mondo*arc Apr/May 2017 - Issue 97

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issue 97 * April/May 2017


CENTRIQ MAKES A DIFFERENCE MINIMALIST HI-TECH CENTRIQ puts pure lighting effect in the foreground. The trackspot’s timeless housing can be used to achieve general lighting, accent lighting (SUPER SPOT with a beam angle below 10°) or WALLWASH illumination.



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The City of Dreams façade lighting treatment is another step in the development of Macau’s nightscape. Our decade of experience with built-in design lighting helped us in bringing the ‘dream’ concept to life. We greatly simplified the luminaire, the way we do with all of our high resistant ‘Gulf Spec’ luminaires. We call this ‘IP Double Graze Linear’. The installation of 1500 IP Double Graze Linear luminaires was completed as an integrated task within the façade build program. To find out more about this project, visit

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darc award 2016 winner: Into The Glacier, Langjรถkull Glacier, Iceland by EFLA Consulting Engineers

get creative for the darc awards / architectural! The only truly peer-to-peer lighting design awards in the world is now open for entries once again. Enter online at and get your project or product displayed online and shared on social media. Suppliers are not eligible to vote making darc awards / architectural the only independent peer-to-peer design awards in the world. And what’s more, independent lighting designers who vote are eligible for a free ticket to darc night, the spectacular and creative awards event at MC Motors in London on 14th September 2017.

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MondoArc Issue 96 Apr-May 2017.indd 1

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[apr/may] Front cover pic: C3A, Córdoba, Spain. Photo: © 2012-13 Roland Halbe courtesy of Nieto Sobejano Arquitectos

044 Dominogo Gonzalez & AC Hickox Vilma Barr caught up with Domingo Gonzalez Associates to talk nurture of talent and paths to becoming a lighting designer.

DETAILS 022 Editorial Comment Paul James discusses the impact of iconic cultural buildings and the start of the 2017 darc awards / architectural. 024 Headlines The latest international architectural lighting industry news. 026 Eye Opener S.F_Senses of the Future, Milan, Italy. 028 Drawing Board Our preview of proposed projects. 032 Spotlight The latest projects with the wow factor from around the world. 040 Briefing Rune Marthinussen, CEO of Glamox. 042 Snapshot We feature Lighting LAB.1. 044 Lighting Interview Vilma Barr interviews Domingo Gonzalez & AC Hickox from Domingo Gonzalez Associates. 052 darc room News of an exciting lighting exhibition as part of London Design Festival. 178 Inspirations ideas en luz.

ART & DESIGN 120 Dark Source Stories Kerem Asfuroglu’s latest dark vision of light in brilliant, animated form. 122 Luci in Riviera A look at the first edition which saw more than 3,000 visitors at its installations along the Riviera del Brenta. 125 Rethink the Night! Building on the success of the 2016 workshops, Greek island Kea is set to host the 2017 edition again this October. 128 e-Luminate Cambridge A look at this year’s festival highlights from the historic university town in the England. 132 Refraction A light-focused exhibition at the Edison Price Lighting Gallery in New York City. 134 A Certain Kind of Light 30 leading artists explore light, its materiality, transcience and effect at the Towner Art Gallery in Eastbourne.

TECHNOLOGY 138 Case Studies A selection of international projects from manufacturers. 136 IALD Column Mirjam Roos raises questions about the ongoing discussion of independence in the lighting design profession. 160 David Morgan David Morgan catches up with iGuzzini’s Laser Blade XS range on its world tour. 162 Euroshop Review We take a look at some of the highlights from the lighting halls at the retail show in Dusseldorf. 168 ISE Review A few product highlights from the Amsterdam integration show. 170 Lighting Fair Japan Review A selection of luminaires from the Tokyo lighting technology exhibition. 172 New Products Some of the latest lproducts in the lighting specification industry. 176 Expo Diary The most important exhibitions and conferences to visit in 2017.


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[apr/may] 092 Online A look at the magnificent Elbphilharmonie’s Grand Hall in Hamburg.

Pic: Iwan Baan

PROJECTS 054 T Galleria, Macau Embracing the incorporation of daylight in T Galleria’s vast expanse, Lichtkompetenz has developed a lighting scheme that uses urban planning priniciples of vistas and landmarks to give the department store a residential feel.

PROJECTS 082 Dubai Opera House, Dubai Establishing the city’s position on the elite global theatre circuit, Dubai Opera is a building of great cultural prowess, highlighted by flexible and stunning lighting schemes from neolight and Light + Design Associates.

PROJECTS 092 Elbphilharmonie, Hamburg Celebrating a marriage between the old brick block architecture of Kaispeicher A and the new undulating glass crystal sat on top, Ulrike Brandi’s lighting scheme is complementary and works with simple optical principles.

064 City of Dreams, Macau Maintaining a balance between sophistication and show business, illumination Physics’ impressive design and build of the City of Dream’s façade lighting adds to Macau’s already vibrant nightscape.

102 C3A, Córdoba Whilst maintaining its solid appearance, realities:united has transformed C3A artistic education centre’s façade into a striking light and media display, featuring innovative madeto-measure luminaires from Lledó.

074 Galaxy, Macau Following a two-phase expansion process, Macau’s Galaxy resort now boasts an exterior and interior lighting scheme of jaw-dropping proportions thanks to a collaborative effort from Creative Lighting Asia, Philips Color Kinetics and Francis Krahe & Associates.

110 Théâtre Sénart, Évry After winning the architectural competition to design Théâtre de Sénart, Atelier d’architecture Chaix & Morel et associés brought lighting designer Herve Audibert on board to collaborate on a dynamic façade scheme.

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[editorial] Paul James, editor, writes: There is no doubt that iconic cultural buildings contribute greatly to a region’s economy. Obviously the best example is Frank Gehry’s Guggenheim Museum, without doubt the main attraction of Bilbao, that has reversed the economic fortunes of the once struggling city to become a thriving tourist destination. In this issue we cover some more stunning cultural buildings that hope to reach iconic status and so put their cities on the map. Hamburg, Dubai, Córdoba and Évry all hope to benefit from the stunning new cultural centres that have been created in their cities. Of course, lighting design plays a huge part in the success of these buildings and we have covered the lighting schemes comprehensively in this issue. We hope you enjoy. • I am delighted to announce that, following the end of the voting period for darc awards / decorative, entries are now being accepted for the 2017 darc awards / architectural. The response to the awards programmes has been overwhelming with well over 500 entries across both the decorative and architectural categories. darc night / decorative, the awards event, will take place at Bloomsbury Ballroom in London on May 18th, with darc night / architectural at MC Motors in London on September 14th. This will be quickly followed by darc room at Victoria House in central London where we will be showing some of the darc night / architectural installations as well as lots of architectural lighting exhibitors (those confirmed so far include LED Linear, Linea Light, Reggiani, Soraa, Xicato, Filix, Lumenpulse, Astro, DARK, Enigma and Radiant Lighting). • Finally, it is with great sadness that we have to say goodbye to Assistant Editor Laurence Favager who is leaving us to pursue his career in the Big Smoke. We wish you all the best Laurence and thanks for all your sterling work over the last two years. As if to prove his importance to mondo*arc, we are replacing Laurence with not one but two new members of staff. Matt Waring will be joining us as Assistant Editor and Sarah Cullen is taking up the position of Editorial Assistant. I’m sure many of you will be seeing them at an event soon (in fact Matt will be at Lightfair International in Philadelphia) so please say hello.

#darcawards #darcnight #darcroom



Assistant Editor

Moses Naeem

Laurence Favager


Publisher / Editor Paul James Deputy Editor Helen Fletcher

David Bell Mel Robinson Zoe Willcox



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Damian Walsh

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Credit Control Lynette Levi

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news headlines darc awards / architectural open for entries

For the latest news stories, head online:

Lights in Alingsås announces 2017 theme

(UK) – Second darc awards / architectural invites international design community to enter architectural lighting products and projects.

(Sweden) – Peanuts company designs graphics for 2017 ‘Emotions’ theme. Read the full story online... 1

Contrac Lighting announce merger with High Technology Lighting (UK) – Anne Shone, Graham Kemp and Thomas Holgeth bring over 30 years’ lighting industry experience to new partnership. Read the full story online...



Samsung Electronics completes acquisition of HARMAN (USA) – Samsung acquires parent to Martin Professional – provider of lighting solutions for theatre and architectural applications – in $8b deal. Read the full story online... 4


PLDC international design ideas now open

CLUE competition winners announced

(France) – What will the cities of tomorrow look like? PLDC is calling individual lighting designers, architects and engineers as well as interdisciplinary teams to action.

(France) – Third edition ‘One For Light, Light For All’ receives over 331 project entries from 64 countries. Read the full story online...

Read the full story online... 6

(Norway) – Reflecting on decades of development, Glamox looks to the future and adjusting to new trends in lighting market. Read the full story online...

7 In pictures

the latest news online

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1 Visit to enter. 2 UK lighting providers officially merge businesses to create larger, more secure manufacturer, with over 100 years’ experience.

3 Graphics for this year’s Swedish festival. 4 Ten best submissions will be showcased 27 October – 05 November in designated Paris showrooms. 5 Technology giant sees IoT as a part of its future business strategy. 6 First Prize – Collective Polyphony, Andras Dankhazi (Ireland). 7 Glamox production in 1949.

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eye opener TOKUJIN YOSHIOKA x LG : S.F_Senses of the Future Milan, Italy For this year’s Milan Design Week, Tokujin Yoshioka showcased the exhibition TOKUJIN YOSHIOKA x LG : S.F_Senses of the Future. Yoshioka is especially renowned for his poetic designs based on groundbreaking experimental techniques as well as for his ability to reflect the beauty of nature and the complexity of human senses in the mediums of design, art and architecture. Under the theme of Science Fiction, a large-scale light installation was created with Yoshioka’s new work S.F chair. S.F. (Sci-Fi) is an expression used to represent Science Fiction’s imaginative concepts of science, technology, space or life, and commonly known around the world in the form of films, novels and comics. This ingenious installation combines OLED lighting technology from LG with the unique artistic vision of Yoshioka. It projects a poetic phenomenon that can only be described as a tapestry of light: a truly futuristic dimension that confounds and transcends the human senses.




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

Pic: Courtesy Jenny Sabin Studio

MULTISENSORY ENVIRONMENT Lumen by Jenny Sabin Studio has been named the winner of The Museum of Modern Art and MoMA PS1’s annual Young Architects Program. Opening on 29 June in the MoMA PS1 courtyard, this year’s construction is an immersive design that evolves over the course of a day, providing a cooling respite from the midday sun and a responsive glowing light after sundown. Drawn from among five finalists, Jenny Sabin Studio’s Lumen will serve as a temporary urban landscape for the 20th season of Warm Up, MoMA PS1’s pioneering outdoor music series. Lumen will remain on view through the summer. Now in its 18th edition, the Young Architects Program at The Museum of Modern Art and MoMA PS1 has offered emerging architectural talent the opportunity to design and present innovative projects, challenging each year’s winners to develop creative designs for a temporary, outdoor installation that provides shade, seating, and water. The architects must also work within guidelines that address environmental issues, including sustainability and recycling. With lighting design from Jeffrey Nash and made of responsive tubular structures in a lightweight knitted fabric, Lumen features a canopy of recycled, photo-luminescent,

and solar active textiles that absorb, collect, and deliver light. A misting system responds to visitors’ proximity, activating fabric stalactites that produce a refreshing micro-climate. Socially and environmentally responsive, Lumen’s multisensory environment is inspired by collective levity, play, and interaction as the structure and materials transform throughout the day and night, adapting to the densities of bodies, heat, and sunlight. “The Young Architects Program remains one of the most significant opportunities for architects and designers from across the country and world to build radical yet transformative ideas. This year’s finalists are no exception; their projects illustrate a diversity of approaches and refreshing ideas for architecture today,” said Sean Anderson, Associate Curator in MoMA’s Department of Architecture and Design. “Jenny Sabin’s catalytic immersive environment, Lumen, captured the jury’s attention for imaginatively merging public and private spaces. With innovative construction and design processes born from a critical merging of technology and nature to precise attention to detail at every scale, Lumen will no doubt engage visitors from day to night in a series of graduated environments and experiences.”

Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large added, “In its 18th iteration, this annual competition offered jointly by the Architecture and Design Department at MoMA and MoMA PS1 continues to take risks and encourage experimentation among architects. Jenny Sabin’s Lumen is a socially and environmentally responsive structure that spans practices and disciplines in its exploratory approach to new materials. Held in tension within the walls of MoMA PS1’s courtyard, Lumen turns visitors into participants who interact through its responsiveness to temperature, sunlight, and movement.” The other finalists for this year’s MoMA PS1 Young Architects Program were Bureau Spectacular (Jimenez Lai and Joanna Grant), Ania Jaworska, Office of III (Sean Canty, Ryan Golenberg and Stephanie Lin), and SCHAUM/SHIEH (Rosalyne Shieh and Troy Schaum). An exhibition of the five finalists’ proposed projects will be on view at The Museum of Modern Art over the summer, organised by Sean Anderson, Associate Curator, with Arièle DionneKrosnick, Curatorial Assistant, Department of Architecture and Design, The Museum of Modern Art.

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[drawing board]

Illustrations: MIR kommunikasjon/Kleihues + Schuwerk/Statsbygg

TAKEN TO NEW LEVELS Located in Oslo, Norway, the new National Museum of Art, Architecture and Design will be on two levels. The location of the museum will provide a clear boundary between the square in front of the City Hall. The building will create an elegant transition between the new area of the city and the older city centre, without competing with the City Hall and respectfully bows to the historic buildings along the waterfront. The large building exudes a quiet dignity, reflecting the institution’s role in society. On the second floor, visitors will enter the magnificent Alabaster Hall, the space for temporary exhibitions. This hall will be a key element in the new museum’s

architecture. With its ceiling height of approximately seven-metres, an internal area of 2,400m2 and masses of filtered light, it will provide a unique sense of space. The Alabaster Hall is a space in which the museum will be able to display exhibitions of a size that have hitherto been impossible, due to the limitations of the old buildings. The semitransparent front panel of the wall will be made of 70% recycled glass that is partially melted down and mixed with new glass to give it a feeling of depth and structure. The wall itself will be one-metre thick and includes internal walkways, ventilation, and a large amount of LEDs. These will light up the entire wall during

the evening and night. The building itself is large and monumental, but the architects, Kleihues + Kleihues, vision is it should not be perceived as being massive or overstated. This will allow it to align itself with other surrounding buildings such as the City Hall and Akershus Fortress. Thus, the main identifying feature of the building will be the Alabaster Hall. Currently, the specific design for the Alabaster Hall is being developed and tested with a mock-up being produced in Germany at Roschmann, and the museum will open in the summer of 2020.


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The latest projects with the wow factor from around the world.

Pics: Wiktor Skupinski

SKIPPING STONE The George C. King Bridge by RFR Paris forms the connection between the newly developed 31-acre recreational park on St. Patrick’s Island with Calgary’s East Village and it’s Bridgeland-Riverside community. In response to the ebb and flow of the Bow and Elbow Rivers beneath, Speirs + Major has designed a gentle but constantly animated lighting scheme, enhancing the multi-sensory experience of crossing the river. Known as the ‘skipping stone’ bridge, the treble arch construction was conceived as both a crossing and a destination in itself. Traversing pedestrians are encouraged to observe and appreciate the dynamic surrounding landscape and the views to the downtown Calgary skyline. The lighting design makes use of abstracted and exaggerated footage of the bridge’s own natural surroundings to heighten the experience of the surrounding landscape for pedestrians who cross after natural light has faded.

On the bridge deck, lighting has been provided by a series of vertical elements elegantly detailed into the pedestrian level balustrade. This solution combines the visual connection of a safe and approachable space with clear expression of the structure and plenty of space for uninterrupted views out. Standing on the bridge at night is a unique experience. The views, smells, sounds and vibrations of the fast flowing water, rustling grasses and foliage activate and invigorate the senses. To intensify these sensations, the bridge deck lighting is animated with a series of four preprogrammed rhythmic scenarios. Based on pixelated graphic representations of light in the natural landscape, these scenarios include the sparkle of sunlight on water, the blowing grass reeds, the waving leaves and the scudding clouds across landscape. Each scenario informs adjustments to the intensity of each of the individual lights in the balustrade structure, creating light

ripples and patterns across and along the deck. They run on the quarter hour, with a break at the transition, at which point the animation is derived from a series of ten movies of natural lit phenomena from the Bow River area. To create the nighttime image of the bridge, Speirs + Major developed a unique approach: to ‘float’ the structure over a bed of blue light. By reinforcing its elegant horizontal nature, this design grounds the structure, while remaining highly visible from a distance. A distinctive tableau is created, with an intense stripe of white light contrasting with the soft blue below. The reflection of the blue light from the river onto the underside of the bridge, allows natural seasonal changes to the water, ice, and ice vapour to create subtle and beautiful alterations to the appearance.

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Pic: Paul Reed

LIGHT IS HOPE Light Lines in Barnsley by musson+retallick has been selected as a Civic Trust Awards Winner for its success as a Somme memorial artwork. With the awards set up to recognise excellence in architecture, this installation is an unusual case of a small scale project being recognised alongside major architectural schemes. Hailed by the judges as “an excellent grass-roots public art project with special significance for the commemoration of the Somme; Beautiful, poignant and relevant”, Light Lines is a commemoration of the 300 Barnsley soldiers who fell on 1 July 1916 - the first day of The Battle of The Somme. Commissioned by Barnsley Council, it connects past and present by taking the idea of a line as both a timeline and symbol of hope - the ray of light being the generational legacy of those who gave their lives. LED lit acrylic panels were developed by musson+retallick and etched by cutlasercut following extensive archive research of soldiers’ photographs from

original 1916 newspapers. Workshops with 300 school children resulted in small cast objects that freeze a sentimental thought in time. Each object has become a medal for a soldier from the same post code area as the child. The installation respectfully revives historic stories while linking them to a new 21st century generation; The story of war becomes personal through objects that symbolise our need for the familiar, the sentimental and the precious connections between family and friends. The artwork stood outside Barnsley town hall from 1 July to 18 November 2016 - the dates of the battle 100 years earlier. For that moment those soldiers once again appeared in their home town and were remembered and respected by their local community. Discussions are now underway regarding a permanent installation of the artwork.




SOLAR SHOPPING At over 1 million sqft, the Kingfisher centre in Redditch is an old, sprawling and complex shopping centre near Birmingham. It undergoes a fairly regular and constant stream of refurbishments as each successive area becomes worn or tired. This particular project involved the refurbishment of the lighting in the Atrium, Market Square, Walford Walk and New Walk areas. The brief was to “enhance, update and refresh”. Elektra wanted to create a destination where people wanted to come, would talk about and would give character to the space. With this in mind, the Elektra team came up with the sun - a massive, shifting, animated feature on the walls of the atrium, enhancing and defining the space. Shoppers

bathe in its light and gain reprieve during cold, dark winter months. The sun is extended across the atrium by the use of custom linear luminaires (not RGB, but custom made RRY, (red-redyellow) allowing it to match the flickering solar flares as they dance across the surface and cascade out to the perimeter. The centre also boasts the largest extant mosaic by Eduardo Paolozzi, which was previously unlit and now stands out like a beacon of beauty. Inspired by the local, historical needle manufacturing industry Elektra developed the theme of the circles and lines to continue the “needle and thread” motif. Both shapes already featured in the Paolozzi artwork.

In the long mall adjacent, the linear lines and circles of the Paolozzi are extended out but given a more conventional interpretation as profiles with circles. The lighting here is matched to daylight – cool white in the morning, then turning to sunset colours in the evening as the sun starts to take over. A night time and function scene in striking blue colour gives a night-time feel to the space and a sense of mystery. The owners, Capital and Regional, are overjoyed. “Amazing, magical and aweinspiring,” commented Damian Macpherson, Head of Capital Projects, whilst the centre manager described it as an “astonishing improvement”.

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[spotlight] ODE TO NATURE Miguel Chevalier has created three monumental installations, especially for the Jing An Kerry Centre in Shanghai, that are an ode to nature, announcing and celebrating the arrival of Spring. Digital Water Lilies is a new site-specific virtual interactive garden that comes alive after sunset on the Piazza of the Jing An Kerry Centre, next to the former house of Chairman Mao. It’s a lush parterre of flowers and different varieties of luminescent plants. In this garden Chevalier has included some varieties of flowers rich with symbolism and good auspices during the Spring in China, such as African lilies, Orchids, Camellias and Peach Tree flowers. Flowers appear randomly, come to full blossom and fade away, only to be reborn again. The garden renews itself time after time, constantly changing and flourishing into its summer glory. As visitors walk around the 600m² flower carpet, the garden senses them and shifts around them with the flowers opening up paths of discovery. As a new form of Digital Impressionism, the title and the cosmic sensibility of the work play homage to Monet and his research on light, seasons and nature. The second installation, Trans-Natures transforms the Jing An Kerry Centre tunnel into a lush 360° garden of mysterious arborescence, hiding and revealing flowers which generate a symphony of luminescent forms and colours. Trans-Natures announces the revival of nature. The stationary frescos on the walls are accompanied by four interactive virtual flowerbeds projected on the ground thus creating a fully immersive sensation. The last installation, Dreamed Gardens transforms two of the glass bridges at the Jing An Kerry Centre into huge coloured stained glass windows, rich with translucent imagery. During the day, the soft light and richness of colour creates a magical environment reflected on the floor and ceiling and embracing visitors. Chevalier’s immersive environments place visitors at the heart of a reinvented nature, an intriguing and poetic botanical universe, a place between dreams and reality. His installations surprise us by creating a new poetic relationship between art and vegetation, and recreating the conditions of symbiosis between humankind and this reinvented nature.

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ENDLESS EXPRESSION To adapt to changes in the live theatre market, the 1800-seat Toronto Centre for the Arts has been divided into two venues: a 300-seat black box theatre and a 574-seat proscenium theatre, with the main (Lyric Theatre) stage renovation being designed by Diamond Schmitt Architects (DSA). Created by Eventscape, chevron-shaped fabric panels on a structural steel and tubular steel support system form the curved perimeter of the larger Lyric Theatre. With input from Ion Luh, lighting designer with CEL Consullux Lighting Consultants, programmable LED lights enhance this bold geometric pattern to allow for new forms of creative expression that can envelope the entire room in colour wash and movement in response to the dramaturgy. The lighting of each chevron panel can be controlled separately and presents infinite possibilities of expression. The acoustical inner shell consists of 172 fabric-covered chevron elements mounted on a metal strut framework. The original walls are up to 20ft behind this framework.

The fabric had to be acoustically transparent and either printable to get the colour that DSA wanted, or dyed the colour the team wanted. The poplin material selected has been stretched to fit within the metal frame and can be removed in order to access the LED. Within each chevron, a strip of RGB colourchanging LEDs functions as a series of programmable pixels. GVA Lighting supplied the modular LED lighting system featuring 18 mid-power LEDs per 300mm strip for even illumination. With the LED pitch maintained within and between strips to prevent dark spots, adjustable mounting brackets on the 1-inchwide strip permit aiming between 0-90° degrees in 10° increments, for precise control of the lighting effect. No diffusion is required in front of the LED strip, aside from the fabric on the face of the chevrons. Depending on its size, there are from two to eight LED strips laid end-to-end in each chevron to maximise the horizontal distance filled with light, which are driven off 380V

DC. At eight locations around the room behind the inner shell, the distributed DC goes into a power-data combiner with DMX and then the power and data signal are sent on three wires down the strings of LEDS This system can be programmed both as ambient and thematic lighting, as well as with video, In total, there are 880 pixels in the 170 chevrons, with the longest lines being 50 pixels long. The chevron idea is firstly a visual design element but it also contains the main acoustic treatment for the room, where the backs of 40% of the chevron boxes are reflective, sending sound back to the audience and 60% are transparent, dampening the sound energy by carrying it into the void of the existing theatre shell behind the chevron panels.

