mondo*arc Jun/Jul 2017 - Issue 98

mondo*arc magazine

T H E I N T E R N AT I O N A L M AG A Z I N E F O R D E S I G N E R S W I T H L I G H T

#98 2017

PLEASURE DOME

GENERAL MOTORS DESIGN DOME

SMITHGROUPJJR GIVES GENERAL MOTORS STAR SERVICE

issue 98 * June/July 2017

C.F. MØLLER PROFILE • DEAN SKIRA INTERVIEW • IALD AWARDS TM LIGHTING SLIM LIGHT PRO REVIEW • DARC AWARDS / DECORATIVE

Van Gogh Museum, Amsterdam, Netherlands. Lighting design by Frank Hulsebosch and Henk van der Geest. Photography by Jan Kees Steenman.

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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 www.darcawards.com/architectural 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. www.darcawards.com

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CONTENTS

[jun/jul] Front cover pic: General Motors Design Dome. Pic: James Haefner Photography

044 Dean Skira Matt Waring sat down with Skira to discuss his approach to lighting design, and the journey ‘through shadows’ of his career to date.

DETAILS 022 Editorial Comment Paul James looks back at the first darc awards / decorative event.

024 Headlines The latest international architectural lighting industry news.

026 Eye Opener Cultural Arts District Park, Fresno, California, USA 028 Drawing Board Our preview of proposed projects.

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

040 Briefing Jerry Appelt.

042 Snapshot We feature Studio Illumine.

044 Lighting Interview Dean Skira.

052 Architectural Profile C.F. Møller.

060 darc room News of an exciting lighting exhibition, now a part of London Design Festival.

178 Inspirations artec3 Studio.

ART & DESIGN 120 Dark Source Stories The latest darkly comic tale from Kerem Asfuroglu.

122 Kronach in Light The twelfth installment of Kronach in Light saw a diverse group of lighting designers transform the small German city.

124 LAMP Awards The seventh LAMP Lighting Solutions Awards, held in Barcelona on 15th June. We unveil the winners here.

126 darc awards / decorative The winners of the inaugural darc awards / decorative are revealed.

131 IALD Awards Find out more about the winners of this year’s IALD Awards, held during LightFair International in Philadelphia, USA.

TECHNOLOGY 140 LightFair International Review The pick of the products from this year’s show in Philadelphia.

146 Euroluce Review We look back at some highlights from the Milan design show.

150 Case Studies A selection of international projects from manufacturers.

164 David Morgan David Morgan examines TM Lighting’s new TM Slim Light Pro. 166 iF Design Awards Review A closer look at some of the luminaire winners from the latest iF Design Awards.

172 New Products Some of the latest products in the industry.

176 Expo Diary

GRIVEN USA I P.O. Box 28, Gaffney, SC 29342, USA I Tel. +1 864-487-3535 I www.griven-usa.com I info@griven-usa.com

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[jun/jul]

062 Online We step inside the Anthony Joshua-endorsed BXR gym in Marylebone, London. www.mondoarc.com

PROJECTS 062 BXR, London Opened earlier this year, the Anthony Joshuabacked BXR London is the first high-end, boutique boxing gym to open in London, and is a champion in understated, modern industrial design, with DHA Designs delivering a knockout blow with its spectacular lighting design.

074 Calgary International Airport, Calgary By harnessing the power of natural light and blending it with artificial lighting, AECOM and DIALOG were able to capture the outstanding natural beauty of Canada and transfer it indoors at Calgary International Airport.

Pic: Gilles Bonugli Kalli

PROJECTS 086 New Town Hall, Dresden As the city of Dresden sought to illuminate the historic, neo-renaissance New Town Hall among its famous skyline, it turned to Studio DL, whose introduction of warm white light helped bring this landmark building to the fore.

092 Grand Connaught Rooms, London Out with the old and in with the new; The Grand Connaught Rooms Grand Hall in London has had a lighting makeover to re-ignite the Grade II listed building, bringing it into the present day.

PROJECTS 100 General Motors Design Dome, Michigan The General Motors Design Dome is well established as a triumph of 1950s architecture and design, but now, thanks to a renovation from SmithGroupJJR, it has been firmly brought into the modern era.

110 Watergate Hotel, Washington DC When the notorious Watergate Hotel underwent a much-needed facelift, the owners turned to Ron Arad Architecture, BBGM and CM Kling + Associates Architectural Lighting Design to carry out the renovations, transforming the establishment into a loving homage to its original 1960s design.

Linea Light Group Professional LED Lighting Project Bloomingdaleâ&#x20AC;&#x2122;s Kuwait Lighting design Nulty

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[editorial] Paul James, editor, writes: As I am writing this a mere three days after the bomb attack that hit our home city of Manchester, I am finding it hard to express words to celebrate our darc night / decorative event that happened just a few days before. Such atrocities put everything into perspective but we must continue to organise and attend events that put joy and laughter in our hearts. So forgive me...

Many of you were at Bloomsbury Ballroom in London on 18th May and many of you, I know, had a great time! Our very first darc awards / decorative carries on the baton of the darc awards concept after the impressive start made by the inaugural awards two years ago. Now, instead of a combined architectural and decorative lighting awards we have split the structure into two streams so we can dedicate more space to both of these important facets of design.

But of course, without the entries the good people of design would have nothing to vote for! 200 entries from 30 different countries, purely for decorative lighting design projects and products, is beyond what we imagined.

Now we have moved quickly on to organising the darc awards / architectural with the deadline for entries being 20th June. If you are a lighting designer, architect, light artist or interior designer that has been involved in a project with some fantastic creative lighting, no matter how large or small (we have High and Low Budget categories) then go on to www.darcawards.com/ architectural to enter. If you are a manufacturer there are three product categories (Interior / Exterior / Technology) for you to consider.

Following the darc night / architectural event that will take place in London on September 14th we will then move the installations to darc room, our lighting specification exhibition, a week later which, I am pleased to say has now officially become part of London Design Festival.

We look forward to welcoming you to darc night / architectural and darc room in September where we can meet with joy and laughter again.

#darcawards #darcnight #darcroom

Editorial

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news headlines darc room gains London Design Festival status

For the latest news stories, head online: www.mondoarc.com

New Managing Director of Hess

(UK) – darc room, taking place in Central London from September 21st - 23rd, is officially part of London Design Festival.

(Germany) – Dr. Ernst Smolka will take over as Managing Director of Hess Licht + Form.

www.darcroom.com

Read the full story online...

1

Targetti under new ownership (Italy) – Targetti Sankey S.p.A is now under the ownership of IDeA Capital Funds SGR. Read the full story online...

2

3

IALD launches first European Chapter (Europe) - IALD has announced the formation of IALD Alpine, the first IALD chapter located in the European region.

Read the full story online...

4

5

darc awards / decorative winners announced

Ai Weiwei embraces Amsterdam Light Festival

(UK) - The inaugural darc awards / decorative event took place at the beautiful Bloomsbury Ballroom on May 18th.

View the winners at

(Netherlands) - World-renowned Chinese artist and activist makes special installation that will connect all artworks at the event.

www.darcawards.com/decorative

Read the full story online...

SGM launches architectural division (Denmark) - SGM Light announced the launch of a new architectural division at Prolight + Sound in Frankfurt.

Read the full story online...

7 In pictures

the latest news online

6

scan QR code to link to

024

1 Visit www.darcroom.com for more information about the event 2 In addition to the new ownership, the Fund has appointed Italian native and industry veteran Piercarlo

Gramaglia, as the new CEO 3 Dr. Smolka will begin the role on 1st July 2017 4 Visit darcawards.com/decorative to view the winners 5 The new chapter of the IALD includes Austria, Leichtenstein and Switzerland, and will open activities to designers from Northern Italy and parts of France, Germany and Slovenia 6 Ai Weiwei’s artwork, titled Red Line, will connect the Water Colours boat route 7 SGM made the announcement prior to the opening of Prolight + Sound

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eye opener Cultural Arts District Park, Fresno, California, USA Back in early 2014, O’Dell Engineering contacted Digital Ambiance with the task of developing a new, interactive lighting system for the upcoming Cultural Arts District Park, then in development in downtown Fresno, California.

The park, which officially opened in late 2016, was designed with the ambition to help bridge cultural awareness and bring the local community together, while benefitting the overall revitalisation of the downtown area.

Over the course of six months, Digital Ambiance developed a concept that utilises heat sensitive FLIR cameras to track the motion of pedestrians walking under giant, conical shade structures. This motion tracking data would then be used to produce generative lighting patterns within the canopies, on circular arrays of powerful Digital Ambiance PixelWash Series LED fixtures. The goal for this was to create a tapestry of flowing light that would run like a river above people in the park.

Once the initial concept was finalised, Digital Ambiance underwent the process of submitting a fleshed-out design, winning the bid, working with the general contractor and installing the final piece – a lengthy development that took the next year and a half.

The San Francisco-based firm partnered with Visible, a Slovenian company that specialise in creating ‘an interactive world’, to develop the interactive lighting control solution for the FLIR cameras. Visible created a custom-tracking algorithm and integrated it into their lighting control system, LightAct Media Server.

Custom generative light patterns written by the designers at Anticlockwise Arts were created to play across the canopies, seeded by the locations of the people walking underneath. The algorithm works on 15 thermal camera feeds simultaneously, tracking the locations of everyone in the park, and the effects written by Anticlockwise were seamlessly integrated with Visible’s LightAct Media Server through its plugin system.

Two years after Digital Ambiance first took on the task, the final product is stunning. A spokesperson from the company said: “The Cultural Arts Park has been a long-awaited green space for Fresno residents, and we are so excited to be a part of its creation.

“Not only is this installation another successful and high profile project under our belts, but it is also our first citycontracted public arts project, and hopefully, the first of many to come.”

The Cultural Arts Park is part of the Cultural Art District and was commissioned by the Fresno Cultural Arts District Association, a non-profit association representing art, music, theatre and locally owned businesses. www.digitalambiance.co

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

Pic: Sasha Gebler

HOLOCAUST REMEMBRANCE Gebler Tooth and Caroline Burraway have joined forces to create a beautifully haunting memorial for the remembrance of the Holocaust.

Initially, the design was put forward for the Westminster Holocaust Memorial International Design Competition, however it did not qualify due to a number of controversial reasons, the main being they are not well known enough in the design industry.

As managing directors of the competition on behalf of the Department for Communities and Local Government, Malcolm Reading Consultants have come under fire for only allowing entries from experienced monument designers to be considered in the running, leaving no room for outsiders.

With 30 years experience in the industry and considerable recognition, it was unfortunate they did not have a monument design in their catalogue. Nevertheless, they believed they could create a design that would answer the twin requirements of the monument and museum with Burraway’s collaboration.

Gebler stated: “It’s a vitally important

theme and a site of national importance, so we wanted to come up with something that unites the two elements together and links the past to contemporary events.

The lattice structure enclosing the central shaft also acknowledges the Gothic Revival architecture of the Houses of Parliament.”

The project was successfully chosen to appear in the official AR Future Projects award catalogue, which was distributed at this year’s MIPIM event at Cannes.

One of the main objectives the designers wanted to achieve with this project was that it stands as a constant reminder to the general public of the dangers of history repeating itself. Burraway’s work specifically looks at human displacement throughout the nineteenth century into late modernity, she commented: “The memorial should stand as a warning to never allow such terrible events to be repeated.”

The project itself encourages audiences to enter via a ramped tunnel towards reception, and then descend seven levels following the story of the descent into barbarism, from the origins of anti-Semitism to the ‘Final Solution’ in the pit at the

heart of the ‘inferno’. At the bottom of the descent, all of the currently known names of victims of the Holocaust are displayed on touch screens for visitors to look through. The central shaft walls hold transparent images of victims and survivors drawn in graphite and charcoal by Burraway. These faces are caged in a literal and metaphorical open helix structure from the base of the pit to the opening above ground.

The final leg of the journey sees visitors performing the final ascent through the central shaft, as a group in a glass lift. This is to represent the rising of the souls as the faces illuminate when the car passes through the upwards tunnel.

Burraway was selected in 2016 for the Jerwood Drawing Prize Exhibition and earlier this year, some of her images from The Jungle refugee camp at Calais were displayed at the Freud Museum in London by Susan Steinberg. www.geblertooth.co.uk www.carolineburrway.com

The Light.

NIGHTSIGHT | Architectural LED outdoor luminaire design by Ben van Berkel, UNStudio

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[drawing board]

Pics: Zaha Hadid Architects

THE CITY OF DREAMS The team at Zaha Hadid are to grace another skyline with their striking architectural creations. This time, the City of Dreams is the most recent location chosen for the Morpheus Hotel project.

Unveiled by Melco Crown Entertainment, developers of casino gaming and entertainment resort facilities, the Morpheus Hotel is to become the limelight on the new Cotai strip with four other architecturally stunning hotels.

The City of Dreams is a city resort built on the Island of Macau in China. It offers an entertainment resort with premier leisure, the world famous House of Dancing Water, designer shopping and a spacious contemporary casino for those with a little

more disposable income.

Hadidâ&#x20AC;&#x2122;s new Morpheus tower block contains 40 floors of approximately 780 guestrooms, suites and sky villas, meetings and events facilities, gaming rooms, lobby atrium, restaurants, spa and sky pool.

As the worldâ&#x20AC;&#x2122;s first high-rise building solely supported by a free-form exoskeleton steel structure, its uniquely designed rectangular shape sees two towers joined by arterial sky-bridges through the centre.

The London, Hong Kong and Bangkok based lighting designers Isometrix and Inverse have worked together to provide the lighting concepts for this intricate architecture. The exoskeleton frame of the building poses an exciting canvas on which

the designers can exploit to create some unique lighting displays.

As a new flagship hotel for the City of Dreams, the unprecedented structural form is designed to gratify the modern and future travellers of the world and their dreams of ultramodern yet sophisticated hospitality. The complex structure, inspired by jade artefacts giving it a mysterious and unconventional composition with large voids and volume, gives a unique appearance intriguing audiences both inside and out.

The development process of the hotel began in 2013 and is due to commence operation in 2018. www.isometrix.co.uk www.inverselighting.co.uk

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

Pics: Corrado Serra

BREAKFAST AT TIFFANY’S dpa lighting consultants worked in collaboration with the office of renowned architect Eva Jiřičná to create the Tiffany Gallery for the redesigned Luce Center on the fourth floor of the New-York Historical Society Museum & Library.

Working closely with New-York Historical on this project, the brief required the creation of a spectacular, custom-designed glass gallery showcasing the Museum’s preeminent collection of Tiffany lamps.

The Gallery of Tiffany lamps comprises a 4,800sqft, two-story space measuring nearly a city block with its elegant glass Norman S. Benzaquen Grand Staircase. As the centrepiece of the fourth floor, the gallery features 100 illuminated Tiffany lamps from New-York Historical’s collection, displayed within a dramatically lit jewel-like space that visitors can access through the Geduld Family Gateways.

The project was inspired by New-York

Historical’s discovery of the unknown story of Clara Driscoll and the ‘Tiffany Girls’, who designed and created iconic Tiffany lamps at the turn of the 20th century, many of which are in the Museum’s collection.

“The reopening of our Henry Luce III Center on the fourth floor of our landmark building marks a new and dramatic phase in the evolution of New-York Historical as one of the great showcases for architectural innovation in New York with, among other spectacular features, a bi-level glass Tiffany lamp gallery that is a major feat of design and engineering,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society.

Nick Hoggett, Partner at dpa lighting consultants and lead on the project added: “It was a wonderful project to be part of, the technical challenges of showcasing lamps that are over 100 years old in some cases, with contemporary context and

techniques, was one we relished. The Tiffany Girls remain an inspiration to all of us interested in light.”

The glass stair underwent considerable design input by all concerned, dpa and EJA carried out numerous studies and mockups, which has culminated in the carefully integrated linear LED lighting elements to the stair treads and supporting fins. A cool crisp white light was chosen so as to complement the glass structure while also complementing the warm white light used within the Tiffany Lamps and elsewhere within the gallery space.

Eva Jirinca Architects designed special curved glass showcases to house part of the Tiffany collection and perimeter glass showcases for the remainder of the various Tiffany lamps that are now on show. Artificial lighting has been carefully coordinated within the showcases with a combination of fibre optic spotlights and

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various LED sources.

The lamping of the Tiffany lamps themselves raised some interesting philosophical questions, which were debated with the curatorial team at the museum and internally at dpa. One key question was whether the lamps used should provide an accurate representation of the tungsten lamps used historically or whether the visual impact of the Tiffany Lamps was the most important factor. After much debate and trialing of numerous retrofit LED lamps, a palette of high CRI ‘filament style’ LED lamps was settled upon which paid respect to tungsten sources in terms of look, colour temperature and colour rendering but offered the energy savings of LED and reduced the heat buildup within the display cases.

Another question included whether specific lamps should be provided with additional illumination to further reveal and highlight

the craftsmanship and decoration of their bases. Several mock-ups were carried out using fibre optic sources but it was eventually decided that the lighting of the bases should reflect how they were presented historically using the spill light from the shades above.

While the glass staircase and Tiffany lamps themselves are the star attractions in the gallery, the lighting design challenges also included the integration of illumination to non-self-illuminated exhibits and also the descriptive texts and graphics within the gallery. dpa worked closely with the architects and the display case suppliers to integrate and conceal lighting within the cases and again mock-ups proved an invaluable tool in the testing and refining stages of the casework development.

Although The Tiffany Gallery predominantly provides a stunning space within which to display the Tiffany lamps and present their

history, the gallery can also be used by the museum to host special events. In order to respond to this additional requirement, the coves which are ordinarily lit in blue to reveal the barrel vault ceiling can be set to differing hues and brightness via a DMX system to set a more celebratory tone within the gallery.

