spectrum required by controlling the size of the quantum dots. This enables the creation of a light spectrum that isn’t possible with standard phosphors, such as the world’s first Cool White Healthy lighting Ceiling Tile, having a CRI >95, R9 >90 R9, CCT of 6,500K and a total system efficiency > 100lm/W.


New modular switching and dimming for DIN-rail mount. Easy install and configuration unlike common PLC-based systems. Up to 48 controllable circuits can be daisy-chained together. Explore the possibilities at

Echo Inspire wall stations






Photography: Agabekov SA



A further advantage of CFQD technology is the ability to reduce the need for strict LED binning, is glare free and provides stable colour quality over time.

Quantum Dots of various sizes convert light to different colours.

OSRAM Osram launched the Oslon Black SFH 4713A, an infrared LED (IRED) with a wavelength of 850 nanometers (nm) and ideally suited to security lighting applications, such as camera-surveillance of public spaces, company premises and entrances to banks and shopping centres. From autumn 2015, the SFH 4714A with a beam angle of 150° and an optical output of 720 milliwatts enables compact and efficient security lighting.

will make investments of around €2 billion planned in research and development by 2020 to include: • Additional €1 billion intended for the construction of a new LED chip plant by 2020; • ‘Diamond’ initiative promotes growth and sustained enterprise value; • Until 2020, average annual growth rates of 8% for revenue and 9% for EBITDA expected. Key areas of focus include shifting the focus on expanding the electronics and software expertise. QUARKSTAR QuarkStar launched a range of lighting modules that are unrivalled in their size and weight, being significantly smaller than any comparable units in the industry – for example, a recessed fixture design can have an aperture of only 2cm, even narrower than the suspended ceiling system support structure. A range of asymmetric luminaires can have optical efficiencies of up to 85+% and a tested efficacy of 85+ lm/W allowing the design of wall wash applications providing illumination ratios of 3:1.

systems based upon AC drive technology to offer standard ten-year warranties on its fixtures. Its high specification products include: • High Bay XI series – based around the m4 hybrid IC (that uses a transformer step down to 30Vac). Companies in Japan that have adopted the High Bay XI AC driven include Honda, Bridgestone, JAXA driven by the high 60C ambient operating environments. • XW LED tube – based around SOCT (Stella One Chip Technology) which is the first AC drive tube light to meet the strict Japanese 5% flicker standard. SOCT AC direct tube lights are being manufactured by Foxconn (the same company that makes Apple products) and first delivery will be to JAXA and NTT before the end of the year. VERBATIM Verbatim introduced an innovative range of dimmable Classic A E27 retrofit LED bulbs that deliver class-leading uniform omnidirectional light, without unsightly shadows or rings, using Mirageball optical technology. To ensure the lighting presents extra warmth and ambience, the Mirageball LED bulbs feature a colour temperature of 2,500K rather than the typical 2,700K of Classic A lamps.

Osram’s high efficacy LED filament engine.

Osram upgraded the Ostar Stage family with a new four 1mm2 chip version of the highpower LED in red, green, blue and white, which can be operated at up to 2.5A (DC) to allow an output up to 30W ideal for colour mixed spot lighting. In October, Osram launched the Soleriq L 38, the first filament LED in its product range. The long thin shape of the LED provides the basis for filament lamps which, in terms of their appearance and emission characteristics, are more than a match for their incandescent lamp predecessors. Each Soleriq L 38 has a length of 30mm and a diameter of 1.8mm, similar to that of a conventional filament, plus an emission angle of 360°, making them perfect for use in LED lamps of all wattages. It is available in three versions with 90, 130 or 140 lm and high luminous efficacy of 150 lm/W to provide warm white light (2,500 to 4,000K) at a CRI >80. In November, Osram also announced it

Quarkstar’s novel light guide technology.

SEMILED SemiLED launched its Phosphor Converted, or PC LED chip series including PC Amber, PC Green and PC Red LED chips in a 1mm x 1mm chip size. PC Amber and PC Red on InGaN based materials provide better forward voltage matching in RGBA applications, gaining efficiency and achieving higher lm/W. Greater colour stability is also achieved by the use of PC Amber and PC Red with respect to input currents and changes in junction temperatures. With increased efficiencies, PC Green LEDs offer a broader spectrum and provide a rich, beautiful colour for green coloured applications. STELLASIA Stellasia, a three-year old start-up from Japan, has launched a range of LED lighting

Verbatim’s Mirageball lamp.