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Architect : Concept Consult Architects Switzerland | Scenography by Tinker

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[briefing] Rune Marthinussen, CEO of the Scandinavian group of companies, Glamox, discusses its business strategy moving forward and looks back at 70 years of history. What is your role in Glamox and how did you get there? I have been leading Glamox for almost two years now. With a mechanical engineering background, I started my career as a development engineer building subsea oil production systems at Kvaerner. I worked almost fifteen years for Kvaerner and as my last assignment was running the thermal power division. In 2003, I started as MD in Titech a leading supplier of sensor based automatic sorting machines for recycling plastic and paper. The company was acquired by Tomra, and the business was expanded globally through strong organic growth and key acquisitions to become one of two divisions in Tomra. It was probably my international industry experience that earned me the CEO position in Glamox. This year Glamox celebrates its 70th anniversary. Can you give us a history of the company and how it all began? Glamox was founded in 1947 by the Norwegian civil engineer and entrepreneur Birger Hatlebakk. Hatlebakk is known for inventing the “glamoxation” process, a method for electrochemical surface treatment of aluminium. This process allowed Hatlebakk to use an inexpensive type of aluminium to create energy efficient luminaires that emitted a pleasant light. The invention proved to be a crucial asset for many years to come. In the following years a number of successful lighting products were developed, and a purpose-made factory was built in Molde, Hatlebakk’s home town. Since then, Glamox has expanded its business throughout the Nordic and North European professional building market, and we are recognised as one of the leading companies within this market. We made luminaries for fishing boats as early as the 1960s, and we started deliveries to the offshore industry in the ‘70s. Our marine and offshore business now has a global reach and we are covering a wide range of applications in the cruise, navy, commercial and offshore segments. Today, Glamox has 1300 employees with operations in 60 countries. I find Glamox a great place to work. We have dedicated and skilled employees in all parts of our organisation. The Glamox Group owns a range of lighting brands. What are they and what markets do they service? Currently we offer six product brands targeting different needs in the market. Glamox is a leading lighting brand for professional markets, onshore and offshore. The rich assortment of Glamox products is available for a wide range of applications – including challenging environments. The Luxo brand comprises mainly arm-based innovative, ergonomic lighting products. Luxo products improve lighting conditions, taking particular care of individual needs. Norselight is a world name for search light systems that work reliably under extreme conditions, adding to safety and security at sea. Aqua Signal has been delivering marine lighting solutions since before the age of electricity, providing lighting products designed and manufactured to meet all relevant standards for quality and performance at sea. The Høvik Lys brand represents lighting products made with high quality materials and with exclusive finishing details that grace elegant buildings and vessels with their pleasant light.

LINKSrechts offers a comprehensive range of naval LED lighting systems, including design, integration and programming. The product range consists of specialised lighting products for all naval applications, including naval aviation. You acquired Luxo in 2009. What was the strategy behind that decision? Luxo was, and still is, a well-established and reputable brand. The acquisition gave us better access to parts of the market, and products that complimented the portfolio we already had. Are there more acquisitions to come? In 2015 Glamox acquired the Dutch company Bell Licht. Bell Licht had at the time been responsible for sales and distribution of Glamox products for more than 30 years. German LINKSrechts was acquired in 2016. LINKSrechts manufactures advanced LED-lighting systems for the navy industry worldwide. This goes to show that we are always interested in strengthening our position both when it comes to markets, products and technology. What is the strategy of Glamox going forward - particularly relating to LED and control? Since 2012 we have almost exclusively been developing LED products. The LED share is increasing and now constitutes more than 80 % of the turnover in some markets. Glamox has been supplying lighting management systems for some time, but we expect that Light Management Systems (LMS) will make up a larger part of our deliveries in the years to come. LMS offers our customers an opportunity to reduce energy consumption and at the same time increase comfort and productivity. Human Centric Lighting (HCL) is also a technology of high interest to us. We believe that HCL can improve health and wellbeing in institutions as well as workplaces. Glamox has in recent years supplied HCL lighting to several schools and health institutions, and we are also engaged in scientific research on this topic. How do you see the lighting industry developing in the future? We currently observe a consolidation process in the lighting industry. At the same time we see new companies entering the market with interesting value propositions and business models. In the aftermath of the LED transitions, we see a whole range of new opportunities appearing as different technologies converge into new lighting applications and services. Connectivity, Light Management Systems, Internet of Things are buzz words today, but they will change our lives and the industry in the future. What do you do outside lighting? I enjoy biking in the summer and snowboarding during the long and fantastic Norwegian winter. However, my biggest dedication outside Glamox is big band jazz music. I have played trombone since I was a kid and played the bass trombone in Røa Storband (Big Band) since 1994.

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Working with the aesthetic and technical parameters of the lighting design profession, Lighting LAB.1 is a design office that aims to create sustainable lighting systems in buildings, dealing with artificial lighting, natural lighting and energy efficiency together in its projects.

ASTANA EXPO 2017 DAYLIGHT ANALYSIS ASTANA, KAZAKHSTAN The building, which is built by Sembol Construction for the Expo 2017 to be held in the capital city Astana, consists of a sphere measuring 80-metres in diameter. Lots of activities and exhibitions will be organised in this huge eight-floor building surrounded entirely by glass. After Expo 2017 the building will be rearranged for the public and commercial use of an Astana. LAB.1 has performed an annual daylight analysis to see the effect of daylight within the building. The study was realised in three different stages. Firstly, external illumination calculations were carried out for the representative dates. Then detailed calculations made for the most sunny month of July, with detailed analysis of all the exhibits. At last, annual daylight calculations were made for all floors to analyse the general daylight levels.

ASHGABAT INTERNATIONAL AIRPORT TERMINAL ASHGABAT, TURKMENISTAN Constructed by Polimeks in Turkmenistan’s capital city, Ashgabat International Airport is one of the biggest projects in the country. The Airport Complex consists of 266 buildings with different functions and constructed on the site area of 12 million m2 including 2.5 million m2 area of runways, taxiways and aprons. In the main terminal building, the lighting

design has been handled together with the interior design, and each light fixture has been placed as an integral part of the space design. The lights that were used in the building are not just technical products that illuminate the place, but the ceilings in the interior were created with these lights. The general atmosphere is created with homogenous lighting for the comfort of the

passenger. The building has a huge bird shape so the façade lighting was designed to emphasise this extraordinary architectural form. While the LED up-light projectors on the entrance canopy illuminate the two wings homogenously, the linear lighting fixtures integrated on the front façade imitates a bird’s flapping motion.



Pics: Studio Majo, Faruk Uyan

Architecture: The Factory Complex was built in 1933 by a group of Russian architects in Kayseri. After its shutdown in 1999, the industrial complex, consisting of the buildings which are unique examples of Russian Constructivism, has been left abandoned in the city until it was consigned to a university to be transformed by Emre Arolat Architecture (EAA) into a new campus with educational and administrative facilities. The transformation of the existing buildings was driven by an approach that is aiming not to alienate them by rendering them untouchable nor to over-intervene and damage the existing character. Since, the new university building has an exposed architectural style, in which the

lighting design concept was also created to reflect this language. While the lighting system fulfills its functional requirements, it dramatically exposes the building’s architecture to the users, whilst at the same time makes itself observable as a part of the architecture. All of the lighting products in the new building seem to have disappeared because they fit seamlessly into the architecture’s style, even though they have been installed totally naked and unhidden. Due to the building’s large glass façades, interior lighting seen from the outside has become the main part of the nighttime façade lighting design. This ‘self-lighting’ language emphasises the life and the activity inside the building.

MUSEUM & LIBRARY BUILDINGS OF PRESIDENCY OF THE REPUBLIC OF TURKEY KAYSERI, TURKEY While the AGU building’s transparent façade is historic and modern, the museum and library buildings’ are opaque and old. So LAB.1 designed a homogeneous lighting system to illuminate the opaque surfaces of the façade. Due to the exposed interior architecture, the lighting system was designed to exhibit itself. Luminaires are on show, becoming elements of the interior architecture. With this, users establish cause-effect relations, highlighting the value of lighting design in architectural design. LAB.1 also conducted a daylight analysis of exhibition areas, determining the specification of films for the windows to make the interior darker for the projection systems.

Pics: Emre Arolat, Faruk Uyan

LIGHTING LAB.1 The design office was founded by Faruk Uyan (Msc. Architect) in 2015 with ten years‘ experience in lighting design. The office’s working areas are: lighting design, daylight analysis, energy consultancy, R&D studies in lighting and custom lighting product designs. In addition, the designers are preparing various research publications and making informative presentations at universities or conferences to contribute to the development of the profession. Lighting LAB.1 is mainly involved in projects

in Turkey, the Middle East, Russia and Asia. OFFICE LOCATION: Istanbul, Turkey. CURRENT PROJECTS: Astana Expo 2017 Daylight Analysis, Kazakhstan; Hilton Hotel Erbil-Iraq; Akbank Conference & Wellness Center, Izmit-Turkey; Istanbul Landwalls Masterplan Project, Turkey; Empera Headquarter Building, Gaziantep-Turkey; Private Residential Villa, Erbil-Iraq.




Domingo Gonzalez (left) and AC Hickox (right) analyse drawings in their New York City office.

PATHS TO SUCCESS Maintaining a mix of public and private commissions, Domingo Gonzalez Associates balances its workload to achieve a practice that creates memorable projects and challenges for a talented staff. Vilma Barr caught up with DGA President Domingo Gonzalez and Vice President AC Hickox to talk educational nurture and the paths to becoming an architectural lighting designer.

Domingo Gonzalez and AC Hickox share leadership of New York City-based Domingo Gonzalez Associates (DGA), now in its 32nd year as lighting design consultants. Both principals are a study in contrasts, as is their firm. Gonzalez studied and practiced architecture; Hickox was a theatrical lighting designer. Their bright and airy top fifth floor studio is located in a modest vintage building on Park Place in the city’s financial district where a visitor has to look closely not to miss Number 25. They credit a mix of public and private sector commissions as one of the reasons that their firm has grown to its current number of 20 designers and support staff who are involved in numerous projects around the country. “Both of us have been through a number of recessions in our careers,” says Hickox. “We consciously work to maintain a diverse practice and project mix,” she points out. “While we have most often been associated with high-profile public sector commissions, we welcome private sector projects by taking on just about any and all opportunities that land on our front door.” “Quite frankly,” Gonzalez indicates, “when we are asked, ‘Can you help us with this?’ we say, ‘Yes, sure.’ We’ve found that our ability to say ‘yes’ has made for very interesting experiences that have been rewarding over the years.” Their primary practice areas are education, transportation (Hickox is a long-time train buff), historic preservation (a favorite of Gonzalez), corporate, and landscape

projects. “When examining possibilities on any complex project, there is a certain amount of drilling down that we often have to do,” Gonzalez believes. ‘‘In many ways, the right lighting solution starts with familiarising ourselves with the project typology. This strategy explains our interest in understanding why and what is most appropriate to a given kind of project. Simply stated, the way we approach a school is not the way we address an airport. The way we approach a hotel is not the way we plan for a library, or a medical project,” he explains. ‘‘The final product is often a result of this investigation, combined with an understanding of technique, technology, sustainable goals, budget, and identifying the owner’s particular interests.” Hickox had been a theatrical lighting designer before joining DGA in 1999. ‘‘I grew tired of solving the same stage lighting problems over and over,” she states. As a result of this, she decided on transitioning to architectural lighting design and accepted Gonzalez’s offer to become a fulltime member of DGA. “As an architect-led firm, we have a deep interest in buildings and how people will experience the lighting in those buildings,” Hickox points out. “We are very architecturally focused, individually and as a firm,” she says. “Domingo and I have a similar problem-solving approach even though we have very different backgrounds. We both want to understand a project’s constraints and use those constraints as

jumping off points for problem solving,” she notes. “Within our body of work, we do have our technical side. But we pay a lot of attention to understanding the character and identity in a project that is not only appropriate in expression but also wonderful to experience.” Gonzalez has long been fascinated with the many paths leading to becoming an architectural lighting designer. “Educational programs in architectural lighting design were quite unknown to me when I was starting out in practice 38 years ago. At that time,” he explains, “there were no front doors to architectural lighting…there were only back doors and side doors. Today, because of excellent educational programs such as those at Parsons, Penn State, and the Lighting Research Institute at RPI as well as several programs in Europe, there are now many front doors where young people can actively pursue their interests in this field that weren’t available before.” Hickox agrees that the firm’s staffers who are trained as architectural lighting designers…‘‘can really perceive light, and apply it to their projects. Our staff is the best! We have a remarkable group of dedicated lighting designers who can problem-solve, render, calculate, illustrate, and detail. Domingo and I have worked very hard to provide opportunities that nurture a very fine group of excellent professionals.” Gonzalez enthusiastically agrees: “Our interns are fabulous! We have a core group of interns, many of whom started while still in high school. One young lady interned for



“As an architect-led firm, we have a deep interest in buildings and how people will experience the lighting in those buildings.” AC Hickox, Vice President

Pic: Joseph Romeo

five years here when in high school, and then went on to study at Cooper Union. She stayed with us for a year afterwards as a junior designer, and then went to Harvard. One of our current interns joined our firm while in high school and is now in his fourth year of architecture school. We like to consider local colleges in our region so these students can work with us in the summers and over winter break.” DGA is also involved with intern programs around the country, having hired students from Northeastern University in Boston, which has a cooperative school/work program. Staff participation in every aspect of the design process is a critical part of DGA’s project approach. “We try very hard to not pigeon-hole people,” Gonzalez comments. “We will play to their strengths, of course. However, we want everyone to become highly skilled practitioners so they can advance to larger projects and management roles. Our ultimate goal is to cultivate a very strong cadre of well-rounded,

ambitious designers.” Senior designers actively engage with clients during the course of a project. “We are normally there just as back-up,” says Hickox. ‘‘When they need reinforcements, they are free to call Domingo or me. They know they have the ability to handle all phases of the project, win the award, and are responsible to keep the firm moving forward,” she relates. “Much of my time is spent making sure that the staff is properly supported, and that impeccable documentation is executed.” DGA has created an in-house training program that Hickox describes as robust. “With all of the changes in technology— from conventional legacy lighting sources giving way to LEDs to wireless controls and the on-going evolution of energy codes— there is a tremendous need for continuing education,” she states. “We sponsor brownbag lunches to understand such factors as optics that are changing with the new technology on the market. So we all have a


Pic: John Bartelstone

Pic: Bob Schatz

lot to learn.” Such ongoing support prepares staffers to maintain involvement with the firm’s often challenging, long-term large-scale projects. Over the years, DGA has completed more than ten million square feet of corporate offices, numerous historic restorations, plus several bridges, schools, and public sector projects that can extend into decades. The firm began work on the 85-acre Brooklyn Waterfront Park in 2003 and is still in the process of a phased completion. The Hyatt Times Square Hotel, which underwent several operational changes, took seven years before opening. The East Side Access project started in 2000 and won’t open until 2019. The re-lighting of Bryant Park in Manhattan extended from 2005 to 2013. DGA designers bring a very active participation presence to the design process. “We are relatively fearless when it comes to generating ideas, and speaking up on the merits and challenges of certain approaches,” Gonzalez affirms.

Pic: Matthew Carbone

“We appreciate being engaged in projects from the beginning. We offer expertise and opinions to realise the lighting potential.” A favorite DGA technique is helping clients to understand a project by generating multiple options, sometimes well over a dozen. He cites the belief that there is not one answer to solving a problem. “Discussion of the alternatives for lighting opens a productive dialogue about what is good, better, and best…examining the costs, constructability, procurement, and other factors so the client can make better decisions. Mock-ups are a critical part of this process in helping them, and us too, to better visualise final results.” Current projects include finishing touches on NYC’s Second Avenue Subway, now carrying passengers after 156 years of planning, designing, modifying, and updating the design, followed by years of construction. The lighting program included lighting for all four stations plus illumination for the art works in the line’s

Left Hand Page (Top) Dulles Corridor Metrorail System. Station spaces are characterised by uplighting of architectural surfaces, yet designed to meet rigorous criteria and energy-use requirements. (Bottom) Joie De Vivre sculpture by Marc di Suvero located at St. John’s Rotary at the New York exit of the Holland Tunnel (the sculpture has since been moved to Zucotti Park). Top Left New York City’s Second Avenue subway lighting scheme includes illumination of all four stations as well as art work found throughout. Top Right Consisting of a flood-lighting program for all four Holland Tunnel Vent Buildings situated in New York Harbor, DGA designed a distinctive approach defining the buildings as striking visual components of Hudson River waterfront. Above Left In 2014, DGA began collaborations with Civic Engineering to develop a lighting solution for the existing Korean War Veterans Memorial Bridge in Nashville. DGA’s scope included the development of alternative DMX driven / colour changing LED bridge lighting options, appearing to the public in July 2015. Above Right Nashville’s West Riverfront Park is a 18.5-acre site including a 12-acre park and 6.5acre riverfront area in the “South of Broadway” neighbourhood. DGA created sustainable lighting design guidelines and master plan documents for the waterfront esplanade, park walkways, 1,000-person ampitheater, and public restrooms / amenities.



“Astonishing. Usable innovation in lighting used to occur once every 24 months. Today, it’s more like once every 24 weeks, or even 24 days.” Domingo Gonzalez, President



Left DGA’s scheme for DSNY Manhattan 1, 2 and 5 Garages met LEED Gold compliant initiatives, while maintaining elements required for operating a sanitation building. Below Starting in 2004, DGA’s role as lighting designer has helped transform 85 acres of Brooklyn’s pier district into a new waterfront park system. Mindful of residential properties, the lighting preserves nighttime views of Manhattan from the Promenade. BBP is the first park in the US to utilise park-wide metal halide dimming.

HIGHLIGHTS Projects you’d like to change: DG: George Washington Bridge Tower floodlighting, which utilised metal halide sources. Changing the metal halide to RGB or RGBW LED sources would result in power and maintenance savings, and the ability to modulate (via wireless DMX) the bridge’s presence on a seasonal, nightly or even hourly basis. AC: Second Ave. Subway, to LED sources from its linear fluorescent basis. In design since 2001, the timing of the stations’ opening conspired to preclude adoption of appropriate LED luminaires.

Pic: Esto

Projects you admire: DG: The work of James Turrell and Olafur Eliasson. AC: Projects where it’s evident that the designers overcame difficult odds to produce beautiful results. Projects you dislike: AC: Projects where circumstances conspired to thwart our best efforts. Examples include where there hasn’t been time to incorporate late-breaking concepts or emerging technologies, and where toolate procurement of fixtures and equipment led to unfortunate cost-cutting decisions on the part of the owner, compromising the design vision. DG: Projects where there was never enough time initially to do it right, but mysteriously always enough time to do it over afterwards.

Pic: Julienne Schaer

stations, commissioned by the Metropolitan Transit Authority’s Arts and Design Division from such notable artists as Chuck Close. Other current projects include the upgrade of the c.1919 Brooklyn Army Terminal by famed architect Cass Gilbert who also designed the Woolworth Tower. Other assignments include upgrades to La Guardia Airport, and projects in Washington, D.C., Florida, Tulsa, Burlington, San Antonio, and several large-scale park projects in Chicago. Sustainability is a large part of the DGA process. All DGA staffers realise the importance of sustainability and most are accredited. According to Gonzalez, the sustainability movement has provided a common language to help designers to educate their clients and has propelled the evolution of code updates. As for the advancements coming thick and fast in LED, he calls it “astonishing. Usable innovation in lighting used to occur once every 24

months. Today, it’s more like once every 24 weeks, or even 24 days.” Gonzalez cites one important tenet of good lighting that hasn’t changed is to create outstanding lighting installations based on the principle of simplicity and consistency of elements. “It’s like cooking…making a fabulous meal out of very few ingredients. I like to think that everyone’s mother had this sort of talent (mine certainly did).” In his estimation, a true test of lighting skill is the designer who can work with anything that is dependable and produce excellent results. “Consider the subway projects we completed for Second Avenue that relied on just two types of fluorescent lamps. Despite this apparent limitation, the result has drawn considerable praise, and has become a source of inspiration for the firm’s future. Everyone shares in its success.”

Lighting hero: DG: Carl Hillmann, Seymour Evans and Donald Leithauser Sr. They were patient with a rather brash, outspoken young man, teaching me to be grateful for the assistance we get, and that there is something to learn everyday. AC: My teachers who helped me extend my love for the evocative power of light to effective use of lighting tools and the collaboration that makes projects great. These same individuals taught me how to see limitations as opportunities. Notable projects: George Washington Bridge Second Avenue Subway Dulles Corridor Metrorail System / WMATA Silver Line Fiterman Hall at BMCC Korean War Veterans’ Bridge DSNY 1-2-5 and Salt Shed  Most memorable projects: East Side Access Thurgood Marshall Courthouse Bloomingdale Trail / The 606 West Riverfront Park West Side Ferry Terminal Maggie Daley/North Grant Park Current projects 42 Trinity School All Aboard Florida - Brightline Brooklyn Bridge Park I20 / I59 Bridge LGA Delta Terminal New NY Bridge Toronto Union Station

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CREATIVE, CURATED LIGHTING EVENT An exciting new lighting specification exhibition has been launched in the UK as part of the London Design Festival. darc room is brought to you by the publishers of mondo*arc and creative consultants Light Collective and promises to change the UK lighting exhibition landscape. According to mondo*arc’s 2017 International Lighting Design Survey there are now over 100 lighting design practices in London alone. These account for half the UK’s total of lighting design practices. And that’s not to mention the thousands of interior designers and architects that are based in the UK’s capital and beyond. The vast majority of these designers not only specify in the UK but have a significant portfolio overseas. This makes London the capital of international specification but designers are notoriously busy with little interest in going out of central London to visit a lighting exhibition. To appeal to all types of designers in London and further afield darc room will take place at B1, a unique 22,000 sqm space in Victoria House in Holborn, central London, from September 21st - 23rd 2017 during London Design Festival. This will follow darc awards / architectural which takes

place at MC Motors in Dalston, north London on September 14th. The light installations specially created for darc night, the awards event, will be transported to darc room to create a a wow factor previously unheard of at UK lighting exhibitions. Being part of the London Design Festival has an obvious advantage to a standalone show in that the city is already buzzing with designers who are looking for inspiration and who set aside time to leave their studios knowing there is so much to see. darc room will operate on five guiding principles that gets the best out of a lighting exhibition… EXPOSURE Product will be exhibited in pods in a pared down way that allows visitors to understand the manufacturers’ offer and how each specific tool for lighting design works. DEVELOPMENT Education will be a big part of darc room,

both in the way products are displayed and in the conference program. PROCESS Light installations from darc night, the darc awards event, show the actual use of architectural product. FOCUS To complete the gallery experience there will be a Gift Shop space where manufacturers’ literature is located for collection by visitors after walking through the exhibition. STOP BATH A cafe and bar space spectacularly lit and decorated by a picture gallery of all the winners from the 2017 darc awards / architectural and darc awards / decorative. Those interested in participating should contact Paul James, publishing editor, on





T Galleria’s vast atrium space receives up to 16,000lx of daylight through a curved glass roof, meaning the ground floor woman’s shoes department display was in danger of appearing like a cave. In order to avoid this and to attract attention, artificial ligting intensities double during the day, whilst at night less light is needed to cross the significant contrast threshold.

SCALE, AUDACITY, INNOVATION Embracing the incorporation of daylight in the overall visual atmosphere of T Galleria’s vast retail expanse, Lichtkompetenz has developed a lighting scheme that uses urban planning priniciples of vistas and landmarks to give the sophisticated department store a residential feel.