Rounding out the floor, the Robert H. Smith Family Skylight Gallery designed by Eva Jiricna Architects provides visitors an airy, sun-soaked lounge space where they can reflect on their experience beneath a historic skylight that was part of the building’s original construction, restored with the generous support of American Express. www.dpalighting.com

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[spotlight] ANYONE FOR DARTS? Following the roaring success of its Shoreditch site, the mastermind behind the ‘Social Darts revolution’ has launched its second Flight Club venue in Bloomsbury, London. Flight Club has once again engaged the creative partnership of Into Lighting on lighting design and Russell Sage Studio on interiors.

Famed for taking the traditional game of darts out of dark pubs and turning it into a fast and exciting multiplayer game, all housed in a stunning bar where gourmet food and drinks are served to you as you play, the creators of Social Darts are on course to take the phenomenon global.

Flight Club Bloomsbury is set over two floors with nine oches and a capacity of 250. In addition, there’s also a private room for hire with three oches. Taking darts into a super-modern setting, each oche is kitted out with cutting edge technology created by rocket scientists. The décor of the new bar, located on 55 New Oxford Street, is created by Russell Sage Studio and builds on the Victoriana and circus themes found in Flight Club’s first venue, turning them up to eleven. A large, ornate carousel themed bar takes centre stage, serving signature slushy cocktails, party shots, and craft beers.

The lighting concept realised by Into combines eye catching, kinetic, interactive fairground lighting with shadow-free lighting to each dartboard to be sure the cameras pick up the dart’s precise movement for data feedback to the scoring system.

To create the shadow-free lighting, Into mounted the clients’ cameras and low glare spotlights fitted with Soraa LED engines to a bespoke bracket to each dartboard.

A concealed ring of LED Linear led tape around the board provides a uniform and shadow cancelling light treatment, with specialist LED drivers from Eldoled to eliminate camera flicker.

Darren Orrow, Into Director commented: “We love working with the client team at Flight Club, they are constantly pushing us to challenge the conformist approach to lighting many other venues follow.”

Flight Club Founder and CEO Steve Moore added: “Leave your preconceptions of darts at the door! Opening our Bloomsbury venue is the next step in the Social Darts revolution, we’re on a mission to get the whole country behind an oche.” www.into.co.uk

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[spotlight]

BUILDING BRIDGES Affectionately dubbed ‘The Swan’ by locals, due to its gracious silhouette, the Erasmus Bridge, designed by architect Ben van Berkel, is the tallest bridge in the Netherlands.

Rising to a height of 139m and extending to a breadth of 800m over the river Maas, the Erasmus Bridge has become Rotterdam’s most important landmark and iconic symbol in the city’s skyline since its inauguration in 1996.

With the Erasmus Bridge approaching its 21st anniversary, the city of Rotterdam wanted to apply more suitable solutions for the future and requested the introduction of new advanced lighting technology for the illumination of the bridge.

The initial lighting scheme designed

by UNStudio aimed to enhance visual perception of the bridge’s identity both during day and night. Using the skyline as a backdrop, the construction elements are designed to ingeniously blend during the

day. The designers opted for the opposite effect at night, which is to create a strong visual identity where all the shapes and forms are accentuated in order to stand out in the urban environment and to reflect in the water.

During 2016-2017, UNStudio architects assisted the City of Rotterdam in issuing a tender for the new LED technology light fittings to be implemented according to the studio’s initial lighting principles.

As well as creating striking visual effects, the bridge’s new lighting scheme also follows the sustainable principles and meets current regulations for the reduction of energy consumption. The design also accommodates the possibility to perform special lighting events.

To meet the aims of the new lighting scheme, in 2016 UNStudio commissioned ACTLD, a Belgium-based independent lighting and visual environment design agency, to carry out a full quantitative

and qualitative analysis, where both CCT/colour and luminance/illuminance measurements were taken before and after the replacement of the old lighting equipment with new LED fittings (provided

by Sill and installed by Dynniq), and advise on the lighting principles.

As an outcome of the analysis, ACTLD provided an assessment of the new LED system for the appearance, the range and the quality of the achievable colour, the performance of the transitions between lighting schemes and the potential for further customisation.

Based on the initial lighting concept by UNStudio and following the conclusions of its assessment of the new lighting scheme, ACTLD also supervised the programming of multiple lighting sequences to be featured during festive occasions and major events incorporating the Erasmus Bridge to emphasise its role in the heart of the city. www.actlightingdesign.com

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INFORMAL PRACTICALITY Focus Lighting was commissioned to design the lighting at the University of Pennsylvania’s new Pennovation Center, a 58,000sqft innovation and research facility dedicated to entrepreneurs, researchers, and inventors.

Strategically arranged fluorescent lighting compliments the building’s geometric architecture and industrial aesthetic, while referencing elements from the landscape design to create a fully cohesive visual experience.

A nod to the 20th century paint factory that previously occupied the building, fluorescent fixtures reinforce architect Hollwich Kushner’s industrial-inspired design. Each lighting detail is a direct response to the architecture’s celebratory and functional intentions. “The building has a communicative nature that inspires creativity in isolated work as much as it encourages collaboration. We wanted the lighting design to build on that personality and influence,” said lead lighting designer, JP Lira.

A rhythmic arrangement of 66 chevron

fluorescents above the first floor’s central corridor gently ushers visitors to exits on either end of the building. Those exiting at the south end will notice a similar chevron pattern in the courtyard’s black and white pavers, a small detail that creates cohesiveness between the interior and exterior designs. Communal desk spaces along the second floor’s central corridor are illuminated with spinally arranged fluorescent fixtures – referencing the Pennovation Center’s connection to mechanics and robotics. Fluorescents above the central bleachers – ‘The Heart’ – are artfully configured in a playful formation – like a handful of sticks tossed in the air and frozen in place – meant to inspire creative thinking and conversation in those seated below. Surface-mounted adjustable LED accents were integrated above the bleachers to accommodate different presentation settings.

Considering the long, often late-night working hours of many Pennovation Center occupants, an outdoor courtyard offers a place to unwind. The courtyard lighting

creates a warm, pleasant atmosphere in contrast with the interior’s working environment. 49 pattern projectors create a dappled moonlight effect across the plaza and courtyard, while a catenary of string lights mounted to eight fifteen and 30-foot poles creates an added layer of warmth.

The lighting effectively compliments the building’s geometric architecture and industrial aesthetic, and references elements from the landscape design to create a fully cohesive visual experience.

Lighting works with the architecture, giving the building built-in inspiration that encourages the innovators and entrepreneurs to leave their desks and socialise with their peers.

The Pennovation Center’s lighting design combines with its architecture to create the perfect balance of informal social areas and practical workspaces – an ideal collaborative environment for the innovators, entrepreneurs, and inventors who will occupy the building. www.focuslighting.com

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[briefing] OSRAM and ABD were in partnership with Jerry Appelt, lighting designer and production co-ordinator, to create one of the most widely watched TV shows in the world on 13th May, the Eurovision Song Contest 2017.

Can you tell us a little about the set up you have here at the International Exhibition Centre in Kiev?

It started about middle of November I think, which is quite late for a Eurovision Song Contest. There were a lot of local issues with the networking stations changing from state general to a public network, which caused a lot of tension in the process. Finally, we made it to today!

How it usually works for Eurovision is we have the chance to collaborate with the delegations and the entries from the different countries, and this usually happens around mid-March. All the artists bring their information, pictures, directors, media and playbacks to a large meeting, which is very necessary. For me, this means I have to develop my toolkit prior to these meetings. You have to have in mind, ‘what might I need?’

That’s the experience I have had with the last two Eurovisions I have done. Deciding what I want to use without knowing exactly what I want to use for this delegation or that delegation is why I have a big toolbox, or what I like to call, Swiss Army Knife. Then we try to closely link these with different songs and the content creation. Once we receive the information we begin to prepare our staff. In this case, we did three weeks programming in Hamburg and then show up here to pull it all together. Then there are the extended rehearsals with the hosts and acts, which I think are very useful.

What about your choice of tools and how was that informed in terms of diversity of looks?

On this size of production, it is always a mixture between budget issues and what I think is needed, so I was quite happy when Elation stepped in to provide the lighting gear for the audience area. However, with Claypaky’s Scenius Unicos, I was really keen on keeping them but I had to stand some pressure, budget-wise. They are my workhorses; this is the last thing I want to change. There are a few particular things I think are necessary to hold onto. For example, key lighting, your follow spot systems and your usual equipment that your work with, in my case, that set up is with the Unicos.

In terms of the features they have here, how have you exploited them?

The complete variety is great because I don’t have to choose before I put the different fixtures on their positions. Mainly for me, the nice thing is the rich colour with the powerful brightness that comes from an old fashioned punchy beam. It’s not a flat field, which most modern fixtures want to achieve, which of course for key and effect lighting is important. I prefer the older approach, much like the RCLs back in the day or the first series of star lights. They all had a hot spot and I’m still a fan of this.

You have a huge number of very varied fixtures here and you also have a great use of projection.

Between cameras and lighting and having to deal with projection, how hard was that to balance everything?

It is tricky but because I do it quite often, I know how to handle it.

To be honest, this show is mainly made for television. Of course it should be a good

experience for the audience here too, but the cameras, the iris set up of the cameras and the way we run the metrics is the main focus. We start simple and then we add the layers, which is the trickiest part, particularly the layer for the arch of the stage. There is a maximum power level provided by the anti-lumen, therefore I level out all of the other items to make it look good in combination, otherwise the LED light would blast certain elements away. But the ruler on this kind of show for me is the camera itself, because it transports what we do to all the screens in the living rooms outside.

You have the main fixture, which is the Unico for the stage, but what else have you incorporated?

It’s easy! My main workhorse on stage is the Unico, but then I added others when I needed compact features. For example, on the beehive, it is better to have a smaller unit and for the grand centre features it makes sense to have something large but compact. In the audience it is mainly the boy wash and spot and key lighting is mainly the Elation LED washes.

How do you manage all the different lighting whilst avoiding the bowels of the stage – that must take a lot of precision work?

Yes that’s true, it takes a lot of framework. We really need to take care and that’s where the cue pilot comes in. We can be sure if the directors decide to shoot scenes over here, we can work on that. If you use the system manually with the vision mixer, it always makes it a little difficult. It’s a funny thing, sometimes it’s good when you’re following the motions, but this special show, especially with all the administrations and talks with delegations, you have to rely on a backbone. If they explain to you they want this shoot four frames earlier, you can easily provide it with the cue pilot. This is the same with lighting, because everything is linked together with its total visual impact, it means I am quite happy to work with this particular cue pilot.

Beyond the lighting sources is there an element of support that helps you in your work by having sponsors like OSRAM become involved in the show itself and how does that affect and help you?

Yes, even in the Elation lights there is OSRAM! First of all, I am quite open to resolutions that help to achieve a better result in the existing budget. I am not adamant with ‘I have to use this light and nothing else will work’. You always have to level out the issues that you have from an economic situation, and this helps us to go into this show and not forfeit 300 features. OSRAM was a really relaxed partner on that side and I am quite happy!

What’s next after Eurovision has finished?

The next challenge! I go back to Germany where music celebrity Helene Fischer hosts a record release show. Then I go back into Eastern Europe to help with the Russian production for the Astana Expo 2017, held in Kazakhstan.

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Since its inception six years ago, Shanghai-based Studio Illumine has consistently argued the point that lighting should be considered an integral element of good design, stating that there is room for both beauty and functionality in lighting design. This approach is evident across the studioâ&#x20AC;&#x2122;s extensive portfolio of work.

PRIVATE PENTHOUSE BEIJING, CHINA Studio Illumine was responsible for working with Robarts Interiors & Architecture to craft a lighting design for this 800m2 penthouse that was both meaningful and contextual. Designed to discreetly accentuate the interior design and artwork, the lighting of the penthouse is felt but not seen through the use clean trimless fixtures that were carefully selected for their down light, adjustable or wall washing function.

Artwork and sculpture pieces flank the foyer as one enters the space. Lighting was intentionally used to not only showcase these pieces but to create an interaction between light and object, creating a play of light, shadow and reflection.

With the use of bold decorative Holly Hunt chandeliers in the living and dining spaces, the general lighting was designed to play a quiet and more discreet role that would be layered into the design without any visual confrontation.

INTERNATIONAL MANAGEMENT CONSULTANTS SHANGHAI, CHINA The idea behind this corporate project was to produce a sophisticated and premium working area, while still incorporating the necessary practical elements of a working environment. Finding the perfect balance between effective mood lighting and soft diffused lighting was crucial.

Within the reception and lounge areas, the lighting was designed predominantly

to highlight feature walls, greenery and artwork pieces. Within meeting rooms, discreet but powerful linear fixtures were used to achieve the required light levels for working. For the main conference room, suspended linear fixtures were used to produce both the direct and indirect lighting required for video conferencing.

In the main open-office areas, mood lighting

gives way to soft diffused ambient light from suspended ceiling troffers strategically placed over working desks. General lighting remains diffused via concealed cove lighting in the architecture while suspended bold glass pendants over workstations help to punctuate the space, producing visual features within an otherwise open working environment.

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CAOHEJING KEHUI TOWER SHANGHAI, CHINA Located within the CaoHeJing Technology Park, this 20 floor tower consists of two façade layers: the building shell, and mounted a slight distance away from the first, an aluminum latticework of squares.

A horizontal band, located in the middle of the building, separates these forms into halves.

Studio Illumine articulated the feature ‘square’ façade skin with an integrated lighting solution that blended seamlessly with the architecture. The use of specialised, 360° LED projectors mounted at the base of each ‘square’ bay, allowed the team to precisely apply lighting on all four

sides, despite its narrow width.

Blue light was applied to the middle band of the building to clearly define and divide the structure via uplight fixtures. These light fixtures were concealed and carefully incorporated into the structure to avoid undesired reflections from the aluminum façade panels.

The careful application of lighting serves to create a pleasant nighttime illumination that does not impose onto the streetscape.

The limited use of LED fixtures ensures that the installation not only complies with local regulations on power, but also meets client budget limitations.

URBAN PRISMS SHANGHAI, CHINA Together with Lukstudio, Studio Illumine created a unique lighting experience for this urban sculpture, playing with light and colour.

Consisting of a linear grid of scaffolding punctuated by three white polycarbonate prisms at the roof, linear light strips were positioned to graze these surfaces from the inside. At night, the pavilion glows like pieces of quartz showcasing its satin white surfaces.

Pursuing a new ‘pop-up’ store typology in Shanghai, this interactive pavilion offers more than just a re- tail experience. ‘Urban Prisms’ demonstrates how a commercial design can benefit from pedestrian flow and contribute to a better public space.

STUDIO ILLUMINE Studio Illumine is an international team of lighting designers with a passion for light, architecture, product design and art. The design practice, based in Shanghai, China, was officially founded in 2011. Its team members are of varied design backgrounds and are dedicated to bringing meaningful and imaginative lighting schemes into the built environment.

Studio Illumine believes that lighting is a vital element of good design. As such, it needs to be considered

in parallel with the other design processes from the very beginning. Good lighting is developed through an understanding of the latest technology available, lighting codes, sustainability and a sense of the built environment. It is about creating ambience through light and shade. Functional yet beautiful lighting schemes result in meaningful lighting. www.studio-illumine.com

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TRAVELLING IN LIGHT For 30 years, Dean Skira, founder of Skira Architectural Lighting Design, has become renowned for his unique approach to light, seeing it as an art form in itself, rather than a mere tool for illumination. Following his appearance at Delta Light X during Milan Design Week, Matt Waring, Assistant Editor at mondo*arc sat down with Skira to discuss this approach and the journey ‘through shadows’ of his career to date.

“Light is not important for architecture, but for people who live in it.” That is the view of Dean Skira, multi-award winning lighting designer and founder of Skira Architectural Lighting Design. A bold claim, particularly from someone who has made his name in illuminating buildings, but for the past 27 years, Skira has been showing that light can not only be a functional tool, but also a beautiful spectacle for viewers to enjoy.

Based in his hometown of Pula in Croatia, Skira traces his relationship with light back to the ‘vivid imagination’ that he had in his teenage years. “I installed incandescent and neon lights under my bed, lighting up the darkest corners of my room,” he recalled.

“I painted the bulbs in various colours just so that I could sit there and enjoy the lighting scenes in a created ambiance. I was moving furniture, testing the space and its possibilities, choosing fabrics and so on.”

Clearly, a career in lighting, architecture and design was beckoning, and when he was in his twenties Skira moved to New York to study at the Fashion Institute of Technology (FIT). A big move for the young Skira, but one that paid off, as only four years later, he had set up his own practice and become a professional member of the Illuminating Engineering Society (IES) of North America.

“One of my clients in New York convinced me to start my own practice and yes, it was a big challenge for me and I was afraid. I had no idea if it was going to work, but now I know that it was a good decision,” he said.

“Back then, I envisioned that my career would develop in between constant travel

and the drawing desk. What I didn’t know is that I would be travelling in light and walking through shadows.”

While metaphorically journeying through light and shadow, Skira’s literal travels did bring him back home to Croatia, returning to the small, northern Adriatic town of Pula in 1995. “After eight years of living and working in New York, I returned to Croatia, which at that time was struck by war,” he explained. “There was a great devastation and misery, so as a young man I started to spread the word of light when lighting was way on the margins.

“What started as design work with tangible forms has, over the past 30 years, developed into building and creating with the intangible and the ephemeral. Today I have a team of people that have been with me for many years and I consider them as an integral part of the creative process in every project that we work on.”

Skira continues to work out of his hometown of Pula to this day, with his team of fifteen designers, engineers and programmers, out of the remarkable ‘House of Light’. Built in 2006, the House of Light is an asymmetrical box that reflects the sunlight with its brilliant white walls by day, but glows in a series of bright colours by night, making it truly stand out in the Croatian landscape.

Designed by Skira himself, the building was constructed with light as a fundamental part of the architecture, so much so that Skira designed furniture with a subtle line of light included in order to fully integrate light within the building space.