XICATO In May, Xicato expanded the Xicato Thin Module (XTM) and Xicato Core Array (XCA) product lines with the availability of new cores with 9mm light emitting surface (LES). The XTM09 can support high quality beam angles of 7.7° using off-the-shelf optics, and can achieve over 44,000 candelas from a 111mm diameter optic. In September, Xicato committed to the new IES TM-30 benchmark for colour rendering evaluation. Legacy CIE CRI has proven to be a less-than-ideal tool for evaluating colour rendering, especially for LED light sources. TM-30 was developed by the IES to more objectively and thoroughly




Sharp ZENIGATA COB LEDs raise the bar for quality LED lighting that’s now even easier to design with Sharp’s integrated INTERMO modules. In addition to a broad range of fixed white LEDs, Sharp also supplies the tuneable white Tiger ZENIGATA


(2,700 K–5,700 K). From tailored white LEDs for grocery stores and shops to natural toning LEDs that warm as they dim, Sharp’s LED technology platform excels in office, home, commercial, and outdoor lighting. E-mail us for details:

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evaluate both colour fidelity and gamut for all light sources, and to enable intuitive presentation of the data both quantitatively and graphically. 4100K T8: Ra=82, Rf=77, Rg=100 3000K Xicato Artist Series: Ra=97, Rf=96, Rg=103 In October, Xicato dramatically expanded and enhanced its award winning Xicato Intelligent LED Module (XIM) product line from 30 to 100 SKUs, with even greater intelligence and an extended, verifiable, 50,000 hour/7 year, ‘B0’ warranty on lumen maintenance, colour maintenance, and electronics. XIM is a compact, 48VDC powered LED module capable of instant on/ off, and smooth, IEEE 1789-2015 standards compliant dimming from 100% to 1% using 1-10V, or 100% to 0.1% using DALI controls.

Xicato modules now come with TM-30-15 information.

ZUMTOBEL The Zumtobel Group acquired a majority holding in UK lighting company acdc in September. The company is a supplier of high-end LED lighting solutions with a focus on the architectural façade and hospitality segments. The key markets for acdc are currently its domestic UK market and the Middle East, along with a selective presence in other European countries and the USA. Huge growth potential exists for the acdc brand, particularly with regard to marketing the acdc product portfolio through the Zumtobel Group’s worldwide sales organisation.

WHAT THE INDUSTRY EXPECTS IN 2015... Torsten Schanze, General Manager, Lighting Business, Nanoco Technologies “In 2016, Nanoco expects to see a move towards the adoption of intelligent lighting to not only provide new levels of true colour quality, but full energy efficient system control. We expect to see a market pull for high quality light in new market areas due to the recent developments in Nanoco’s Cool White technology. We also see enormous opportunity to leverage lighting technology to enhance important markets such as agriculture. In the coming year, Nanoco Lighting plans to continue to drive innovation within the lighting space, enabling users to redefine light and lighting as we know it by bringing colour to life with our intelligent CFQD Quantum Dot film.” Dr Lewis Lerman, Top Quark at QuarkStar Photonics 2016 will see the beginning of the second revolution of solid-state lighting, with the realised need to take greater advantage of the underlying solid-state nature of the LED. To quote the vision of one of our esteemed QuarkStar team members, the late Roland Haitz: “Much like the transition from the transistor to the integrated circuit in computing, the Integrated Circuit of Lighting is the next and final step in SSL design that will allow LEDs to fully realise their potential in general lighting… and so much more.” Menko de Roos, CEO, Xicato Xicato was the first to commit to reporting TM-30 data on all products, and we expect to see broad acceptance and adoption of this standard in 2016 as the benefits become plain to lighting designers and specifiers. Wireless technology is rapidly overtaking wired solutions in the creation of networks for lighting control, due to the widespread adoption of Bluetooth, Bluetooth Low Energy (also known as ‘Bluetooth Smart’ or ‘BLE’), and new Wi-Fi wireless technologies. The year 2016 could well see the afternoon of Zigbee and the sunrise of Bluetooth and BLE as lighting control standards, when the Bluetooth SIG releases the open BLE mesh networking codes. The gradual adoption of wireless networking will make possible another topic of heated discussion in 2015: the Internet of Lighting as part of – and in fact the ideal backbone for – the Internet of Things.

2015 PREDICTIONS - HOW DID GEOFF DO? • Ethernet based products will become common place through the use of WI-FI and wired Ethernet driver solution. Partially achieved as costs are the most prohibitive drag on adoption. A few leaders that combined Ethernet with centralised power solutions have taken a lead to date. • Security of smart lighting systems will become a high agenda item as more systems become compromised by bad actors. Not achieved. It seems that despite the near weekly high profile hacking of systems from cars to computers, it hasn’t registered with the lighting community as yet! • At least two major lighting companies will change hands in the range of > £250m T/O. Partly achieved with the acquisition of Juno lighting by Acuity and its other large >£100m T/O controls acquisition. • Healthy lighting technologies such as colour tuneable and flicker free LED drivers will become a higher priority for users and specifiers. Achieved as many companies have launched Human Centric Lighting solutions to the market. • The major lighting companies will sell more LED products than traditional products for the first time. Achieved as majority of incumbents sold >50% on a Qtr/Qtr basis. GEOFF’S PREDICTIONS FOR 2016 • Centralised LED driver solutions will gain further acceptance on prestige installations creating the beginning of Power over Ethernet based products. • Increased M&A activity will be seen throughout all areas of Lighting • The reality of the Internet of Things (IoT) wireless hype will begin to be recognised as installations are deployed with integrators preferring copper wire solutions supported by RF where necessary. • Lighting as a Service will start to accelerate offsetting drastic reductions in Average Selling Prices of LED fixtures. Services based around Li-FI and indoor location systems will start to be adopted across many sectors. • LED flicker will become closely monitored in systems due to further health concerns Have a great Christmas and New Year! Geoff Archenhold is an active investor in LED driver and fixture manufacturers and a lighting energy consultant. The views expressed in this article are those of the author and do not necessarily represent the views of mondo*arc.