City of Dreams is an entertainment resort, leisure and entertainment destination located on the Cotai strip in Macau, China. Developed, owned and operated by Melco Crown Entertainment (MCE) the property currently features a 420,000sqft casino, with 450 gaming tables and approximately 1,300 gaming machines; over 20 restaurants, various entertainment options including the House of Dancing Waters, one of the largest aquatic themed live theatre shows in the world, soon four luxury hotels with 2,200 rooms and, since December 2016, a 400,000sqft luxury shopping experience exhibiting an impressive array of some of the world’s most sought-after retail brands. This retail experience, T Galleria, is a sophisticated department store concept created, managed and operated by DFS, a leading international luxury travel retailer. Opened in phases between April and December 2016, the City of Dreams’ T Galleria - the one-mile-long retail complex consisting of two beauty and fragrances halls, two fashion and accessories floors engulfing a central male and female shoe salon and the watches and jewelry

boulevards - surround the central casino and create a 24/7 pedestrian link to the hotels, leisure and public areas, forming the largest luxury retail complex in southern China. The lighting design development started in 2013, leading to a nine-month staggered opening throughout 2016. DFS’ client brief asked for a contemporary, high-end, sophisticated department store with a residential feeling throughout different neighbourhoods - focused zones of related merchandise - as coined by the interior architect team of Charles Sparks. To deal with the immense scale of the property (with ceilings up to 21-metres) the first steps of the lighting concepts were to apply urban planning principles of vistas, landmarks and elaborating the sense of space. Large light feature objects and walls were developed and strategically placed, creating a sense of rhythm established by deliberately darker zones in portals, dissecting the long boulevards into a navigable human scale of smaller side streets. Each neighbourhood has been distinguished by special ambient light colours and different lighting methods in contrast to the neutral piers between

the shops. This visual dramaturgy for an intuitive, relaxed and free orientation through the multi-storey retail complex has been further expressed in a design language unifying the different brands by architecturally integrated shop frame lighting, which establishes warmth, rhythm and vertical lighting. Combining architectural lighting integration with continuous perimeter cove lighting and low glare, minimally intrusive, nontechnical looking pinhole downlights, a relaxed peripheral perception and intuitive orientation of the customer was promoted. Most theme-based lighting integrated landmarks and features, allowing further differentiation of the various neighbourhoods, were developed until detail design but for budget reasons were superseded in the building process by more flexible visual merchandise, art and design installations. Also, the lighting was adapted post opening to a mainly track and spot approach, serving the intended visual merchandising retail theatre. Due to the nine-metre corridor ceiling height in the fashion area, and the wish to simplify the electrical installation


Pic: Lichtkompetenz

Pic: DFS



Left and Middle A view from the women’s shoe department on the ground floor shows the day vs. night comparison and the subsequent adjusted light levels used to combat contrast with the vast amount of daylight pouring through the roof window. Below Using a cooler colour temperature, the department store’s Beauty area combines concealed uplighting in the ceiling voids with recessed downlights to provide a true material and colour perception of luxury goods,

Pic: DFS

Pic: Lichtkompetenz

Pic: Lichtkompetenz

throughout all parts of the store, Lichtkompetenz designed an LED pinhole downlight family (bespoke by iGuzzini) to further help a uniform, non-technical and glare-controlled appearance, safeguarding visual comfort and residential feeling in all ambient and retail areas. ‘‘Designing our own visually consistent downlight series was a necessity,’’ said Jörg Frank Seemann, Lighting Design Director, Lichtkompetenz. ‘‘Not only to react to budget constraints and different lumen packages provided by the same outer fixture appearance over the different ceiling heights from two, seven to nineteen-metres, but mainly to allow for well-balanced contrast ratios of artificial product, ambient and natural lighting to help guide attention (lux levels & light temperature).’’ The nature of the collaboration between MCE and DFS required an immense amount of coordination, clear budget control and five months of alternative lighting reviews with Chinese lighting manufacturers. This involved a lot of budget weighing and the celebration of the luxury goods with excellent quality of light for true colour

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Pic: DFS



Pics: DFS

and material perception, enhancing and respecting the human perception with mild colour temperature contrast and high colour rendering in mind. After all, lighting a Jimmy Choo with CRI 80 is simply not an option. ‘‘These bespoke work horse fixtures also allowed Lichtkompetenz to keep within the lighting power density standards of the LVMH sustainability requirements for each ‘maison’, i.e. the standards our client DFS has to meet,’’ explained Seemann. Whilst reducing maintenance and energy costs, it further supported the dimmable day and night scenography (control system) in the clock-free casino environment under the burning sun of Macau. Where during day time the three-storey main atrium - housing southern China's largest male and female shoe salon and a restaurant arranged around a grand staircase - receives up to 16,000lx of daylight through a curved glass roof, designed by the base built and coordinating architects Woods Bagot, the ground floor woman’s shoes department display still

needed to attract attention and not appear like a cave. Therefore artificial lighting intensities double during the day, whilst at night time less light is needed to cross the significant contrast threshold. For its psychological and energy saving benefits, Lichtkompetenz embraced the intent to use daylight as part of a well balanced visual atmosphere and developed light guiding and shading louvers with integrated artificial lighting under the twenty-metre-long skylight, which had to be omitted in construction stage due to cost savings. Moving towards a consistent day and night appearance, promoting a sense of height and luxurious spaciousness, the 21-metre high Esplanade ceilings day lit via clearstory windows were intended to show the same effect during night time with the help of concealed indirect artificial uplights. Provided in different light qualities and intensities, these luminaires enrich the space throughout the evening, starting at a 6,000K and ending at 2,700K at sunset, uniting with the overall ambient lighting.

Previous Page Continuous perimeter cove lighting and bespoke iGuzzini low glare, minimally intrusive, non-technical pinhole downlights create a relaxed peripheral perception, mimicking a daylight effect. Above Like the rest of the department store, the Watches & Jewellery area uses Lichtkompetenz and iGuzzini’s bespoke LED pinhole downlight family to further help a uniform, non-technical and glarecontrolled appearance, safeguarding visual comfort and residential feeling for shoppers.

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Pic: Lichtkompetenz

Indirect cove up-lighting at the lower levels void perimeter balances the brightness of the day-lit Esplanade ceilings. In other daylight openings, the artificial lighting was intended to mimic the naturally given direction of light (central court glass roof), or vertical emphasis, to pattern walls, simulating a daylight effect by the employment of light slots and floating ceiling effects to create suggested architectural lightness. Upon reflection, Seemann concluded: ‘‘Throughout three and a half years of budget and concept changes of sixteen tender addendum packages, our testing and ongoing physical testing and virtual lighting mock ups, it was ensured that the product is the most important element; illuminated in appealing colour temperatures and in line with human perception of visitors and workers so that the slots can keep ringing, fountains flowing and lights beaming outside.’’

PROJECT DETAILS T Galleria, City of Dreams, Macau, China Client: DFS Interior Architects: Charles Sparks + Company Lighting Design: Lichtkompetenz

LIGHTING SPECIFIED acdc IGLU linear LED luminaires acdc Morpheus downlights Artemide Dalu table lamps Artemide Tagora ceiling luminaires DGA Armonia modular LED accent luminaires DGA Maestro LED stick/pole luminaires iGuzzini Bespoke Pinhole downlight family 13W-54W IMS BLUELIGHT div. Light Bar C7.7 KKDC Tana 2 linear shelf lights KKDC TiMiClick 508e concealed linear luminaires KKDC Quadro Luna flexible, concealed backlights Radiant 3D Led Flex 25 modular, flexible LED linear system Roblon Ara 4 magnetic spot & track XAL nano turn 60 showcase luminaires XAL Pico Square display luminaires XAL Pico Tilt display luminaires

A ceiling void links two of the department store’s floors, showcasing all the elements of Lichtkompetenz’ scheme: space, height, daylight and artificial light, in a way which meets the client’s brief and defines the whole ethos of the retail experience itself. Cool white light boxes displaying advertisements blend seamlessly with the warm ambience of concealed cove lighting and bespoke iGuzzini downlights.


ZEDGE ZEDGE is the new Targetti LED step light. The design has been reduced to its core with its minimal proportion and nuanced scale. The relationship between the vertical face and angled illuminated surfaces define a discrete product that creates a strong architectural statement. Available as three frames for three distinct lighting effects, ZEDGE comes in various finishes allowing it to fit into a variety of both indoor and outdoor architectural contexts. ZEDGE, genuine Targetti technology, designed in collaboration with Gensler.



A VISION IN WHITE Maintaining a balance between sophistication and showbiz, illumination Physics’ design and build of the City of Dreams’ façade lighting adds to Macau’s already vibrant nightscape.




Above As the evening draws in, the City of Dreams’ illuminated façade invites visitors of Macau‘s Cotai Strip to explore the luxury brands within. Left Designed by illumination Physics, the warm white glow of the exterior’s 90 tall light boxes resembles ripples on water stimulated by a breeze, dominating the streetscape opposite the vast Venetian hotel and casino.

On 1 June 2016, City of Dreams opened its 17,000sqm retail expansion overlooking the Cotai Strip in Macau, significantly expanding the existing integrated resort that opened in June 2009. The new structure dramatically enhances the sense of arrival for this integrated resort, in which illumination Physics was entrusted with the lighting of the façade. This is the second major property on the Cotai Strip in which illumination Physics has been responsible for the design and build of the façade lighting, having completed Studio City in October 2015. Both properties are owned by Melco-Crown Entertainment’s Lawrence Ho. The City of Dreams retail expansion links world-class entertainment and gaming facilities to dining and exclusive luxury shopping brands. The illuminated façade needed to promote an alluring invitation in

a style befitting the luxury brands awaiting the customers behind it. illumination Physics has designed and built the lighting for many high end retail stores in recent years – Tiffany, Louis Vuitton Frankfurt, Giorgio Armani and Ermenegildo Zegna. However City of Dreams is in Macau, not Europe, Hong Kong or Melbourne and the expectations of a predominantly PRC clientele requires a little more excitement. The trick was to find the balance between sophistication and showbiz. In addition, complicating the creative process, there were a number of technical and practical limitations, which the final lighting design needed to address and solve. At City of Dreams there are a number of classic elements to the lighting surrounding one dominant, unconventional and innovative centrepiece. The new structure is dominated from the

outside by a curving colonnade 250-metres wide and 20-metres high. Behind the columns the façade is constructed of 90 tall light boxes. It was clear from the conception of this expansion that the lighting of this centrepiece would be the key to the success of the design as it dominates the streetscape it overlooks and directly faces the competition across the road, the sprawling Venetian hotel and casino. This led to several cascading decisions; some animation of the lighting effect was required, the large colonnade would seem too monolithic without movement, and rather needed to resemble ripples on water stimulated by a breeze. RGB colour mixing was rejected at the outset because it does not sit well with the purpose of this building and there is already a great deal of colour on the Cotai Strip. illumination Physics proposed the

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use of a mix of very warm white and cool white. Very warm white resembles gold and by association makes the use of cool white resemble silver; this was the beginning of the metaphor. The next step was to make the concept into a practical and maintainable system. Challenged by access, the light box dimensions and basic characteristics had already been determined and had acquired momentum prior to the team’s input. In the event of a maintenance problem, it would be impossible to get access from the front or the back of the panels. This is a common problem in retail façade lighting in Asia and it is often the case that the practical LED ownership issues are not commonly understood during the architectural design. Placing forward facing LED strips on the back pan was impractical and impossible to maintain, so this idea was discarded in favour of a unique genre of illumination Physics products developed for the ‘Artwall’ light feature at the Marina Bay Sands in

Singapore. Specifically, illumination Physics created a linear luminaire in which two colours of LED were installed alternately along its length. The luminaire was installed vertically on one edge of the light box as a grazing wash light across the back pan. The critical design feature was that the focused angle of colour one was 20° different from colour two, meaning that the two colours would come into focus at different places across the surface, making it possible to emphasise the far side or the nearest side to the luminaire or, by using both colours under dimming, create a transition from one colour to another. illumination Physics call this ‘IP Double Graze Linear’. The team now had a concept for the project, which was then successfully tested in mock-ups. The aesthetics were essentially solved but the maintenance issues remained. It was determined that the light fixture would contain no electronics at all, greatly simplifying the luminaire the way illumination Physics do with all of

its high temperature resistant ‘Gulf Spec’ luminaires. The drivers have been remotely located on cat walks above the ceiling spaces where they can be easily accessed. The possibility of a technical issue with the luminaires themselves was greatly reduced by their simplicity. At the Marina Bay Sands project illumination Physics designed a cassette into the mullion detail of the light boxes that could be removed from the outside, allowing access to the luminaires, but this was not an option at City of Dreams. Instead, the luminaires would now be installed in a similar vertical row located at the mullion that separated one light box from the next. This solution was compact and it worked optically, but maintenance access was still a concern if the need arose. To achieve vertical access, illumination Physics created a removable access panel in the back pans of the light boxes above the ceiling spaces. The luminaires were mounted in a custom rail within which the


light fixtures could slide up or down and a draw wire was attached to each one in addition to the low voltage cable. Should there ever be a failure it is now possible to remove the access panel and fish the light fixtures out of the light box one by one and lower them back into position following repair. Numerous tests were performed and the rail system perfected; a highly unusual solution to a common lighting problem in retail façade architecture. The installation of 1,500 illumination Physics Double Graze luminaires was completed as an integrated task within the façade build program. The team had ample time to test prior to the opening because the internal fit out lagged far behind the construction of the building envelope. The original intention was to control each of the 90 light boxes as one object, a pixel containing very warm white and cool white, using just two DMX addresses to control sixteen pieces of illumination Physics Double Graze Linear.

During the testing and commissioning stage the team suggested to the client that they could greatly vary the programming of the lighting by taking individual control of each luminaire, creating sixteen pixels in each light box instead of just one. Since every luminaire had its own dedicated cable and driver output, the change was made with a control system upgrade. Two dozen test programs were produced so that the owner could participate in the process of content creation. Ho is an expressive and decisive client; his vision was clearly delineated and a preferred pattern quickly emerged. The result is a constantly changing façade in which the lighting patterns evolve organically from one animated scene to the next. For control of the main façade illumination Physics chose the LSC Clarity PC providing overall control of the 1,440 fixtures distributed across six universes. Seven DMX Splitters were used to distribute data to the fixtures via Artnet, which is then converted

Previous Page In contrast with the rest of the Cotai Strip, the mixing of warm and cool white colour temperatures mimic gold and silver, highlighted by the use of illumination Physics’ IP Double Graze Linear effect, which uses a 20° difference between colours for an effective transition between the two. Left The main façade illumination is controlled via LSC Clarity PC, which provides control of 1,440 fixtures across six universes. Above The mullions and transoms of the windows are illuminated from the sills using a pair of illumination Physics IP Wash 48 wash lights, fitted with two types of lenses to adhere to the optical requirements of a long throw grazing specification.



into DMX 512 via an Artnet to DMX Converter. The patch has been configured to allow for conventional FX programming via a Pixel Map. Playback occurs nightly via the inbuilt scheduler that exists in LSC Clarity. Currently, there is a show with three sequences that is replayed every 30 minutes. In addition to the inbuilt schedule the team also installed an xkey control panel allowing the operator to manually select preprogramed sequences as required. The system is protected via a UPS and there is remote access to the control system via Team Viewer. The façade lighting was completed using just four other types of illumination Physics products. Its IP65 rated CL180 LED downlights were used in large quantities at Melco-Crown’s other property on the Cotai Strip, Studio City. They were used just as effectively in the soffit of the main entrance at City of Dreams and avoided the need for another type. Each of the seventeen square columns that comprise the colonnade have a full height rebate in each face that are illuminated top and bottom with illumination Physics’ compact CR80 mini wash light using the

10W 5° warm white version. The colonnade supports a wide arch in which there is a horizontal rebate running the full width of the façade. This is illuminated using one of illumination Physics many Rigid Series low power linear LED strip lights. Lastly, the architectural language used for the light boxes in the grand colonnade continues on the other flank of the main entrance but here the panels are vision glass. The mullions and transoms are illuminated from the sills using a pair of illumination Physics IP Wash 48 wash lights fitted with two types of lenses to effectively cope with the optical requirements of such a long throw grazing specification. In conclusion, the completed centrepiece is a vision in white, establishing the City of Dreams façade lighting treatment as another step in the development of Macau’s vibrant nightscape.

Following involvement in the content creation process, Ho was told by illumination Physics that the programming could be varied by controlling each individual luminaire, creating sixteen pixels in each light box instead of just one. The result is a constantly changing façade in which the lighting patterns evolve organically from one animated scene to the next.

PROJECT DETAILS City of Dreams, Macau, China Client: Lawrence Ho, Melco Crown Entertainment Façade Lighting Design: illumination Physics

LIGHTING SPECIFIED 6-way DMX splitters Artnet/DMX converter 8 universe HDP 16 drivers illumination Physics CL180 LED downlights illumination Physics CR80 XML 2,700K WW 5° mini wash lights illumination Physics Linear Vario 1050 24 CW+VWW 10x40° linear fixtures and 1,500-metre custom-designed mounting rail illumination Physics Rigid series LED strip lights illumination Physics Wash 48 WW AC wash lights illumination Physics Wash 24 AC WW 25° wash lights LSC Clarity software 8 universe and fanless PC UPS Xkey control panel

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COTAI IN COLOUR Following a two-phase expansion process, Macau’s Galaxy resort now boasts an exterior and interior lighting scheme of jaw-dropping proportions thanks to a collaborative effort from Creative Lighting Asia, Philips Color Kinetics and Francis Krahe & Associates.




Located on Macau’s Cotai Strip, the Galaxy is a resort of great stature, providing a luxurious gaming experience and a number of amenities for visitors. With the concept, design and masterplan devised by Gary Goddard Entertainment, the resort was one of the first to bring a themed hotel experience to the strip. The Galaxy phase I and II consisted of 3,600 rooms (JW Marriott & Ritz Carlton), and a total gaming space of 450,000sq-metres. Executive architects Simon Kwan & Associates were tasked with the exterior façade detail, of which the lighting played a key role. Opened 15 May 2011, Galaxy Phase I consisted of 2,200 rooms (1,500 Galaxy Hotel, 460 Okura Hotel and 240 Banyan Tree Hotel), which equated to a total resort space of 550,000sq-metres. With the lighting design scheme carried out by Lighting Design Alliance, Creative Lighting Asia (CLA) was involved with the project to supply and install on a design and build contract in order to illuminate the

crests and uppermost architectural features of both buildings. Based on the success of the installation, CLA was invited to tender for the façade lighting for the Galaxy Phase II project. As a design and install project for CLA, Project Manager Tony Ryan was the man on the ground doing the mock-ups for the project. The challenge facing Ryan was to match the sodium lighting with the existing RGB ColorReach Philips Color Kinetics (CK) had at the time. Nothing was working until CK’s Head of Engineering, Nadya Piskun who was coincidently over in Shenzhen, China at the same time was invited to Macau to work together with Ryan to find a solution. As head of engineering for CK, Piskun is also an expert in colour science and LEDs. While working together with Ryan and his team on site, she was able to determine the LED combination needed to make this happen. Once CK were informed of this, they were able to get a sample made up, successfully

complete the final mock up and secure the project. Opened 27 May 2015, Galaxy phase II followed the owners’ desire for a more advanced lighting solution instead of the sodium fixtures that were currently installed on the Phase I façade project. CLA, in partnership with Scott Dellaire from Philips CK and US lighting design practice Francis Krahe & Associates (FKA), developed a solution to meet the demanding requirements of the project. The client was looking for the same light and colour intensity that the existing sodium fixtures had provided plus the product needed to be able to illuminate the 70-metre high façade columns. Through extensive collaboration and various trials, the trio developed a customised ColorReach solution, which simulated the required colour temperature and effect the client was looking for. By placing a 5° and 13° ColorReach luminaire within a GRP architectural detail, a narrow beam and colour consistency was

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achieved to meet the client’s specification. With this solution agreed for the Phase II façade, the client then requested that the current sodium lighting on the Phase I façade also be replaced with the ColorReach products. In terms of added value to the Galaxy, the introduction of the CK ColorReach product reduced electricity, operating and maintenance costs, provided a higher level of colour consistency and the ability to add a show element to both phases using dynamic controls. In addition, FKA was involved with the scheme for the 3F landscape, pool areas and interiors of the Galaxy phase II expansion, including the mass gaming hall, VIP Junket, Noodle restaurant, Pak Loh and Jinmen. The team’s challenge was to design the lighting to match the light quality of the

existing Phase I, which was illuminated by a variety of sources, including HID, fluorescents, induction lamps and LEDs. It was clear from the beginning concept stage that LED technology would be implemented to illuminate the various architectural and site elements of the project. As mentioned, for the 35 storey tower, FKA worked along with Philips Color Kinetics to develop the precise colour temperature for the powerful LED uplights to match the HPS sources used to illuminate the Phase I tower. The use of LED provided the opportunity to illuminate the various details at the podium level in slightly different colour temperatures and light outputs, allowing for a hierarchy of illumination at the pedestrian level. The use of metal as the architect’s choice for the building cladding allowed for the creation of various details for the

concealment and access to the various LED sources, thus allowing for the expression of the architecture through light without the fitting being visible. For the 3F landscape and pool areas, the top level of the new podium is home to an artificial beach pool, various swimming pools, jacuzzis and a lazy river that snakes around the landscaped deck with various exterior free standing permanent F&B structures and an artificial rockwork with three water slides. The lighting for the 3F deck was designed with the view point of the guestrooms of the new tower at nighttime, along with the experience of the guests using the deck during the day. The various pools, and especially the lazy river, were the main features visible from the guestroom windows. Two independent lighting systems were designed for the pools, one of which being a standard pool


lighting system using low-voltage, high wattage, PAR56 sources to achieve high lux levels required by local Macau code. A second LED colour changing system has been designed to be part of the night show when the pool area is closed. With the landscape, circulation pathways and structures illuminated in static white light, the movement of colour light within the body of water contained in the various pools creates a striking contrast to the visual seen from the guestrooms of the new tower. Moving on to the interiors, with a ceiling height much lower than the existing Phase I gaming space, the lighting within the expansion space has been used as a tool to create a comfortable and inviting space for the guests. Linear low-wattage, LED tape light has been concealed within ceiling molding profiles to create up light on to the coffered

ceiling planes and wall washers used to illuminate the perimeter walls adorned with decorative padded upholstery panels. With architectural ceiling and wall planes illuminated, the perceived brightness and hence the spatial envelope is increased as part of the visual experience of the space. The tape light used for the ceiling cove was specified as a RGBW programmable system to allow for the introduction of coloured and colour-changing light to the space to commemorate special events. In addition, decorative light fittings, designed by Paul Steelman Asia, were located at key locations within the coffered ceiling design as a visual cue to guide guests to the various areas of the gaming floor. The centre bar, featuring a floor to ceiling brass element, now resembles a peacock thanks to back-lit red crystal jewels within the design. White 2,700K LED light was

Previous Page and Left Philips Color Kinetics ColorReach fixtures, along with Lite360 HSC-360 Dynamic White linear fixtures provide the buildings’ vast exterior with the required colour temperature and effect the client was looking for. Middle Decorative elements hang above various gaming areas, illuminated by concealed luminaires, in the Jinmen Premium Club’s coffered ceiling planes. Above Lite360 HSC-360 RGBW luminaires are used in a warm white colour temperature in the lift area of the Jinmen Premium Club, highlighting the gold and red-coloured luxury interior.



Above and Left Concealed in the Mass Gaming Hall’s ceiling coves, Lite360 SL360 RGBW linear fixtures provide both warm and cool white colour temperatures while the Galaxy’s guests enjoy the resort’s entertainment offerings. In addition, decorative light fittings, designed by Paul Steelman Asia, are located at key locations within the coffered ceiling design as a visual cue to guide guests to the various areas of the gaming floor

installed by the custom manufacturer to illuminate the crystals so that when turned on, the red crystals turn orange. A recommendation was made to paint the inside brass cavity of the frame behind the crystal red instead of the natural yellow colour of the brass which, together with the white light of the LED, was affecting the red colour of the crystal turning orange. At the Northern Noodle restaurant designed by local interior design firm Millwork Inc., the ceiling design was created using suspended wood planks mimicking chop sticks. Red lattice work and decorative pendant lights are used throughout the space to create visual interest. Single circuit track with adjustable LED heads are used to pin spot tables and for general illumination. Track heads fitted with dichroic red lenses are used to illuminate the red lattice wall panels, creating a

dramatic effect with the shadow play of red light upon the lattice. With views of the kitchen ceiling from the main dining areas, custom pendants were designed by FKA to block the view of the open ceiling and provide adequate lighting for the kitchen. In addition, cylinder pendant downlights with 3,000lm output have been designed to be fixed to the inside of a traditional stainless steel Chinese wok and hung from the open ceiling, providing adequate lighting as well as visual interest in an otherwise utilitarian space.

PROJECT DETAILS Galaxy resort, Macau, China Client: Galaxy Entertainment Group Architects: Simon Kwan & Associates (Phase I) & Wong & Ouyang (HK) Ltd (Phase II) Project Management: Creative Lighting Asia Lighting Design: Francis Krahe & Associates (Phase II)

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NEW TO THE CIRCUIT Establishing the city’s position on the elite global theatre circuit, Dubai Opera is a building of great cultural prowess, highlighted by flexible and stunning lighting schemes from neolight and Light + Design Associates.




Left The promenade scheme focuses on indirect lighting with cold cathode used within the ceiling slots and coves, which is supported by integrated LEDs that illuminate the escalators, main lift structures and bars in an elegant yet subtle manner. Next Spread Lighting in the ceiling coves provide ambience to the space and highlight interior elements such as columns and the dynamically-lit glass sculpture titled Symphony by Lasvit designer Libor Sošták.