The impressive design of the building was, according to Skira, a vital part in showcasing his own style and understanding of light and architecture. “I needed to physically present my personal approach towards architecture, form, light and ‘design’, hoping that clients will recognise the possibility of stronger cooperation and my understanding of architectural space and ability to develop architectural details that contain a light source or lighting instrument which is properly integrated within the structure itself,” he explained.

“I think we must be able to demonstrate to our clients the technology and the tools we use, and what we are capable of doing with them. The House of Light was designed with the aim of ensuring that people in it feel good and become inspired, where the priority is always to ensure added value for our client through that synergy.”

But such an innovative and iconic headquarters is only fitting for someone who continues to do new things with light.

Whether this be through his work with light fittings themselves, such as the Red Dot Award-winning Trick – a luminaire developed for iGuzzini whose main purpose, according to Skira, is not to provide general lighting or ‘mathematical requirements to illuminate space’, but is instead to create something that you can play with – or massive projects like the brilliant Lighting Giants, an installation that turned eight cranes at Uljanik Shipyard - one of the world’s oldest working shipyards - in Skira’s hometown of Pula into a giant light show, transforming

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“Creating positive emotions in spaces that we illuminate is the primary function of a lighting designer,” Dean Skira

these huge industrial structures into colourful recreations of their ornithological namesakes.

After years of planning, and several months of designing, assembling and testing the lighting system, the Lighting Giants were unveiled in a special ceremony in May 2014 that drew ‘thousands of people’, and the reaction from this crowd is something that Skira still holds dear. “The people fell silent, there was a complete hush,” he said.

“It’s this silence of about 15,000 people that showed up at the inauguration event when we turned on the lights that spoke the loudest about the success of the installation.

“The most valuable thing in that entire project which, in my opinion, is also a reflection of its publicly responsible design, is that people have accepted that design as their own. The people of Pula were and still are proud of the cranes, and Pula was provided with a living sculpture, classifiable among more attractive vistas in Europe and

worldwide.”

This emotive reaction ties in to Skira’s philosophy of light being for the people, rather than an ‘instrument for the service of architecture’ – an approach that Skira feels should be fundamental for any lighting designer worth their salt. “I believe that every serious lighting designer is primarily considering the affect of lighting on people who are using those spaces,” he said.

“Creating positive emotions in spaces that we illuminate is the primary function of a lighting designer. Providing the utilitarian quantity of light is a process that doesn’t really depend upon creativity, it doesn’t require an artistic or philosophical approach if we just want to illuminate the space for the basic necessity to see at night.

“Light is much more than that, and with light we can transform any space in the nocturnal setting because it is the light that directly influences our perception, our spatial recognition and all other qualities of the space which can be manipulated,

controlled, enhanced or ruined with light.”

Skira’s focus on the transformational ability of light, rather than the basic function of illumination that it provides, runs deep throughout his portfolio of work. While some designers may aim to create a beautiful, artistic lamp, Skira instead sees the lamp as a hidden tool, with the light itself the end result. It’s a belief that can be difficult to put into practice, as in Skira’s own words, it is almost inevitable that the source or luminaire will be visible from a certain angle, but it’s one that he tries to actualise in his work.

“I am very much into understanding the form of light that exits the luminaire, and the form of light that is projected onto the object that we are illuminating,” he explained. “My point of interest is the appearance of the object or the space, because we know that light does have a form, and it’s visible only when revealing other forms. I’m aware that most people don’t perceive light as something that does

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have a form, but this perception is the key ingredient of understanding the use or design of lighting instruments.”

Throughout his lighting career, spanning almost 30 years, Skira has received many accolades and awards, particularly in the past five years, where he has picked up accolades at the IALD, iF, LDA, Red Dot, Blueprint and darc awards, amongst many more. However, while there are some awards that he does hold dear – the LDA award for Lun-up back in 2012 a particular highlight, as an award for his first product design – Skira believes that winning awards isn’t the only criteria of the success of a project.

“In one of my recently shortlisted projects, I used a luminaire I designed, and translated a cultural and historical visual theme into light inside a tunnel which interconnects two continents [Tunnel Eurasia in Istanbul], I created the architectural structure with my team based on the interior lighting concept and the local traditional arc

element. This structure became the visual symbol of the tunnel on a national level, was incorporated into its logo, and even became recognised by the historic heritage protection agency and became a national postage stamp motif. I do feel like a winner accomplishing all of that because of the light in just one project.

A man of many philosophies, listening to Skira talk about lighting – as he does at many events around the world, most recently at Delta Light X, an event held during this year’s Milan Design Week – is an enlightening experience, as he talks with the authority of a man who has spent nearly 30 years at the top of his industry.

This is rarely more evident than when chatting about the ‘holistic and sustainable’ methodology that Skira incorporates into his work, designed to benefit both the user of the space and the surrounding area.

Here, Skira captures what may be the raison d’être for lighting designers: “Imagine being in a museum and looking

Left Hand Page Dean Skira speaking at Delta Light X, an event held during Milan Design Week in April 2017.

Top Left Skira’s ‘Polesano’, a new concept developed in collaboration with Delta Light and showcased at Milan Design Week 2017.

Top Right The remarkable House of Light - Skira’s base of operations. Designed by Skira himself, the building glows in a series of colours by night, and was constructed with light as a fundamental part of the architecture.

Bottom Left The ‘Hooked Up’ installation, with lighting designed by Skira in collaboration with iGuzzini. The gradually narrowing pavillion creates a spatial light experience for viewers, immersing them in a bright light as they walk through, giving off an intense feeling of space.

Bottom Right The entranceway to Tunnel Eurasia in Istanbul, Turkey. This structure became the ‘visual symbol of the tunnel’ on a national level, was incorporated into its logo, became a national postage stamp motif and has been recognised by the historic heritage protection agency.

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Pic: Goran Sebelic

â&#x20AC;&#x153;Every single element viewed as a whole should bring the same feeling as viewing a good painting in a museum,â&#x20AC;?

Dean Skira

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HIGHLIGHTS Projects you’d like to change: Projects in which I allowed for compromises due to budget reductions, which damaged the project results.

I wish I had enough courage at that time to give up those projects.

Projects you admire: I admire time-proof and long-term projects that evoke positive emotions, provoke new experiences and stimulate people to appreciate and enjoy life. I also admire projects where the whole team is pushing the boundaries to achieve better and more valuable results.

Projects you dislike: I don’t like projects that don’t care for human emotional needs. Those kinds of projects are based only on calculations, be that mathematical or financial.

at a wonderful painting, where the artist showed the perspective of the space, the colours, shadows, expressions, surrounding landscapes, maybe even buildings,” he explained.

“Those paintings are telling a story from every angle down to the smallest details.

Everything is in balance, even if that painting has so many elements, they are all necessary for understanding the feeling, emotions and the message that the artist wanted to transmit through it. This is how I view our space, our environment and the ecology of all the elements in the space.

Every single element in it at night viewed as a whole should bring the same feeling as viewing a good painting in a museum.” www.skira.hr

Previous Page The beautiful Lighting Giants, a project that Skira considers one of the highlights of his career, sees the cranes of Uljanik shipyard transformed into a stunning display of light and colour.

Top Elsewhere in his hometown of Pula, Skira worked on this roundabout, creating an original, artistic installation with constantly shifting colours and shapes.

Above Inside the Eurasia Tunnel, Skira’s signature motifs are evident, using light to create something artistic for viewers to enjoy, rather than the basic ‘utilitarian’ function of illuminating the tunnel.

Lighting hero: Howard Brandston, he is the pioneer of lighting design and I respect his work and dedication to light and our profession. His book described so brightly his thoughts and experiences; I was very moved by it. I admire the works of James Turell and Olafur Eliasson, they understand light and its meaning on a very profound and precise level and they use it in such a joyous way, it really inspires me.

Notable projects: Cikat Bay in Mali Losinj, Tunnel Eurasia in Istanbul, the Lighting Giants in Pula, Hendrix Bridge in Zagreb, Roundabout Pula, Novamed in Zagreb, TSUM Kiev, GUM Moscow, Biennale di Venezia, Kempinski Adriatic.

Most memorable projects: House of Light, Lighting Giants, Tunnel Eurasia Istanbul and Cikat Bay. Current projects Evolution Tower Moscow, Palazzo Te Mantova, Seven Bridges in Zagreb, ATP stadium Umag, and products Polesano, Trick Revolution, and AoS.

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SCANDINAVIAN CHIC One of the largest and oldest firms in Scandinavia C.F. Møller continues to impress the design industry with its faultless, simple, environmentally friendly and sustainable creations.

From Left Partner team: Mårten Leringe | Julian Weyer | Michael Kruse | Lone Wiggers | Christian Dahle | Mads Mandrup Hansen | Klaus Toustrup | Tom Danielsen | Klavs Hyttel Pic: C.F. MØller

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“We want to be among the best companies in the Nordic countries and Europe and recognised globally. We want to influence the development of the construction industry and produce the highest possible level of architectural quality.”

Streamline LED luminaires highlighting the straight lines of a conference room in the Bestseller Complex. The architects and lighting designers have paid particular attention to keeping the layout symmetrical and modern, with subtle traditional influences, in this example, found in the parquet wooden floor.

Pic: Adam MØrk

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University of Southern Denmark student accommodation. Students benefit from modern lighting, creating a timeless aesthetic to the contemporary design.

Pic: Torben Eskerod

C.F. Møller, owned by a collaborative group of partner architects and their associates, is one of the largest and oldest firms in Scandinavia, dating back to the 1920s.

It prides itself on its expertise ranging over architectural services, landscape architecture, product design, healthcare planning and management advice on user consultation, change management, space planning, logistics, client consultancy and organisational development. With a head office based in the top five floors of the Europahaust building next to the harbour in central Aarhus, Denmark, the firm employs approximately 350 personnel with a near enough even split of male to female.

The firm currently has nine partners who take residence in the Europahaust and boasts further offices internationally in Copenhagen, Aalborg, Oslo, Stockholm and London.

Architecture is a competitive industry and it is evident in many firms there is a general stereotype that there is an aspect of hierarchy and elitism amongst partners, their associates and interns.

However, according to testimonials from current employees, C.F. Møller has succeeded in breaking down the status

barriers and formed a highly collaborative working environment, which reinforces its unpretentious characteristic that filters down into its catalogue of work.

The firm states: “We have a vision which we strive to reach. Our strategy shall get us closer to realising this vision: We want to be among the best companies in the Nordic countries and Europe - and recognised globally. We want to influence the development of the construction industry and produce the highest possible level of architectural quality.”

Designers and architects, much like artists, strive for inspiration everywhere and anywhere. We were lucky enough to speak with one of the leading partners, Julian Weyer, about C.F. Møller, his experiences and where he gathers his inspiration within the industry. A number of the firm’s projects have acquired inspiration from international trends and the changing ideals of society.

On a personal level, Weyer gains inspiration from history and his travels, unintentionally turning them into architectural study trips.

Throughout the design journey, C.F. Møller strongly believe in upholding indispensable testimonials to create simple, clear and unpretentious designs that incorporate a

number of guidelines to follow; awareness of the environment, resources, sensible building budgets, higher productivity, social responsibility and good craftsmanship.

Lighting and architecture go hand in hand, and when speaking with Weyer, we learnt about how light plays a crucial role within the design process of all the projects at C.F. Møller. He stated: “You could say all-important, since without light architecture loses most of its meaning.”

He refers to Le Corbusier’s statement on architecture “being the play of forms under light,” but not surmising that architecture is solely visual, it is far more than that: “For instance bringing material tactility into life is typically a combination of light and touch, so light plays a key role when engaging with architecture.”

Weyer discussed how lighting is integrated into the design process and at which stage it emerges in design discussions: “This is somewhat dependent on the project and the team behind it, but generally lighting will be an integrated part of any project by the time it reaches the planning stage.

Typically, the first ideas about lighting are part of the early design development, although they may still be unspecified in

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Pic: Adam MØrk

Above Copenhagen International School communal hall. Suspended circular luminaires complete the look of the already well lit atrium, through the large windows.

Left Central Common room for the student halls at the University of Denmark campus. Spotlights and decorative luminaires give the student halls a modern and maintenance-free vibe.

Right Julian Weyer talking about Bestseller Office Complex at the Delta Light X event in Milan. He discusses the firm and his history there, alongside details on the Bestseller Office Complex project.

One of the most notable and accredited projects the firm has completed in recent years.

Pic: Torben Eskerod

terms of types and techniques. This is then studied more in-depth at a later stage, where energy performance of the design is also detailed.”

Energy efficiency was a key requirement in the lighting concept for the Danish firm’s award winning creation, the Bestseller office complex, located in the Port of Aarhus, Denmark. It hosts worldwide fashion groups, with the likes of Vero Moda, Jack Jones and many more. To our delight, during the Delta Light X event in Milan in April this year, Weyer, discussed the Bestseller office complex project in great detail. When revisiting this discussion with us recently, Weyer described the process of finding the appropriate lighting designer to best fit their concept: “During the design of the Bestseller complex, we worked closely with the client to achieve the simple yet refined palette of materials and details that characterises the building, and out of this rose the need to find adequate lighting components that would integrate well with the overall architecture, and be equally simplified and well-designed in both form and performance.”

The site is comprised of an amalgamation of buildings and outside spaces all joining at different levels, connected by rooftop terraces, atriums and courtyards.

Continuing on with a common theme in the works of C.F. Møller, the buildings aesthetically interlink nature, sustainability and architecture, harmoniously. The building uses a sea water cooling system and solar energy, which qualifies it as a low energy class 2015 building, resulting in a 50% drop in energy consumption, originally stated in building regulations.

With the building playing host to multiple fashion platforms and as a venue for fashion shows, lighting and design play a large part in the central atrium. C.F. Møller was in partnership with Delta Light to create simple, linear lights throughout the building that work in unity with the natural skylights. Weyer said: “Our central idea was to let the lighting of the building discreetly underline the architectural spaces, rather than become a too overtly visible technical feature. Therefore, we were looking for a wide product palette that could first and foremost be integrated with the chosen materials and other technical solutions, and we found that Delta Light could provide such a palette, and assist the process with further ideas.”

The Bestseller project has won numerous awards across the board, including; Natural Stone Prize (Naturstensprisen) 2016, Winner Commercial WAN Award 2015, Special

Mention in the Architizer A+ Awards for the Plus Categories | Concepts: Architecture +Landscape category 2016, Aarhus Municipality Architecture Award 2015.

However, this project is merely a drop in an ocean of success for the firm.

It has collected numerous awards over the years for its excellence in the architectural industry. In 2015, students at the University for Southern Denmark were lucky enough to take up residence in the award-winning new campus accommodation in Odense, Denmark. The 360-degree perspective building houses room for 250 students over 15 floors.

The design of the building forces a strong sense of community for the students.

The layout comprises of seven bedrooms per section, all with their own balconies, brought together with a central living room and communal kitchen space. “Each room has a private balcony, which both helps make the homes attractive, but also has an environmental function: The shading internal balconies help manage solar gain, contributing to significant energy savings.

The kitchens at the centre of each floor are shared by all, and feature generous glazed facades that ensure light and views in three directions,” said the firm.

Another notable project the firm completed

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Pic: Helene HØyer Mikelsen

is Stockholm’s new ferry terminal for permanent links between Finland and the Baltics. It is becoming a landmark both, architecturally and environmentally, for the new urban development Norra Djursgårdsstaden.

The design layout for the terminal reflects a moving vessel with large cranes and warehouses, which portrayed the ports. In addition, the project takes on an ambitious sustainable profile. The main theme for the project was to create organic links with Stockholm’s city centre and Norra Djursgårdsstaden to encourage city dwellers into the area. In previous years, residents of Aalborg in Denmark have struggled to gain access to their waterfront due to the industrial harbour and heavy traffic associated with it. In response to this industrial divide in the landscape, C.F. Møller developed a master plan that would link the city’s medieval centre with the neighbouring fjords by finding natural openings within the urban fabric. Aalborg’s medieval castle becomes the focal point in the harbour once again amongst the green expanses and historic embankments, dramatically angled netting and lit masts surrounding the area. To reinforce this passage, the terminal is raised to the same

level as the urban zone, allowing easier access to pedestrians and traffic flow.

Green landscapes, stairways, ramps and cosy corners invite passersby to enjoy the rooftops and relax whilst admiring the passing ferries and city skyline.

To continue with C.F. Møller’s leading sustainability theme, the terminal is energy self sufficient with integrated solar energy and geothermal heating and cooling, thus qualifying its certification to environmental level Gold.

The future of light and how it is evolving within the design industry is taking a practical turn. Weyer described his impression of the direction in which the process is heading: “There is an increasing understanding of the importance of well-planned light for the success of architecture, and not just for aesthetic reasons: efficiency in healthcare, schools or work environments for example, are now considered in relation to evidence-based knowledge and studies which includes lighting and parameters. Or the importance of safety and wayfinding in public spaces, where lighting can play a key role – and last but not least, the need to reduce energy consumptions, which is driving a lot of the design processes and has led to so

much change in the lighting business that is only slowly coming around to the kind of light quality, which we enjoyed with incandescent.”

What can we expect from the firm in the future of design? Well, not surprisingly, C.F Møller are juggling numerous projects including new headquarters and office complexes for several major international brands, as well as a deep involvement with the Nordic welfare states, specifically with education, healthcare and democracy. The firm’s latest accomplishment is the brandnew Copenhagen International School, which features a unique lighting design that includes circadian lighting that changes colour temperature over the course of the day and other pre-set lighting moods that the teachers and students can manipulate themselves. www.cfmoller.com

Above Stockholm’s new ferry terminal alight during dusk hours at the port of Aalborg. Strip luminaires follow the contouring lines of ship masts creating an aesthetically pleasing dockyard area for pedestrians to enjoy, whether onlooking from the raised pedestrianised zone or walking through the docks.