LIGHTING UP 2015 A selection of some of the more interesting product launches of 2015. More are available at

Tailored White LEDs Sharp The new line of Tailored White LEDs from Sharp are available as COB LEDs or integrated INTERMO modules. Included are four LEDs specially designed for grocery applications, including: Meat (2,000K), Bread (2,400K), Vegetable (5,100K), and Fresh fish (5,400K). A 3,000K retail version rounds out this line of high-CRI LEDs for retailers. Part of Sharp’s Mega ZENIGATA platform, these new purpose-built, high-CRI LEDs help shops enhance the offline retail experience to increase sales while saving energy.

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

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

Beauty Series Xicato

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

Xicato Beauty Series is a remarkable light source that makes people look and feel their best - designed to bring out the natural, subtle beauty of skin tones. Created as a result of a cosmetics study by University College London, Nulty+ Lighting Design, Xicato, and a major global cosmetics brand, Corrected Cold Phosphor Technology makes it possible to precisely tune the Beauty Series spectrum to deliver extraordinary clarity and fidelity with a warm, flattering ambience.

LED 230V Large Lamps Soraa A new line of high performance, full visible spectrum LED 230V large lamps. From narrow spot to flood, Soraa’s PAR20, PAR30 short / long neck, PAR38, and AR111 LED lamps produce high peak intensity; flawless beam definition and smooth beam edges; and have exceptional colour and whiteness rendering. The lamps are customisable with the company’s SNAP System, while Point Source Optics technology produces high-intensity and uniform beams, enabling 8º, 9º and 10º narrow spot PAR versions. Violet-Emission 3-Phosphor (VP₃) LED technology allows for perfect rendering of colours and whiteness.




Lumenline Lumenpulse

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.

USERPARTOUT Castaldi Lighting Whilst having a simple construction USEPARTOUT incorporates sophisticated SLED technology. The concept is derived from the intuition of Joerg Krewinkel shaping the lines of contemporary architecture. White, black and bronze transform USEPARTOUT into a desirable object combining technology, sophistication and style. Concentrating the essence and aesthetic vigour from the worlds of design, fashion and retail.

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

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

ZipWave LED 707 Vode Lighting The ZipWave LED 707 provides seamless light quality optimised for ceiling and wall cove with outputs available over 1,000 lm/ft (3,280 lm/m). ZipWave LED 707 is compatible with Armstrong AXIOM indirect light coves for ceiling-to-ceiling and ceiling-to-wall systems. Integral power housing drops into place with plug and play connections, providing quick and simple installation. The cove’s architectural key way means perfect alignment and light distribution.

VarioLED Flex AMOR LED Linear 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.


Linetik Zumtobel Linetik features delicate design language that can be integrated into any office environment. Despite the compact physical dimensions, the optical system uses minimal energy to deliver precise lighting distribution – light that can be directed exactly where the individual requires it, without the inconvenience of glare and anything less than complete uniformity. Linetik relies on an extrusion lens for the indirect output, spreading light over a wide ceiling area and thereby creating a pleasant atmosphere, even in offices with lower ceilings.

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

OLED Panel Range Applelec Applelec is working with LG Chem to supply OLED lighting in the UK, with an OLED lighting scheme now installed at Applelec’s London showroom. Seen by many experts as providing more human friendly characteristics than other light sources, OLED panels have no glare, produce no UV and generate a low heat of <35°C. Featuring CRI levels over 90, the ultra slim OLED panel range is available in sizes up to 320x320mm and includes a flexible panel with a bending radius of 30mm.


STR9 RGBW GVA Lighting

4660-Corsica LEC Lyon

ArcheType X Kim Lighting

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

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

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

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DOGO Heper Heper’s latest DYNO module has an unique light distribution thanks to the complex multi-facetted reflector. Forward through distribution allows throwing the light 1x distance in horizontal position and 6x distances in vertical position. The result is a wall washing effect with excellent uniformity, no spot effect and no glare. Dogo has 3,000K, 4,000K and Dynamic White options and can be used on wall and ceilings in different positions as a surface fixture.