Set to become one of the most significant, vibrant and successful performing arts and entertainment centres in the Middle East, Dubai Opera is a 2,000-seat, multi-format theatre designed by architects Atkins to captivate its visitors. Officially opened on 31 August 2016 with a sold out performance by Placido Domingo and located within The Opera District in Downtown Dubai, the building is unique for a venue of its size, in that it has the ability to convert into three modes; from a theatre into a concert hall and into a ‘flat floor’ form, offering 2000m² of space for events such as exhibitions and gala events. It is set to become a hub for cultural activity, entertainment and artistic expression, while playing its part in creating a vibrant local community for residents. Dubai Opera aims to transform the emirate’s cultural footprint and establish the city as a part of the elite global theatre circuit – providing a vital new draw for the tourist industry – a cornerstone of Dubai’s economy. With regards to the lighting design, neolight were appointed in early 2014 and given a brief to create a fully flexible environment that showed off the stunning architecture and interior, designed by WA International, in the best manner during the evenings, whilst still being energy and cost efficient. ‘‘This design intent remained broadly consistent throughout the lifetime of the project and allowed us to develop our design and ultimately deliver a successful lighting scheme,’’ explained Gary Thornton, Senior Project Designer, neolight. neolight were employed from the full concept stage through to completion for the lighting design at all front of house and landscape areas, plus the completion of the auditorium lighting scheme, which was designed by Light + Design Associates. ‘‘We have worked with both Atkins and WAI on previous projects so it was an excellent fit working alongside these consultants and building on previous relationships,’’ said Thornton. ‘‘Likewise we are currently working on multiple jobs with Mirage Leisure at the moment so that was a great opportunity to extend our working

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relationship together.’’ The brief required an emphasis on the strong architectural elements such as the ‘dhow’ feature. This was taken as an opportunity by neolight to consider this as the main beacon and focus of the façade lighting design. A beautifully creative solution was produced using diffuse light located within the main structural columns that bathe the wooden walls of the auditorium dhow in a golden softness, bringing it to life at night. The LEDs hidden in the columns are high output, high efficiency RGBW for a lovely warm white output and have the potential for full colour change to meet any specific show requirements, which has already been used to excellent effect in conjunction with the recent performances of Les Misérables. The lighting experience starts on the approach to the venue. From the external perspective it is the interior glow of the dhow that provides the beacon and focus of the building. Recessed LED marker lights draw you towards the entrance, guiding you along the plaza and through the gobo

projections that create a dynamic and visually exciting lead up to the building, enhancing the expectations of what the public will experience once inside the Opera House. “After numerous concepts and iterations for the façade lighting we made a bold decision to have no specific façade lighting on the exterior of the building,’’ explained Thornton. ‘‘Instead we focused on the interior space and having the impressive dhow shape of the architecture accentuated by allowing it to fall into silhouette and letting the interior lighting sing out through the special anti-reflective glazing designed by Atkins.’’ Around the full circumference of the building the dhow is illuminated by internal columns that appear to run full height and are lit through with a series of bespoke lighting fixtures. They allow seamless glows of light to resonate throughout, piercing the building levels and complimenting the interior material finishes. The glass allows anyone in the vicinity to look through and see the interior

promenade space of the building, “effectively transforming theatre-goers into performers for the local community by blurring the lines between the interior and the plaza”, commented Janus Rostock, Design Director and Head of Architecture, Urban Design & Masterplanning, Atkins Middle East. In comparison, traditional glazing would only allow you to see the reflections of neighbouring buildings. With an emphasis on indirect lighting there were no downlights used for the general lighting in the promenade space, but instead cold cathode within the ceiling slots and coves is supported by integrated LEDs that illuminate the escalators, main lift structures and bars in an elegant yet subtle manner. These layers of light combine to provide the general ambient lighting as well as highlighting elements of the interior design to retain a strong visual aesthetic for the guest experience. All areas are lit using highly efficient light sources. LED was primarily used for its low power, high output and compact form factor for detailing, but the ceiling


Left Grazing the wall panels from within the skirting around the auditorium, Vexica linear uplights and Remote Control Lighting DR7 spotlights with custom housing within the moveable ceiling are examples of the level of fixture customisation used on this project. Below The top of Lasvit’s Symphony sculpture is accompanied by linear fixtures facing inwards to highlight he building’s dhow-shaped structure.

coves throughout the promenade levels are homogenously lit with cold cathode so that the project was produced in good balance with the budget constraints and the requirements of Dubai Green Building Code. ‘‘In doing so, we managed <5W/m2 for the front of house areas (for architectural lighting), adhering to all requirements whilst providing a visually stunning solution that successfully delivered on the brief,’’ added Thornton. A lighting control system allows for the dimming of all light fixtures to create programmed scenes of varying intensity and mood, altering the look and feel of the space for different occasions and scenarios. The neolight team faced an initial challenge within the auditorium when they took on Light + Design Associates’ lighting design. ‘‘We were met with a number of constraints and features, including the ever-changing advancement of the auditorium space that required constant coordination and development of multiple design layouts across all disciplines,’’ explained Thornton. Although there were changes and some fine

tuning elements to be made to the scheme, neolight were able to see the concept through to construction and retain the excellent design intent. Coordination between multiple consultants based in multiple countries was paramount and, at times, proved challenging. In addition to neolight’s architectural lighting scheme, coordination and collaboration with the theatre consultants Theatre Projects was required to resolve the overarching challenge of providing a lighting scheme that was flexible enough to cater for a multi-format venue. ‘‘The lighting details, fixture locations and control circuits that we designed and executed had to work across all modes,’’ continued Thornton. ‘‘This meant working out all of the logical control circuits for the light fixtures to feature in any of the format modes, as well as working with manufacturers to design a number of bespoke light fixtures that could meet the requirements.’’ As the project developed, virtually all the lighting details within the auditorium space

were iterated and improved in line with the increasingly complex site conditions, having to amend circuiting, manage DMX cable routing, and design plug-and-play style cable management systems to allow for a number of flying walls, rotating mobile boxes, seating wagons, staging sections, and a proscenium arch, which all to need to move seamlessly depending on the required mode. The Vexica linear uplights that graze the wall panels from within the skirting all around the auditorium, and the Remote Control Lighting remote control spotlights within the moveable ceiling are particularly great examples of the fixture customisation used on this project. Another challenge neolight faced was the timeframe required to complete the project. ‘‘Throughout the project we found ourselves being forced to react to site conditions and detailing much quicker than we would have liked, whilst trying not to compromise on the design intent,’’ said Thornton. “The flip side of this speed is that you get to see your design realised



extremely quickly, with the site developing and growing each day that you visit.’’ Although well versed in the fast-paced construction industry of the UAE, this project had its own fixed schedule of events that put tremendous pressure on the construction site, which meant that neolight and most other consultants and trades were working to the very last day. On opening night there was a very small window of opportunity for commissioning and programming of the lighting once the lighting control system was installed and working. Much hard work from the neolight team and many late nights spent testing and commissioning the final lighting levels and scenes paid off and meant that the space could open looking and feeling great. The list of sell-out shows and events following the opening night meant that there was no real time to go back in and amend things, even after the opening night. This added further pressure to ensure neolight delivered a successfully functioning project until the team could get back in for the final adjustments, which it carried out January 2017 when there was a break in the performance schedule. Reflecting on the task, Thornton commented: ‘‘We have worked on many high-end and prestigious projects, but this was one of the most high profile and eagerly anticipated from the general public and Middle East region as a whole. The building is the central focus of a newly defined Opera District in the already impressive

Downtown area of Dubai and has been dubbed ‘one of the most prestigious square kilometres in the world’.’’ Dubai Opera opened to huge success and critical acclaim, with the lighting playing a huge role in that. It reinforces the architectural vision of the venue and complements the interior for both function and aesthetics. Simple where needed and more creative where the situation allows, the majority of the lighting is indirect to provide maximum comfort and minimal glare for all visitors, whilst balancing carefully with the spectacular FF&E lighting to provide the ultimate visual aesthetic and ambience. The dynamic and flexible design demonstrates a creative interpretation of the architecture, serving to define the building as a world class venue for the performing arts. ‘‘The project for us is still ongoing. Since opening night over six months ago we have supported the construction of the new rooftop restaurant that is opening, as well as making some minor adjustments for the final scenes within the auditorium earlier this year,’’ concluded Thornton.

From the external perspective, visitors are drawn in by the interior glow of the dhow that provides the beacon and focus of the building. Recessed LED marker lights guide visitors along the plaza and through the gobo projections that create a dynamic lead up to the entrance.

PROJECT DETAILS Dubai Opera, Dubai, United Arab Emirates Client: Emaar Architects: Atkins Lighting Design: neolight Auditorium Lighting Concept: Light + Design Associates

LIGHTING SPECIFIED Promenade Tecnolux Cold Cathode 331 Linea Light iLED Warp downlights Linea Light iLED Vos downlights LED Linear Varioled Flex Apollo linear LED LED Linear Varioled Flex Hydra linear LED LED Linear Xoolight linear LED Vexica Vex Midiline linear LED Vexica custom linear LED arc shape (at lift mesh) Vexica custom linear RGBW LED (at columns) Auditorium Coemar Parlite LED RGB flood lights AlphaLED Softwasher downlights LED Linear Varioled Flex Venus SV linear LED Vexica Vex Miniline linear LED Vexica custom linear LED within skirting boards and recessed within floor Remote Control Lighting DR7 spotlights with custom housing ETC Source Four spotlights Exterior Vexica custom RGB marker lights Linea Light Suelo uplights Martin Exterior 400 IP projectors LED Linear Varioled Hydra linear led

More than just a sculpture Seti Design by Antoni Arola More than an outdoor bollard, Seti is a vertical lighting system geared to covering several formats and different forms of lighting. This system is designed as an extrusion profile in which we can insert different focal, ambiance, or pure task light sources, generating countless possibilities



OLD, NEW, BORROWED, BLUE Celebrating a marriage between the old brick block architecture of Kaispeicher A and the new undulating glass crystal sat on top, Ulrike Brandi’s lighting scheme for Hamburg’s Elbphilharmonie is complementary, modest and works with simple optical principles.




Previous Page Herzog & de Meuron’s crystal-like structure sits atop Kaispeicher A’s brick façade. Left Herzog & de Meuron and Ulrike Brandi designed, and Zumtobel built and engineered, a customised luminaire for the foyer and cloakroom in front of the concert hall. This hybrid product incorporates a hand-crafted fluorescent fitting with an RGB LED module, which can be separately controlled using a DALI interface. While the conventional fluorescent lamp is used for general lighting, the RGB LED module can be regulated to deliver the right colour for the right mood. Below Grouped into diamonds, more of the custom glass ball luminaires provide a pleasant warm-white illumination in an entrance.

The Elbphilharmonie on the Kaispeicher A marks a location that most people in Hamburg know about but have never really experienced. The Kaispeicher A, designed by Werner Kallmorgen and constructed between 1963 and 1966, was originally used as a warehouse for cocoa beans until the end of the last century. The new building, designed by Swiss architecture firm Herzog & de Meuron, has been extruded from the shape of the Kaispeicher A and is seamlessly congruent with the brick of the older building on top of which it has been placed. The top and bottom of the new structure are, however, entirely different from the plain, blunt shape of the warehouse below. The broad, undulating sweep of the roof rises to a total height of 110-metres at the Kaispitze (the tip of the peninsula), sloping down to the eastern end, where the roof is some 30-metres lower. In contrast to the stoic brick façade of the Kaispeicher A, the new building has a glass façade, consisting in part of curved panels, some of them cut open. The glass façade transforms the new building into a gigantic, iridescent crystal whose textured appearance changes as it catches the reflections of the sky, the water and the city and transforms them into an intricate puzzle on its façade . Upon reaching the top of the Kaispeicher A, visitors find an open space, a public Plaza above the city. Between the top of the Kaispeicher A and beneath the new building – at the joint between old and new – is a new public space that offers panoramic views. Along its edges, vault-shaped openings offer theatrical views of the River Elbe and the City of Hamburg. Further inside, a deep vertical opening creates constant glimpses of the foyer areas of the Grand Hall above. A café and the hotel lobby are located here, as well as access to the foyers of the new concert halls. The design for the new Elbphilharmonie is a project of the 21st century that would have been inconceivable before. The principle design idea of the Grand Hall as a space where orchestra and conductor are located

The Light.

MELLOW LIGHT evolution / infinity Recessed and surface-mounted LED luminaire Daniel Stromborg Practice Area Leader, Gensler

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in the centre of the audience, is a wellknown typology, along with the arrangement of tiers that take their cue from the logic of the acoustic and visual perception. Here, this logic leads to another conclusion. The tiers are more pervasive; tiers, walls, and ceiling form a spatial unity. This space, rising vertically like a tent, is not determined by the architecture alone but by the 2,100 listeners and musicians who gather in the space. The towering shape of the hall defines the static structure of the building and is reflected in the silhouette of the building as a whole. Not only is the Elbphilharmonie a display of outstanding contemporary architecture, but it also features a complex and artistic lighting scheme developed by Hamburgbased lighting designer Ulrike Brandi. Brandi has created an understated and subtle scheme, leaving the architecture at the forefront. ‘‘The architecture of the Elbphilharmonie is powerful enough,’’

explained Brandi. ‘‘So we didn’t want to create a secondary spectacle with the light. The artificial light is modest and works with simple optical principles.’’ In the HafenCity quarter of Hamburg where the Elbphilharmonie is situated, there is sufficient illumination provided by the surrounding area. As a result, the concert hall is easily visible without its own spotlights. The lighting concept also corresponds to the Federal Emission Protection Act, which regulates light pollution. The port city is a residential area, therefore the light emission of the Elbphilharmonie is designed so that it doesn’t interfere with the immediate environment. Special lighting accents fill the gap between the old and the new building parts as well as the large arches, which are cut into the façade. They are illuminated in the evening and add rhythm to the entire picture, while during the day they carry daylight deep into


Left Hand Page Inside the concert hall, 1,200 units of the custom glass luminaires, hand-blown by glass specialist Detlaf Tanz, punctuate the towering shape of the vast space, while below it linear LED luminaires highlight the hall’s tiered seating arrangement. Middle The ball fittings are seamlessly dimmable via DMX controls and fully compatible with HDTV, meaning that video recordings made in the concert hall are flicker-free. A third of the luminaires are also integrated into the emergency lighting system. Above The microshaping of the walls, which was created for the acoustics, provides playful optical effects, where the lighting, with its many small light points, emphasises the wave-like and irregular structure.

the building. ‘‘During this time, a dialogue between daylight and artificial light begins to dominate the artificial light until the end. The result is a variety of effects from the light refraction, play of illuminated and unlit windows, and the printed grid glass of the façade,’’ added Brandi. During planning it was ensured that the sky, the water and the panorama of the city can be experienced from within. That is, in the plaza or in the foyers, it is never so bright that the view outside would be hindered. One notable area of Brandi’s lighting scheme can be found behind the entrance above the escalator. ‘‘The escalator is not linear but slightly curved,’’ explained Brandi. ‘‘The curved upward movement is a special experience. The light is reflected from the walls and the ceiling into the room, while glossy spots on the matte plaster provide additional special effects. They dazzle like sequins on evening dresses and thus form the prelude to a celebratory

evening.’’ An interesting detail of this area is that the lights are installed at the bottom, hidden beside the stairs. This ensures wonderful indirect light and is important for subsequent maintenance. In the plaza the artificial light comes from the ceiling, where it is reflected from 750 spherical lamps, which were customised by Zumtobel. These LED solutions are grouped in diamond shapes and provide pleasant warm-white general illumination with a colour temperature of 3,000K. These luminaires can be found throughout the building. Sometimes grouped into diamonds, sometimes randomly distributed over areas, they are something of a musical motif, which is repeated in variations. Over 3,400 lamps were installed according to Brandi’s plans, including: 750 glass ball lamps in the plaza, 650 mouth-blown glass ball lamps for the large hall as well as 750 linear lamps for the foyer. These radiate out



from the ceiling around the concert hall - a symbolically charged positioning that was a requirement of the architects. In the concert hall itself, the illumination emphasises the grandeur of the space. Here, Herzog & de Meuron, Brandi and the glass designer Detlef Tanz have referenced the architectural philosophy of combining old and new by working closely with Zumtobel to craft 1,200 hand-blown glass ball luminaires. Decorating the grandeur of the space, the fittings emerge from the undulating acoustic ceiling, in which the luminaire housings are discretely concealed from view. The result is a luminaire with an especially attractive appearance, which uses a colour temperature of 2,700K to create an emotive atmosphere in the room. The microshaping of the walls, which was created for the acoustics, provides playful optical effects, where the lighting, with its many small light points, emphasises the wave-like and irregular structure. Furthermore, there are lights placed on top of the large acoustic reflector on the ceiling, which illuminate the vault above, avoiding the impression of a dark cave. On its underside, stage lighting is installed along with additional stage lights that are discreetly situated behind a slit in the ceiling. An integral part of the lighting design are the windows, whose thousands of dots create a pixelated effect used for

sun protection. In contrast to usual sun protection glass, however, the light is not filtered uniformly over the entire window surface. The dots become denser along the edges, while in the middle, the view is free. This weighting makes the façade livelier and the view to the outside more interesting. The dots are coated in silver on the outside so that they reflect light. On another layer, there are points inside that are black to avoid reflectivity and to allow visitors to look outside without sun glare. At the same time, the round dots take on the festive sequined motif, which can be found in the tunnel as well as the ball lamps. Brandi concluded: ‘‘The location of the Elbphilharmonie is unique in terms of light conditions. You see the wide sky, the water with its reflections of light, and last but not least the sunset in the west. With the façade the architects have designed something exquisite. From each viewpoint, new and agitating lighting effects are explored.’’ Top Left The building’s concrete car park is given a clean illumination by 3F Filippi’s Linda transparent LED ceiling lights. Left Dusk arrives, allowing Herzog & de Meuron’s crystal-like structure to glow from within due to the dotted façade. Right The 'tube' escalator is lit by RSL Tubular 60 linear luminaires. The light is reflected from the walls and the ceiling into the room, while RSL Less 150 beam glossy spots on the matte plaster provide additional special effects.

PROJECT DETAILS Elbphilharmonie, Hamburg, Germany Client: Freie und Hansestadt; represented by ReGe Hamburg Architects: Herzog & de Meuron Lighting Design: Ulrike Brandi Licht

LIGHTING SPECIFIED 3F Filippi Linda transparent LED ceiling lights Bega 2293 outdoor wall lights Bega 6014 ceiling-mounted downlights Bega 66535 wall lights Bega 7863 floodlights with Bega 124 louvres Bega 8412 floodlights Bega 8856 in-ground luminaires Durlum Ak_85SE recessed mounted luminaires Erco Parscan spotlights Erco Emanon LED spotlights Erco Lightcast recessed downlights Erco TM track-mounted spotlights ETC Source Four 25°,36°,50° floodlights FLOS 265 wall lights FLOS Mini Glo-Ball ceiling/wall lights iGuzzini i24 Spot track-mounted wallwashers iGuzzini Minimal Frame ceiling-mounted spotlights Insta LEDTRIX lighting control Ludwig Leuchten 116-1xT16-54E ceiling/wall-mounted lights Ludwig Leuchten 116-1xT16-80E ceiling/wall-mounted lights Ludwig Leuchten Sira ceiling lights Norka Hamm surface-mounted ceiling luminaires RSL Less 150 beam spotlights RSL Tubular 60 linear tube lights Spectral HLM floor-standing luminaires Spectral Lichtbaukasten modular lighting system Spectral Plafou suspended linear ceiling lights Trilux Offset free-standing luminaires Wila C21 Superplanar ceiling-recessed downlights XAL Meno round 260, 350, 450 recessed luminaires Zumtobel Rain dust-tight moisture-proof batten luminaires Zumtobel DIAMO, VIVO track-mounted spotlights Zumtobel PANOS Infinity downlights

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URBAN COMMUNICATION Whilst maintaining its solid appearance, realities:united has transformed C3A artistic education centre’s façade into a striking light and media display, featuring innovative made-to-measure luminaires from Lledó.

Pics unless stated otherwise: © 2012-13 Roland Halbe courtesy of Nieto Sobejano Arquitectos




Previous Page The modernist artistic education centre C3A faces the Río Guadealquivir, contrasting with its natural surroundings. Left The building’s inner motif has been translated to form a characteristic outer topography on the façade, a system of irregularly shaped, hexagonal indentations, or ‘bowls’, of varying density, size and scale.

Four years after completion, the museum and artistic education centre C3A in Córdoba, Spain, designed by architects Nieto Sobejano Arquitectos, was officially opened on 19 December. The building’s artistic façade installation implemented by realities:united showed the German studio for art and architecture’s animation sequence BREEZE during the opening ceremony. The original concept for the building by Nieto Sobejano Arquitectos proposed the integration of a low-resolution light and media façade on the building surface, facing the Río Guadalquivir. realities:united was commissioned to further develop

the conception and the design for this media skin in close cooperation with the architects. As part of its competition design for the C3A, Nieto Sobejano had proposed a medial enhanced design that was inspired by realities:united’s very first dynamic façade design (BIX Communicative Display Skin for Peter Cook’s Kunsthaus in Graz, 2003). The competition design featured a concrete façade with a regular grid of circular openings, each one to be equipped with a circular fluorescent light tube. After winning the competition, Nieto Sobejano contacted the studio to get the team on board for further development of

the project. ‘‘In this way we were first commissioned by the local government (Junta de Andalucia en Córdoba) in 2006 for the concept development and design of the façade, followed by a commission by Nieto Sobejano Arquitectos for the planning and artistic site supervision, and a commission by the general contractor FCC Construccion S.A. for the development of the artistic software,’’ explained Tim Edler, Co-Founder of realities:united. Following a period of collaboration and cooperation with the architects, C3A’s façade has now been transformed into a light and media display, whilst maintaining



Pic: realities:united

Drawings: ©2006 by realities:united, Berlin & Nieto Sobejano, Madrid.

its solid appearance as envisioned by the architects. The resultant exterior has been designed to deliver a tactile and solid appearance in the day, while turning into a unique and dynamic communication wall that reacts very specifically to the architecture at night. The starting point for the media façade was an analysis of the significant inner structure of the building, which is made up of a tessellated pattern of polygonal rooms. This inner motif is translated to form a characteristic outer topography on the façade, a system of irregularly shaped, hexagonal indentations of varying density, size and scale.

There are 1,319 of these pre-fabricated ‘bowls’ scattered over the 100-metre long fiberglass-reinforced cement (GRC) façade. Each of the bowls serves as a reflector for an integrated artificial light source. By controlling the intensity of each lamp individually, the bowls turn the façade into a low-resolution grey scale display. Three different scales of bowls are employed and distributed in huge patterns over the total exterior, thereby subtly echoing the building’s architectural elements. Additionally, each bowl appears to be unique in shape and size; and their distribution appears to be irregular, with only the distribution density remaining consistent.

‘‘The effectiveness of façade lighting is dependent on the quality and efficiency of the luminaires used and designing the right lighting control system,’’ said Jan Riha of Lledó Lighting Group, the company that developed the fixtures, wiring and control scheme for the project. Each of the bowls is illuminated from the side and serves as a reflector for the integrated LED mini spotlights, of which the intensity can be controlled individually. One of the challenges faced was the uniformity of the illumination, as the bowls vary in size. In relation to this, the mini spotlights used have been applied in relation to the size of bowl in which they are situated. The innovation lies in Lledó’s inhouse developed


optical concept which combines lens and light-shaping diffuser film and the flush mounted frosted cover glass. ‘‘For this project we have chosen mini spot lights equipped with a single high power LED with 2.1W 86 lm/W, and a special oval lighting distribution to obtain the adequate distribution for each bowl type,’’ explained Riha. The square shape of the heat sink provides an optimal heat disipation for the LED. In addition, the IP65 fixtures are telescopic and the fact that it is easy to swivel and tilt, aids the aiming of the light. Just like the human eye’s retina, this composition allows the definition of areas of varying density or sensitivity on the

façade. This analogy offers a certain artistic freedom: the resolution of the displayed images can stay low, fitting the blown-up scale of the screen, creating a mode of display in which the motifs are hinted at, rather than unambiguously presented. ‘‘We could never verify that this principle would work on the scale of the façade without building a one-to-one prototype,’’ commented Edler. ‘‘Of course we tried to simulate the anticipated effect to a certain degree and we developed an advanced software to run the façade, but testing it for the very first time remained a very exciting moment.’’ During the day, the exterior shows a three-dimensional landscape with no sign

Top Left A 1:7.5 scale prototype of the building’s façade shows the various ways in which light transforms the exterior into a media display. Left Three technical drawings from realities:united show various design for the tessallated pattern of the GRC façade bowls. Above Inspiration for the façade’s design, C3A’s inner structure showcases polygonal-shaped rooms, allowing daylight in to the space. Next Page A scale mock-up shows the unique illuminated effect of the bowls during the evening.



Pic: ©2006 by realities:united, Berlin.

of being a media façade. Additionally, this tectonically modulated surface topography is characterised by a playful composition of light and shadow that constantly changes with the movement of the sun. The thorough immersion of the pixel-bowls – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. The studio’s interest in the aspect of visual acuity stems from earlier projects and extensive research on the process of visual perception. For visualisations with very low resolution, the precognition of the brain determines whether an image or animation can be recognised. A motif that has been displayed at a higher resolution can be shifted to much lower resolution and still preserve its readability. The C3A project was the studio’s first commission to transform a non-transparent façade to become dynamic. ‘‘In comparison to all other dynamic façades we developed, this was a game changer. At least if you want or need to work with light as a

medium – it was tricky to preserve the building’s solid appearance as a concrete block, as planned by Nieto Sobejano, while turning its main façade into an urban communication tool,’’ said Edler. For that reason, realities:united changed the basic principle of the façade by transforming it into a tactile topography made out of recesses to be illuminated from the side rather than perforating it like Swiss cheese as proposed by the architects. In conclusion, this works very well; when you approach the building during the day, you discover a solid concrete façade with a playful texture of sunlight and shadow. Only at night the special qualities of the façade are revealed. When asked about the role lighting plays in this project Edler responded: ‘‘I believe it’s not so much about the right lighting but about the identification of a suitable artistic concept to match the architecture.’’ For instance, besides the solid appearance of the façade, the decision to make use of the building’s significant inner structure and its

tessellated pattern of polygonal rooms. Upon reflection, Edler and the realities:united team claim their biggest challenge was to trust their own concept until the very end. ‘‘We proposed different scales of pixels on the façade in order to engineer a façade that could display images with as little pixels as possible that are still decipherable by the observer,’’ concluded Edler.