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DARC ROOM

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 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 p.james@mondiale.co.uk www.darcroom.com

www.darcroom.com

A CREATIVE LIGHTING EXHIBITION AT LONDON DESIGN FESTIVAL

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FIGHT CLUB Opened earlier this year, the Anthony Joshua-backed BXR London is the first high-end, boutique boxing gym to open in London, and is a champion in understated, modern industrial design, with DHA Designs delivering a knockout blow with its spectacular lighting design.

Pic: Gilles Bonugli Kalli

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Previous page: The full-size boxing ring is the centrepiece of the BXR London gym.

Left: 500mm diameter aluminium spun pendants, that Peter Fordham of DHA Designs first spotted in Factorylux's van in Shoreditch, illuminate the ring.

Below left: Factorylux's new Track Pipe system and internally wired lighting bars from Doughty complete the industrial look in the ground floor gym.

Pic: Peter Fordham

Pic: Gilles Bonugli Kalli

When he’s not winning title fights in the ring, IBF and newly crowned WBA heavyweight champion Anthony Joshua has been striving to make a name for himself as a businessman too. This reputation has been boosted recently with the opening of BXR, London’s first high-end, boutique boxing gym. This facility, backed by Joshua, is the first fitness facility of its kind to operate a members-only gym, as well as a pay-to-train boutique fitness concept.

Designed by Marie & Albin interior designers and Studio Webb architects, the facility covers the ground and lower ground floor of a residential development on Chiltern Street in Marylebone, London. The project includes state of the art gym equipment on the ground floor, along with three studio spaces, a juice bar, saunas and changing facilities on the lower ground floor. But the site’s centrepiece is no doubt its full-size boxing ring, which adds a rawness and authenticity to the venue.

The lighting design for this space was carried out by DHA Designs and led by Peter Fordham, partner and director at the London-based design firm, from its conception right through to completion in January of this year, just months before Joshua’s epic heavyweight title bout with Wladimir Klitscho at Wembley Stadium in April.

DHA Designs was first introduced to the client, BXR Limited, back in April 2016, through interior designer Marie Soliman.

The gym was always intended to be a ‘fast-track’ project, and for the client, it was their first experience of working with a lighting designer, as Fordham explained: “When we first met, it was clear that the client had not worked with a lighting designer before.

“So we needed to start from first principles and explain why they should consider a lighting designer in the first place. And explain that we don't supply any light fixtures!”

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Pic: Gilles Bonugli Kalli

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Pic: Gilles Bonugli Kalli

Pic: Gilles Bonugli Kalli

The initial brief for DHA Designs was to design the architectural lighting for all of the public spaces at BXR London, together with some ‘show’ lighting for the boxing ring area and ‘Zen-like’ lighting for the three studio spaces.

“The show lighting included a couple of moving head fixtures and RGB floods,” Fordham explained. “The moving heads didn’t make it through VE, but we held onto the RGB floods each side of the ring.

We also included a facility for plugging in a lighting desk at a DJ station for controlling colour change, plus a couple of extra positions on the pre-wired lighting bars for hired moving-head fixtures, again controlled

by DMX from the DJ desk.

“As for the Zen-like studio lighting, this part of the brief went through many, many changes, mainly due to the final choice of gym equipment that was being purchased for each studio space.”

However, by the time that fit-out and electrical contractors, WFC Contractors

and HMS Electrical respectively, had been brought in, budgets for the project were starting to be tightened and the lighting design, like everything else, needed some fine-tuning in order to bring it in line with the available cost plan.

Apart from the ever-evolving brief and VE exercises, DHA Designs did experience some difficulties during the construction phase, particularly between the client and the building’s landlord that needed to be overcome. Fordham continued: “BXR London is located in the basement of a highend residential development in London, and the apartments were fully occupied during the construction. So the contractor needed to be extra careful not to inconvenience tenants.

“Also, there were some issues with obtaining the landlord’s permission to penetrate through existing external walls to provide power for external lighting.

Unfortunately these elements of the lighting design had to be dropped due to

Pic: Peter Fordham

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Pic: Peter Fordham

Previous page: The rugged, urban industrial BXR gym is backed by IBF and WBA Heavyweight champion, Anthony Joshua.

Top left: The gym area features 20-ft wall murals of boxing icons Muhammad Ali, Joe Frazier and Sugar Ray Leonard.

Bottom left: The initial brief from BXR Limited for DHA Designs was to design the architectural lighting for all public spaces, together with some 'show lighitng' for the ring area and 'Zen-like' ligthting for the three studio spaces.

Centre: Each of the murals in the gym are illuminated by two Philips Color Kinetics ColorBlast Powercore gen4 luminaires, fading between red and blue light.

Above: DHA Designs used EcoLED ZEP6 LED downlights to illuminate the bespoke 'rope wall' in the lower ground floor, that separates the 'Joe & The Juice' bar and changing rooms.

these difficulties.”

The tight time frame set out from the beginning also played an important role in DHA Designs’ sourcing of lighting manufacturers for the project, as Fordham elaborated: “We selected a group of key manufacturers to work with, who could meet a demanding specification on a tight time scale.

“Factorylux was an obvious choice for its industrial style fixture detailing, which fitted in well with the chic New York/Fight Club spin on the BXR interiors.”

DHA Designs made use of Xicato LED modules in the Factorylux luminaires to ensure colour consistency and dimming stability, and instead of using a conventional lighting track, the lighting designers selected a combination of Factorylux’s new Track Pipe system (a pre-wired 20mm conduit with fixed DALI outlets) and internally wired lighting bars from Doughty to complete the industrial look in the ground floor boxing and gym areas.

Elsewhere, a combination of Margo and 99 spotlights were used with 2700K Xicato LED modules to light the gym equipment and training areas.

“Over the boxing ring, we used Factorylux’s 500mm diameter aluminium spun pendants, supplied with concentric louvres, which I had first spotted in the Factorylux van in Shoreditch, London,” added Fordham.

EcoLED supplied the majority of the architectural lighting in the lower ground floor, as Fordham used a combination of its recessed ZEP6 LED downlights, along with the linear DecoLine 15s LED strips, all in 2700K. And Fordham was full of praise for the work done by EcoLED. “EcoLED really stepped up to the mark with competitive pricing, and was extremely flexible with fixture finishes and optics available in its downlight range,” he said. “Its linear LED profiles fitted into even the tightest of details, providing dot-free illumination for the stairs, changing rooms and studios.

“The architect described our lighting

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Pic: Gilles Bonugli Kalli

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design as very ‘Tron’, which I took as a complement!”

DHA Designs turned to Architainment Lighting to provide the lighting control and dynamic lighting elements for the project.

The lighting control is engineered around the Philips Dynalite solution, and each floor uses a custom-built control enclosure, made

by Architainment.

A Philips Dynalite AntumbraDisplay user interface at the facility’s main reception has been designated as a master controller, and allows for full control of all lighting on site. Additional AntumbraDisplays are located in the three basement studios and each treatment room, enabling the lighting in each room to be independently adjusted as required.

Alongside this, the LCDs of all user interfaces are branded with the BXR logo, and are prevented from unauthorised use by a ‘lock out’ feature. Once unlocked, a series of icons are displayed, providing

users with intuitive operation.

The exposed brick walls on either side of the boxing ring feature 20-ft murals of Muhammad Ali, Joe Frazier and Sugar Ray Leonard, and to accentuate these works of art, each wall is illuminated by two Philips Color Kinetics ColorBlast Powercore gen4 luminaires, fading between red and blue.

These are programmed to come on in the evenings, as the gym closes to the public, and run a series of dynamic effects, which are visible outside through the six-metrehigh, triple glass frontage on Chiltern Street.

An input panel for external DMX control has also been provided beside the boxing ring, and provides local control of the ColorBlast Powercore gen4 units for special events.

The system also takes advantage of any natural light that comes into the venue via the front glazing, using daylight harvesting to adjust the light levels in the gym accordingly.

As well as working closely alongside DHA Designs throughout the project, Architainment Technical Services commissioned the complete solution into operation, and provided training for the client, “and what a great job they did too,” said Fordham, “particularly during the commissioning and programming.”

Towards the end of the construction phase, once the lighting had been installed, it took a long time on site for the lighting to gel the spaces together, as Fordham explained: “The contractor completed the upper ground floor areas first of all, but by the time we had completed our first focus of the lighting, the client’s team had decided to rearrange the gym equipment, requiring a re-focus.

“During this stage, the basement space was a construction site. But in the last few days before the handover, the site began to settle down and we were able to set up the lighting to maximise the full potential of

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Pics: Gilles Bonugli Kalli

Previous page: A look through the rope wall into the Joe & the Juice bar, showcasing the combination of architectural lighting and Factorylux's decorative fixtures.

Left and lower middle: A combination of 99 and Margo spotlights from Factorylux were used with 2700K Xicato LED modules to light the gym equipment and training areas.

Above and top middle: BXR London is the epitome of urban industrial design, capturing the 'Fight Club chic' aesthetic, while still maintaing an element of high-end, boutique sophistication.

the interiors.”

A key highlight of which was, in Fordham’s eyes, getting the ColorKinetics RGB floods to light onto the side wall murals each side of the boxing ring. “That was quite a moment,” he said. “And the evening when the security film was removed from the external glazing was quite an event, allowing a brilliant view into the gym at night from the street.”

The end result is a brilliant facility that perfectly captures the urban industrial aesthetic that it set out to achieve.

However, Fordham added that he is disappointed that the project had to lose some elements along the way. “I don’t think I would change anything in the boxing ring and gym area,” he said. “Although it would have been great to have kept a couple of moving head fixtures in the scheme on a permanent basis.

“It was also a shame to have lost the feature RGB lighting to the three studio

spaces due to VE and issues with the landlord. Ironically, as soon as the training staff had been hired for BXR, the first thing they requested was additional coloured lighting in all of the studios. So much for the Zen lighting brief!”

The project still remains a knockout though, certainly befitting of World Heavyweight Champion Joshua. With many stand-out features throughout the site, including the combination of architectural lighting and Factorylux’s functional decorative fixtures, and the view from the street into the gym and boxing ring at night, Fordham concluded: “It was great to work with a new client in BXR Limited, especially since it was their first experience working with a lighting designer. This project was my first high-end boxing gym, but it hopefully won’t be the last.” www.dhadesigns.com

PROJECT DETAILS BXR London, London, UK Client: BXR Limited Architects: Studio Webb Interior Design: Marie & Albin Lighting Design: DHA Designs

LIGHTING SPECIFIED Luminaires EcoLED DecoLine 15s LED strips EcoLED ZEP6 LED downlights Factorylux Track Pipe System Factorylux Margo spotlights Factorylux 99 spotlights Hera cabinet/display lighting Tryka cove lighting Xicato LED modules Lighting Control (by Architainment Lighting) Philips ColorKinetics ColorBlast Powercore gen4 luminaires Philips Dynalite AntumbraDisplay Philips Dynalite DALI dimming system

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UP IN THE SKY By harnessing the power of natural light and blending it with artificial lighting, AECOM and DIALOG were able to capture the outstanding natural beauty of Canada and transfer it indoors at Calgary International Airport.

Canadian design firm DIALOG has had a longstanding history working with the Calgary Airport Authority, completing major expansion projects to Calgary International Airport (YYC) over the last 20 years.

Because of this, the company was ideally placed to join forces with AECOM for the most recent renovation scheme, planned for the international pier in the existing terminal back in 2006.

Although the project was initially only planned to be a renovation, upon reviewing passenger forecasting, project cost and construction considerations, this soon transformed into an exploration into a new terminal design and master plan to house all international and trans-border traffic.

This master plan factored in YYC’s aspirations to become a global connector for the world, along with its ambition to be highly sustainable and LEED (Leadership in Energy and Environmental Design) designated, while connecting with the surrounding region by showcasing the iconic views of the Calgary landscape.

Doug Cinnamon, Studio Managing Principal in DIALOG’s Calgary office, has provided design leadership for numerous projects at YYC, including the recent renovation,

and he revealed just how integral a role sustainability played in their plans for the new terminal.

“The initial brief for the new international terminal building encompassed a primary commitment to sustainable design,” he said. “As such, the lighting strategy developed as a requisite for a high performance building system included controlled natural lighting throughout all public areas of the building, and LED sources for artificial lighting wherever possible.”

One of the main parameters of this sustainable approach was by utilising ‘daylight harvesting’, a key energy management technique that saw DIALOG and AECOM reduce overhead lighting use.

Cinnamon explained: “The ambient natural light entering the building, captured by the skylights and clearstorey, helps contribute to the use of significantly less lighting energy per square foot than the original facility.”

Indeed this harnessing of natural light, and adding more control to any artificial lighting, played a role in AECOM’s lighting design for the terminal too, as Tony Suurhoff, Senior Lead Lighting Designer

at AECOM for the project, added: “The initial design approach concentrated on illuminating floating surfaces and controlling the intensities with the use of dimming control. This way we could provide two different dramatic experiences between day and night.

“During the initial stages of the project, we toured the existing airport terminal building and noticed what seemed to be missing was the lack of lighting control,” he said. “In large open areas with sufficient daylight, all of the lights seemed to be on.

We discussed lighting control with the client over many months and it became clear that a non-propriety lighting control system would benefit the client in the new terminal building. From this point on, DALI control systems with daylight harvesting were integrated into the design.”

Alongside this, to control glare and reduce heat gain through the building’s extensive system of skylights, DIALOG installed an interstitial honeycomb framework, designed to eliminate direct sunlight on checkin kiosks, but still allow a direct visual connection to Calgary’s ‘big sky’ from most public places inside the terminal.

This connection to the ‘big sky’ was key for

Pic: Peter Sellar

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The use of wood across the terminal helps to bring the natural beauty of the Calgary landscape inside the building while creating a feeling of warmth throughout.

DIALOG, not only in connecting the interior of the terminal to the outside world, but also as a way of connecting with passengers travelling to and from Calgary. “The concept of natural light as an intuitive way to orient passengers through the building was a driving force for us,” Cinnamon continued.

“We designed skylight openings in threedimensional truss elements as a typical detail. The bays between trusses then became an ideal place for wood ceiling systems to house strips of artificial LED lighting.

“The structural span was designed in the same general direction as the path of travel through the building, from check-in through security to the centralised hold room area to create a language of lighting that works with the structural grid of the building.”

Suurhoff added: “Both the architectural design and the lighting design work harmoniously together to bring out a clear and decisive theme throughout the terminal. The primary objective of which was to be linear, sleek and minimal in size. The wood ceilings added warmth and natural beauty to the spaces, while the lighting design worked very well in providing areas of transition in low level lighting, giving a relaxed feeling.”

As well as making the most out of natural light and installing LED lighting where possible, the entire project, and all design decision-making aspects, were deeply rooted in a commitment to sustainability and passenger comfort, as the project employs lighting as part of an integrated,

Pics: dsTroyer

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Pic: Peter Sellar

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Pic: dsTroyer

Pic: dsTroyer

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high performance architecture, tying it to the building envelope and mechanical systems.

However, doing so presented DIALOG with some issues; as the new lighting system was designed as an integral part of the architectural and mechanical systems, lighting control, and its relationship with building management systems in the terminal, posed a slight challenge to the firm. However, from optimised profiling of louvre shades that track the sun, to temperature-based override of localised blinds to avoid overheating in occupied areas of the building, careful planning in the hierarchy of information proved critical in bringing balance to the internal environment.

Elsewhere, the project required an array of lighting requirements, which again threw up some unexpected issues that needed overcoming, as Cinnamon explained: “In order to meet the wide-ranging lighting requirements within the terminal, our design strategy included repetitive elements, such as the integration of skylights with the repetitive cadence of

the structure. This provides natural and artificial light to illuminate main open areas of the space.

“While this creates a comfortable and engaging environment for passengers, it does come with challenges, such as potential glare on check-in kiosk screens, retail environments with their own lighting strategies, and legibility of way finding systems,” he continued. “As these elements shifted through the design and construction process, we had to be agile and creative to satisfy requirements on a unique case-bycase basis.”

This flexibility across the entire process meant that DIALOG was able to overcome these issues, while still remaining true to the core sustainable principles that were in place at the start of the project.

For instance, such sustainability was maintained, as steady state heating and cooling systems within the terminal are protected by double wall glazing façades, which help to prevent large swings in temperature within the main, occupied areas of the building. As Cinnamon elaborated: “These façades house operable

Above The integration of skylights amongst the 'repetitive cadence' of the natural wood ceiling cladding and light fittings is integral to the overall ambition to blend natural and artificial lighting within the terminal building.

Pic: dsTroyer

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ART & DESIGN / STORY OF LIGHT, GOA

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ART & DESIGN / STORY OF LIGHT, GOA

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louvre systems that shade from glare and heat gain. This approach also optimises reflected light deep into spaces of the building, thereby reducing the amount of artificial light energy required.”

For AECOM, the main issues came with the sheer size of the project, as Suurhoff explained: “The scale was the most challenging aspect for us. However, when we broke the facility down into manageable parts, through the course of approximately eighteen months, we had the design virtually complete.

“Then we revisited the design and product selection. As the LED technology market was changing at a rapid pace some of the initial product was either no longer available or had transformed into more efficient lighting modules, which in turn gave us more flexibility in lumen output, while decreasing the electrical load,” again, tying into the overarching theme of sustainability, and helping to create the kind of welcoming environment that AECOM were eager to achieve.

This is something that Suurhoff feels was essential from the get-go, and he was pleased to see this come to fruition in the end result. “The lighting in the building’s public spaces offers a calming effect, as airport terminals tend to have a higher public anxiety level than any other transportation facility. Because of this,

it was deemed important to create that effect,” he said.

Alongside this calming atmosphere, Suurhoff believes that AECOM and DIALOG have combined to create an outstanding space for travellers. “The integration of the skylights, wood ceiling panels and irregular linear lighting slots gives the Arrivals and Departures hold rooms a feeling of awe, with the vastness of the space created.”