Underscore InOut iGuzzini Underscore InOut is a solution that liberates light, outlining, highlighting and colouring outdoor architecture with a palette of tones. Underscore InOut has been patented to guarantee correct operation even at extreme temperatures. The device is extremely resistant to both thermal stress and external agents, such as UV rays guaranteeing constant long-term LED performance in terms of both efficiency and colour temperature. Absolute protection is guaranteed against the temporary submersion of the IP68 rated product and connectors, which are also highly reliable in the event of fire.

Media Tube HO Traxon & e:cue The Media Tube HO family is a range of flexible media border lighting for façade applications used in office buildings, hospitality, stadiums and bridges. It comes with a variety of LED options and accessories and provides a standardised platform for any custom-made request for media façade application. This high efficacy solution comes with a new feature: RGBW per pixel adding white source, in which the system provides true white media effects and flexibility in delivering content in traditional RGB, leading to higher energy efficiency by the mixed use of RGB+W.

Kona ERCO With the new Kona range, ERCO now offers versatile luminaires for a multitude of outdoor applications. With powerful luminous flux packages and excellent glare control, Kona is the ideal lighting tool for extended projection distances, and offers glare-free visual comfort. The robust luminaires with innovative ERCO LED photometrics illuminate large façades and monuments as effectively and with impressive energy efficiency results as building ensembles.

ArcPad Zoom Anolis

KRONOS Unilamp

The Anolis ArcPad Zoom is the latest addition to the Anolis ArcPad range and combines high output multichip technology, unique electronic zoom, with a high level of reliability. Beam angles can be electronically adjusted to add dynamic effects for façade illumination as well as extremely accurate focusing for static lighting schemes, giving designers a degree of flexibility not previously available.

A new family of area and flood lights in various mounting application, KRONOS utilises the latest LED technology from OSRAM, providing 138lm/W and a high CRI with power classes from 87W to 275W. The heat management has been delicately designed and tested under the ambient thermal condition of 40°C. KRONOS offers various light distribution patterns, including: road optic for European and Asian regulations, asymmetric forward throw as well as narrow, medium, wide and elliptical beams for flood lighting application.

13 – 18. 3. 2016 Frankfurt am Main

Creative lighting designs and smart building systems technology: Discover how everything is integrated with everything else and how the trends of tomorrow are being created. Only at Light + Building, the hotspot for inspirations and innovations. Where modern spaces come to life. Tel. +44 (0) 14 83 48 39 83

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Discover trends. Shape the future.

DU: 20.11.2015


The world’s leading trade fair for lighting and building services technology

152 146



Lightify Pro Osram Lightify Pro is an intelligent, wireless lighting system configured via a tablet PC. Users operate the Lightify Pro compatible luminaires, sensors and push buttons on the go just using a smartphone or tablet. Highly flexible and convenient. With fascinating lighting functions. Lightify Pro enables extremely energy efficient and cost efficient lighting. As a state-of-the-art update, it is simply integrated into already existing conventional lighting systems.

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.

Bluetooth LED Dimmer Dalcnet

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.

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.

A simple and easy way to control and dim residential lighting. A compact device with low energy Bluetooth module integrated inside, this small dimmer enables control of the luminous intensity of LED strips using either the Bluetooth application or the push button. The Bluedimmer App is available for free download on IOS and Android devices. The bluetooth devices are available in one or four channels for white light or RGB+W.

Hall 4.0, Stand F31

MCPET reflective material & Total Thermal Solutions

Bringing CPU Cooling Technology to Led Lighting

With the use of heat pipe technology which Furukawa Electric has been supplying worldwide for almost half a century, HYC thermal solution is proven to make your LED last longer and brighter. So why use anything else when you can finally make LED light with true value?

Total Thermal Solution Heat Diffusion and Cooling Products

HYC is now available in 100W to 500W LED power.




We bring you a selection of some of the best products to make an appearance at this year’s Light Middle East show in Dubai.

Now in its 10th edition, Light Middle East continues to climb a steep double-digit growth curve; in 2015, it featured 370 exhibitors from 33 countries, and was 14% larger than the previous year. Innovative product launches and energy saving lighting solutions dominated the show floor, in particular at the Future Zone, where more than 100 of the world’s leading manufacturers showcased their latest high tech products, providing a clear view of the future direction of lighting design and technology. Aside from putting a global spotlight on the latest innovations, intuitive technologies, captivating lighting designs, new business partnerships, and a glittering awards ceremony, Light Middle East 2015 also featured the highly popular Light Middle East Conference. The two-day summit hosted 24 international lighting experts and designers analysing the changing trends and dynamics of lighting design and their impact on architecture and urban environments. The 11th edition of Light Middle East will return in November 2016. More information is available at:

T3 Aldabra A high efficiency, high resistance Italian made LED linear lighting system suitable for indoor, outdoor and underwater installation. Fixtures are available up to two-metres for an unlimited length of continuous light. It is available in warm white, cool white, RGB, and dynamic light moving.