PROJECT DETAILS C3A, Córdoba, Spain Client: Junta de Andalucia en Cordoba Architects: Nieto Sobejano Arquitectos Lighting Design: realities:united

LIGHTING SPECIFIED Lledó Zirconic ECAC Córdoba custom mini spotlights with high intensity neutral white CREE LED



Pic: © Giacomo Bretzel

THEATRE OF DREAMS After winning the architectural competition to design Théâtre de Sénart, Atelier d’architecture Chaix & Morel et associés brought lighting designer Herve Audibert on board to collaborate on a dynamic façade scheme.




The new Théâtre de Sénart is both a national stage and a major cultural centre for the region of Grand Paris Sud in Évry on the outskirts of the French capital. Designed by chief architect of the project Atelier d’architecture Chaix & Morel et associés, an astonishing silhouette of 10,600sqm (6,400sqm footprint) that rises 29 metres in height emerges from the retail park Carré Sénart. In plan, the building respects the square geometry of the site yet breaks out in volume through its differing heights and its diagonals. The theatre envelope adheres to the internal volumes, like a sculpted block, to give the building its identity and unity whilst revealing its constituent parts. The main forms that emerge are recognised by the space they accommodate: the large auditorium with its fly tower (29m high)

alongside the simple shape of the open stage, small auditorium. This single form unites the volumes to create a coherent and strong image within the site. The theatre possesses a morphology, at the same time complex and hierarchical with its reliefs in balance, whilst playing with the dynamism of the diagonals. This architectural device imposed itself; an independent, iconic building that serves as a new landmark, a signal within the landscape. From a distance, like a large ship in full sail, the isolated theatre silhouette punctuates the horizon. The envelope of the building is a fundamental and emblematic element of the Théâtre-Sénart project. When seen from afar on the vast Carré Sénart plain, it needs to be given special attention. Nothing should emerge from this spectacular

volume. Installed between the waterproof roofs and the external perforated skin, the technical plant and ventilation ducts remain invisible. The envelope fabric, whose joints fold continuously in façade and roof, gives form to a monolith that suggests the volumes of the auditoriums within. The square, the structuring geometry of the Carré Sénart and its grid, has been exploited in three ways: two perforations and one stamp size. When deployed in eight configurations applied to each side of the cladding, the dispersion of the different perforation sizes projects graphic variations. The grey pre-lacquered aluminium skin is randomly stamped and perforated with a grid of 1500x1500mm panels. Stemming from standard metal cladding techniques, this system has been adapted to the entire

113 Pic: © 11h45 / CMA

envelope. The size and spacing of the perforations were studied so as not to weaken the panels whilst, conversely, the stamps reinforce its rigidity. The soft, grey shade is very close to the natural anodized colour. A pre-lacquered PVDF layer gives a reflective finish. As the indirect LED lighting system is installed under the skin, the grid of small perforations lets light pass to create a vibration. These scattered sequins give movement and vibration to the envelope to metamorphose the building at night. Focused on an energy efficiency strategy, the Chaix & Morel sustainable development approach for the project addressed two issues: a bio climatic approach that, in priority, naturally achieves as many building functions as possible: building orientation,

quality outdoor spaces, natural lighting, sun shading and natural ventilation; and an energy support systems concept that favours the use of a high performance plant - insulation and energy consumption controlled primarily by a high performance thermal envelope with external insulation. Enhancing the sustainability, the lighting concept was a collaborative effort between French lighting design practice Atelier H. Audibert and Chaix & Morel. The exterior lighting design is delicately dynamic. The façade reveals a myriad of abstract cloudfilled skies. To create this effect, Atelier H. Audibert designed a set of dynamic LEDs between perforated double-surfaces. The massive scale of the façade is large enough to give the illusion of creating movement as that of a giant low resolution video screen. By showing faint, yet readable images for

From a distance, like a large ship in full sail, the isolated theatre silhouette punctuates the horizon. The envelope of the building is a fundamental and emblematic element of the Théâtre-Sénart project.



Drawings: courtesy of Atelier H. Audibert

The faรงade reveals a myriad of abstract cloud-filled skies. To create this effect, Atelier H. Audibert created the content and specified flexible strands of Philips Color Kinetics iColor Flex LMX between perforated double-surfaces. The huge area of the faรงade is large enough to give the illusion of creating movement like a giant low resolution video screen.


Pic: © Giacomo Bretzel



Pic: © 11h45 / CMA

To recall the square mesh of the external skin, the large auditorium is clad in dark wood square panels that line the proscenium, to the sides of the lower seating in front of the stage. The panels reflect the house lights to create interesting contrasts.

those who stop and take a moment to look, Atelier H. Audibert wished to bring a poetic vision to the new Théâtre de Sénart at night. The idea behind this project is to transform the façade into a transparent-like structure through which a cloud-filled sky crosses. The sheer mass of this diurnal vision turns into an empty envelope welcoming the sky. The exclusive use of Philips Color Kinetics iColor Flex LMX, flexible strands of large, high-intensity, full-colour LED nodes designed for extraordinary effects and expansive installations without the constraints of fixture size, shape, or space, make for an uncommonly simple implementable installation and very easy to maintain. Each iColor Flex LMX strand consists of 50 individually addressable LED nodes, featuring dynamic integration of

Pic: © 11h45 / CMA

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Pic: © 11h45 / CMA

power, communication, and control. The flexible form factor accommodates two- and three-dimensional configurations, while high light output affords superior long-distance viewing for architectural accent and perimeter lighting, large-scale signage, and building-covering video displays. The overall power used to create the façade lighting is 2000 watts, equivalent to the energy consumed by just two household irons. An extensive island of greenery of almost 500sqm that provides light and natural ventilation, the patio area is located in the centre of the complex. It serves as a transversal, light-filled lobby within this deep building. Located between the public and performer spaces, it is accessible from either the foyer or the corridor alongside the small auditorium. Located within the Théâtre-Sénart complex, the 227sqm partitioned restaurant area that operates independently from the theatre, is extended by a large, protected outdoor terrace on sunny days. The restaurant kitchen is 97sqm in area. Depending on the chosen configuration for

each service, the restaurant accommodates up to 100 persons seated, excluding the terrace space. Both bars are integrated within the theatre foyer and on the first floor concourse to operate before and during performances. The foyer that comprises different functional spaces (reception desk, bar area, restaurant and bookshop corner), on the south façade opens onto the parvis (the enclosed area in front of the building). Designed as an architectural promenade, this linear and fluid space is planned as a gallery, an internal street 80 metres long, about ten metres wide. Internally, rough concrete is dominant, punctuated by contemporary way finding. The space is homogeneously illuminated by recessed LED fixtures producing a subtle, delicate scheme accentuated by spotlights and natural light. The different elements of the space are highlighted with LED spotlights that provide a depth of field.

A mix of artificial and natural light in the foyer creates a spacious feel for the narrow space.

PROJECT DETAILS Théâtre de Sénart, Grand Paris Sud, Évry, France Client: Théâtre de Sénart Architects: Atelier d’architecture Chaix & Morel et associés Lighting Design: Atelier H. Audibert

LIGHTING SPECIFIED Façade Philips iColor Flex LMX Interior Philips Master TL5 HO / MasterTL5 Philips ColorFuse Powercore Inédit Concept recessed LED 6.5W Inédit Concept Po6 projector Inédit Concept Vega recessed downlight Inédit Concept Gemini projector Mazda Eclairage RB-Eco / RBM Thorn Duoproof ELC showSTORE XLan 2048 channels DMX recorder








Pics: Pierpaolo Sala unless stated otherwise

DREAM CITY Organised by Federico Schiavo of Impresa Futura and lighting designer Roberto Corradini, Luci In Riviera’s first edition saw more than 3,000 visitors at its installations along the Riviera del Brenta.

The first edition of Luci in Riviera in 2016 ended October 2, 2016. More than 3,000 people visited the lighting installations since it began September 23, a result that exceeded initial expectations. Promoted by the Pro Loco ‘Pisani’ of Stra (Venice), the event was organised by Federico Schiavo of Impresa Futura and lighting designer Roberto Corradini. Luci in Riviera reached its aim to tell a story with light, creating lasting impressions evoked by the cultural heritage of the Riviera del Brenta, the waterway linking Padua and Venice, and to lay foundations for articulating a path of lighting installations that, in future, will end in Venice. The first lighting design workshop in Italy was an educational event dedicated to urban lighting. This opportunity allowed twelve young participants, to acquire theoretical and practical knowledge in lighting design. They were able to achieve a full-scale lighting project under the guidance of workshop heads, who work professionally as lighting designers and consultants. With only three days, participants viewed the sites chosen by the organisers, prepared a concept on the theme ‘Sogno la mia città’ (I dream my city) and presented their projects to Pro Loco of Stra. Workshop heads Elena Pedrotti/AIDI, Patrizia Callegari, Silvia Simionato, Giuseppe Baruzzo and Roberto Corradini/ APIL had the task of advising the participants to experiment with light and colour. It was a huge organisational undertaking that was made possible by support from manufacturers that decided to donate lighting fixtures and other materials. These included: BLV Licht-und Vakuumtechnik, EAE Italia, Feilo Sylvania Italy, Flos, Schréder, Spotlight, Thorn,

Reggiani, Veneta Impianti and Xicato. Taking into account human perception first, each installation was built according to the principle that good lighting doesn't mean over-illumination. The exteriors of Villa Pisani (Italian National Monument), Villa Foscarini Rossi, the War Memorial in via Doge Pisani, via Tergola, the water tower in Via Bramante/Via Nazionale, Piazza Marconi and Via S. Maria were temporarily illuminated for the event. This unique occasion for creative experimentation was particularly appreciated by young professionals. Giulia Lucatello, participant, said: ‘‘It was a wonderful experience. What has dazzled me was the ability to dream beyond any scheme, a magical place, a great city made up of emotions and to realise this dream.’’ Callegari, workshop head, commented: ‘‘Luci in Riviera has been a strong experience that gave me the opportunity to share with others my passion for light.’’ There was great participation in collateral events, too. More than 150 people attended the Cena delle sensazioni (Dinner of Sensations) in Villa Sagredo in Vigonovo (VE); a cultural lighting experiment where guests were asked to assess flavours of food and wines. Each course was served in an environment illuminated by coloured light and designed for the occasion. Finally Discovering Virtual Light, the first workshop in Italy dedicated to the realisation of analysis and photo-realistic virtual simulations of light, was held by freelance lighting consultant Luca Rostellato, allowing professionals to pursue this issue. Next year’s workshop will be held in English and will involve 20 participants and four workshop heads. Planning is already underway and most of the sponsors have aleady confirmed their participation.

Pic: Leopoldo Noventa

Pic: Leopoldo Noventa

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VISUAL STIMULUS Following on from 2016’s successful workshop, the Greek island of Kea will host Rethink the Night! 2017, the international lighting design workshop’s fourth event, in October this year under the auspices of the Holy Metropolis of Syros and considerable academic support.

Located in the Cycladic Complex, the Greek island of Kea has become an established international venue for experimental lighting design with emphasis on its compliance with the prevailing scotopic conditions under a nightsky of particular quality. This quality is equal to that of the desert of Atacama in Chile, as the wind, which mostly dissolves the clouds, doesn’t allow Athens’ light pollution to travel to Kea, according to photometric measurements, carried out with the scientific support of Guenther Wuchterl, chairman of the Kuffner Observatory of Vienna. For the fourth time in a row, the international lighting design workshop Rethink the Night! will be held in October this year under the auspices of the Holy Metrolopolis of Syros, with the academic support of the University of Wismar, the University of Aalborg, the Kuffner Observatory of Athens, the Urban Planning

Research Lab of the National University of Athens, the Faculty of Architecture of the University of Patras, the Public Power Corporation of Greece and the non-profit corporation AEGEAS. 2016’s LD workshop, led by the chairman of the Hellenic Illumination Committee, Georgios Paissidis, left unprecedented traces of innovative approaches in all three projects, in which the applied nightfriendly techniques, namely phosphorescent coatings, projection mapping and creative audio-guided lighting control were resourcefully used by the respective three teams. Guided by Lara Elbaz, director of the lighting design master course of IED, Christoph Drews, media designer and Iva Vassileva, lighting architect, the teams’ participants represented fourteen countries, of which India, UAE, Jordan, Turkey and Honduras were represented for the first time. Aside from the workshop’s focus on

handling up-to-date lighting technologies, the participants had the opportunity to listen to inspiring lectures and to ascertain the potential of their vision by means of spectroradiometric measurements, which in particular conditions defied the real sense of brightness perception. Guenther Wuchterl, the chairman of the Kuffner Observatory of Vienna, presented to the participants a mathematical forecast about the illuminance values of natural nightlight for every night. Thus making them aware of the gradual rise of natural illuminance during the period of the workshop in view of the upcoming full moon one day after its finish, and advising them of the resulting day-by-day differentiation of contrast appearance in the mesopic range of vision in spite of equal dosage of artificial light. In all three projects the maximum values of luminance in cd/m2 were within the range of one digit numbers before the comma




Previous Page Lectures from the 2016 workshop helped students to ascertain the potential of their vision by means of spectroradiometric measurements, which in particular conditions defied the sense of brightness perception. Left Kea’s capital, Ioulis, provided the perfect backdrop for the installations and visitors with its pedestrianised, cobbled streets.

and mostly below 1 cd/m2, attesting the night-compliance of the applied approach to lighting design. The participants could experience the importance of the mistakenly called darkness and in fact of the right scale of brightness for the retention of contrasts. In one of the exercises a particular value was attached to the effect of audiovisual synaesthesia on our scotopic vision capability in a gesture of paying tribute to the ancient greek poet Simonides and the ensemble of the generated lighting scenes queue was harmoniously blended in a contemplative music composition. Simonides of Kea referred, as early as the fifth century BC, to our synaesthetic

capability when he noted that ‘painting is silent poetry, and poetry is speaking painting’, thus pointing out, in a way, the sonic autonomy of the visual painted stimulus, light, which is not to be superficially characterised as dumb because it knows how to be silent, not excepted. Since, however, the converse is also true, if we regard, in the place of poetry, music as ‘speaking painting’, that is, if we recognise its potential of depiction, we will easily understand how much this assists the complementing of the acoustically reinforced sense of the brightness of visual stimuli of an exceptionally low level of luminance, as was also demonstrated by targeted photometric measurements,

which, in combination with fascinating visual experience, support the pragmatism of a night-friendly approach to a darknessminded lighting design. The picturesque capital of the island, Ioulis, where the workshop was held, provided the participants with the comfort of reaching everything on foot inside a sparsely inhabited pedestrian zone with handcrafted stone-paved walkways, and made them the protagonists of an ephemeral nightscape, which they could share with the inhabitants and visitors of the island.


Pics: © Noughts & Crosses

Leading the way to a wonder of the world

Pathway to the Taj Mahal (India) Architect: Archohm In use: LEC’s bespoke 1570-Chateauneuf



CAMBRIDGE E-LUMINATIONS Now in its fifth year, light art festival e-Luminate Cambridge welcomed 24 mesmerising installations to the historic city across six nights, playing with the richness and diversity of its urban landscape.


Left Hand Page Sponsored by Lumenpulse and Speirs+Major, the Gothic masterpiece of Kings College Chapel, usually cloaked in darkness, is revealed in all its stunning architectural detail. Top Left Paradeigma, created by Arup Light Lab and Cooledge, sits at St Peter's Church, Castle Hill as a shadow box of contrasts. Top Right Interactive installation Catch Me Now by Tine Bech at Quayside. Left A three-layered pyramid, Mick Stephenson’s Liter of Light in Market Square asks observers to reflect on inequality and light poverty. Above SPIRITUS - Light and Darkness Created by Ross Ashton and Karen Monid

For 35 hours across six nights, 24 stunning light installations transformed the city of Cambridge during February’s Bouygues e-Luminate Festival. Now in its fifth year, the historic city of Cambridge with its stunning architecture provided the perfect backdrop for e-Luminate Cambridge. An event at the forefront of art and technology, ephemeral light art installations played with the richness and diversity of the urban landscape. Taking ‘Play’ as this year’s theme, Bouygues e-Luminate Cambridge Festival amazed and delighted in a truly unique winter spectacle. As well as the light installations

themselves, there were also fourteen other events taking place. Whether it was creating holograms, following light trails, wine tasting, criss-crossing the city in search of the dazzling light installations created by over 30 local and international artists or participating in this year’s day conference on all things light and play related, thousands enjoyed the six-day festival of light. From Gloria Ronchi and Claudio Benghi’s kaleidoscope of glowing butterflies that came alive at night along the river bank by Magdalene College, to The Cambridge Whale, created by Alice Turner - an anatomical reconstruction of the Museum of

Zoology’s iconic Finback Whale specimen, depicting skeletal and soft tissues as well as fascinating facts about the specimen – everyday buildings and spaces were transformed for a few short hours into something extraordinary and magical. Artistic Director, Alessandra Caggiano said: “This year’s festival exceeded all expectations and much to our delight got people really engaged with the artworks. Light installations such as Catch Me Now by Tine Bech had a level of interactivity not experienced before in outdoors art events in our city and the public loved it! The support of our many sponsors truly helped us to bring the beauty of the e-Luminate



Cambridge Festival to the thousands of people who attended the event this year. We are immensely grateful to them all and in particular to our title sponsor Bouygues UK.’’ Managing Director of Cambridge Live, Steve Bagnall added: ‘‘This was the first year we welcomed Alessandra and e-Luminate into the Cambridge Live team. It was fantastic to see so many people engaging with the amazing installations across the City and coming along to events and workshops in the Corn Exchange and Guildhalls. Cambridge Live is very proud to be presenting the Cambridge e-Luminate festival and we’re looking forward to helping the festival grow and develop over the coming years.’’ Fabienne Viala, Chairman of Bouygues UK,

concluded: ‘‘This year’s e-Luminate festival reinforced this exciting event’s position as one of the highlights of Cambridge’s cultural calendar. With our role as main contractor for The Triangle, and our sister company Bouygues Energies and Services involved in a long-term energy partnership with Cambridgeshire County Council, we were very pleased to be able to sponsor this festival, which celebrates Cambridge’s architecture by bringing together energy and the built environment.’’

Top Created by BDP Lighting’s Colin Ball, Stream of Light is dynamic, vibrant and playful; An exciting facade installation that incorporates a blend of art, light and technology to transform the Guildhall and create a memorable public experience, using equipment from Lumenpulse, iGuzzini, Tryka and Lightworks. Left Created by James Bawn, Play at Great St Mary's Church, Senate House Hill engages with the amazing 15th century structural features of the building using a play of light. Members of the public could interact and take part in this illumination by taking control of several large lighting fixtures and creating patterns using modern game controllers around the perimeter. Middle Created by Rob Mills, Venn in Light at Gonville and Caius College, Trinity St is a tribute to the mathematical work by John Venn in his former college. This installation plays with colour and light to show off his classic diagram. Right Created by Gloria Ronchi and Claudio Benghi, On the Wings of Freedom at Magdalene College, river bank facing Quayside is a kaleidoscope of glowing butterflies, encasing coloured and dynamic LEDs that come alive at night, creating an interactive and immersive experience for the audience.

design Serge Cornelissen

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11.04.17 7:37



LIGHT IS ART IS LIGHT Focusing on light as the inspiring grand finale, Refraction fills Edison Price Lighting Gallery with exciting and thought-provoking works from nine lighting designers, two artists working as lighting fixture designers and seven light-inspired artists.

No single piece of art can encapsulate a force as omnipresent as light. Yet the artist most prepared to interpret light is the lighting designer. After creating art through light in a professional context, how does the lighting designer interpret light through art? The answer - or rather, the many answers - are exhibited at Refraction, the current exhibition at the Edison Price Lighting Gallery in Long Island City, New York. Refraction exhibits nine lighting designers (Alex Rossini, Carlos Inclán, Christine Sciulli, Francis Milloy, Gene Lambert, Greg Day, Jason A. Cina, Nargiza Usmanova, and Stephen Bickford), two artists working as lighting fixture designers (Jason Krugman and John Procario), and seven lightinspired artists (Adrienne Moumin, David Chan, Garrett Carroll, John Folchi, Kenny Greenberg, Leni Morante, Peter Bynum). Even en masse, the exhibition does not attempt to capture light in its pure, unfiltered form – but rather, through the refracted forms of colour, shadow, shape, and movement. In each piece, light is the

active doer. Light is undoubtedly present at every exhibition, but in the background, as a behind-the-scenes puppeteer. It takes centre stage at Refraction. In Laguna and Serpent by Nargiza Usmanova, light coaxes the texture out of vibrantly painted burlap on canvas. In Untitled by Gene Lambert, light reveals waves through acrylic sheets hung directly below a sculptural frame. In Slices of Bubbles by Carlos Inclán, light on a programmed dimmer stretches through dichroic film, revealing shifting layers of colour. In Prismatic by Kenny Greenberg, light is at its most dramatic expression, pulsing through bright neon tubes. The Edison Price Lighting Gallery is an ideal stage for light-based art, as it is positioned on the second floor of the 65-year-old architectural lighting designer and manufacturer, Edison Price Lighting. Once used for manufacturing, the company reimagined the space as a functional gallery two-and-a-half years ago. The gallery has exhibited local artists from its surrounding neighbourhoods in New York City, with

this being the gallery’s first light-focused exhibition. But the manufacturing past is not forgotten, and the materials, shapes, and processes of manufacturing have inspired Refraction’s introductory installation, Anatomy of Production. The artist and lighting designer Francis Milloy created an immersive collection of pieces exploring the creative process of manufacturing, beginning with raw materials from the on-site factor, and culminating in his inspired ten-foot tall painting. Anatomy of Production provides context for the entire exhibition, offering an insight into the creative and meticulous process that makes art - and lighting possible. It is true, of course, that light is present in every piece of art, and lighting design in every gallery. But in Refraction, neither is means to an end. Light itself is the diverse, ubiquitous, and inspiring grand finale.


Refraction captures the unfiltered, pure form of light through a number of works from various artists working as lighting fixture designers, lighting designers and light-inspired artists. Left and Below Left Pieces from Francis Milloy’s Anatomy of Production installation. Below Nargiza Uzmanova’s Laguna and Serpent piece explores texture using vibrant paints on canvas.




Pics: Pete Jones unless stated otherwise

Welcoming works from 30 leading artists, Towner Art Gallery presents ‘A Certain Kind of Light’ - an exhibition like no other exploring light, its materiality, transcience and effect.

Presented by Towner Art Gallery in Eastbourne, A Certain Kind of Light: Light in Art Over Six Decades is a major new exhibition exploring how artists have responded to light, its materiality, transience and effect. Reflecting the relationship between light and a range of other themes, from brightness, colour and perception to transformation, energy and the passage of time, the exhibition brings together paintings, sculpture, video, photography, drawing and installations. Works by almost 30 leading artists including David Batchelor, Ceal Floyer, Raphael Hefti, Shirazeh Housiary, Gary Hume, Runa Islam, Anish Kapoor, L S Lowry, Julian Opie, Katie Paterson, Peter Sedgley, Mark Titchner, Rachel Whiteread and Cerith Wyn Evans are

featured, selected from the Arts Council Collection, Towner’s collection and private loans. As the basis for vision, light has long fascinated artists as both tangible material and subject. Lowry’s delicate play with light in his empty, ephemeral Seascape (1965) addresses the consistent challenge within the evolution of landscape painting to capture the effects of natural light. This painting, controversial at the time for its apparent lack of subject matter, contrasts with other artworks from the 1960s and 1970s by Peter Lanyon and Peter Sedgley who utilised artificial light to produce dynamic colour transformations. The importance of artificial light as a source of illumination and as primary artistic

material is also highlighted in works by David Batchelor, Julian Opie, Angela Bullock and Mark Titchner, while sculptural work by Anish Kapoor and Rachel Whiteread harnesses, absorbs or reflects light to activate the surrounding space. Whiteread’s semi-translucent resin casts, which render negative space into solid form connect with Runa Islam’s Stare Out (Blink) (1998), her playful experimentation with the positivenegative image and the illusory nature of film. Whilst artists have always been intrigued and inspired by light, more conceptual approaches in the last twenty years have adapted the energy of light into other forms to articulate singular impressions of time and space. Cerith Wyn Evans’s


Pic: Alison Bettles

Left Hand Page Runa Islam - Stare Out (Blink), 1998 16mm film. A photo-negative projection of a young woman gazes at the viewer before she suddenly disappears with a flash of white screen, leaving her ghostly positive after-image imprinted on the viewer's retina. Above Left Mark Titchner - Something Plastic to fight the Invisible (English Language Golem Perimeter), 2001, wood, nails, light fittings and bulbs. This piece questions how language determines our reality, designed using numerology and alphabetical characters. On each of the 26 faces there is a graphic permutation. In the centre of each face is a light bulb, derived from the phrase ‘Consciousness is Artificial Daylight’. Above Mark Garry - An Afterwards Again, 2017 Threads, pins and beads. An Afterwards Again is a site-sensitive installation that flows with the space and geometry of the gallery. The coloured threads become visible at certain angles, revealing themselves unexpectedly like light-splitting prisms. Peter Sedgley- Corona, 1970, PVA and pigment on canvas with kinetic lights. The undulating concentric circles of Corona induce a hypnotic effect. The pigments on the canvas draw our attention to the centre and ripple back to the outer edges, multiplied by a sequence of alternating coloured lights.