By striving for a strong connection with the outside world, creating the aforementioned feeling of awe, and harnessing the power of natural light throughout the terminal, Cinnamon added that the building enclosure itself could have been considered as a lighting element from the very beginning.

“It mediates light in a dynamic way, encourages intuitive way finding for passenger flow, and allows views to the airfield and surrounding mountains, allowing passengers to immediately orient themselves upon arriving in Calgary.”

What this means is that the new terminal perfectly ties into YYC’s initial design brief and the two major themes that were paramount within this: intrinsic sustainability and regional connectivity, with a new lighting strategy that leads all design initiatives. www.aecom.com www.dialogdesign.ca

PROJECT DETAILS Calgary International Airport, Calgary, Canada Client: Calgary Airport Authority Lighting Design: DIALOG and AECOM

LIGHTING SPECIFIED 3G Lighting Wall/Linia LED Axis Lighting Beam2 Direct Pendant Fixtures c/w T5 Lamps; Axis Lighting Ray8-VLX-FL-1500-T5HO Axis Lighting BD-PL4-T5HO-1-W-Mark7 Axis Lighting BD-PL4-T5-W-Dim10 Ecosense EcoSpec LED Floodlight Fifth Light DALI Control System Focal Point recessed direct/indirect 500mm X 500mm Fluorescent T8 Focal Point recessed direct/indirect 500mm X 1500mm Fluorescent T8 KKDC Linear in-floor high output LED LED Linear W840/L IP40 & IP67 Maxilume HHR4-LED-2000L-DIM12 Metalumen RML-LED-40K-2-N-M-SA-D700 Nemalux surface mounted linear LED PMC Lighting LED multihead adjustable accent lighting RSA Lighting Recessed Adjustable LED CX-N-W-40-SML Senso Lighting Katana low profile LED luminaire Traxon Cove Light AC HO LED 4000k 60x30 Vode Box Rail / Rotate 1 / LED Winona Custom Curve fluorescent luminaire Zumtobel linear recessed fluorescent with opal acrylic lens Zumtobel recessed round LED downlight

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A PIECE OF HISTORY As the city of Dresden sought to illuminate the historic, neorenaissance New Town Hall among its famous skyline, it turned to Studio DL, whose introduction of warm white light helped bring this landmark building to the fore.

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With its historic tower, Dresden’s New Town Hall is a key component of the city’s famous historical silhouette. The four to fivestorey, sandstone-clad building is a NeoRenaissance blend of Neo-Art Nouveau and Neo-Baroque, capturing the rediscovery of Dresden as a baroque city during the time of its construction in the early 1900's.

Designed in 1901 by Karl Roth, the Rathaus boasts an impressive total area of 13,000sqm and was built under the guidance of Stadtbaurat Edmund Bräter and Karl Roth between 1905 and 1910. Roth landed the job after winning an architectural competition for the design of a new town hall due to a lack of space in the old town hall.

Alongside five courtyards, the building features a 100-metre high tower (the Rathausturm), atop of which stands the golden ‘Rathausmann’ – a sculpture that symbolises the Protection patron of Hercules, who points across the city with his right arm, and pours the cornucopia across

the city with his left arm.

However, after Dresden was almost completely destroyed during the Second World War, with the town hall in particular being badly damaged, reconstruction of the building began in 1948. This reconstruction saw the installation of the statue of the Trümmerfrau – a tribute to the women who moved the millions of tons of debris after the war – which has been standing in front of the Rathaus since 1952.

The Goldene Pforte was also restored during the reconstruction; this consists of four golden plated doors with two bronze lions in front of them. After the war, several coats of arms of cities that had experienced similar damage to Dresden during the conflict were installed on the façade of the town hall.

Since 1979, the New Town Hall has been regarded as a monument to urban development and architecture, while also serving as a monument to reconstruction.

This means that any further work on the

building instead acts as a revitalisation, in which the historic fabric of the building is only changed as far as monument protection would allow, while still catering for modern usage purposes.

Planning for the latest ‘revitalisation’ of the town hall began in the summer of 2009, as it was determined that this unique building in the landscape of Dresden, with its exposed location, needed a superior lighting plan. Architecture firm Winkels, and its partner International Light Architects had previously created a lighting master plan in 2008, which gave Studio DL guidelines for light colour and intensity when it came to their planning for a new lighting system.

While analysing this lighting masterplan, it was realised that previously, the New Town Hall was not visible in the city’s historic skyline at night. Because of this, the plans recommended a warm light colour for the façades of the building, predominantly made of locally sourced Elbe sandstone.

As the structure of the building from the

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viewpoint of the nearby Elbe River was already composed in the initial masterplan, the city’s planning office then described the front façade of the building as ‘the most important view’, and ordered a new lighting design.

Upon being given the task of constructing a new lighting design for the building, Studio DL first refined and expanded the simplified 3D model of the city to design the draft. In this, they were able to adapt the textures and rework the façade, meaning that mounting positions, intensities and aesthetics could therefore be shown, discussed and coordinated in the 3D model.

After a few appointments, the committee at the city planning office agreed to Studio DL’s draft.

The hall’s new lighting was coordinated with the Office for the Protection of Historic Buildings, and it has been designed to emphasise the structure of the building, with the lighting far from the building maintained for the large roof surfaces. The windows of the banquet hall have been designed with cold-white LEDs in order to accentuate the individual window cassettes with different light tones. The wide array of details on the front façade that needed

to be highlighted did present Studio DL with some issues, however, the extensive prep work involved with the 3D models meant that any challenges were easily managed.

Elsewhere, the lights of the arcades were renovated, illuminating the base of the building in a warm, atmospheric white light. This inviting lighting complements the golden colour of the doors of the Goldene Pforte, designed by Karl Groß.

The tower of the town hall (the Rathausturm) was set up with the latest lighting technology, while the clock backlighting was also renewed. Since the side façades are less integral to the building’s appearance on the city’s skyline, only the balconies and protrusions were staged here. Masts remote from the building also brightened the façade.

The outcome of the revitalisation of the New Town Hall, carried out in cooperation with ILB Dr Rönitzsch, who was responsible for supervising construction and the implementation of the project, is that the building can now clearly be perceived in the city’s skyline at night, while the structure and architectural atmosphere of the building is elaborated from a close view. www.studiodl.com

The lighting design from Studio DL really helps to make the New Town Hall stand out amongst the Dresden skyline, while the newly illuminated Goldene Pforte (above) has become a shimmering focal point of the building's front façade.

PROJECT DETAILS New Town Hall, Dresden, Germany Client: Dresden City Planning Office Architects: Winkels & International Light Architects Electrical Engineering: ILB Dr. Rönitzsch Lighting Design: Studio DL

LIGHTING SPECIFIED WEEF ETC330-GB LED WEEF ETC130-GB LED WEEF 145-9500 FLD 121 Meyer Superlight Compact Meyer Nightspot C 150 iGuzzini Glim Cube Philips Decoflood2 DVP 626-EB II 8-16 CO Philips Decoflood2 DVP 626-EB II 4 CO GR Arcade lighting solution provided by li`arde & Co KG

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A GRAND MAKEOVER Out with the old and in with the new: The Grand Connaught Rooms Grand Hall in London has had a lighting makeover to re-ignite the Grade II listed building, bringing it into the present day.

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Previous Page Crystal chandeliers line the centre of the Grand Hall with a purple wall wash, creating a regal atmosphere.

Above Crystal chandelier with green wall wash. LED luminaires highlighting the architectural detailing of the wall and ceiling.

Left Close up of crystal chandelier and blue/purple wall wash

The Grand Hall at the Grand Connaught Hotel in London received an enlightening makeover recently with the help of Tyson Lighting Design. The grade II listed building has been expanded and renovated over many years, with the earliest part dating back to 1774 as part of the original Freemasons' Tavern. The building was then remodeled into the now known Connaught Rooms between 1905-10, creating a suite of dining, meeting and entertainment rooms.

The De Vere-run occasion rooms play host for many prestigious events throughout the year, such as high-end fashion shows, including London Fashion Week's â&#x20AC;&#x2DC;Fashions Finestâ&#x20AC;&#x2122;, which will be making a second appearance later this year. However, the venue owners have been restricted with fixed, outdated spotlights that limit the potential the grand space could exploit.

The pre-existing lighting installations were comprised of a central run of large crystal chandeliers and reflecting crystal wall lights. Within the high level vaulted ceiling

were a number of disused and unmaintained spotlights. These were not successful nor did they create the impact the space required or deserved.

The brief for the client was to create an upgraded version of the already existing spotlights and uplights. However, due to the listing rank of the building, designers and manufacturers were restricted with flexibility of positioning locations and power source points. Another factor they had to consider during the evaluation process was the concealment of fixtures around the key architectural areas. In addition, the client also wanted to be able to change the colours and atmosphere of the space, all in order to broaden their clientele and create an element of competition with other local venues.

The Principal Haley Company brought in Tyson Lighting to the design process, which then provided NJO lighting elements to the project.

Due to the architectural sensitivity of the

building, the initial steps made towards the refurbishment included a full site survey, which was then examined and approved

by English Heritage and the conservation architect. Detailed lighting layouts and concept visuals were all submitted as part of the application and review process.

In order to accomplish the vibrant and pastel colour schemes, RGBWA luminaires were brought into the scheme. Linear runs off medium beam profiles were positioned in an existing trough space to illuminate the ornate barrel vault ceiling. The second layer down was to highlight the ornate detailing to the high level columns. This was achieved using miniature RGBW uplighters, which were surface mounted to the plinth detail. A bespoke wall luminaire was designed to provide both white and coloured light, and direct and indirect light onto the columns, thus bringing lower level coloured wash lighting down into the space.

The lighting control system created by DMX is run via a Pharos web-based controller,

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which allows the operator to control the system via a tablet. Flexibility was a key element for the client, so the scheme was designed in a zoned system, giving full control of the space.

NJO supplied the project with LDP Series (30w/m) 4-Colour high power RGBW LED luminaires and FXM67 Ø67mm compact LED spotlights. The LDP Series was appropriately chosen for its uplighting and wall washing, wide colour range, parallel wiring for ease of installation, low running costs, long life and low maintenance, custom lengths to suit individual schemes and IP65 rating for external use. Energy efficiency is a key trend in current and future lighting projects and with increasing developments in LED technology, this is becoming more affordable and readily available for large scale projects. The Ø67mm compact LED spotlights are ideal for highlighting architectural details, with a wide range of ultrabright LED colours, they are robust and corrosion resistant, with high output and low profile, cool to touch, low power and high efficiency, long life (typically 30,000 hours), high reliability and low

maintenance.

The Tyson lighting wall fixtures are made with bronze plated steel in a classic Art Deco inspired design. With LED strip lighting and NJO spotlights hidden behind the steel encasing and opal perspex central strip, the wall lights add an element of sophistication and tradition while being modern and energy efficient. They are used along the length of the room, fixed to the column uprights, to reiterate the linear theme and symmetrical consistency throughout the Hall.

London is a time machine of historical architectural buildings. What Tyson Lighting and NJO have brought to this iconic building is a splash of vibrancy and Modernism, whilst maintaining respect for the architectural features within the room. It is vital to be able to light a room without the fixtures becoming intrusive or detract from the overall architecture.

The fittings should not be visible unless they are present for decorative purposes, which Tyson Lighting have achieved in this project. www.tysonlighting.com

Previous page NJO's LDP Series Luminaires and Ø67mm Compact Spotlights highlight the beautiful architectural detailing and ornate plaster work of the Grade II listed building.

Above Left The bronze plated steel wall sconse brings in an Art Deco, sleek design aspect to the already regal Grand Hall.The opal perspex central column brings through a beam of light from the LED backlights, adding a modern twist on the classic light.

Above Right Crystal chandeliers highlight the linear symmetry throughout the Grand Hall.

LED Luminaires and spotlights bring to life the architectural beauty of the Grade II listed building.

PROJECT DETAILS The Grand Connaught Rooms Grand Hall, London Client: The Principal Haley Company Architects: (1905-1910) Crickmay & Sons Lighting Design: Tyson Lighting

LIGHTING SPECIFIED NJO LDP Series (30W/m) 4-Colour High Power RGBW LED NJO FXM67 ø67mm Compact LED Spotlight Tyson Lighting bronze plated steel wall mount with opal perspex

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MODERN CLASSIC The General Motors Design Dome is well established as a triumph of 1950s architecture and design, but now, thanks to a renovation from SmithGroupJJR, it has been firmly brought into the modern era.

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Pictures courtesy of James Haefner Photography unless stated otherwise

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Previous Page Blending Eero Saarinen's original '50s design with more modern stylings, the Design Dome is the ideal location to showcase General Motors' classic cars.

Above A view in to the 180ft diameter dome from outside.

Left The new central suspended lighting ring, made up of fully adjustable, fully programmable, iPadcontrolled RGBW LED lighting.

Originally opened in 1956, the General Motors Design Dome, designed by Eero Saarinen in collaboration with Richard Kelly, has long been classed as a ‘legendary corporate masterpiece of planning and design’.

Based in Warren, Michigan, the large indoor viewing auditorium was first constructed to give the designers the opportunity to view their designs in an open space, regardless of the weather. The 180ft diameter domed space was traditionally indirectly lit with the intention ‘to provide a shadow-less environment for the evaluation of form and finish of the vehicles’. Since its inception more than 60 years ago, it has become an iconic piece of automotive design that organisations around the world have imitated for facilities of their own.

However, renovation was needed as General Motors sought to enhance the relevance of this impressive structure as an evaluation and presentation centre for critiquing,

presenting and displaying the next generation of automotive product design.

SmithGroupJJR, a Detroit, Michiganheadquartered architecture and engineering firm with offices across the US and China, and a staff of more than 1100, was brought in to carry out the renovation. In its work the firm pays homage to the collaboration of Saarinen and Kelly, while bringing the landmark of classic '50s design into the modern era.

According to Rodrigo Manriquez, Principal Lighting Designer at SmithGroupJJR, early work on the renovation began in 2008, although this was put on hold during the auto industry downturn. The project began in earnest in 2012 though as GM Global Industrial Design shared its initial concept and strategy with all collaborative partners.

“This work helped define the lighting objectives and fundamental goals,” said Manriquez. “The initial goal was to reduce the level of manual labour needed to adjust

the lighting.”

The design team at SmithGroupJJR set out to modernise the facility, but to do so in a manner to complement Saarinen’s original details. This meant that the walnut wood panelling, stainless steel and aluminium used in the original design were continued throughout the renovation.

However, incorporating these new technologies into the original structure while causing as little disruption as possible was not without its issues, as Manriquez elaborated: “Integrating the additional lighting systems into the existing historical architectural envelope did pose a challenge for us. But by being sensitive in our detail execution, we were able to counter this.”

During the renovation project, the team transformed the dome’s technology and controllability, re-engineering a 20-yearold system to meet the strict styling requirements that General Motors had for the dome. The outcome implements

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programmable layers that indirectly render a shadow-free envelope, while directly accenting vehicles with finely-tuned light spectrums.

The 180ft diameter dome can be transformed through automated scenes for a variety of occasions, including new prototype unveilings, charity events and staff gatherings, while the new, entirely LED system has been designed to aid automotive design for the next 50 years, thanks to improved agility, efficiency and sustainability.

Implementing this new lighting system was done with the slightest possible intervention – the main lighting ring in the centre of the dome was replaced with a new ring of fully adjustable, fully programmable, iPadcontrolled white/RGB LED lighting.

Again, the expanded diversity of equipment required for the new dome, particularly the need for speakers and projectors alongside the lighting on the suspended central design ring, caused a few issues for SmithGroupJJR, but as Manriquez explained: “We developed and implemented a modular approach to organise systems

based on their architectural cadence and display locations.”

The ring also required special attention in order to address the additional load placed upon it while minimising any potential movement due to the introduction of new motorised lighting systems, and existing structural members dictated architectural opportunities to mount new systems.

The renovation of the dome leveraged colour to activate the architectural layers and capitalise on the building’s rich textural metal wall. Cove mounted RGB linear indirect systems infuse the ‘corporate blue’, expand the perimeter viewing platform, and allow clear definition of the impressive dome ceiling and surrounding areas.

In display mode, the motorised RGBW LED directional sources provide the spectrally tunable 750lx needed to create adequate contrast while showcasing the vehicle’s particular finish within a saturated, coloured visual environment.

Indeed, some of the key considerations for the new lighting system centred around the ‘stance’ of each vehicle on show, as

Manriquez explained: “Indirect lighting had to balance the existing materials, target luminance and target illuminance in the dome. We designed and achieved a 2:1 luminance ratio with an average of 150cd/ sqm and 300lx at the floor.

“Elsewhere we utilised 3D reflection studies to ensure a mitigation of the reflected environment on the property, while under direct lighting operations the motorised fixtures were assessed with performance and cost consideration. The performance requirements were additive colour fidelity despite environmental colour saturation of the dome (e.g. a red car must look red, even in a blue environment), redundancy and controls.”

Manriquez added that General Motors and SmithGroupJJR collaborated through a mock-up on site to determine best illuminance/luminance levels based on precedent operations, aiming strategies and colour tuning of the proposed LED system.

Indeed, this collaboration proved essential in the early stages of the project, as understanding the metrics to light the property under different assessment

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conditions (i.e. direct and indirect lighting) did prove a challenge for SmithGroupJJR. However, by leveraging an on-site mock-up of the new system and watching it work, the team were able to iron out any issues.

In fact, GM Global Industrial Design consulted and collaborated throughout the whole process, mocking up real use cases to establish the requirements that drove the specifications. The GM team worked with partners throughout the whole project to help share understanding of the necessary level of theatricality, and the fundamentals of lighting vehicles.