Tsubaki Flex ATEX Using ATEX patented technology, the GL10-96D Series Tsubaki flex light provides optimal diffused light output, exceptionally long distant run with consistent product colour temperature and the single protrusion frame structure manufacturing process results in product robustness. Solid bubble free encapsulation provides weathering protection and complies with IP67 specifications.

The TROV LED linear platform can be installed as a cove, wall washer, wall grazer, asymmetric or ‘line of light’. A unique product that can be specified in more than 20,000 different product configurations, it has been designed for a variety of applications, including: healthcare, hospitality, convention, retail, transportation, schools, offices, stadiums, museum and cultural venues.

LD Line 25 Exterior LightGraphix LD Line 25 Exterior is an IP67 rated LED homogenous line of light. Its shallow recess depth and no dark spots between multiple lengths make it ideal for building exteriors. Installation is quick and easy with an innovative wiring method and first fix channel. It can be used in the ground but only for interior applications. It is made to measure for lengths up to 1956mm, with very small cut increments of 50mm.

Reflex XL Orlight The flexible 80mm wide ReflexXL offers the ideal solution for seamless architectural linear lighting. Bespoke lengths of up to five-metres combined with five junction profiles provides the ultimate versatility for lighting schemes. Available in five colour temperatures offering a uniform and even light with no LED hotspots.


Vivoxy Graze Luci The Luci Vivoxy Graze is compact in size with high brightness, ideal for making beautiful grazing light effects. It achieves 3,000lm/metre with 700mA constant current driver, while the lumen output can be adjusted using the different constant current driver from 700mA to 350mA driver and the dimming controller. It is available in 2,700K, 3,000K and 4,000K and adjustable brackets are available. A black colour body type and optional shield are scheduled to be released in 2016.

U060 Vice The U060 cut-off washer marks a breakthrough in wall washing illumination offering surface uniformity while blocking the backward and longitudinal throw (no light spill) and maintaining strong power and efficacy. It is glare and light pollution free and designed to be highly configurable, adapting to a wide variety of commercial and architectural building types used in both interior and exterior lighting concepts.

Water Effect Light Radiant UFO XAL UFO is an impressive luminaire with a special style. The space-defining character of the ceiling-mounted or suspended shapes gives rooms a singular flair. In addition to its elegant design, this extravagant luminaire is one thing in particular: exceptionally practical. Thanks to an anti-glare rating of UGR <19, UFO is ideal for lighting workplaces. As an option, the ring-shaped arrangement can be fitted with soundproofing elements.

This wall-mounted luminaire incorporates a series of white LEDs with different colour temperatures run by a four-channel DMX controller which, in combination with a rippled glass panel, creates a slowly changing effect of light reflected from flowing water. Available in IP20 and IP65 versions and in two sizes.

Lightgap ERCO With the new Lightgap grazing light wallwasher, ERCO now offers an innovative LED lighting tool for qualitative lighting design with stunning effects. The recessed luminaire emits remarkably linear light that brings out the finest surface structures and textures for an almost three-dimensional effect. This robust in-ground luminaire brings out the finest material textures of façade architecture.

SwimmingPool-Light 4.0199 Wibre The special RGB-W LED boards have now been launched in the Swimming pool spotlight 4.0199. Suitable for medium-sized pools, they have now become even more individual in terms of colouring in the water. Six RGB-W multichips in a circular arrangement are used. There will be versions without optics but with a scatter disc and versions with optimised mixing lenses, in which the four colours are mixed into the optics directly after the LED. This creates a very even colour distribution. The following assemblies are available: RGB cold white, RGB warm white, RGB neutral white and RGB amber.



HK HIGHLIGHTS We bring you a selection of some of the products to make an appearance at this year’s Hong Kong International Lighting Fair.

airLED Cledos


With excellent heat dissipation and generating a low level of heat on the whole, airLED lamps are cool to the touch. Using fewer raw materials, the lamps are lighter in weight and allow greater design flexibility, offering a sleeker solution with approximately 20% more energy-efficiency than traditional LED lamps.

ALLUXIA’s frameless visual effect creates flexibility for seamless connection of luminaires.The LED flat panel light uses the microstructure optical technology of a special light guide plate to create balanced and soft surface light, and is able to reduce glare. With its simple and neat design, ALLUXIA kick starts a new era of LED flat panel lights.

STICK-CU4 Nicolaudie The STICK-CU4 programmable lighting controller, for RGB and RGBW lighting, has been designed around a touch sensitive colour wheel. The controller is USB programmable from a PC or Mac using the ESA2 effect software. Up to 36 scenes can be stored within the controller and directly recalled via six touch sensitive scene buttons. A button located in the centre of the color wheel can be used to jump between scenes or reset a colour change.