Far Left Anish Kapoor - Untitled, 1995, stainless steel. The flawless mirrored cavity of Untitled penetrates the wall of the gallery, inviting us to contemplate a spiritual journey far beyond the everyday. Left Angela Bulloch - Pink Chance Corner, 1990, perspex, glass, metal, plastic and light. Two glowing glass spheres sit alongside each other, emitting a steady pulse of soft pink light, using a Belisha Beacon lighting system synonymous with British pedestrian crossings. The lights illuminate independently and often simultaneously, suggesting a dialogue or sequence to decipher.



Top Peter Lanyon - Colour Construction, 1960, stained glass. It explores the floating quality of colour and light with large triangular panels of stained glass illuminated from within, casting surface reflections onto the gallery wall. Middle Raphael Hefti - From the series ‘Lycopodium’, 2012, photogram on photo paper. The series uses photograms by burning spores of the moss plant Lycopodium, also known as ‘witch powder’, above the surface of photo-sensitive paper in the dark room. Light emitted by the fiery rupture of the spores creates beautiful explosions that resemble images of the cosmos.

Pic: Alison Bettles

Rachel Whiteread - Untitled (6 Spaces), 1994, resin. This is one of a number of works in which she has created subtly coloured, semi translucent resin cubes by casting the void under different chairs. The rungs of the chair appear as channels on the surface and the semi-transparent material allows light to play a role in our understanding of internal/ external structure. Bottom Cerith Wyn Evans - “Diary: How to Improve the world (you will only make matters worse) Continued 1968 (revised)” from ‘M’ writings ’67-’72 by John Cage, 2003, chandelier, flat screen monitor, morse code unit. The crystal chandelier flashes on and off to convey a Morse code translation of Cage's writings, which is then converted back into text on a nearby monitor.

Diary: How to improve the world (you will only make matters worse) continued 1968 (revised) from ‘M’ writings 67-72 by John Cage (2003), uses a crystal chandelier to convey a Morse code translation of Cage’s writings; Ceal Floyer’s Light (1994), presents a solitary unconnected bulb lit up from four sides by slide projectors; Totality (2015) stages Katie Paterson’s immersive installation featuring a large rotating planet-like mirror ball that illuminates a room with tiny projected images of nearly every solar eclipse documented by humankind; and Mark Garry’s large-scale thread installation reveals rainbow-hued graphic abstractions, visible only when the visitor moves around the gallery. A Certain Kind of Light is the first exhibition curated by Towner from the Arts Council Collection for the National Partners Programme, following the recent presentation of the touring exhibition, One Day Something Happens. Jill Constantine, Head of the Arts Council Collection concluded: “A Certain Kind of Light is an exciting exhibition and will appeal to all ages. It demonstrates the ambitious and imaginative approach of the curatorial team at Towner Art Gallery. Light in contemporary art is a fascinating premise and I’m delighted to see so many works from the Arts Council Collection being used to such great effect in this show.”

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Pics: Courtesy of Casambi

SMART FROM START TO FINNISH Finland’s Tunto Design has integrated Casambi’s smart lighting control solution into its latest design project at Team Finland’s new head office in Espoo.

When Team Finland, an organisation promoting Finnish companies abroad, decided to move into new office buildings located in Espoo, it came as no surprise that Finns would be involved with the fit-out. In fact, a trio of Finnish companies has helped to transform the office interior into a calm, creative and comfortable workspace. The interior design was spearheaded by Design Studio Muotohiomo, which appointed Tunto Design to deliver a harmonious lighting scheme, and it subsequently teamed up with Casambi to ensure that its luminaires could be wirelessly controlled via Bluetooth low energy. In cooperation with Muotohiomo, Tunto developed a bespoke LED lighting fixture for the new headquarters: a combined light and power source column that, along with its technical features, blends in with its surroundings while becoming an aesthetically important part of the office interior. Besides delivering high-quality flicker-free lighting, each of the upright wood columns serves to run electrical and data cables to workstations while also keeping them hidden from view. In addition to this new lighting column, Tunto supplied several other light fixtures at the

property, including sleek and powerful Swan pendants, LED40 modular tube lighting and LED40 wall lighting. In total, around 200 luminaires have been installed. The lighting of the building is uniform and the luminaires fulfil all requirements of office lighting with regard to quality of light (anti-glare and flicker free) and providing precise automated and manual control. Casambi is the ideal smart lighting platform for controlling the customised columns and surrounding fixtures given that it is wireless, and the minimalist interior promotes an environment that is cable free. The smart lighting system can control individual luminaires as well as groups, which is key to the interior design requirements of the project. The colour temperature and light intensity have been pre-programmed to change during different seasons of the year. Of course this preset schedule can be interrupted, and overrides are available to office staff, who can personalise the lighting using a smartphone or tablet and an easy-to-use Casambi app. What’s more, this is a solution that is flexible enough to allow future adjustments to the interior design without needing to worry about how such changes will impact the lighting

control system. Casambi allows users to communicate directly with luminaires via Bluetooth, so it’s simple to commission or reconfigure luminaires at any time. Lighting is clearly a flagship element within the four-storey office building, not only for the need to ensure a significant level of ambient light, but also because of how much attention is paid to the lighting fixtures as part of the overall design. Reflecting a respect for traditional woodcraft and ecological thoughtfulness, Tunto has developed innovative and artistic lighting concepts that combine the latest LED technology with wood used as the main material. The lighting acts as the unifying element throughout the interior of the office, which in totality communicates calm and warmth. The serene and simplistic surroundings are rendered by employing practical furnishings which use a palette of muted pastel tones and natural light wood grain, a popular trademark of Nordic design. Team Finland’s head office is sophisticated in a simple, direct and straightforward way, which in turn mirrors how its companies aim to do business with the rest of the world.


Paris Professional Lighting Design Convention 1. - 4. November, 2017

Save the Date: PLDC 2017 Warm-up in London/UK

- shift happens -

A mini-conference on occasion of Round III of the speaker competition The Challenge will take place from 9. - 10. February, 2017

up to 90 paper presentations / more than 1500 attendees expected / latest know-how and research findings / 6 renowned Keynote Speakers / exhibition of leading manufacturers / gala dinner and PLD Recognition Award / marketplace for the PLD community / excursions / pre-convention meetings / Cities’ Forum / experience rooms / social events / The Challenge: Round IV / self-running poster presentations / PLD community lounge / moderated discussions

PLDC is a brand of the

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THE GREAT OUTDOORS Reflecting the company’s values by bringing the outdoors inside, leisure-wear brand Regatta enlisted the help of Luxonic to provide an energy-efficient lighting and control solution that combines artificial and natural light in an environmentally conscious office space.

Regatta, the family-owned leisure clothing company, is a name now synonymous with adventure and the great outdoors. For its £10m conversion of a former WWI arms factory into corporate headquarters, Regatta wanted its new office space to reflect the company values and identity by bringing the outdoors inside. Striving to minimise the environmental impact of its showrooms, training facilities and design workshops, having already reduced energy consumption by one third after relocating its warehouses in 2011, the leisure-wear brand enlisted Luxonic’s engineers to sustainably light its Grade A offices. Luxonic embraced the opportunity to utilise Regatta HQ’s abundance of natural light and reduce energy consumption by strategically installing its luminaires. As part of its service, Luxonic carefully assessed the space available and its eventual purpose. Wanting to make the most of the natural light that now floods the open plan office space, Luxonic selected the Link/2Dali control solution for its intelligent daylight linking system. This future-proof system provides end users with total re-programmability, and following proper assessment, Luxonic’s expert engineers set controls that would optimise the office space’s natural light levels. Due to the high levels of this light, the

Link/2Dali daylight linking sensors were set to a pre-determined 400lux level, meaning that should natural light dip below this level, luminaires would be automatically triggered to rebalance luminance levels. To further improve Regatta’s energy efficiency, the office space was separated into zones with the control system adjusted for each group, to optimally harvest natural light throughout the HQ. Key areas within Regatta’s forest-style working environment were equipped with custom control to further reduce energy consumption. In the floating café, manual dimming controls were installed, whilst the impressive atrium benefitted from scene-setting lighting control. Emergency luminaires were installed in every area, which utilise the Dali infrastructure to send data reports to the Graphical User Interface used by Regatta. Luxonic’s sustainable lighting and control solutions allowed Regatta to further improve the energy efficiency of its internationally-spanning operation. Now an award-nominated build, Regatta HQ merges natural and artificial light to optimise energy efficiency at every step thanks to Luxonic’s consultation and BREEAM accredited systems.

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VIEWS FROM VIRGIN MARY Remaining the focal point of Quito’s skyline, the Virgin of El Panecillo has been illuminated by Salotec Luminoplasti, using Acclaim Lighting luminaires to achieve the desired effect.

Pic: Photousa

At 3,000 metres above sea level, The Virgin El Panecillo is located at the top of El Panecillo in Quito, Ecuador. The beautiful statue is ranked among the highest in the world and has become a main tourist attraction, providing 180° city views. The 45-metre-tall statue made from 7,400 aluminum pieces depicts the Virgin Mary as described in the Book of Revelation. One of the only depictions of the Virgin Mother with wings like an angel, the statue stands on top of a globe and beholds other iconographic features, including her crown of twelve stars and a snake under her foot, representing the triumph of the church over sin. The Virgin rests on a four level building made from concrete and clad volcanic rock. Visitors can tour a small museum inside the building, which highlights the history of the ancient hill and construction of the sculpture is shared. Assembly of the statue began in 1974 in Madrid before being shipped to Ecuador. The sculpture was finally finished a year later in March of 1975. As the statue plays such a notable role in Quito’s tourist economy, local architectural lighting company Salotec Luminoplastia (SL) was challenged with replacing the current lighting scheme by designing and installing a dynamic lighting system to highlight the statue at night. With the complex exterior including windows and columns, the company needed to create

an all-encompassing lighting system that is calendar control-driven. To find lighting products versatile enough to illuminate the statue, Monica Velasco and Miguel Salomón, SL designers, investigated several lighting companies. The team reviewed numerous products that could provide colour changing capabilities, precise colours and the ability for controldriven lighting to provide intricate lighting schemes for special occasions. In the end, the team specified products from Los Angeles-based Acclaim Lighting. “The result is excellent, as the great icon is now visible from many points in the city,” said Salomón. “This result fills us with pride and gives us strength to face greater challenges in 2017.” DynaGraze Exterior HO DMX fixtures are used to highlight the windows. The product features adjustable feet, a glare shield and DMX and RDM control systems, offering multiple configurations and smooth linear dimming capabilities. It can be easily linked together in one chain, or installed using weather-proof link cables. The unit includes a 30° swivel mount and a 90° swivel mount option with a beam angel of 10°x 60°, 30° x 60° or 60° to fit a wide range of applications. It provides 650lm/ft and maintains 70% of its lumens at 150,000 hours. Rebel Drum Series CC, high power, submersible RGB LED fixtures in a stainless steel housing highlight the floor columns.

The product can be mounted in any position due to its adjustable yoke and uses low voltage direct current to operate. To light the World Lookout and Olla, the company installed Dyna Flood XT QW highpowered quad-colour LED flood units which supply precisely matched colours in outdoor settings. It features an auto-switching, multi-voltage power supply and an on-board touch-sensitive menu and has a brightness of 1,579lm at a 20° beam angle, delivering efficacy of 26.3lm/W. To illuminate the figure of the Virgin, DELTA, a high power IP65 LED wash light, was installed. Due to the fixture’s robustness, it is ideal for demanding fixed installations and was developed to replace high power discharge luminaries with compact highefficiency fixtures. Designed to be the most effective solution for architectural control, the company used The Art 500, a touch panel DMX controller with 1,024 DMX channels and 500 preset scenes, to simplify the synchronisation of each product. Included is the ART 500 software package, which offers an easy to navigate interface, combined with powerful control features. Today, the Virgin of El Panecillo lights the night with beautiful colours and schemes, coordinated for special holidays and occasions. The community and tourists can enjoy the beauty more clearly from all over the city.


SMART TRENDS IN INDOOR LIGHTING FROM HCL, TO LUMINARIES TO INTERNET OF THINGS for Architects, Lighting Planners, Lighting Consultants and IT/IoT System Integrators

September 26-28. 2017 | Bregenz

Co-located with Europeans leading lighting technology event LpS 2017 |



Pics:© ERCO GmbH,, photography: Dirk Vogel

ORGANIC PAVILION Designed by renowned Italian architect Michele De Lucchi together with lighting designers Gruppo C14, the new, multi-purpose pavilion of the UniCredit Bank takes on the form of an oversized lantern, which appears to radiate from within thanks to lighting tools from ERCO. The organically shaped pavilion designed by the architect Michele De Lucchi and commissioned by UniCredit Bank was designed in close collaboration with lighting experts from the Milan consultancy Gruppo C14. The building soon became a magnet for the public and also the poetic hub of Milan's new prestigious district of Porta Nuova. LED lighting tools from ERCO illuminate the façade and interior spaces of the multi-purpose pavilion where meetings and conferences of the bank, as well as public concerts, theatre productions and exhibitions take place. De Lucchi designed the pavilion on its central site as a stark contrast to the cool, technical architecture of the mirrored high-rise buildings located on the Piazza Gae Aulenti – the office tower of UniCredit Bank, the Torre UniCredit, stands tall at a height of 218-metres as the most striking architectural element of the new Milan skyline. The pavilion, constructed from timber and glass, is reminiscent of a pebble or seed, and the vertical timberribbed construction with horizontal larch wood beams envelopes a glazed core with an auditorium in the ground floor,

a gallery in the mezzanine and a lounge below the round roof. A differentiation is made between the adjacent high-tech architecture and the pavilion not only via its organic form and natural construction materials, but also with the 3,000K warm white light specified for all the indoor and outdoor lighting. To implement the concept of a warmly radiating, accessible lantern visible from afar, lighting professional Alexander Bellman with his Gruppo C14 consultancy developed clever construction details together with the designers from Studio Michele de Lucchi. For example, Grasshopper projectors from ERCO are concealed away from view and installed into recesses within the vertical timber support structure on the outside, in front of the glass façade. ‘‘These maintenance-free, high-efficiency projectors with precisely matched light distribution were recessed across the complete building shell between the wooden structure and glazing within the horizontal wooden beam structure,’’ explained Bellman. ‘‘They accentuate the façade with overlapping beams of light from above and below, giving the impression that

the building radiates from within.’’ A decision was also made to use ERCO luminaires for the interior spaces. Light Board 48W recessed floodlights in warm white installed in the lateral trusses illuminate the convex interior of the pavilion canopy with wide beams of light. The wall panels surrounding the core of the pavilion on all levels and positioned to the rear of the glass façade are uniformly illuminated with ceiling-integrated 24W and 32W Compact lens wallwashers in warm white, also enabling a view into the small but architecturally dramatic building at night. The opening exhibition in the new pavilion displayed 70 works of art from the UniCredit art collection. As specialists in museum lighting, ERCO luminaires feature excellent colour rendering, and with interchangeable lenses, Optec spotlights create rich-contrast accenting or floodlighting on artworks, uniform illumination on walls or crisp-edged light beams for striking light effects. Pollux contour spotlights precisely light exhibits for magical art displays.

Bring Your Design to Light Design freely. From grand custom installations to elegant sleek luminaires, designers are energizing the OLED lighting experience. Made with OLEDWorks High Brightness Lumiblade Panels Installation by Vision Quest | Petal by Visa Lighting



MORE THAN A MALL Matching up to the Mall of Qatar’s various entertainment offerings, Griven’s lighting fixtures have been installed to illuminate three areas of the building’s exterior with great precision and variety.

The newly built Mall of Qatar consists of 500,000sqm of innovative shopping, recreation and leisure options. Expected to welcome over 20m visitors a year, it offers 52 weeks of headline shows, as well as a multilevel Family Entertainment Complex, a nineteen-screen Cineplex, besides over 300 shops and a range of gourmet food services. More than just a mall, this entertainment destination also charms through its lighting system, a testament to the commitment of the mall to provide a visual experience from every point of view. The request for Griven lighting fixtures came based on appreciate of a job done at the adjoining Al Rafaa Wedding Hall Complex. Installed in 2015, its lighting system enhances the traditional Arabian architectural style of the wedding complex through the usage of a DMX manageable LED colour changing system by Griven. Specified by the Project Manager, Eng. Ammar Jano, owner of Jano for Sound & Lighting, Griven’s LED lighting fixtures have been specified to light up three different areas of the Mall of Qatar. The side of the mall facing a large parking lot, featuring Al Rayyan Hotel at one corner and Carrefour at the other, presents a central area, which is now fully dedicated to dynamic pixel lighting solutions offering an ever-changing plot of lights and colours. Chasing each other on the huge façade of the mall, these patterns are reproduced by over 300 Parade Graphic 40 and 20 fixtures mounted with the help of custom wall fixing brackets. The installation

forms a chessboard scheme, where the multi-pixel fixtures are fixed at different heights from the ground. The installed fixtures were delivered in a custom RAL colour chosen by the client to let them blend with the architecture. Featuring a custom 16mm thick tempered opaline glass, these modules enable an endless layout of patterns and graphics. Easily blending on a building façade, these high impact IP67 LED bars are capable of reproducing almost any visual concept and a uniform visual pattern layout, according to their mounting distance. In contrast, a different kind of illumination was required for the upper part of the Carrefour building walls. A bright and lively grazing effect of intense changing shades was reproduced by 615 Parade S-RGBW-40 fixtures with wall wash optics. The units have been installed in a double line in a hidden position near to the upper walls of the building, in order to deliver an even colour distribution. Parade S-RGBW-40 is a modular and adjustable super flux, high luminance bar featuring 40 RGBW LEDs grouped in clusters of four LEDs each. Superb output with real uniform colour coverage is provided by the newly conceived elliptical and elliptical wide optics specifically designed for a wall washing effect. Parade S-RGBW-40 can be installed in any position and orientation, featuring an IP67 weather protection and compact size. A wall wash effect was required for the half-dome shaped roof of the main entrance

building. Visible from all sides, the front and rear parts of the roof have been lit by 90 Zaphir fixtures in RGBW colour configuration with wide optics to achieve an optimal distribution on this convex surface. The selection of optics groups available makes this colour changer suitable for a variety of lighting installations, which require maximum photometric flexibility. All fixtures of this installation are managed by a DMX system, where a high performance server designed to control large projects allows a seamless functioning of the programmed show. Moreover, the userfriendly programming system is endowed with an array of different dynamic colour scenes that can be automatically or manually alternated. A Griven team, made up of Product Engineer Giuseppe Froio, Lighting Designer Raffaele Vincelli, and Danilo Bettinazzi, Director of Sales & Marketing, went to Doha to present the dedicated lighting concept. They also arranged a mock-up showing live the performance of the chosen fixtures. Afterwards, detailed photometric calculations, renderings and configuration schemes of the proposed fixtures were sent in for the final approval. Jano concluded: “Working on this project has been a real challenge for us. We had to finish installing, programming and commissioning in a very short time. This project is so unique and important because it will be adjacent to the Stadium that will be hosting the FIFA World Cup in 2022.”

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FORMER TO FOREFRONT Adding to the newly planned dynamic society for the Dutch city of ‘s-Hertogenbosch, CLS’ REVO Basic, Colour and Compact lighting fixtures have been installed on the site of the former compound feed factory De Heus to illuminate its huge silo structures in an attractive and colourful way.

Located in the Netherlands, on the site of the former compound feed factory De Heus, they are working on creating a temporary place for the city of ‘s-Hertogenbosch. Here a new, dynamic society will arise: a social, cultural and economic hot spot. Commissioned by the Bossche investment company, a number of sub-buildings of the complex have been enlighted in an attractive way. A seemingly impossible task, the nineteen-

metre high silos have been illuminated using CLS REVO Basic fixtures. These fixtures, with a power consumption of only 20 Watts (70% less than a traditional bulb), provide the necessary illumination at only 17.5 x 10 x 10cm. The REVOs are equipped with 3,000K warm white LED light sources and a 12º lens. For subtle colour nuances, REVO Colour Flow DMX-8 fixtures have also been used. In this setting, a RGB-A LED configuration

has been selected to create deep saturated colours. The REVO Colour Flow can also be supplied in a RGB-W or an AWB variant. Despite its small dimensions, both power and DMX electronics are fully integrated in the fixture. On a number of walls, REVO Compact fixtures, equipped with deep blue LEDs, have been used for a particularly warm blue illumination.






Highlighting Linley’s signature style and intricate furniture, Lightworks used Prolicht’s LED products to create a scheme tailored to the needs of the high-end London furniture showroom.

Linley on Pimlico Road is one of London’s most exclusive furniture showrooms. Showcasing what it calls ‘the antiques of the future’, its signature style is modern marquetry – intricate surfaces handdecorated using traditional methods, but with a contemporary feel. For Linley’s recent 30th anniversary refurbishment, architectural lighting specialists Lightworks designed and supplied a high-tech LED lighting system from Prolicht that does justice to the luxurious pieces on display. Linley was founded in 1985 by David Snowdon, the son of Princess Margaret and the photographer Lord Snowdon. (Formerly known as David Linley, he inherited the Snowdon title from his father, who died earlier this year.) Snowdon had an extraordinary upbringing: when he wasn’t in the opulent surroundings of Kensington Palace, he was at his father’s studio – which is now the Linley showroom. Linley’s creative director Carmel Allen wanted to draw on these influences as inspiration for the showroom’s new look. Allen said: “Our furniture is incredibly detailed and reflects that palatial side of David’s influences. So I wanted to recreate the simplicity of the photographic studio, keeping the surroundings bare so that the furniture can do the talking.” Allen turned to design consultancy Brinkworth, who have created high-end retail spaces for clients including Selfridges, Ben Sherman and Sonos. They introduced the Linley team to Lightworks, who worked with the store and the designers to create the lighting. Allen’s vision was for the lighting to recall the feel of a photographic studio, giving a sense of drama. The fittings should be visible, but not take centre stage. “A good spotlight is a design classic in its own right,” added Allen. “They don’t date, and even if you’ve got a very stylised piece of furniture underneath, they can exist in the same space without fighting.” Brinkworth chose fittings from Prolicht, finished in a shade of dark grey to match

the store’s interior. As for the quality of light, there wasn’t any compromise. “Some of the pieces here take tens of thousands of hours to make, so getting the lighting right is really important,” Allen explained. The showroom comprises the main area at the front, a double-height atrium at the back, a mezzanine area and the downstairs club room. The main area features Prolicht’s Imagine spotlights, fitted with a deep snood to eliminate glare. A special LED chip gives a high CRI of 98, ensuring that colours are rendered faithfully across the spectrum. The atrium, which has been used to host exhibitions of art by the likes of Jonathan Yeo and Felicity Aylieff, benefits from natural light, combined with Prolicht Centriq Large spotlights to highlight the artworks and furniture displays. The mezzanine level, used for client meetings and presentations, is fitted with Prolicht’s Magiq trimless spotlights and wallwashers. These almost invisible linear fittings are available with 10°, 25° or 40° spotlight optics, while the MAGIQ Wallwash features Prolicht’s Vertical Boost designed to distribute light evenly down the full height of the walls. The intimate club room is used for private dinners, wine tastings and games nights. “The ambience that the lighting has created down there has really helped make it feel very special after-hours,” said Allen. A DALI broadcast system, combined with touch panels, makes it easy for staff to control the lights, to accommodate regularly changing displays and exhibitions. The result is a refurbished showroom with a distinctive ambience, where each unique piece of furniture looks its very best. Lightworks director Jason Goldsmid concluded: “We’re proud to have been part of such a prestigious project. The quality of the lighting had to match the brand and merchandise. It was a privilege to work with Brinkworth and the client to come up with a design that’s worthy of the setting.”

Pics: Courtesy of Prolicht

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Pic: Suzanne Hambleton, Right Light Images

NEW MILLENIUM GLASS Illuminating the works of 70 dynamic global glass artists, Soraa's LED lamps have provided the Crocker Art Museum's ‘Glass for the New Millenium’ exhibit with the necessary colour rendering, bringing out the best in the medium's properties.