More creative and expedient user programming has also been encouraged in the Design Dome with the installation of 40 DMX universes. This has further added to the colour fidelity as the flexibility of the DMX controls enable the show directors at the Dome to ‘spike the hue’ of a saturated yellow car in contrast to other monochromatic cars that appear to fade into the background. Colour as the ‘primary conductor’ establishes hierarchy and sequencing for viewing every scene.

This new theatrical system also provides an

energy saving of 36%.

It is the introduction of these DMX universes that has enabled those at the Dome to fine-tune their lighting displays and expand the capabilities of the building.

Manriquez continued: “Redundant RGB cove integration into the DMX control platform has expanded the space’s capabilities as an event showroom, while directional motorised fixtures with DMX control of aiming location, beam angle, intensity and colour allowed multiple lighting criteria to be achieved with just one system.

“DMX controls enable designers to tweak RGB channels of spectrally tunable RGBW LEDs to counter coloured fill light so vehicle finishes appear as they would in a white environment. As appropriate quantities of fully automated fixtures were also optimally located to light multiple configurations of property display and other functions.”

The end result is a stunning structure that, while paying tribute to the original work of Saarinen and Kelly, has been brought firmly into the modern era. Looking like something out of a James Bond movie, the Dome is the perfect blend of classic and modern design.

Previous Page A pinnacle of '50s design, the General Motors Design Dome provides a truly unique viewing experience for the fine vehicles on show.

Above Left The Dome's new DMX controls allow show directors to 'spike the hue' of a saturated yellow car, in contrast to the other monochromatic cars that appear to fade into the background.

Above The contrasting images highlight how the new lighting system can transform the look of the building, creating a new dynamic and expanding the space's capabilities as a showroom.

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Pic: SmithGroupJJR

That said the project threw a few curveballs at SmithGroupJJR with regards to working within the constraints of an existing historic structure, the technically complex, multiple program criteria of the brief and the difficulty of lighting the reflective, metallic car finish. Manriquez added that if they could have changed anything about the project, they would have added more redundancy to the systems to allow for growth of display options. But overall, he and his SmithGroupJJR team are pleased with the outcome.

“The Design Dome is a grand space worthy of pause and recognition as it is the mecca of design for this organisation. We are honoured to be able to enhance that notion.

“Reverence to the modernist evolution of the space relies on understanding and solving dualities: unity with variation, modern but not inexplicable, consistency

without boredom, seriousness without pedantry, and function with playfulness.

“We feel that we achieved a balance of two critical considerations: the respectful posture toward Saarinen’s original design and the need to move the space into the next 50 years of operations. We were sensitive to the classical historical materials that remained as clear legacy items of modern architecture.

“The essence of the Design Dome will allow the character of the space to morph based on its current and future function. 1950's property assessment will shift to enveloping hues, horizon lines will mutate through reflections, and the automobile will reclaim centre stage.” www.smithgroupjjr.com

Above The simple elegance of the car is matched by the simple elegance of the Design Dome and its new lighting system.

PROJECT DETAILS The General Motors Design Dome, Michigan USA Client: General Motors Architect/Lighting Design: SmithGroupJJR

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WHISKY AND WATER When the notorious Watergate Hotel underwent a much-needed facelift, the owners turned to Ron Arad Architecture, BBGM and CM Kling + Associates Architectural Lighting Design to carry out the renovations, transforming the establishment into a loving homage to its original 1960s design.

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Pictures courtesy of Laura Arnold

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Previous page: The beautiful whisky wall, featuring 2,450 individually uplit bottles, casts a warm, amber light into both the hotel bar and lobby, and is a stunning centrepiece for the new-look hotel.

Left: The hotel's reception features recurring motifs of curved, tubular bronze-patinated brass, polished copper and stainless steel throughout.

Below left: A closer look at the whisky wall's frame and the individual Vissa uplights from Linea Light.

The Watergate Hotel, best known for the infamous ‘Watergate Scandal’ that led to the resignation of US President Richard Nixon in 1974, has undergone a major architectural refit.

Originally designed by Italian architect Luigi Moretti between 1960-65, the Watergate Hotel is a major component in a mixeduse, self-contained complex that includes apartment buildings, offices, extensive commercial facilities, and the hotel itself. The building is the only example of Moretti’s work in the US and is listed as a national monument.

The refurbishment, carried out by Londonbased Ron Arad Architects and BBGM, with CM Kling + Associates Architectural Lighting Design, pays tribute to Moretti’s design, with its curvilinear forms and clean, modernist palette of white plaster and marble, capturing the aesthetic of the era in which the establishment gained its notoriety.

The refit was carried out across the hotel’s ground and below-ground floors, encompassing the entrance foyer and hotel lobby, library, restaurant, bar, dining terrace and main elevator lobby. A breathtaking reimagining of the whisky bar takes centre stage, with the introduction of a new floor-to-ceiling curved wall made up of 2,450 whisky bottles. The whisky wall’s frame incorporates individual Vissa uplights from Linea Light Group underneath each bottle, casting the bar in a rich, amber light.

This – according to David Ghatan, CM Kling President – made the whisky bar a ‘once in a lifetime design’, describing it as a

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‘chandelier for the entire lobby’. Ghatan said: “The whisky wall glows, casting warm light into both the bar and the lobby – it’s a stunning feature on its own. But the most intriguing part about the wall is the subtle glimpses of the people and objects on the other side.”

Repeating motifs are expressed continuously throughout the remodelling, through the use of curved, tubular bronze-patinated brass, polished copper and stainless steel, accompanied by sweeping oak-lined walls, while the rich palette of metal and timber fashions and re-arranges the route through the building, opening up a fluid sequence of spaces, while the lighting illuminates the way.

Custom-designed rugs and richly upholstered furniture adorn the lobby area, while black granite floors and plastered ceilings are articulated in a playful pattern of polished curves, helping to perpetuate

reflections of the key design elements.

Across the lobby, which features twisted bronze cords in both high-polish and matte finishes, the vertical surfaces are lit, casting the space in a warm glow and accentuating the patination of the brass.

Meanwhile, the hotel’s new Kingbird Restaurant is an open, two-storey dining room with soaring stainless steel columns and spring-like, coiled pendants that appear to float against the polished black Venetian plaster ceiling. These spring-inspired chandeliers later became the hotel’s new logo.

Architect for the renovation, Ron Arad, commented that one of the main draws to take the extensive renovation project was the scandal that gave the Watergate its lasting reputation. He said: “I have a confession to make: our initial attraction to this project was actually the Watergate scandal, and it is absolutely fantastic

that this starting point led us to work on a project that also has such a great architectural legacy.”

Arad continued that, from a design perspective, his main ambition was to enhance the original designs of Moretti, while adding his own creative flair.

“Working within such a significant period piece, you can’t ignore the context, but at the same time you don’t want to mimic it,” he said. “Instead you want to create something complementary, but importantly, something new.

“We have tried to enhance Moretti’s original curves using our own, while at the same time influencing the anticipated flow of people through the spaces.”

This focus on paying homage to Moretti’s original design, while striving for something new has resulted in the creation of a Mad Men-esque tribute to '60s Modernism, to the point that you would expect the

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stunning new-look whisky bar to be full of Don Draper types, puffing on cigarettes and sipping on glasses of top-end scotch as they discuss their latest ad campaigns. In fact, the hotel uniforms were even designed by the show’s costume designer.

Following a recommendation from the local architect and an interview with the owner, CM Kling + Associates came on board with a brief to ‘provide a world-class luxury hotel’ with a pre-assembled, international design team, as Ghatan explained: “The team of artists, architects and interior designers was spread across the globe. It required interpretation of various design styles.

“The Lighting Design team worked on all areas of the hotel, whereas the interiors groups were broken up into specific areas.

The LD therefore needed to ensure that the designs worked together.”

This allowed CM Kling to fine-tune any plans and make sure they were in keeping with

both Ron Arad’s and Luigi Moretti’s design.

A key consideration of which was to ensure that light, colour, movement and shimmer could be introduced, while keeping glare to a minimum. This was particularly important because reflective materials were key to the design throughout the hotel’s public spaces and created depth, shape and reflections to change the feel and move light into the space. Any glare in this hightraffic area would be distracting for both hotel guests and staff.

The design team built several extensive mock-ups to address challenges with the lighting and the materials. Ghatan continued: “The lighting was critical to feature these materials and shapes without glare and hotspots. We hid many light sources in ceiling coves, wall coves and other building elements, and down lights were chosen, which produced little to no glare.”

Previous page: The iconic whisky bar is the epitome of 1960s modernist design and was a 'once in a lifetime design' for CM Kling & Associates Architectural Lighting.

Left: The Watergate Hotel's new Kingbird Restaurant, with its open, two-storey dining room, featuring soaring stainless steel columns and spring-like, spiralised pendants, which have become incorporated into the hotel's new logo.

Above: The rich palette of metal and wood opens up a fluid sequence of spaces throughout the hotel lobby, with the new lighting helping to accommodate this flow of space.

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The building itself presented a number of challenges. The Watergate is a registered historical landmark, and design is constrained by historical renovation regulations so the exterior of the building couldn’t be touched. Inside the building, low ceilings – standing at just nine feet – proved another challenge. Ghatan said: “The low ceilings meant that we couldn’t specify traditional showpiece chandeliers, so we created a custom vertical chandelier – the whisky wall – which ties together the lobby and the bar. We visually heightened the space by emphasising reflective gradients on the floors and ceilings with light from coves.”

According to Ghatan, the collaboration between CM Kling and Ron Arad provided a unique experience for the lighting designers in his firm. Both the project and the client benefitted from the energy and willingness to collaborate among the entire design and construction team.

“The mock-ups and collaboration with

the architect, Ron Arad, and the Italian manufacturer of the metal elements was an incredible experience for us. Collaboration is the most important aspect of our design business, and we were thrilled to manage such an extensive, detailed undertaking, with three contributors in three different countries,” he said.

And Ghatan believes the renovation captured the essence of the Watergate spirit. “Our lighting design and collaboration with Ron Arad and his team’s vision has created a space that flows, contrasts and offers nooks for all the hotel’s secrets and rumours. The lighting design creates a visual balance and continuity throughout the entire hotel.” www.cmkling.com

Above: The floor to ceiling whisky wall acts as a custom vertical chandelier, tying together the lobby and the bar, visually heightening the space and emphasising the reflective gradients on the floors and ceilings.

PROJECT DETAILS The Watergate Hotel, Washington, D.C, USA Client: Euro Capital Properties NYC Executive Architect: BBG BBGM Architect: Ron Arad Architecture Lighting Design: CM Kling & Associates Architectural Lighting Design

LIGHTING SPECIFIED BK Lighting Mini Micro cylinder Electronic Theatre Controls Dimming system Flos Circle of Light iGuzzini laser blade in custom length Linea Light Vissa LED Lumenpulse Lumencove 2.0 cove light Lumenpulse Lumencove Nano cove lighting Lumid custom ballroom pendant light USAI BeveLED 2.0 downlight and wall washer Whitegoods RD60 Downlights and Adjustable LED

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LET IT SHINE, LET IT GLOW Now in its twelfth year, the latest instalment of Kronach in Light saw a diverse group of lighting designers transform the small German city, with several beautiful concepts for visitors to enjoy.

For the past twelve years, Kronach, a small city in Southern Germany has been celebrating light and lighting design with a springtime festival – Kronach in Light – with architectural lighting design workshops held in the run up to the opening of the events.

At Kronach in Light 2017, held from 27th April to 6th May, a diverse group of participants developed lighting concepts for several locations. For many of them, it was their first time working with light and with each other, which posed quite a challenge.

However, through great communication and organisation, concepts for five areas were developed by the end of the first day.

During the following days and mainly nights, the teams worked with lighting equipment, learnt more about lighting effects, did mock-ups and tested the feasibility of their concepts, with a very hands-on approach.

At the end of the fourth day, five beautifully lit areas all over the city were opened to the public to discover.

Realistic Fairy Tale by Studio De Schutter created a split reality from an underwater world to the bright, sharp contrast of the ‘real’ world. While Open Theatre, created by the team of Grapentin, used architectural elements as actors in a mythical play.

At the town square, which is the centre of the festival, Dr. Nessim's concept, Movement, lit the square's surrounding facades, using colour and emphasising the different epochs of the facades.

Team Bamberger’s Timeline took visitors on a journey through time in the historical ramparts of the city. Entering through a burning tower, walking through saturated lit spaces, visitors travelled from the Middle

Ages back into the present, with the town hall illuminated with modern lighting.

Nature versus City, by Team Mantello, used two opposing sides of street to emphasise contrasts with different types of lighting.

An otherwise ordinary street was brought to life with the diversity of lighting used.

With the ‘learning by doing’ approach, these lighting design workshops give the participants an opportunity to experience a full overview of the lighting design process and to work as a team to bring a concept to life.

And the biggest reward is of course the reaction of the visitors to the festival, as they see familiar sights and buildings transformed almost magically through light. www.kronachleuchtet.com

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Pics on this page Christian Hoderlein

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AND THE WINNER IS… The Lamp Lighting Solutions Awards 2017, held in Barcelona, celebrated all that is good in architectural lighting design.

On June 15th, the seventh edition of the Lamp Lighting Solutions Awards was held at Espai Xavier Corberó, Esplugues de Llobregat, Barcelona.

The event, lead by Mr. Ignasi Cusidó, CEO of Lamp Lighting, and hosted by TV journalist Bibiana Ballbè, was closed by the prestigious lighting designer and president of the jury, Kaoru Mende (Japan), supported by the rest of the judges: lighting designers Gustavo Avilés (Mexico), Colin Ball (United Kingdom), Anna Sbokou (Greece) and Rafael Gallego (Spain), architect Joan Roig (Spain), and interior designer Stefano Colli (Italy).

Furthermore, the event counted on the collaboration of La Invisible Lighting Design Studio, who surprised visitors with its lighting installation.

The gala was attended by 450 professionals of the worldwide lighting sector. Paying homage to the sculptor Xavier Corberó (1935-2017), the attendees toasted to art and light, while recreating the legendary parties of Dalí. It was an enjoyable, bohemian-artistic event in which the attendees could taste typical Spanish tapas and rice, do networking in the calm chill outs, or drink a gin and tonic whilst dancing

to live music in the Piano Bar, and also take home a funny ‘photocall’ caricature of themselves.

This year’s edition, the seventh since its inception in 2008, saw an increase in the number of lighting designers, with 60% of participants coming from this field, rather than the architects and interior designers, who together used to make up the majority.

A total of 523 projects from 43 countries prove the international reach of the Lamp Lighting Solutions Awards.

The winners in the four categories of the Lamp Lighting Solutions Awards ‘17 were:

ARCHITECTURAL OUTDOOR LIGHTING

Pic: Julian Salinas

WINNER: AUSTRALIAN WAR MEMORIAL, CANBERRA, AUSTRALIA BY STEENSEN VARMING. SPECIAL MENTION: LIGHT FRIEZE KUNSTMUSEUM BASEL, SWITZERLAND BY MULTIVISION LED-SYSTEME AND IART AG With a prize of €5,000, the 2017 Lamp Lighting Award for Architectural Outdoor Lighting went to the Australian War Memorial, in Canberra, Australia, by Steensen Varming, for: “An elegantly balanced scheme where each detail is accented appropriately. Integrating the light throughout the monument, the consistency of approach is equally expressed in the constructed elements of darkness."

In the same category, the jury decided to recognise with a special mention the Light Frieze Kunstmuseum Basel, in Basel, Switzerland, by Multivision LED-Systeme and iart AG, for: "A truly innovative approach to media light and architecture. Seamlessly integrating technology into the very fabric of the façade enables the lit effect to truly transform how the building’s fabric and form is seen.”

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INDOOR LIGHTING

Pic: David Frutos

WINNER: FIRST SUNSET IN THE PACIFIC, MADRID, SPAIN, BY CLAVEL ARQUITECTOS With a prize of €5,000, the judges gave the 2017 Lamp Lighting Award for Indoor Lighting to First Sunset In The Pacific, in Madrid, Spain, by Clavel Arquitectos, for: "a totally unique way to look at the experience of parking and elevate it to a sense of arrival. Taking a fully immersive experience into a mundane space is brave and truly original."

URBAN AND LANDSCAPE LIGHTING

Pic: Bountioukos Manos

STUDENTS PROPOSALS

WINNER: IN PRAISE OF SHADOWS BY SERGI SAURAS AND PAU GARROFÉ, BARCELONA, SPAIN With a prize of €1,000, the judges gave the 2017 Lamp Lighting Award for Students Proposals to In Praise Of Shadows by Sergi Sauras and Pau Garrofé, students at Escola Tècnica Superior d'Arquitectura La Salle, Barcelona, Spain. In giving this award, the judges said: "To capture one’s shadow, a sensitive proposal exquisitely illustrated and stunningly executed. Every element of the production was simply beautiful."

WINNER: LIGHT IN TRANSITION CENTRAL SQUARE OF KOZANI, KOZANI, GREECE BY MARA SPENTZA SPECIAL MENTION: RAVAL KM0, BARCELONA, SPAIN, BY CURRO CLARET AND MARIA GÜELL ORDIS The judges awarded a prize of €5,000 and the award for Urban and Landscape Lighting to Light In Transition Central Square Of Kozani, in Kozani, Greece, by Mara Spentza, saying: "Implementing a lighting strategy in the midst of an economic crisis is not only courageous, it truly recognises light’s ability to provide central focus to a community and increase social engagement, stimulating night-time economy and enhancing a whole town’s identity."

Also, in this category a special mention was given to RAVAL KM0, in Barcelona, Spain, by Curro Claret and Maria Güell Ordis, with the judges stating: "taking a community’s wish to express respect and joy to each other and transform what would otherwise be a standard corporate employment of empty symbols is an incredibly sensitive approach to how light can engage with a community on so many subtly different levels."