Seamless Connection TriProof Light Signcomplex

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

The seamless connection tri-proof light is water, dust and corrosion-proof. Ideal for use in warehouses, parking lots and shopping malls, the LED luminiare has a waterproof grade up to IP65. With female and male connectors, it takes less than three minutes to install, saving on installation cost.

LED Player Version 1.5.4 Chromateq LED Player version 1.5.4 brings a new perspective to the architectural lighting industry. The DMX controller software allows professionals to handle lighting projects with ease thanks to intuitive design, featuring advanced release options, such as new time trigger possibilities and the creation of different scenarios each week, month or year. Among its latest features, Studio DMX enables powerful 3D simulations for both indoor and outdoor projects.

Echelman : Impatient Optimist Š Sean Airhart / NBBJ

Lighting Designers & Senior Lighting Designers Recruiting now London, Sheffield, Manchester, Bristol, Edinburgh Do you want to sculpt and enrich architecture, create inspiring environments with people at their heart and contribute to shaping a sustainable future for our world? If you relish creative and complex design challenges on high profile projects, now is a great time to explore opportunities with us in our expanding lighting design team. We provide leading lighting consulting and design services throughout the world on major infrastructure schemes and internationally acclaimed buildings, in collaboration with leading architects, artists, engineers and planners. From harnessing and controlling daylight to creating drama and delight with electric light, our lighting design work can be characterised as engaged and involved, with a strong emphasis on creativity combined with the technical excellence for which Arup is famous. Our current and recent flagship work encompasses a wide portfolio of projects, including the Leadenhall Building, King’s Cross Station and the proposed Garden Bridge, all in London, as well as the Oman Botanical Gardens, the Broad Museum in LA, Abu Dhabi International Airport and world-class stadiums and sporting venues across the globe.

Join us in making ambitions reality For further information, and to apply, please email your CV and cover letter to, or apply via our website:

TITLE : REGIONAL SALES MANAGER | POSITION TYPE : PERMANENT | DEPARTMENT : SALES | LOCATION : LONDON AND MANCHESTER, UK Lumenpulse AlphaLED is a leading specification-grade LED lighting solutions manufacturer. With a long track record of high-profile projects around the world, the company has earned numerous awards and recognitions, including several Product Innovation Awards (PIA), three Next Generation Luminaires Design Awards, a Red Dot Product Design Award, a Lightfair Innovation Award, and the Queens Award for Enterprise and International Trade. In October 2015, Lumenpulse AlphaLED CEO Francois-Xavier Souvay was named the 2015 Ernst & Young Entrepreneur of the Year™ for Quebec. The company has 500 employees worldwide, with corporate headquarters in Montreal, Canada, and offices in Québec City, Boston, Paris, London and Manchester. Benefits Package: Salary + attractive commission, car or allowance, private healthcare. Why join the Lumen family? • Creative and dynamic environment • Extensive opportunities for careers worldwide

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Entrepreneurial environment Innovation is in our DNA!

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Think Global Act Local Approach Continuous training provided to all employees



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Proactively develop and secure the specification of Lumenpulse Alphaled within UK and international projects Promote Lumenpulse Alphaled products to targeted specifiers and others as required, ensuring first choice selection for projects and inclusion within specification documents Follow/track project throughout construction/building process to handover and commissioning as required Conduct product and application training sessions with targeted customers Evaluate, monitor and report sales and project activities within the territory Evaluate and report on competition activity within the territory Establish and maintain positive relationships with customers, suppliers and employees at all levels Manage special projects as requested by the Sales Director

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Lighting experience preferred in Specification Sales, others considered from lighting design or industry related roles A seasoned professional that can demonstrate experience within the lighting industry Strong organisational skills, and ability to manage multiple tasks Must be results-oriented Possess strong communication and negotiation skills Needs to be analytical Should have a capacity for innovation and creativity Demonstrates a sense of initiative and autonomy Embraces change Must combine strong interpersonal skills with drive and tenacity Available for travel as required

To apply please contact Nicola Livesey on email:

ADVERTISERS INDEX 8point3 LED............................................... 15 A&O........................................................... 87 Acclaim .................................................... 115 Agabegkov .............................................. 143

Hacel ......................................................... 81 Helvar ...................................................... 119 Heper......................................................... 39 Huda Lighting .............................................. 7

Nich Smith Lighting Design ..................... 159 Nicolaudie ................................................. 17 Nulty Lighting .......................................... 159 Precision .................................................. 113

Anolis ........................................................ 4,5 Applelec .................................................... 67

IALD ........................................................... 95 Illumination Physics ................................... 79

Proliad ....................................................... 49 Prolicht....................................................... 33