Soraa, a specialist in GaN on GaN LED technology, has announced that its full visible spectrum LED lamps have been installed to illuminate the Sacramentobased Crocker Art Museum’s exhibition Glass for the New Millennium: Masterworks from the Kaplan-Ostergaard Collection. “When illuminating glass, colour rendering is the most important element. You must have true, accurate colours to bring out the best in glass,” said Matthew Isble, Exhibit Designer and Chief Preparator for the Crocker Art Museum. “We wanted something in the 3,000K range that would mimic sunlight. Soraa LED lamps perfectly light the art glass pieces, making them sing.” In putting together this important show, Isble and the team from the Crocker reviewed and tested LED lamps from four different companies. As they narrowed down their choices, the Crocker team opted

to visit Soraa’s LED fabrication facility in Fremont, California. Ultimately they chose Soraa VIVID MR16 and PAR 38 LED lamps for the exhibition. Glass for the New Millennium challenges how the public perceives mass, volume and form of glass. Surveying the work of 70 dynamic global artists who push the medium’s boundaries, the exhibit included important pieces from the 20th century studio movement, such as the life-sized, figural forms of Karen LaMonte, cast-glass abstractions of Richard Whiteley, and the expectation-shattering sculptures of Masahiro Asaka and Christina Bothwell. “We needed a light source to make the glass come to life, bringing out the shapes, forms and colours. Soraa’s LED lamps illuminate glass beautifully,” said Isble. Utilising the colours of the rainbow, especially deep red emission, Soraa’s

lamps render warm tones beautifully and accurately, and achieve a CRI of 95 and R9 rendering of 95. Unlike blue-based white LEDs without any violet emission, the company’s lamps have violet emissions to properly excite fluorescing brightening agents in natural objects. Soraa’s GaN on GaN LED technology renders the widest range of colours in the objects that we see, without ultraviolet or infrared radiation that can fade or harm the art and artifacts. The Crocker Art Museum uses Litelab fixtures, and plans to replace all other lighting as it flickers or yellows throughout the facility with Soraa LED lamps. Soraa LED lamps have also been installed at the San Francisco Museum of Modern Art, the J. Paul Getty Museum, Victoria and Albert Museum in London and Historical Museum of Bamberg in Germany.



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COLOUR TO THE FALLS Powered by the optical technology used in automotive headlights, Stanley Electric’s super narrow LED modules have replaced Niagara Falls’ previously inefficient luminaires, adding an abundance of colour to the world famous Canadian landmark.

Powered by the optical technology used in automotive headlights, Stanley Electric’s super narrow LED module has been adopted to illuminate the world famous landmark Niagara Falls. Stanley Electric’s ultra-narrow beam LED modules are located on the border of the United States (State of New York), and Canada (Province of Ontario) to illuminate the famous attraction. Up to now, the Niagara Parks Commission has been using the xenon short arc bulb to illuminate the Niagara Falls since 1997. The deterioration of the equipment led to public invitations for renewal of the entire fixture in 2014. Following this, Stanley partnered with the Canadian lighting agency Salex and three other specialty companies, resulting

in the project being adopted in March 2016. The light source has been placed about 600-metres away from the landmark. Stanley’s ultra-narrow beam LED projectors were able to clear the needed specification by utilizing the advanced optical design cultivated from automotive headlights and high quality optical lens technology. Additionally, given Stanley Electric’s track record in producing automotive headlights, the modules were able to meet the challenging specifications to withstand the harsh winter environment that the City of Niagara goes through. Power consumption was also a vital part in the renewal of the lighting of the Falls. The previous xenon short arc bulbs used about 4kW, totaling about 126kW. By switching to

LED, the power consumption was reduced to 54kW, effectively reducing the number by about 60%. The diversity in colour is another benefit that these modules bring to Niagara Falls. The previous fixtures were only able to use four colour filters to mix, but the new LED projector is able to express over 16.77 million colours by mixing and dimming of four colours. According to the Niagara Parks Commission estimated calculation, the installments will be operative for about 20 years. Stanley Electric’s ultra-narrow beam LED modules that are being used for the Niagara Falls project are scheduled to be available for sale during April 2017.


Pennsylvania Convention Center PRE-CONFERENCE


May 9 – 11, 2017






As a result of cooperation between architect Fernando Menis and Zumtobel, Bürchen’s central square is now home to a mystical lighting solution that imitates the light moods created by the sun’s rays.

A lighting solution from Zumtobel has been used to add a mystical air to the new central square in the Swiss village of Bürchen. A concept of radial illumination, which shapes the unique atmosphere in Bürchen when darkness falls, was forged at the Biennale Architettura 2014 following discussions with architect Fernando Menis, who based his approach on the distinctive way rays of light fall through the trees. Zumtobel’s Supersystem outdoor was the ideal light tool to sprinkle the pretty alpine mountain village with soft circles of light. It was therefore necessary to use artificial light to imitate the mystical light moods created by the interplay between the sun's rays and their surroundings, while also being careful to take into account the changes in daylight during the different seasons. In addition, the concept needed to interact with pedestrians by creating subtle pools of light to guide them across the square. Like many other resorts in the Alps, Bürchen struggles with a weak economy and the steady stream of young people leaving for other places. The village therefore organised an architecture competition in 2013 to try and reverse this damaging demographic trend. Fernando Menis was able to beat off strong competition from a host of renowned international entrants with a concept that brought together the redesigning of the village square with the construction of a new hotel and other facilities that would boost the local tourism and economy. He impressed the jury with a design approach that was both aligned with nature and deeply rooted in the imposing landscape, history and alpine traditions of Bürchen. At the same time, the plan from Menis fulfilled the core requirements of economic, social and ecological sustainability. The realisation of the design was made possible by a customised lighting solution

from Zumtobel, which is now available as a further-developed version of a standard product: Supersystem outdoor. The LED exterior luminaire has been optimised for the multi-zonal showcasing of streets and open spaces. Each luminaire encompasses a number of LED light tubes which can be individually and precisely equipped with appropriate optics that, despite the uniform appearance, blend specific accents with enhanced visual comfort and wellbeing. The natural charm and mystical effect of Bürchen's central square are highlighted with the Zumtobel lighting solution in the evening, creating the right light and an emotional, comfortable atmosphere that harmonises perfectly with nature. Visual artist Andreas Waldschütz has now provided a visual insight into this special atmosphere. Through a series of dramatic pictures he has managed to capture the unique mystical mood. The interplay of light, the architecture of the Valais mountain village and the alpine landscape on a plateau high above the Rhône Valley are authentically and intriguingly presented with his unmistakable style. As a result of the cooperation between Zumtobel and Fernando Menis, ‘Bürchen Mystic’ now constitutes an additional tourist attraction, creating new jobs and helping to weaken the economic dependency on second homes. However, it is also a place that makes the living space of the local population more attractive. Once largely devoid of people, the new village square is now a welcoming location for visitors and villagers alike. The ‘Bürchen Mystic’ initiative has been named among the best 20 projects from hundreds of submissions for the European Prize for Urban Public Space, an award organised to recognise special achievements in the fields of architecture and urban planning.

Pics: Courtesy of Zumtobel





IS THERE SUCH THING AS A FREE LUNCH? Following her talk at Enlighten Europe 2016 in Prague, Mirjam Roos raises questions about the ongoing discussion of independence in the lighting design profession.

One of the ongoing conversations for lighting designers is of the question of independence in the profession. At IALD Enlighten Europe 2016 in Prague, Mirjam Roos, IALD, asked how independence might be impacted by the culture of the lighting world. Read on for some of the questions and revelations inspired by her talk. Artist. Engineer. Architect. Interior Designer. Educator. Researcher. Lighting designers may have been many things in their past lives, but regardless of origin or education, they apply creativity, imagination and design aesthetics to technical and functional problems in the built environment. A significant number of lighting designers call themselves independent, charging only a fee for their design services. “In IALD terms, this is a ‘professional services fee,’” Roos said. “That means no commissions, no kick-backs, and no financial benefits from the sale of equipment. This is a pretty common business model for those of us who practice architectural lighting design.” Clients are able to identify a number of practitioners who provide many of the same things that make independent designers so highly recommendable, some of whom don’t charge that design fee. Their services are included in the price of the products – but their offer of design can often be limited to the products they have for sale. Many of these teams are populated with wonderful designers, highly creative and

qualified people who happen to work for a manufacturer or supplier. “An individual’s design skill is not related to where somebody works,” said Roos. “But the offer and service this individual provides can be influenced by their independence.” Independent designers have the freedom to design lighting using any equipment they choose, from any product line. Unaffected by quotas or the bottom line of product sales, independent designers focus on applying the correct amount of the right light in just the right place. This inspires a kind of broad, conceptual thinking about light that makes them wonderful collaborators at even the earliest stages of design. “Our independence is designed to relieve us of pressure or obligation to do something specific – and gives us the freedom to do the best, most targeted design for each specific case, scope, and budget,” added Roos. Designers charge for the holistic package of services Roos describes – and many lighting membership organisations, including the IALD, ask that members promise to uphold a Code of Ethics, agreeing to collect no commissions, kickbacks, markups or profit from the sale of equipment, or to accept general financial compensation outside of the normal standards of independent practice. In addition to financial compensation, these Codes also note other considerations of

value that could compromise professional judgement. In her session, Roos wondered what those other considerations could entail? “Could there be more than a direct financial compensation that may impact our judgement?,” she asked. “Since independence seems so critical to the success of our profession and our businesses, I wondered: Do we give our independence enough attention?” In the notes from her presentation, Roos wrote: Paul Watzlawick, psychologist, author, and one of the founding fathers of communication theory, established that all communications have two levels: the content and the relationship. Content is what we say, the actual subject matter of what is being discussed. Relationship is the command part of the message, or how it is said. Watzlawick believed the relationship level dominates the content level – the relationship is the vehicle to get the content across. The better the relationship, the easier we can communicate our content. Friedemann Schulz von Thun, a leading communication psychologist, has developed a four sides model expanding on Watzlawick’s pair. Von Thun’s model shows four messages in each communication. We know the first two: content and relationship. The third is self-revelation. Every time we say something, we share something about ourselves through tone of


voice, gestures, or timing. The fourth, the appeal, is present in every message, even if it’s hidden. She explained: “From communication theory we learn that we might not always be able to trust ourselves to make the right decision, or trust ourselves to make an informed decision that is purely based on facts.” In preparing for the talk, Roos worked with IALD staff to conduct an informal and anonymous survey of lighting designers, product suppliers and clients. She received close to 200 responses, half from selfidentified lighting designers. While the survey isn’t scientifically standardised and doesn’t reflect the complete population of the profession, the results give a broad idea of the “culture of benefits” Roos describes in the entire lighting industry. Almost all the lighting designers surveyed said they had received meals, a free lunch, or coffee from a non-designer entity like a manufacturer, distributor, or supplier. But the range of experiences was wide, including those clearly business-related: educational seminars, visits to conferences and fairs, attendance at galas or awards presentations, factory tours. They also include more social experiences like sailing, go-carting, waterskiing, surfing, skiing, city tours, helicopter rides and more. Many of these events also included travel, even overseas, as well as hospitality on site.

When translated into a monetary value, some of these offers amount to several thousand Euros. “Everybody judges these offers through their own ethical framework,” Roos added. “How can we make decisions about what is ethical and independent behavior? Currently, independent lighting designers reject bribery and direct financial compensation for specifications. Other than that, we don’t have a common ethical framework or reference that we all accept; rather, we have very different personal attitudes and company cultures in relation to this topic.” Roos presented snippets from the codes of ethics of a variety of associations and organisations, beginning inside the lighting industry and moving to other professions, particularly those where bribery and influence are critical. An example from the Code of Ethics from the Institute of Chartered Accountants in England and Wales (ICAEW) creates awareness of conflict of interest as an issue, acknowledging the present threats to the objectivity of an accountant. The ICAEW code uses a ‘third party’ test – if another body of the organisation weighed the circumstances and would find the offer innocuous, then the gift or offer is acceptable. The code also encourages personal reflection and analysis, even suggesting that accountants consider

countering offers when possible to minimise a gift. Ultimately, the code “links the risk of influence to the value and significance of the offer”, said Roos. Some codes went so far as to specify monetary values over which accepting a gift became unethical, or name certain types of events or parties that practitioners wouldn’t be permitted to attend. While not all the examples would apply to lighting, they raised awareness of non-monetary offers and, as Roos said, “of the risks of accepting these in regards to our objectivity and influence”. Roos ended the session with a call for increased dialogue within the profession around the globe, with other industry groups, between designers and suppliers. “The key is to focus on transparency in our behaviors,” she said, encouraging lighting designers to consider the power and scope of independence and start discussions within their firms and companies about acceptable behaviors for their teams. “When we talk about independence, we should talk about influence – we should define it, and be aware of it in our communication processes”. That way, the next time you’re invited for lunch, you’ll know exactly what the invitation means.



Having originally reviewed iGuzzini’s first Laser Blade range in 2013, David Morgan looks at the new, smaller XS version which was shown at Euroshop as part of the world tour launch.

EXTENDED FAMILY When a new version of a product is launched that I have already reviewed it is a good opportunity to compare what I wrote last time with my latest thoughts. Looking back at the 2013 mondo*arc review of the original iGuzzini Laser Blade range I am struck how small the range was when first introduced and by how much it has grown in scope while simultaneously shrinking in size in the latest version, the Laser Blade XS. The Laser Blade XS, which was launched at an event in London recently, is around 36% smaller in linear dimension than the size of the original version, being only 28mm wide, and yet produces only around 3% less light than the current Laser Blade light output, according to figures from iGuzzini. The miniaturisation in size is definitely a benefit in making the luminaire disappear into the ceiling but the lower lumen output might be an issue for some projects. Given the range of five sizes of Laser Blade now available, one of the larger sizes is likely to be powerful enough. Continuing advances in LED technology mean that the light output per circuit watt increases every year from physically smaller packages. In this instance the type of LED used has changed from a Cree XPE type used in the Laser Beam to a smaller type without a built in lens. The specific brand has not been revealed by iGuzzini at this point. In order to capture and control the light output to produce an efficient and attractive beam requires higher levels of reflector precision. The original miniature Laser Blade reflectors incorporated a series of mini facets to control the light distribution and also mix the light to give a homogenous output without striations, hot spots or colour break up. The tiny Laser Blade XS reflectors have taken the art of facetted reflector design and production to a new level of miniaturisation and complexity. Below the reflectors, a moulded louvre cell controls glare effectively giving a UGR of under ten. iGuzzini has applied for a patent for aspects of the optical design and branded them Opti Beam technology.

I understand from optical design guru Richard Hayes, of 42 Partners, that while the design of complex reflector optics has few theoretical limits, the problem in the past has been how to translate the precise geometry via a hardened steel injection moulding tool into a plastic moulding that can then be vacuum metalized to produce a working reflector. Developments in the use of laser-etched hard copper for tooling of this type instead of tool steel allows greater precision and therefore miniaturisation. iGuzzini may have employed this material and technique to create the new microreflector for the XS. The result of the miniaturisation effort appears to be worthwhile. In the rather limited presentation of examples from the range made in my office, the beam on the downlight versions was clean with no imperfections or colour issues. The original claim that a circular distribution is achieved from a linear downlight without any dots still holds true given a reasonable mounting height. In my original review I mentioned that a wall washer version would be a useful addition and iGuzzini introduced that option for the Laser Blade a while ago. The wall washer version of the Laser Blade XS performs remarkably well and, with the aid of two internal linear reflectors, a linear prismatic lens and a miniature kick reflector, light is pushed right to the top of the wall. The uniformity across the wall also seems to be good so that even quite wide spacing will fully and evenly wash the wall. The XS is claimed to be the smallest wall washer of its type on the market. The range of only five downlight versions of the Laser blade that were first launched in 2013 have now grown to four sizes ranging from the 28mm wide Laser Blade XS up to the Laser Blade XL at 144mm wide. The total number of versions is over 90 and if the colour temperature, tuneable white and housing colour options are included then it runs into hundreds of options. The XS range includes downlights in six linear formats from a single cell up to fifteen cells and two square formats with

either four or nine cells. Up to three beam angles are available for the downlights, 24, 36 and 55 degrees. The wall wash versions are only available in a linear format from 60mm long up to 276mm long. LED options for colour temperatures range from 2,700K up to 4,000K all with 90 CRI LEDs. A tuneable white version is also available in the wider downlight beam angles although figures for the colour temperature range are not shown in the literature so far. Both downlight and wall wash types are available in either bezel or frameless mounting options. An aimable downlight option is not available yet for the XS size and may not be possible to achieve in such a tiny luminaire although this is included in the much larger XL size. A variety of colour finishes for bezels includes white, black and grey. The antiglare cell louvres are available in black, white, polished gold and polished chrome. The detail luminaire design and construction is very well executed and even the wavy heat sink fins from the Laser Blade have been retained as they provide up to 10% more heat sink surface than a simple linear pattern. They also give the range a distinctive appearance that is so important at the specification stage of the sales process. Massimo Gattari, iGuzzini Innovation Lab Director, who was responsible for the development of the original Laser Blade, also led this new development for the XS range. The XS version is likely to be a useful addition to the already highly successful Laser Blade family. David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also managing director of Radiant Architectural Lighting. Email: Web: Tel: +44 ( 0) 20 8340 4009 Š David Morgan Associates 2017


Over 90 variations now make up the Laser Blade family, with the new XS range including downlights in six linear formats from a single cell up to fifteen and two square formats with either four or nine cells. Both wall wash and downlight types are available in either bezel or frameless mounting options shown below.



EUROSHOP REVIEW A selection of retail lighting highlights from the 2017 show.

Celed RGBW Cedes Celed RGBW spotlights can stage light variably, making it particularly suitable for shop windows. RGB and neutral white are combined on a COB, meaning the four-channel COB not only contains the red, green and blue, but also a white LED chip as a light source. By adjusting the three primary colours and different intensities, each colour nuance can be realised up to white. However, since the white produced is not pure white, white LEDs have also been placed in the RGB LEDs. This allows rooms, backgrounds or objects to be illuminated in white or coloured light, depending on the desired mood.

Touch range Fagerhult Fagerhult’s Touch spotlight range offers flexible and sustainable options for shop lighting. A stylish luminaire that will fit smoothly into any retail environment, Touch is dedicated to highlighting retail merchandise. Its LED-module is characterised by a pure, white light offering brilliance and excellent colour rendering. With track mounted and recessed versions in alternative shapes, it can be used on three different track systems: standard 3-phase track or Fagerhult iTrack and Control track – the latter two intended for DALI. Touch comes in black, white and grey.

Carson/Logar family Lledó The Carson/Logar family is a range of accent lighting for retail environments. Incorporating wall, surface, track and suspended models, the range features a compact form and PHI- reflector technology for precise concentrated light beams with minimal dispersion. With a CRI >95, a textured lens ensures colour consistency in the beam, regardless of LED emission angle. The range is flexible, ranging from 16W to 57W, with beam angles from 8° to 41°.

LINE Cooledge Designed for fast, simple, and foolproof installation without specialised training or tools, LINE can be trimmed to length onsite for the perfect fit. Its Constant voltage design means that the same LED driver can power up to 20’ (sixmetres) of LINE and that layout changes required to meet onsite conditions don’t require resizing power sources. It also has typical 2 SDCM colour consistency and a standard CRI >80.

VIMA HALLA Designed by Serge Cornelissen, VIMA is a professional LED projector with the integration of state-of-theart LED components. The design is the result of an innovative layout in which the LEDs, heatsink and driver are arranged asymmetrically on the same level. The luminaires can be equipped, in addition to highly luminous LED, with a colour rendering index of Ra>80 or Ra>90 as well as with LED sources with RealColour technology ensuring a high rendering index of Ra>97. RealWhite technology for white colour, or a wider range of StrongColour variants for specific requirements.

Kino Unibox Kino is the latest innovation from Unibox, retail display specialists. Ideal for eye-catching window and in-store displays, Kino is a transparent video screen with programmable LEDs that have been designed to provide both high-quality video content and transparency - drawing shoppers to latest products and promotions without blocking sight lines.


Tonic family Thorn The Tonic family boasts CRI >90, so true colours of in-store displays and products are vibrant and vivid. With their minimal tubular appearance, the family has a common aesthetic, making it easier for designers to create consistent looks. Thanks to its LED technology and efficient optics, Tonic achieves high efficacy of 90 lm/W, meaning savings of more than 40% compared to 35W and 50W metal halide fittings. It is available in warm (3,000K) and neutral (4,000K) colour temperatures, with lumen packages of either 1,800lm or 2,800lm.

Coray family Ansorg These recessed, surface-mounted and semi-recessed spotlights cover, individually or as a group of three, all applications, from large hall lighting to showcase illumination. With horizontal, 360° flexibility with maximum pivotability, Coray luminaires can be adapted to every lighting situation. The variety of models within a product family in the sizes small, medium and large as well as the use of different reflectors, glasses and films ensure the best possible light distribution with brilliant quality and excellent colour rendition.

ONICO family Zumtobel

3F Mirella 3F Filippi Essential and at the same time refined, 3F Mirella is a suspension luminaire, consisting of an aluminum body that houses the LED technology and a methacrylate shaped volume that leads the luminous flux. Available in various versions and finishes, it is designed to fit discreetly in rooms. The integration of the two elements allows the visual perception of the lamp in the space to change during the day.

The ONICO LED luminaire family provides new scope for the effective visual presentation of a wide range of goods in the retail sector. The modular concept enables the optimum LED module to be combined with the appropriate reflector to meet the demands of specific lighting tasks. The clear, consistent design of the luminaire and the integrated converter add further weight to this holistic approach. With a luminous flux of > 4000 lm and high luminous efficacy > 110 lm/W, the luminaires have a lifetime of 50,000 hours.

MULTIFRIO Self A multi-functional product, MULTIFRIO was designed to satisfy lighting requirements for all types of retail cooler and shelf systems. Its modular structure satisfies various requirements of length and height to suit application. Only 1.4cm thick, MULTIFRIO is available in 300, 600, 850, 1,200 and 1,700mm lenths, which can be combined to provide a flexible solution. Adopting wall-wash technology in its optical design, MULTIFRIO generates homogeneous light rays. Optimised CRI and colour temperature highlights product’s natural colour, providing a more inviting reatil space for customers.

Yori Linear Reggiani Yori Linear complements accent lighting with soft, comfortable and diffuse illumination that transforms a space. It fits seamlessly into a scheme with track, surface or recessed mounting. Yori Linear comes with five different diffusers and a variety of lengths to provide users with endless lighting possibilities. The track mounting is ideal for integration with the Yori Projector profile. Together with a surface or pendant, Yori Linear can be used for single and continuous lines of light.



XR series BÄRO

Maxos Fusion Philips

Vistosa Osram

Maxos Fusion offers flexibility for mounting and repositioning LED lights anywhere along its mounting rail and is ideal for retail, warehouses and food production areas. The new optical range gives various possibilities to illuminate spaces, delivering energy efficient light with less luminaires and lower total cost of ownership. LED luminaires can be moved and clicked in the mounting rail to highlight special promotions with accented spots or to light areas that demand long light lines to deliver high uniformity of light.

Providing maximum flexibility for specific lighting concepts in the retail trade, Vistosa track spotlight from Osram has around 50 variants via a combination of various light colours, beam angles and housing colours. Special LED modules with adapted light colours enable the appealing display of meats and baked goods. Furthermore, the Vistosa features high quality colour rendering (CRI > 90) at 3,000 and 4,000K and the DALI version can be integrated into light management systems.

BONEO Oktalite BONEO is surprising due to its design features in a bi-colour look. Its rotating and pivoting joint permits illumination of goods with pinpont accuracy. A black anti-glare ring and efficient reflectors guarantee perfect glare suppression for maximum visual comfort. LED IQ lighting management for your modernisation: prepared for an optional wireless interface the spotlight can also receive the control commands over wireless links in future.

The XR series comprises spotlights, semi-recessed and suspended luminaires with compact dimensions and a design that offers high performance, lighting quality and versatility. Application ranges from the food sector to near food products, shops and boutiques in the textile and non-food sectors. The cast aluminium head, with optimal LED heat management, is consistent across all variants of the series. The LED modules (15W, 23W and 34W) achieve luminous efficacy of up to 142 lm/W with luminous flux of up to 3,500lm. In addition to 2,700K, 3,000K, 3,500 K and 4,000K BÄRO offers colour-intensifying PearlWhite, BeColor and BeCool.

Flex Tube SE RGB Acclaim Lighting BRIGHT LAMP 83 BRIGHT is a minimalist product family designed to suit needs of recessed and surface mounted forms. Featuring small dimensions starting from 96x96mm, single or dual versions of the luminaires can be tilted up to 30° over vertical axis. There are framed, trimless or IP44 versions available within the series that can serve at maximum visual comfort level thanks to its vacuum metalised reflector. With 6W or 9W efficient LED light sources available within the family, it can be used as a decorative and functional luminaire in hotels, offices and shopping malls.

Flex Tube SE RGB is a side emitting, outdoor rated, flexible colour changing LED tube. It is available with tri-color RGB LEDs, which cover nearly every possible colour combination required. It features an IP68 rating, cut points every 3.25”, and a minimum bend radius of 12”. Sold in spools of 23’ (sevenmetres), it is impact, UV, and saltwater resistant.