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LIGHT IN THE DARC darc night / decorative, which took place at Bloomsbury Ballroom in London on 18th May, was a resounding success emphasising the fun and creativity that should be associated with awards nights with a difference.

The very first darc awards / decorative carries on the baton of the darc awards concept after the impressive start made by the inaugural awards two years ago. Now, instead of a combined architectural and decorative lighting awards we have split the structure into two streams so we can dedicate more space to both of these important facets of design.

The 2017 darc awards / decorative was launched in September 2016 following the success of darc awards / architectural and culminated in its own darc night / decorative on 18th May 2017 at Bloomsbury Ballroom in London. Many of you were there and many of you, I know, had a great time!

If you are a designer this event is for you and changes the dynamic of traditional lighting awards where you have to buy a ticket or wait to be invited by a manufacturer - something that is out of the grasp of many junior designers and small practices. This was borne out by how many designers came to this yearâ&#x20AC;&#x2122;s darc night / decorative, turning the usual attendance dynamic on its head.

But without the voters the peer-to-peer concept of the awards would mean nothing and Iâ&#x20AC;&#x2122;d like to thank all the independent designers that participated.

But of course, without the entries the good people of design would have nothing to vote for! 200 entries from 30 different countries, purely for decorative lighting design projects and products, is beyond what we imagined.

We look forward to your participation in the next darc awards / decorative and darc awards / architectural.

And we look forward to welcoming you to darc night / architectural next September!

Go to www.darcawards.com for further details.

Paul James Director, darc awards

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2017 darc awards / decorative winners LIVE Best Residential Project & DARC AWARD

CEILING Best Pendant / Chandelier

House X, Singapore by Atelier limelight

Nebula by INK Lighting

WORK Best Workplace Project

WALL Best Wall Fixture

Feltrinelli Foundation Building, Italy by Artemide

Alphabet of Light by Artemide / BIG Architects

REST Best Hotel Project

FLOOR Best Floor Standing Fixture

Marriott Charlotte City Centre, USA by LUUM

Mito by Rakumba Lighting

PLAY Best Leisure Project

TABLE Best Table Standing Fixture

Komodo, USA by ICRAVE

CADO by Lam32 / Emmanuel Gargano

SHOP Best Retail Project

EXTERIOR Best Exterior Fixture

Sunset Walk - Centre MK, UK by Lighting Design International

Munich Reeds by Lichtlauf / Gerd Pfarré

BESPOKE Best Bespoke Fixture

SOURCE Best Lamp

Zephyr by George Singer

Plumen 003 by Plumen

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DARC NIGHT / DECORATIVE...

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IALD AWARDS

WE ARE THE CHAMPIONS Beijing United Artists Lighting Design claimed the Radiance Award for the first time at the 34th annual IALD International Lighting Design Awards, held at the beautiful Crystal Tea Rooms in Philadelphia on 10th May during LFI. In all, 22 projects spanning across eight countries were honoured at the ceremony.

RADIANCE AWARD PROJECT: HARBIN OPERA HOUSE, HARBIN, CHINA LIGHTING DESIGN: BEIJING UNITED ARTISTS LIGHTING DESIGN, CHINA Known as the ‘Ice City’, Harbin houses an expansive, impressive opera house. Responding to the surrounding landscape, the design team worked with the motto of ‘lighting the rhythm of the frozen music’.

The team devised three ways of lighting the main atrium in one piece of roof; At the lobby entrance, a ‘welcome mat’ of light; in the middle, a super indirect light; and on the wooden shell at the end of the lobby, a vertical glow.The wooden shell is a focal point of the lobby; washed lighting from above gives the whole lobby a warm inviting atmosphere. On the canopy outside, spotlights were placed in slots, directing light on the ground to avoid reflection and allow people inside to see out.

To create a twinkling effect on the pyramidal glass roof, the designer selected a quarter of each faceted unit, attaching it with dotted film.

Sunlight adds a twinkle to each pyramidic unit, creating different glass reflections throughout the day. At night, the filmed glass is grazed from below by LED light bars, seeming to glow from within and attracting visitor attention from far away. In the big theatre, the architect called for a glowing ‘diamond’ for the owner’s VIP area above the mezzanine. Custom RGB LED fixtures are hidden behind the acrylic diamond panel and transition from starry white to warm amber, changing according to the event or the seasons.

The starry, twinkling diamond approach is repeated in the corridor, connecting the basement parking plaza and the main lobby: fibre-optic lighting minimises visual impact but creates a dreamy, grand entrance at the steps.

“This team generated incredible lighting solutions to accompany an incredible piece of sculptural architecture,” one judge wrote of the project. “Just WOW,” wrote another.

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AWARD OF EXCELLENCE PROJECT: HANCHER AUDITORIUM, UNIVERSITY OF IOWA, IA, USA LIGHTING DESIGN: CLINE BETTRIDGE BERNSTEIN, USA A custom light fixture with a dropped lens lights the wood ceiling and describes the form of the building inside and out, achieving three purposes: its form and layout recalls a modern marquee; it creates rivulets of light relating to the river below; and it gives the building presence by allowing it to glow from within, circumventing ordinances prohibiting façade lighting.

The lighting in the soaring atrium accentuates the space’s height and gives it scale. The core wall is outlined with grazers in shielded, solite-lensed slots. This detail, repeated twice more, breaks up the massive surface. The elevator core is lit top-to-bottom with the same detail. The glowing design of the coatcheck and concession desks also masks considerable detailing. Each is evenly illuminated by one high-output linear fixture, easily accessible through the toekick. At the atrium ceiling, cove lighting and custom bracket-mounted fixtures illuminate curving skylights, preserving them as sources of light at night.

Within the theatre, monumental custom fixtures create an aweinspiring ceiling, while ingenious front-of-balcony lights make the house sparkle and glow. Giant custom rings of light create the ceiling plane against a dark blue painted slab. Partial arcs of these fixtures adjacent to the perimeter walls create the illusion that the lighting extends beyond the theatre – dissolving boundaries and barriers between spaces and creating a dynamic, engaging experience. The rings feature glowing lenses and decorative illuminated points that can be programmed to sparkle and chase.

AWARD OF EXCELLENCE PROJECT: 599 LEXINGTON AVE. - GROUND FLOOR UPGRADES, NEW YORK, NY, USA LIGHTING DESIGN: TILLOTSON DESIGN ASSOCIATES, USA Originally completed in 1986, 599 Lexington Avenue is a Modernist 47-story building. The client felt the lobbies needed an update to attract new tenants, but the architect preferred original architecture to be respected, turning the project into a lighting intervention. The final lighting solutions provide a refreshingly clean modern look to the lobby, respectful of architecture and noticeable from the street in daylight.

Tillotson Design Associates conceived of a series of suspended vertical fins with appropriate luminosity – this blended with the architecture, providing a connection to the existing façade fins, and filled the lobby volume with light. Edge-lit with linear dimmable LED fixtures at top, the clear fin glass has a translucent frit providing a diaphanous appearance, allowing visibility through, and adding ingenuity to the concept of a luminous ceiling.

Since lighting was the main tool in transforming the space, the process was highly collaborative. Though the lighting designer developed the basic lighting concepts, the placement, sizing and detailing of all lighting elements were determined together with the architect. Multiple iterative CAD studies, renderings, mockups and a physical model were reviewed together to finalise the arrangement of all lighting elements.

The modernised lobby provides a unique, lively and luminous experience not only to the building entrants but also to the outside pedestrians even on a bright sunny day. “Well done,” wrote one judge, “in revitalising a space to contemporary expectations.”

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AWARD OF EXCELLENCE PROJECT: CATHÉDRALE NOTRE-DRAME DE STRASBOURG, STRASBOURG, FRANCE LIGHTING DESIGN: L’ACTE LUMIÈRE, FRANCE Considered one of the greatest masterpieces of gothic architecture, the iconic Strasbourg Cathedral revels in its newfound splendor. Six hundred LED projectors create warm accent lighting and highlights that contrast beautifully with the cast and modeled shadows, resulting in an overall glow and a peaceful illumination.

After deep consideration of the sacred and iconographic facets and meanings of the structure, designers chose a precise and calculated balance of shadow and light to illuminate its presence. The brown and yellow sandstone comprised rich gradients of red and purples, corresponding to R8 - R9 CRI. This is a difficult colour to render in high quality diodes, so designers selected a 2700K fixture with a short chromatic distortion to ensure quality light. This solution infuses a global ambient luminescence onto the structure, allowing the deep colours of the sandstone and its intricate details to be revealed.

Focal glow and highlights were used to enhance the architecture and reveal detailed layers of masonry, like illuminated text. Dynamic white LED luminaires, soft gradients, and subtle tints were used to create two distinct nightscapes throughout the whole of the elevation.

The entire installation was completed without any drilling into the stone, only in mortar joints. Bespoke clamping sleeves, collars, fixture corsets and luminaires were painted onsite with an accurate colour match to the stone. As a result of these considerations, the entire installation can be removed without any damage to the structure, which was a key requirement of the heritage committee. None of the luminaries, except those in ground, are visible from the exterior. This results in a balanced, quiet ‘chiseled light’, and a magnificent poetic glow of the building.

AWARD OF EXCELLENCE PROJECT: BARNEYS NEW YORK, NEW YORK, NY, USA LIGHTING DESIGN: COOLEY MONATO STUDIO, USA For the Barneys New York flagship store, Cooley Monato Studio created a lighting design that allows the spaces to feel cohesive, spacious and dynamic despite challenging existing conditions such as large floor expanses, irregular column grids, and low ceiling heights. The brand’s contemporary and elegant identity is expressed through a rich material palette accentuated entirely by LED lighting.

Lighting the dramatic spiral stair at the centre of the store was a delicate collaboration in which lighting designer and architect agreed that the stair’s architecture could not be upstaged.

Continuously lit, sinuous, handrail coves follow the spiral at both stair walls, welcoming customers and leading them to other floors. Small, low wattage, in-grade uplights at the stair treads provide a subtle glow to the underside plane, softly enhancing its contours.

Judges were impressed by the project’s attention to detail, and the way the variety of design moments worked cohesively throughout the project. As one judge wrote, “Barneys New York is a beautiful example of elegant simplicity.”

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IALD AWARDS

AWARD OF MERIT + SUSTAINABILITY PROJECT: 888 BOYLSTON, BOSTON, MA, USA LIGHTING DESIGN: BURO HAPPOLD, UK The lighting design at 888 Boylston elevates culture and markets sustainable design to progressive tenants seeking to occupy modern speculative office space in Boston’s Back Bay. This is communicated through the plaza art lighting installation at the building’s doorstep. The poles are anemometers, shifting colour in reaction to wind speed.

Inside, lighting draws the eye upstairs against the architecture’s fluid curves. Lighting designers worked with a horticulturalist to identify species that would flourish under the illumination levels actually achievable in the space.

High efficacy LED fixtures reduced energy consumption, but even more important is their small source size, offering precise optical control to limit light just where it’s needed. These precisely aimed fixtures increase visual contrast, placing all the sustainable design features at the forefront of the guest’s awareness.

AWARD OF MERIT PROJECT: 225 PARK AVENUE SOUTH, NEW YORK, NY, USA LIGHTING DESIGN: ANITA JORGENSEN, USA The entrance to the lobby of this 1920’s Neo-Classical office is a dramatic, double height barrel vault complete with decorative coffers. Concealed indirect linear LED lighting mounted above the cornice line provides illumination and creates a glowing archway above the updated glazed entrance.

Large format, circular LED pendants create elegant floating halos of light, and provide general illumination along the length of the lobby.

These decorative luminaires complement the curves of the vaulted entry. Decorative, state of the art LED pendants illuminate the circulation area.

Above the reception desk, a custom cascading chandelier with circular planes of illumination provides sparkle. The chandelier is composed of 162 OLEDs, with a colour temperature to match the large direct/indirect pendants. Each OLED is a three-inch diameter circle, glare and shadow free, attached to a white wire stem. The rear painted bronze frosted glass wall behind the reception desk is grazed from above with a concealed LED wall wash cove. An LED ribbon of light at the base of the desk creates a soft glow and a floating effect.

AWARD OF MERIT PROJECT: AMANEMU, ISE-SHIMA, JAPAN LIGHTING DESIGN: LIGHTING PLANNERS ASSOCIATES, JAPAN The ongoing challenge of the Amanemu project was how to create rich, high quality darkness while keeping safety in mind. Throughout the property, intervals between eye-stopping tree uplights and bollards are set depending on the speed of travel – car, cart, or foot. In communal corridors, small lanterns are placed carefully based on the scale and pitch of pillars to create a rhythm of light and shadow.

At the SPA open-air mineral pool, small lanterns illuminate walking areas along the deck, and underwater fibre optic lighting subtly conveys the boundary of water and land. Rooflines fade into the night sky as the interior lighting glows softly, casually inviting guests into the cozy atmosphere.

Throughout the project, ambient downlighting is replaced with other lighting options wherever possible – in living areas and bedrooms, indirect lighting creates soft ambiance to highlight the beautiful timber ceiling.

In the all-day dining area, spun-gold liner fixtures uplight the ceiling, expressing the delicateness and dynamism of the space. Adjustable downlights illuminate tabletops, focusing adequate light on the ornate Japanese cuisine.

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IALD AWARDS

AWARD OF MERIT PROJECT: CHICAGO RIVERWALK, CHICAGO, IL, USA LIGHTING DESIGN: SCHULER SHOOK, ROSS BARNEY ARCHITECTS AND SASAKI, USA The lighting for the newly redesigned Riverwalk is playful, welcoming, and interactive. In the Cove, patterns of projected tree branches are achieved with weatherproof, theatrical metal halide T6 fixtures, fitted with glass gobos and pole mounted at street level.

Bridges were illuminated with linear LED fixtures with opal white lenses. To provide safety and comfort and improve facial recognition, fixtures were angled 5-degrees, to provide 1-1.5 vertical fc measured at eye level. Linear LED fixtures used throughout the project delineate the paths, illuminate the ramps in the River Theatre, and provide safety and comfort.

The extensive renovation brings vitality and excitement during the day and night, creating a recreational amenity in the middle of downtown Chicago.

AWARD OF MERIT PROJECT: CORRS CHAMBERS WESTGARTH, PERTH, AUSTRALIA LIGHTING DESIGN: ELECTROLIGHT, AUSTRALIA The lighting design of this office is an example of restraint and precision, with deep-seated integration that allows the lighting to exist as a dignified expression of the architecture.

The ‘blade’ concept of the lobby’s design introduces a system of custom aluminum bars with three finishes, radiating from behind the reception over the ceiling and down the opposite wall. As the blades rise into the ceiling, they appear to transform to a luminous edge. The goal was to express the morphing blade shapes to give an impression of volume and light beyond the room’s plain rectangular form. This provides the luminous backdrop for subtle highlights in the reception desk and seating area furnishings.

Lighting of the walls was designed to ensure both the reception and meeting rooms beyond can appreciate the effect.

AWARD OF MERIT PROJECT: DEBENHAMS OXFORD STREET, LONDON, UK LIGHTING DESIGN: LIGHT + DESIGN ASSOCIATES, UK The new kinetic façade cladding four stories of Debenhams’ flagship store on London’s Oxford Street is made up of 187,000 aluminium leaves, moving with the wind to create ever-changing patterns and reflections.

Inspired by its fashionable contents, the lighting scheme changes the building from its cool daytime veil into a glamorous evening gown. Amber light colours the kinetic façade to appear like gold chainmail shimmering in the evening light.

The façade lighting is automatically controlled to come on at dusk and switch off at midnight, complying with Westminster’s guidelines for lighting in conservation areas.

The previously invisible façade has new life and vibrance, and can now be seen as a destination when approaching from both the Oxford and Bond Street tube stations.

AWARD OF MERIT PROJECT: ELEMENTS OF BYRON, BYRON BAY, NSW, AUSTRALIA LIGHTING DESIGN: TONY DOWTHWAITE LIGHTING DESIGN, AUSTRALIA Elements of Byron is a resort hotel on the shore of Byron Bay, at the most easterly point of the Australian mainland. Its roof is a sweeping, bending and peaking form, reflective of a windswept sand dune, and the main ceiling inside the central building follows similar lines. To accentuate those forms, the lighting designers conceived of a fully continuous, 93m free flowing ‘ribbon’ as a sculptural element, drawing inspiration from surrounding dune grasses.

To complement the ribbon, other techniques come into play, including suspended sticks over the reception area and high bar zone, as well as a decorative pendant arrangement in the bar area. Concealed lighting to bar fronts and the maître d’ stations, combined with in-water and in-wall linear systems, result in a relaxed ambiance conducive with the surroundings.

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AWARD OF MERIT PROJECT: THE FARM RESIDENCE, GERROA, AUSTRALIA LIGHTING DESIGN: ELECTROLIGHT, AUSTRALIA The lighting concept for this stunning piece of modern architecture is based on integration, simplicity, precision and minimal elegance. Illumination flows organically from the built form, exuding a warm and seductive glow and imparting depth and composition.

Above all, lighting for The Farm aimed to be comfortable, relaxed and functional. It was crucial to the design to honour the architecture, allowing the lighting to become part of the built fabric and expressing the bold geometry, natural colours and raw textures of the space.

A number of bespoke luminaires were designed and fabricated for the project, including a wall light that mimics the form of the structure and results in a luminosity that flows naturally without feeling forced or intruding.

AWARD OF MERIT PROJECT: GASHOLDER PARK, KING’S CROSS, LONDON, UK LIGHTING DESIGN: SPEIRS + MAJOR, UK Inspired by the gasholder’s circular form, Speirs + Major generated a holistic lighting concept based on a solar eclipse. In an eclipse, the form of the moon is revealed by a soft corona of light. To emulate this effect, each of the canopy uprights are uplit from the inside with a narrow beam of cool white light.

Light is reflected from the canopy back onto the footpath, creating a glowing ‘corona’. The illusion from a distance is that all light emanates from the corona, reinforcing the sense of enclosure.