Architect@work ........................................ 132 Architectural Area Lighting ...................... 163 Arup ......................................................... 159 Bright Green .............................................. 65 Chromateq .............................................. 151

Insta ........................................................... 11 ISTL .......................................................... 125 Kim Lighting ................................................ 2 KKDC ......................................................... 31 LEC-Lyon ................................................. 121

Remote Controlled Lighting ...................... 55 Rising Dragon Technology ........................ 12 Robert Juliat ............................................ 123 Seoul Semiconductor .............................. 145 Sharp ....................................................... 145

Cirro Lite .................................................. 123 CLS ............................................................ 18

LED Linear ............................................... 164 LEDYI ....................................................... 121

Signcomplex .............................................. 14 Soraa ......................................................... 89

darc night .................................................... 6 Dalcnet .................................................... 119 David Morgan Associates ........................ 125 Dial ............................................................ 87 DPA.......................................................... 159

Lee Filters ................................................. 59 Light & Building ....................................... 151 Light Source Europe (LSE) ......................... 10 Lightgraphix .............................................. 71 Lucent ........................................................ 25

StrongLED ................................................... 8 Studio Due ................................................ 19 Surface Design Show ............................... 108 Synthe FX ................................................ 117 Teknolight .................................................... 9

ERCO ........................................................... 3 ETC .......................................................... 143

Lucifer ........................................................ 23 Lumascape .............................................. 107

Titan......................................................... 117 Traxon & e:cue........................................... 61

Flaming Beacon ....................................... 159 Forge-Europa .......................................... 115 Furukawa ................................................. 153 Griven ........................................................ 21 Guangzhou International Lighting Exhibition .......104

Lumenpulse ....................................... 27, 158 Lumino ....................................................... 75 Lunoo ........................................................ 41 MBN .......................................................... 16 Mean Well ............................................... 107

Trilux ........................................................ 141 Unilamp ..................................................... 13 Wibre ......................................................... 37 Wila ......................................................... 127 Xicato ...................................................... 135

GVA ........................................................... 97

Neonlite ................................................... 111

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.

NICH SMITH LIGHTING DESIGN Nich Smith Lighting Design is a small and constantly evolving lighting practice based in Glasgow, Scotland. Our work is multi-disciplinary lighting design across architecture, heritage, landscape, art and entertainment. Our award-winning projects require creative insight, excellent technical skills and high levels of self-motivation. We are looking to fill the following roles for immediate start:

Nulty is an award winning independent architectural lighting design practice that works across a broad spectrum of sectors. LONDON: INTERMEDIATE & SENIOR DESIGNERS We’re looking for charismatic, career-hungry Intermediate & Senior designers who have a passion for light, lots of initiative and enjoy working within a young, dynamic team. We’ll challenge you every day and give you the opportunity to work on a very diverse portfolio of projects. DUBAI: JUNIOR, INTERMEDIATE, SENIOR DESIGNERS & CREATIVE DIRECTOR This is a truly unique opportunity to join our brand new office in Dubai and we’re looking for designers at all levels to help develop our portfolio of projects. You must be a team player, have lots of initiative and a passion for light. We expect senior positions to be filled by people with the appropriate level of experience.

Senior Lighting Designer - To deliver a variety of exciting high profile projects in the UK and internationally. The successful applicant will have worked at Project Designer level or above and be proficient in AutoCad, Photoshop and Dialux as a minimum. The ability to communicate lighting concepts and manage their implementation through to completion is expected. Extensive knowledge of specifying and commissioning interior and exterior lighting and controls is essential. Lighting Designer - To join on fixed term contract for nine months. You must be proficient in AutoCad, Photoshop and preferably a 3D modelling package such as SketchUp. You will be responsible for generating project plans, elevations, details and schedules. Knowledge and experience of museum lighting is preferred. Your role will be constantly under review and may lead to a Project Lighting Designer position after the initial period. Please apply by email to including a CV showing illustrated examples of projects you have worked on which clearly outline your role and responsibilities, or designs you have dreamed of that showcase your skills. Pay will be commensurate to experience. Excellent written and spoken English is essential. Applicants must be eligible t0 work in the UK. All applications will be treated in strict confidentiality.