Kombo Arlight Current linear lighting solutions are away from being minimal and decorative. With this in mind, sesigned by Karim Rashid, Kombo provides users with functional lighting together with a decorative touch. As a result, Kombo which can be combined to form long light patterns with smooth curves, came into life with a matte black ABS housing, Opal PMMA diffuser and a high efficacy LED with CRI ≼ 80.

Centriq Prolicht Centriq spotlights are ideal for retail settings, hotels, offices and restaurants. The family includes a range of trackspots, including a Super Spot and a Wallwash. Equipped with an innovative heat management system that guarantees optimum conditions for LEDs, all trackspots can be fitted in the trimless 2LOOK4LIGHT channel system. Centriq spots use the Exact Positioning System (EPS) developed by Prolicht for precise adjustment. The system allows rotation and tilt. The Dual-Lock system ensures secure locking. The DALI dimmer function and special LEDs are also available.

Light Edge System Turnlights

Moto-Zero Forma Lighting Ideal for application in retail, commercial, galleries, hospitality and exhibits, Moto-Zero is a modern design that encapsulates the highest requirements of the latest advanced lighting technology. Great for wall washing to illuminate the vertical surface and the upper area of walls. Available in black, white and grey, the remote controlled spotlights offer a lumen output of 1,020 - 4,700lm and a CRI > 90.

VARIO Elektra VARIO, Elektra’s new lighting solution for retail and shop equipment suppliers, is a 24V system based on a 12mm wide built-in power rail with feed-in and current collector for integrated luminaires. Shelves can be placed easily and variably at any height in order to stage goods and products into perfect light. With the supply of luminaires performed by one single power rail (6A max), Elektra offers 24V LED products in almost any required length, different light temperatures and design versions.

Patented by Turnlights, its new Light Edge System is an extruded profile suitable for installation inside corners and vertical or horizontal edges in various structures. The lighting itself is generated by an LED strip and reflected to the very narrow gap output.

Vos_QY Linea Light Ideal for retail applications, Vos_QY is a square downlight with recessed installation characterised by a minimalist design. Vos_QY is a ceilingmounting recessed luminaire featuring an optical unit with asymmetric emission. The product has been specifically designed for illuminating walls, featuring a pure, well-defined asymmetric light beam that is cast onto walls with a controlled wall projection. Available in a black or white finish, the downlights are equipped with an arrayLED that offers CRI 80 and CCT from 2,700K to 4,000K.


Profi TEXTURE Imperial Imperial’s Profi TEXTURE is an LED profile in a wood imitation case. The ideal solution for hotels, apartments and other facilities where design plays an important role, the product combines high quality materials and an interesting, trendy design. This luminaire can be mounted directly to the ceiling or be suspended as a pendant on steel wires and can be connected in long lighting lines. It comes equipped with a high quality, energy efficient white LED light with CRI 80.

Oseris range ERCO The new Oseris range features a uniquely characteristic swivel joint bevelled flush against the semi-spherical light head for a sleek design. As well as aesthetic appeal, this approach offers several functional advantages. Sophisticated digital technology means that Oseris delivers a high standard of quality – with a wide range of lumen packages and light distributions that will inspire even the most creative designers and users. The track-mounted spotlights are designed for applications ranging from specialised museums through to fashion-conscious boutiques.

iTrack Pro Rayconn iTrack Pro is a versatile lighting tool for architects and designers. One product in three extensive designs, high efficient optics (92%+) with honey comb and barn-door accessories provide outstanding performance and maximised visual comfort. Up to 4,000lm output and a 12° narrow beam, makes the family an ideal choice for projects that require accent and high quality lighting. An interchangeable optical system with twist-lock fixing design makes it easily replaceable in between the whole iTrack Pro family and other luminaires in Rayconn’s catalogue.

Masterspot Invisua Lighting Using theatrical lighting methods to add drama and atmosphere to any space, and mixing warm and cool light, or adding a touch of colour, Invisua’s tunable spectrum lighting fixtures can be controlled to create high quality white light over a wide range of colour temperatures, as well as soft pastels or saturated colours. Wireless controls allow for an easy and flexible installation.

THIN Suspension Aldabra Aldabra’s THIN lighting fixture represents a new way of interpreting the indoor suspension luminaire that, thanks to its different outer ceramic claddings in Kerlite (a ceramic tile available in a wide range of colours and textures made by Cotto d’Este, can assume different appearances, complying with every kind of installation in coherence with the architectural concept. Its narrow LED selection guarantees a high energetic efficiency and quality of light.

ECLIPSE LED Linear An eclipse is an astronomical event where light and obscurity meet poetically to form a ring of light. LED Linear intended to capture and transcribe the beauty of this magnificent physical phenomenon into a luminaire, and so ECLIPSE arose. It is a graceful, round luminaire with small profile cross-section available in two different diameters and two profile colours. Delivered with a suitable pendant installation kit and PSU, for recessed or ceiling mounting, it is a luminaire for eye-catching applications.



NETHERLANDS NEWS Highlights from Integrated Systems Europe 2017.

Dual Load Wireless Dimmer & Switch Control4

Inspire range Chroma-Q With fully homogenised colour mixing, Chroma-Q Inspire RGBW fixtures provide an excellent selection of stunning soft pastels, bold saturates and true whites, with no colour separation shadows. Featuring the 4,390 lumen Inspire and the 3,010 lumen Inspire Mini, the range has the ability to seamlessly transform the look and feel of a space or by introducing colour alongside a high quality white light. Other features include an energy efficient, compact LED design and convection cooling for quiet operation.

Pico RF remote control Lutron

With the capability to independently control two lighting loads from a single location, Control4’s new Dual Load Wireless Dimmer and Dual Load Wireless Switch offer both beauty and brains. The intuitive and beautiful interfaces unlock the power of onetouch automation by simply replacing an existing light switch or dimmer and controls anything from groups of lights to fans, door locks, shades, and more.

At ISE 2017, Lutron announced that its HomeWorks QS and GRAFIK RA 2 lighting control systems now work with Sonos. Using a new Pico RF remote control for audio, you can now play, pause, skip tracks, and adjust volume, in the same way that you control lights and blinds from your nightstand or from the wall. Imagine pulling into your driveway: the entry lights automatically turn on and your Sonos system starts playing to welcome you through the front door.

HLG-480H-C series Meanwell With high working efficiency up to 95% and 7-year-warranty, HLG-480H-C series is a single driver with 480W output, conventional cooling and IP67 design. It provides different dimming functions, including adjustable low value, 3 in 1 dimming, and smart timer dimming. It is highly suitable for LED applications in street, harbour, green house and high bay lighting.

DiGidot C4 Invent Design

RAK-8 Rako Controls

DiGidot C4 lighting controllers provide all that is needed in LED pixel and show control. These controllers convert Art-Net to SPI (supporting 30+ different LED protocols, such as WS2812 and APA104). DiGidot C4 Extended offers show recording up to eight universes per device. It easily plays through the many trigger functions, like UDP and Contact Closures. With its build-in ethernet switch and WiFi it connects to your network and is ideal for theme parks, events, retail and nightlife.

Rako Controls were proud to launch the RAK-8 at ISE 2017. The new RAK offers a more space efficient and flexible, centrally wired installation option. Fitted in the same boxes as the standard RAK-4, the RAK-8 has eight outputs and can be fitted with any combination of four different types of plug-in modules to suit a variety of loads. Modules for leading, trailing and digital dimming will be available as well as a module for curtain and blind control.



A TASTE OF TOKYO Highlights from LIGHTING FAIR Japan 2017

Gradient GRX Series Tokistar Lighting One of the largest comprehensive lighting exhibitions in Japan, LIGHTING FAIR presents a vast array of the newest lighting products, as well as the latest control systems and measuring equipment that improves lighting performance. Maintaining its popularity each year, the 2017 event saw some 208,195 people in comparison with 210,610 people in 2016. Here, we have a provided a selection of the latest lighting product highlights from the show.

LLM0545A series Stanley LED Lighting High-power LED devices and an advanced optical design are incorporated into this ultra narrow light distribution angle floodlight. The use of an ultra-narrow angle optical lens enables a simple structure, ensuring efficient refraction of light. Consequently, this floodlight is lowenergy, low-profile and lightweight. Offering colour temperatures 5,000K, 4,000K, 3,000K and 2,200K, the luminaire is 47mm thick, weighs just 4.3kg and has a 25W power consumption. With a 40,000hr and an IP65 rating, it is ideal for landscape and stage lighting.

Tsubaki Seamless Light Type V Atex

Tokistar Lighting’s Gradient GRX Series is a highly-efficient LED luminaire for use in wall grazing interior and exterior surfaces. The system incorporates highoutput LEDs sealed within an extruded aluminum housing, which is IP66 rated. In addition, Tokistar’s dimming gear can control entire zones operated from industry-standard dimming protocols.

Tsubaki Seamless Light Type V RGBW is an IP67 rated, fully dimmable and controllable linear LED luminaire, which is available in single colours red, green, blue and white. It can provide seamless and highly flexible lighting suitable for exterior façades and also interior applications. All of Atex lighting fixtures are made in Japan and ensure longevity and quality light output.

Acrich COB line up Seoul Semiconductor

RONDA LEDiL RONDA is LEDiL’s indoor lighting platform with wide customisation possibilities. Supporting different base sockets and numerous front panel fastening methods, RONDA can easily be adapted into a wide range of applications with a personal touch. The complete range of light distributions includes both asymmetric and symmetrical beams making the luminaire a versatile building block for indoor lighting.

These new products are based on Acrich technology, which is Seoul Semiconductor’s core LED technology for high efficiency direct AC driven LEDs. Acrich COB has two line-ups: MJT COB and AC COB. MJT COBs use integrated multi-junction technology chips and have a luminous efficacy of up to 168lm/W. They come in standard form factors with a single power connection. AC COBs use direct AC driving technology, which combines four groups of LEDs in a unique, solderable design. This improves design simplicity and the lifetime of the product by eliminating the external AC-DC converter.


Black Glareless Series ENDO

FLC200-LED range WE-EF WE-EF’s range of FLC200-LED projectors offers well-proven technology that provides the right solution for almost every outdoor architectural lighting application. In addition to 3,000K and 4,000K white light versions in five different light distributions, the range has been expanded to include RGBW with infinitely variable and smooth colour mixing.

A stealthy, glareless downlight, the Black Glareless Series features an electropolished, black aluminium cone that hides fixture presence and blends it into its environment. With a glare cut-off angle of 40°, the light source is well hidden. Optimal for calm, relaxing spaces, where glare or reflection of fixtures in windows can be an issue, it comes in fixed or adjustable form.

Linear-Flat-System BJB The combination of BJB’s Linear-FlatSystem and power track is elegant and ultra-flat. Like the versions with task-specific light distribution patterns, this variant of the pioneering LED system presented at Tokyo Lighting Exhibition 2017 opens up new areas of application.

graphics: Vilfredo Maria Ricci - © 2017 Studio Due

light masterpiece

STUDIO DUE light s.r.l. 01100 Viterbo (Italy) t. +39.0761.352520 f. +39.0761.352653



NEWEST OF THE NEW A selection of the latest lighting products.

Iced Pro Flex Forge Europa A flexible LED, Iced Pro Flex provides smooth, continuous lighting in a robust yet stylish solution. The low voltage luminaire is ideal for creating lighting effects in both interior and exterior applications. Available in 5,000K, 4,250K, 3,000K and 2,500K, it delivers up to 510lm/m (5,000K). Users can enhance Forge’s 8mm flat white to 1,000lm/m, in 2,700K warm white and 90CRI. Customisation is also available, with the option to select a finish and have it supplied in cut lengths, prewired.

C55-P | C55-P LED Glamox Designed by Hareide Design, Glamox’s C55-P and PS is a pendant fitting with an extremely slim design. When using the stepless swing function, it is well suited to reception and desk areas. Made using aluminium, it is a quality product with a high finish and minimal size with its cross section of only 50x65mm. C50-P is for single mounting and C50-PS is for row mounting. The unique mounting system using quick connectors and wire suspension with a flexible CC distance makes the C55 easy to adapt to different environments. C55-P is also available with LED.

Zeki Megaman This multi head gimbal luminaire provides easy adjustability due to its modular frame and multi-directional tilting. Available in one, two and three head frame options, it provides a range of lighting optic combinations that offers flexibility in lighting design. The Zeki is also available with a dim to warm variation that offers an excellent lumen output to transform spaces and provide an energy efficient alternative to the traditional halogen MR16.

Abacus family LIGMAN A range of shallow ADA compliant square, rectangular and circular wall mounted luminaires providing downward Dark Sky compliant light distributions. The luminaires are ideal for illuminating walls as well as light accents on vertical surfaces using high efficiency LEDs 11-22W. Suitable for indoor and outdoor applications, they provide a visually appealing solution for small, unobtrusive wall mounted luminaires, and is available in three different shapes, as well as bollard combinations.

Zeta SS family Heper Zeta SS, with Heper’s latest Dyno module, has a unique light distribution thanks to a multi-facetted reflector. Forward throw distribution allows light throwing 1x distance in a horizontal position and 6x distances in a vertical position. Producing a wall washing effect with uniformity, no spot effect and no glare, Zeta SS family has three types with four, eight and twelve Dyno modules. With these configurations, luminous flux ranges from 550lm to 2,400lm with 3,000K and 4,000K CCT values. With its stainless steel body, it is a durable and effective fixture for recessed lighting.

Scriptus range Osram The Scriptus range’s separately controllable direct and indirect distribution light units guarantee users maximum visual comfort. In addition to 3,000K and 4,000K light colours, versions with Tunable White (TW) are also available. Blue light distribution can be individually set across the course of the day via the separately controllable TW white component. Light scenes can be individually defined for groups, or each workplace, or can be manually controlled. Scriptus therefore provides biologically effective, dynamic white light with a brightness sequence and light colour sequence.


Image Spot LED gobo projector Rosco Image Spot is energy efficient yet compact, with image projection and a superior throw. With its 40W LED array and the option of 190, 250 or 300 beam optics, Image Spot is the ideal projection fixture for a variety of applications including retail, museums, theme parks, and other hospitality venues. With Indoor (IP40) and outdoor (IP65) versions are available, its fanfree passive cooling system ensures that the unit runs silently. Image Spot features on-board dimming controls and DMX512 compatibility for both indoor and outdoor-rated models.

Cyclops Unilamp Cyclops is a new range of shielded bollard with one opening for single sided illumination or with two for symmetrical illumination. Operated with multiple SMD LED with built in heat sink. The light is reflected on the internal reflector and is directed on to the illuminated surface. The vandal resistant clear polycarbonate cover protects it from harmful dust and water. The bollard can be installed in walkways, parks, commercial areas and open spaces. Cyclops can be customised to required heights and an anchor unit for concrete foundation is available as an accesory.

Revo Direct DMX series CLS The DMX electronics and power supply are fully integrated in this fixture. Available in both normal and REVO Compact series and in IP67 and Rail versions, the fixture comes in white, single colour, RGBW, RGBA, AWB and Tunable White versions. Equipped with Dynamic Power Control (DPC) for 25% higher light output and Dynamic Temperature Control (DTC) for optimal protection of the fixture in case of extreme hot weather conditions, the series is durable and easy to use, offering maximum performance in a compact housing possible.

Slimbar/W Studio Due The Slimbar/W is an ultra small form factor LED linear bar with IP67 rating protection. Suitable for accent lighting and available with a double light source - RGB with high efficiency RGB LEDs and WHITE with high efficiency mid-power white LEDs - the luminaire comes in two different measures, 100 and 50cm. With standard fixture colour finishing is grey, it features a (0,5W) mid-power Nichia LED source with a total lumen output of 1,800lm (900lm for 50cm.)

Neo-Ray Covera family Eaton Neo-Ray Covera features Eaton’s new curved WaveStream LED technology. Combining a contemporary design with advanced optical performance and connected lighting capabilities, the pendant family also introduces Eaton’s LuxWire technology, allowing the luminaires to suspend effortlessly without unsightly power cables. WaveStream features laser-precise AccuAim optics arranged in exacting patterns to provide brightness control, while delivering optimal distributions tailored to each fixture and application. The family is available in two or four-foot lengths with a variety of mounting options and lumen packages.

CQSA 512 / 1024 Chromateq Thanks to its Stand Alone mode, the new CQSA 512 and 1024 are the ideal DMX controller for entertainment and architectural projects. The 512 can play to one zone and 1024 up to five at a time without a computer. Its hardware is compatible with LED Player, Pro DMX and Studio DMX software so interfaces are suitable for all live applications and fixed installations. The Stand Alone DMX interfaces include six different modes: Play Scene, Zone, Scene Page, RGBW Colours, General Dimmer and Scene Speed.

Field Application Engineer We are looking for a Field Application Engineer - To help our customers and partners to integrate Casambi technology into their products (luminaires, LED drivers, sensors and other lighting control products). - Train our partners to commission Casambi solutions and give commissioning support in large scale projects - Give general technical support to our partners, both on-site and remotely Do you have a background in engineering from electronics and/or software development? Are you happy to work with customers of varying technical skills with the ability to explain complex technical things in an easy manner? Fluent spoken and written English is required. German, or some other major European language, highly desirable. Position requires a fair amount of travelling. Location is flexible, either in Central Europe or in Finland. For questions and applications please contact:

ADVERTISERS INDEX Acclaim....................................................... 15

Hacel.......................................................... 81

NormaGrup.............................................. 179

Anolis......................................................... 4-5

HALLA...................................................... 131

OLEDWorks.............................................. 145

Barrisol........................................................ 39

Heper Group............................................ 119

PLDC........................................................ 139

Casambi........................................... 141 / 174

IALD.......................................................... 157

Pritchard Themis....................................... 175

Chromateq............................................... 145

Illumination Physics................................... 6-7

Prolicht.......................................................... 3

Cinimod Studio........................................ 175

InterLumi.................................................. 147

Remote Controlled Lighting....................... 85

CLS............................................................. 12

ISTL........................................................... 153

Rethink the Night..................................... 124

D.T.S........................................................... 77

KKDC.......................................................... 57

Rising Dragon Technology....................... 169

darc night.................................................. 8-9

Lamp Lighting............................................ 91

Rosco........................................................ 141

darc room................................................... 53

LEC Lyon................................................... 127

Stanley...................................................... 109

David Morgan Associates......................... 153

LED Linear................................................ 180

StrongLED.................................................. 14

Dial........................................................... 149

Lee Filters .................................................. 41

Studio Due............................................... 171

Enigma....................................................... 37

Lightfair International............................... 155

Swiss LED................................................... 23

Erco............................................................ 31

Lightgraphix............................................. 123

Targetti....................................................... 63

Forge Europa.............................................. 67

Ligman........................................................ 17

Trends in Lighting..................................... 143

Forma......................................................... 35

Linea Light Group....................................... 21

Unilamp...................................................... 13

Fuhua Electronic ...................................... 165

Liteputer..................................................... 16

Vode........................................................... 51

GIA Equation............................................ 175

LLEDÓ Lighting........................................ 105

Wibre.......................................................... 73

Glamox Luxo.............................................. 25

Lucent......................................................... 29

Wila............................................................ 61

Griven......................................................... 19

Luxonic..................................................... 137

XAL........................................................... 175

Grupo MCI............................................... 149

MBN........................................................... 10

Xicato....................................................... 101

Guangzhou International Lighting Exhibition.... 151

Nicolaudie.................................................. 11

Zumtobel.................................................... 95

GVA.......................................................... 117

Nordic Light.................................................. 2

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.

You should have a lighting design background. Your experience should include a 2-3 years in lighting design consultancy. We are looking for excellent communication skills and the ability to present ideas both verbally and graphically. A good working knowledge of AutoCAD, Photoshop, InDesign and DIALux is required.


Project Designer


We are an award-winning independent lighting design consultancy, based in the vibrant design community of Bankside, London. We are currently seeking two creative, enthusiastic and self-motivated lighting designers to join our talented and experienced team. Our current portfolio of work includes lighting masterplans, historic buildings, commercial developments, hospitality, retail and prime residential projects in the UK and overseas.

Assistant Project Designer You should have a design background, a passion for lighting design and the ability to communicate your ideas through drawings, sketches and 3D visualization software is essential. Experience in the use of AutoCAD, and Photoshop is desirable. A willingness to learn and the ability to work under your own initiative is necessary. GIA Equation offer a pleasant working environment, competitive salary and benefits. Candidates must be eligible to live and work in the UK. If you are motivated by challenge and excited by the prospect of developing your career in a leading lighting design practice, please apply by sending your current CV, samples of your work and a covering letter to Keith Miller. Email:

As an international company within the lighting industry XAL connects innovative design with the latest technology. Our lighting solu-tions are just as sustainable as aesthetic and premium functional - a concept which is successful worldwide. XAL has subsidiaries in the US, Europe and Asia as well as a global partner network. Currently, our team consists of about 1200 employees. We are currently looking for support for our Lighting Design team in Graz.

Lighting Designer (m/f) Your responibilities

Your profile

• Support in the design of and eventually lead in international projects • Develop lighting layouts and sketches for key accounts • Collaborate with other lighting designers to create concepts for Showrooms and Fair Stands • Establish cost quotations for international projects • Creation of construction drawings, parts lists and working schedules • Answer technical questions to other departments regarding lighting design qualities, aesthetics and installation ideas

• Successfully completed (higher) technical education • Minimum of one to two years of working experience within the lighting industry • Good knowledge of 2D + 3D CAD design programs • A strong command of the English language is required • An ability to speak German is highly valued • Creative in and passionate about solving technical problems • Enthusiastic about architecture, design and lighting techniques • Excellent analytical, planning and communication skills • Self-motivated and a good team player

Our proposition We offer an exciting, fast paced environment in an expanding, international compworking relationship. The position is geared towards a long-term working relationship. Applications to: XAL GmbH | zH Mag. Christoph Mayr Auer-Welsbach-Gasse 36 | A-8055 Graz | We look forward to receiving your application.

17 Risborough Street | London SE1 0HG | Tel: + 44 (0)20 3772 2760 |

LIGHTING DESIGNER Cinimod Studio is looking for a lighting designer to work across a diverse range of projects, within the studio’s architectural lighting team. The position would be suited to a mid-level lighting designer (minimum 2 years solid lighting experience with a strong architectural background), who would like to expand their knowledge and bring their experience to the team. The position is for an individual who has prior experience of lighting design, with a proven track record of working on high quality projects and working on all stages, from concept, specification, detailing, loading and control schedules, and commissioning. You will also be involved in a variety of multi-disciplinary lighting projects in which general lighting design and bespoke feature lighting integrate seamlessly. Job Specification The ideal candidate should have either formal training in lighting design or a good level of experience in the industry. Architectural lighting experience is a requirement, and any stage or event lighting a major benefit. The role will require travel around Europe, and regular visits to the project sites. Application Process To apply please email a CV and portfolio to: with ‘Lighting Designer’ and your name in the subject line. We will arrange interviews with a number of applicants at our London studio. If you have not had a reply within 4 weeks of submitting your application, please assume you have been unsuccessful on this occasion. Please visit our website for information on Cinimod Studio: Job Terms Salary to be determined based on experience. Standard job benefits/terms will apply.


Smart Lighting Conference 30-31 May Hamburg, Germany

SPARC FMA 30 May - 1 June Sydney, Australia

Guangzhou Int’l Lighting Exhibition 9-12 June Guangzhou, China

Lightfair International 7-11 May Philadelphia, USA

LED Expo Thailand 11-13 May Bangkok, Thailand

INALIGHT 17-19 May Jakarta, Indonesia

LuxLive 15-16 November London, UK

LED Symposium + Expo 26-28 September Bregenz, Austria

Shanghai International Lighting Fair 5-7 September Shanghai, China

Showlight 20-23 May Florence, Italy



Interlight Moscow 7-10 November Moscow, Russia

PLDC 1-4 November Paris, France

darc room 21-23 September London, UK

IstanbulLight 21-24 September Istanbul, Turkey

Hong Kong Int’l Lighting Fair 27-30 October Hong Kong, China

London Design Festival 16-24 September London, UK

InterLumi 29 June - 1 July Panama City, Panama

Light Middle East 17-19 October Dubai, UAE

IALD Enlighten Americas 12-14 October Denver, USA

darc awards / architectural 14 September London, UK

BIEL 13-16 September Buenos Aires, Argentina

darc awards / decorative 18 May London, UK


Clerkenwell Design Week 23-25 May London, UK

LightExpo Africa 20-22 April Nairobi, Kenya




ZEAL FOR DISCOVERY PASSION FOR LIGHTING What we know and what we do is the result of more than 40 years of experience. Over the years, we have been striving towards excellence. This is why our customers trust us.

Unit 5 Ninian Park Ninian Way, Tame Valley, Tamworth B77 5ES T. 01827 816333 |

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