Salary commensurate with experience for both roles. To apply for either role please send your CV along with your portfolio to: For more information visit:

“RightLight, Light,Right Right Place, Place, Right “Right Right Time” Time”TMTM TM

“Right Light, Right Place, Right Time” TM “Right Light, Right Place, Right Time” dpa has created an international lighting consultancy Practice, which puts “design

dpa has created anmain international consultancy puts “design excellence” as its focus. We lighting are working on a widePractice, range ofwhich exciting projects dpa has created an international lighting consultancy Practice, puts “design excellence” asthe its world. main focus. We includes are working on for a wide rangewhich of exciting throughout Our work lighting all aspects of the built projects dpa has created international lighting consultancy Practice, which puts “design excellence” as world. itsan main focus. Weincludes are working on a for wide of exciting projects throughout the Our work lighting allrange aspects of the built environment. excellence” main Our focus. Weincludes are working on afor wide range ofofexciting projects throughout as theitsworld. work lighting all aspects the built environment. throughout work includes lighting for all aspects of the built environment. With officesthe in world. Dubai,Our London, Japan and Oxfordshire we currently have the

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

Oxfordshire Office, following vacancies for UK suitably talented lighting design professionals: •Oxfordshire Associate Office, Oxfordshire Office,UK UK •• Senior • Associate Designer Oxfordshire Office, UK Associate •• Associate Designer with relevant work experience • Senior Designer Senior Designer •• Senior Designer • Designer with Designer withrelevant relevant work work experience experience These are important roles within theexperience Practice and encompass all aspects of a • Designer with relevant work

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These are importantroles roleswithin within the the Practice Practice and of of a a These are important andencompass encompassallallaspects aspects experience. These are important within the Practice and encompass all aspects of awith lighting design studio.roles Remuneration will lighting design studio. Remuneration for all all vacancies vacancies willbe becommensurate commensurate with lighting design studio. all vacancies will be commensurate with experience. Applicants applying forRemuneration the position offor Associate or Senior Designer must have experience. experience. previous relevant experience with an independent lighting consultancy. Excellent Applicants applyingfor forthe theposition position of of Associate or Designer must have Applicants applying Associate orSenior Senior Designer must have written and spoken English is also essential. Applicants need to demonstrate Applicants applying for the position Associate or lighting Senior Designer mustExcellent have previous relevant experience with an anofindependent independent consultancy. previous relevant experience with lighting consultancy. outstanding creative, technical and project management skills appropriateExcellent to the previous relevant experience an independent lighting consultancy. Excellent written and spoken English is with also essential. Applicants need to demonstrate written and spoken English is also essential. Applicants need to demonstrate positions. written and spoken is also Applicants need demonstrate outstanding creative,English technical andessential. project management skillsto appropriate to the outstanding creative, technical and project management skills appropriate to the outstanding creative, technical and project management appropriate to the positions. For further details about dpa, please refer to our website:skills positions. positions. For further details dpa, please refer our website: Please e-mail your about application letter and CVtoalong with examples of completed ForFor further details about dpa, refer to our ourwebsite: further details dpa,aplease please refercontribution to projects where youabout have had significant to Elizabeth Grundy Please e-mail your application letter and CV along with examples of completed Please e-mail your application and CV alongwith withto examples completed Please e-mail your application letter and CV along examples ofof completed projects where you have had aletter significant contribution Elizabeth Grundy projects where contributiontotoElizabeth Elizabeth Grundy projects whereyou youhave havehad hadaa significant significant contribution Grundy

The Flaming Beacon Lighting Designers Melbourne & Berlin We are an international lighting design practice operating under the direction of Nathan Thompson and Andrew Jaques with offices in Melbourne, Australia and Berlin, Germany. We are best known for our work in boutique hospitality and tourism. For more information visit Experienced Lighting Designer We are looking for an experienced architectural lighting designer to join our Berlin bureau. You will be working in a friendly, focused environment, where you can apply your advanced lighting design and project management skills, both independently and as part of a team. You will probably hold a bachelor or post graduate degree in lighting design and/or architecture, preferably running your own projects. You will be professional, self motivated, with strong organisational and interpersonal skills. Our working language is English, so we imagine you will have excellent written and spoken professional English language skills. Basic German language skills will be a plus. Your salary package and range will be based on your ability, experience and portfolio. International applicants can expect assistance with the organisation of visa and relocation matters. To apply please send your CV and portfolio to .


technical partner

member of

supported by


awards manufactured by

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

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

A unique new event from

LED Expo April 19-22, 2016 Bangkok, Thailand

Ecobuild 2016 March 8-10, 2016 London, UK

Light January 27-29, 2016 Warsaw, Poland

in collaboration with


China Lighting Expo April 14-16, 2016 Beijing, China

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

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

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

LEDucation March 29-30, 2016 New York, USA

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

Lighting Japan January 13-15, 2016 Tokyo, Japan

InterLumi July 6-8, 2016 Panama

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

Smart Lighting 24-26 May, 2016 Milan, Italy

INALIGHT Indonesia May 18-20, 2016 Jakarta, Indonesia




For this issue of mondo*arc, Light Collective has invited Foteini Kryiakidou to share what inspires her about light. A native of Greece but about to start a new life abroad, Foteini has an architectural background that has evolved into a passion for light and lighting design. We ďŹ rst met Foteini in Mexico City where we were impressed with a presentation she gave that expressed her analytical but poetic approach to light. In her description of what light means to her, you can understand what we mean...

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