Once inside the corona, shadowplay and gentle animation enliven the experience of the space. Gentle cyclical cross-fading creates shifts, shadows and sparkle, fully immersing park visitors in the experience.

AWARD OF MERIT PROJECT: KUNSTMUSEUM BASEL, BASEL, SWITZERLAND LIGHTING DESIGN: IART AG, SWITZERLAND Designed as an integral part of the architecture, the light frieze installation subtly enlivens the Kunstmuseum Basel’s brick façade with words and graphic elements, playing with transparency and perceptions of solidity for a wide variety of effects. The horizontal joints of the frieze are cast in shadow by the incident daylight.

The frieze’s design uses this for artistic effect: white LEDs are set into the joints so they are invisible from the street, yet precisely illuminate the specially formed grooves of the joints. The shadows from these fixtures are used to display text and graphics, essentially painting with shadows using the stone building as a canvas. The result is a vivid communications tool for the museum, easily legible at a distance but restrained enough to not distract from the city’s ambiance.

AWARD OF MERIT PROJECT: NATIONAL GALLERY SINGAPORE, SINGAPORE LIGHTING DESIGN: LIGHTING PLANNERS ASSOCIATES, JAPAN The National Gallery Singapore is a unique symbiosis of two large colonial buildings – the Former Supreme Court and the City Hall – housing the largest collection of art in Southeast Asia. The lighting intent is restrained, emphasising a soft layering of light, and concealed discreetly within the architectural details.

The lighting design team worked closely with the architect to develop nearly invisible light fixtures. Outside, the LED system is concealed within compact enclosures to avoid anachronistic clash with the historical façade. A three-way variable optics gimbal, flush within the historical ceilings, allowed flexible aiming in the interiors. The use of downlights is restricted to a minimum, allowing light to reflect off the pure, uncluttered historical surfaces.

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IALD AWARDS

AWARD OF MERIT PROJECT: SMITHSONIAN MUSEUM OF AFRICAN AMERICAN HISTORY AND CULTURE, WASHINGTON DC, USA LIGHTING DESIGN: FISHER MARANTZ STONE, USA The National Museum of African American History and Culture is the newest Smithsonian museum, occupying the last building site on the National Mall in Washington DC. As the only non-white building on the Mall, it was decided early on that the building needed to be lit for a suitable nighttime presence. The challenge was to develop a design that captured the dignity of the building and its prominent location – while being responsible to the budget and environment.

The ground floor of the museum has a continuous glass curtainwall, but the vast majority of the building is completely covered in dark metallic panels. Initial designs relied on light that would ‘leak’ from the overlaps in the corona tiers. At the top of each tier, designers identified a common location to place fixtures, allowing a consistent downward aiming angle and eliminating light pollution.

To satisfy various conservation and historical requirements for Washington’s Monumental Core District, designers tuned the brightness to blend with other buildings on the Mall. The final lighted result renders the building façade as a porous screen, allowing one to appreciate the life and activity within.

AWARD OF MERIT PROJECT: US AIR FORCE ACADEMY CENTER FOR CHARACTER AND LEADERSHIP DEVELOPMENT, COLORADO SPRINGS, CO, USA LIGHTING DESIGN: BRANDSTON PARTNERSHIP INC, USA The main gathering space in the US Air Force Academy’s Center for Character and Leadership Development (CCLD), the Forum, lies beneath the 105-foot sloped skylight structure. It operates as a lecture, symposium, and presentation space both day and night, so it needed to support high quality seeing conditions under full sunlight as well as in a conventional house and stage lighting configuration for evening events.

A triangulated truss system of horizontal plates is hung from the ceiling, acting as both sunshade and light reflector. In parametric simulation, designers studied a variety of truss options in concert with various glazings and the use of graduated opaque frit patterns. The goal was to lower the apparent brightness of sky portions lying within the audience’s field of view.

The Center’s offices and academic spaces have conventional LED source illumination with automatic daylight harvesting, but the Wing Honor Board Room refers back to the celestial arrangement of the Forum space.

AWARD OF MERIT PROJECT: WINTRUST FINANCIAL CORPORATION, CHICAGO, IL, USA LIGHTING DESIGN: SCHULER SHOOK, USA The Schuler Shook team transformed this awe-inspiring space, revealing ornate architectural details with various layers of light.

Continuous, asymmetric uplights concealed within a cove highlight the 12-foot tall murals and ornate coffered ceiling, while recessed downlights provide illumination for the reception and circulation areas.

Adjacent to the grand hall are open office areas with a ceiling height of 34-foot. Historic chandeliers have been refurbished to provide internal illumination and uplight the beautiful ceiling. Recessed downlights are clustered in-between chandeliers to illuminate workstations below.

A new stair connects the lower and upper levels. The steps and adjoining lounges are illuminated by 4-inch aperture recessed downlights. Across from the stair is a bar for special events, accented with suspended wood features. The design team concealed 2-inch aperture recessed downlights within the millwork, providing illumination for the counter and shelving behind the bar. When the bar is closed, sliding glass doors are deployed and linear fixtures above illuminate the frosted glass.

SPECIAL CITATIONS: 1.8 BY JANET ECHELMAN, CHAPELLE CORNEILLE, REGIONAL AUDITORIUM OF NORMANDY, BY WONDERFULIGHT, AND PARK AVENUE ARMORY VETERANS ROOM BY FISHER MARANTZ STONE.

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TECHNOLOGY

PHILLY’S FINEST A selection of lighting highlights from the 2017 LightFair International show, held in Philadelphia, USA.

AL Graze AC LED Fixture Acclaim Lighting

TILE Exterior Cooledge Cooledge TILE Exterior is a wet location LED system that frees light from the constraints of fixtures to illuminate any architectural geometry and give designers new ways to accentuate building façades. Designed as a complete IP65 rated system, TILE Exterior’s modular, flexible form scales easily to cover large surface areas while a smaller set of FIT segments allow quick configuration around angles, corners and site obstacles to seamlessly illuminate exterior architectural structures. www.cooledgelighting.com

LUXBEAM LED Linear Lighting LEDCONN LUXBEAM gives way for customisability to meet your specific needs. The LUXBEAM linear lighting system can be cut to any length in intervals of 3¼-inches, with each interval containing 24 LEDs, providing the highest possible level of brightness to illuminate your space. LUXBEAM will brightly and evenly light up any retail, office, and architectural space while seamlessly blending into the environment, allowing you and your space to BE THE FOCUS of the room. www.ledconn.com

SALIOT Track Light MinebeaMitsumi MinebeaMitsumi’s SALIOT is the industry’s first LED track light fixture capable of automatic adjust, 10-30-degree beam spread, 360-degree horizontal rotation, 90-degree vertical adjustment, on and off switching and 1-100% dimming, all from the palm of your hand. Using a smart device-based app for iOS or Android, the one-touch controls can work for a single light or an entire linked network – up to 100 lights. www.minebeamitsumi.com

IP66 rated for wet and dry locations, AL Graze AC linear LED fixture offers colour temperatures ranging from 2700K-4000K, along with RGB, RGBW RGBA and Dynamic White (2400K-5500K).

Available in one and four foot sections with a linkable system for multiple configurations, AL Graze AC consumes nine watts per linear foot.

The AC powered unit maintains 70% lumens at 150,000 hours and provides approximately 419 lumens per feet. www.acclaimlighting.com

STICK-CW4 Nicolaudie The new wall-mounted DMX controller from Nicolaudie, STICK-CW4 is based on the famous STICK-CU4 but includes two major new features: clock/calendar and WIFI connection. Time triggers will be available as well as controlling the device from a tablet or a smartphone using the mobile apps: Easy Remote and Lightpad. The release of the controller is planned for the end of the year. www.nicolaudie.com

SORAA Sky SORAA SORAA Sky’s lighting system recognises that blue light is helpful in the morning to make users feel rejuvenated and energised. During the day, museumquality light with moderate blue light makes the surroundings come alive. In the evening, Sky bulbs have the unique ability to completely remove harmful blue emissions, but still provide soft white light, helping both body and mind prepare for a restful night’s sleep. www.soraa.com

Cylinder Family Lumenalpha

LED EXPERTISE SINCE 1977

A feast for the eyes, served with a full range of optics, colours, accessories, mounting options, control possibilities, and the ability to stretch your designs further than you thought possible, Lumenalpha Cylinders are a high-performance LED lighting solution and the newest solution for this brand’s growing offering for commercial, retail and hospitality applications. The cylinder architectural family offers a wide range of sizes and lumen outputs, as well as field-changeable accessories and optics. www.lumenalpha.com

« The highest panoramic wooden tower of the world brought up to light! »

Pavilion Family KIM Lighting

© Pics: Gerhard Maurer

The Pavilion Family from KIM Lighting is a 7-inch round and square bollard that features a Bluetooth enabled luminous RGBW accent ring, 24 customisable head and louver configurations, and true IES, symmetric or asymmetric distributions.

An integral ‘Power Station’ compartment enables optional electrical and USB charging, speaker integration or handicap access plate.

The Pavilion Family features Hubbell’s award-winning SiteSync wireless control technology. www.kimlighting.com

LinearHO DC LED Modules Fulham The new LinearHO DC LED modules are high lumen, high efficacy units designed for use in Class 2 lighting systems and are compatible with constant current and 36Vf drivers. There are three LinearHO modules: all three models come with magnets pre-mounted for easy installation, and are self-thermally managed thanks to the extruded aluminum design. www.fulham.com

www.lec-lyon.com

Pyramidenkogel (Austria)

Architect: Markus Klaura, Klaura + partner architekten Lighting designer: Hanno Kautz kunst_licht_architektur In use: 164 bespoke wall projectors 4040-Luminy 4

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Architura RGB/RGBW LED Orgatech

Hybrid Reflector LEDs Megaman Offering excellent optics, precise beam control and efficacy, Megaman Hybrid Reflector LEDs combine the best features of the company’s popular facetted reflector range. The Hybrid Reflector LEDs maintain the advantage of precise beam control whilst minimising spill light, reducing glare and eliminating the ‘visual noise’ of multiple lens arrays.

Barely distinguishable from the look of halogen equivalents but with far higher efficiency, Megaman’s latest Hybrid Reflector LEDs are an ideal replacement in retrofit applications. www.megamanuk.com

STRADA Nordeon STRADA’s uniform light distribution is perfectly suited for a wide range of interior applications. Its modern, cylindrical profile, combined with its visually comfortable optics, appealing design, and large luminous area creates a harmonious and elegant appearance in many settings.

Designed with public spaces in mind, STRADA delivers uniform light output around the luminaire profile, illuminating both horizontal areas and vertical planes. www.nordeon-usa.com

Architura RGB/RGBW LED is perfectly suited to provide colour-changing light for a wide range of prominent outdoor and interior spaces. It meets the need for high-performance, highly energysaving long life lighting that coincides with ease of installation, immediate and long-term noticeable energy savings with negligible maintenance.

Architura RGB/RGBW LED is characterised by contemporary, lasting linear architectural design free of unnecessary ornamentation or frills. www.orgatech.com

MoLED GRAPHIC 20 & 40 Griven

Image Spot LED Projector Rosco Rosco’s new Image Spot LED gobo projector has a fan-free passive cooling system that ensures the unit runs silently. A variety of accessories allow significant customisation of the Image Spot’s projection, including narrow, medium and wide lenses for additional beam shaping, and filter/diffusion options for lighting and colour control.

Image Spot features on-board dimming controls as well as DMX512 compatibility for both the indoor and outdoor-rated models. www.rosco.com

MoLED GRAPHIC 20 and 40 are advanced digital experience in-ground LED profiles, which can enable an endless layout of patterns and graphics displays.

Featuring an extremely compact size and a lightweight manageability for in-ground use indoors and outdoors, MoLED GRAPHIC is the ideal solution for pathways and driveways, parks and gardens, streets, parking lots and other public as well as private areas. www.griven.com

Lumiblade Brite 2 Family OLEDWorks The Brite 2 product line delivers the same industry best brightness and outstanding reliability that is the hallmark of the Lumiblade Brite technologies.

Brite 2 is now available in amber as well as in warm white 3000K and neutral white 4000K, and has superb colour rendering at CRI>90. In addition, with efficacy exceeding 63lm/W for standard industry brightness and 57lm/W at Lumiblade outstanding nominal brightness, Brite 2 continues to deliver on the promise of excellent light quality and energy efficient solutions. www.oledworks.com

STAVROS NIARCHOS FOUNDATION CULTURAL CENTER, GREECE Lighting Design: ARUP Lighting Supplier: Foss SA Installer: Joint Venture Salini Impregilo-TERNA Design Architect: Renzo Piano Building Workshop Photos: The Dark Room Photo Production Ltd

PIONEERS IN IP68-LIGHTING U NDER WATER LIG HT I N G | E XT E RI O R L I GH T I N G WIBRE Elektrogeräte GmbH & Co. KG info@wibre.de +49(0)7131 9053-0 Leingarten/Germany Anzeige_236x333.indd 1

Made in Germany. Since 1919. www.wibre.de

01.06.17 08:06

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TECHNOLOGY

Slimduet Rise Lighting

BeveLED Micro USAI Created to meet the highest level of sophistication, whether in a residential, corporate, or patient care space, BeveLED Micro adds a tiny linear alternative to USAI’s already extensive downlight options.

Its smallest form factor yet, BeveLED Micro delivers the same performance as the rest of USAIs BeveLED range, while allowing unlimited creative freedom, expanding the limits of imagination. www.usailighting.com

Cypher Family Architectural Area Lighting The Cypher Family from Architectural Area Lighting is a decorative wall sconce with stellar performance, up, down and side lighting options for 360-degree illumination, true IES distributions, RGBW and multiple fascia panel options, finishes and form factors. The Cypher’s ‘Ghost’ faceplate blends into existing architecture.

The Cypher Family features Hubbell’s award-winning SiteSync™ wireless control technology. www.aal.net

Neo-Ray Covera LED Direct/Indirect Luminaire* Eaton The Neo-Ray Covera product family offers a variety of scalable and flexible design solutions, integrating seamlessly into any commercial or high-end residential space. Available with a variety of mounting options and lumen packages, the curved optical design enables designers to use the luminaire in a variety of applications from task and decorative lighting to ambient lighting in an open office environment. www.eaton.com

net4more Tridonic Tridonic’s newly introduced IP-based lighting system net4more will connect lighting fixtures to the internet, provide digital control for energy management and enable IoT-based services without the need for a gateway. net4more will therefore be a fully scalable network for the ‘Internet of Things’ that exceeds the current concept of lighting. www.tridonic.com

An innovative slim linear connecting system, the Slimduet is a perfect combination between tracks and LED fixtures. Not only does it emphasise the characteristics and rapid installation of the fixtures, the Slimduet also creates a simple and clean appearance.

Unique designed spot, panel and downlight modules are available for multitasking lighting requirements for the area. www.rise-lighting.com

NanoDriver Series Seoul Semiconductor Seoul Semiconductor has developed the industry’s smallest phase-cut DC LED driver series, with a power density ten times higher than conventional LED drivers. The NanoDriver Series is just 13.5mm wide, and is available in four versions rated for 16W and 24W output power for operating LED lighting with input power of 120V or 230V (50 – 60Hz), and can be driven by AC or DC power supplies. www.seoulsemicon.com

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ON THE STREETS FOR MILAN DESIGN WEEK With plenty to see over the course of the week, here are some of the highlights we found particularly enlightening...

I Love Cableless Light Nimbus Group Despite only having been on the market for a short time, the charming, cableless Roxxane Leggera CL LED luminaire from Nimbus, the Stuttgart-based manufacturer of premium luminaires, has already conquered the hearts of many. “I love cableless light” – this was the slogan when Nimbus, in collaboration with the Karlsruhe Design College, created a home environment illuminated by cableless LED luminaire in the fashionable Brera district of Milan – and invited the public to come and discover the surprising, in part experimental, variants of the mobile light sources.

Both Nimbus and the future designers developed new forms of expression in design coupled with uncomplicated, unfettered use of light on the basis of advanced battery and LED technology. For many visitors, the event was the first time they came into contact with cableless light.

Diller Scofidio + Renfro Zumtobel The roof canopy, which is composed of 300 pairs of jeans, comes as a ready-made, intentionally mis-used and translated context of the human body, made into an architectural module.

A contemporary folly in the bracketed context of Monumental Classicism, the canopy stitches together the collective and the individual scales of urban life.

The Zumtobel Group, which collaborated with DS+R on its latest curated business report, 2015/16 ‘Blue Hour’, furnishes lighting solutions for the installation: twelve PYLAS outdoor luminaires, which change colour, and light the canopy from below, while the walls of the palazzo’s courtyard are lit by ARCOS spotlights, with a colour temperature of 3000K, to ensure a focused effect.

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X Milano DeltaLight For Milan Design Week 2017, Delta Light turned the surroundings of the historic Palazzo Crivelli into a monumental lighting installation. Brand new products were displayed in a conceptual setting, including designs by architects OMA, lighting designer Dean Skira and artist/designer Arik Levy. On top of that, a line-up of inspiring lectures and talks took place in the lush palazzo garden, including speakers like Snøhetta, C.F. Møller and AABE, all of whom are related to signature Delta Light projects around the world. Jan Ameloot, Managing Director, said: “We were overwhelmed by both the quantity and the quality of our audience. It was our aim to take our visitors on an experiential journey, merging light, form and architecture. Seeing the amazement on people’s faces and the overwhelming feedback was a great confirmation.”

SF Senses of the Future LG + Tokujin Yoshioka To mark LG’s 70th anniversary, they have joined forces with designer Tokujin Yoshioka to create a science fiction inspired installation using LG’s ultra-thin OLED lighting panels. Tokujin Yoshioka describes the concept behind the show: “When we were children, we freely imagined the future and we sensed our destinies in our dreams, and SF Senses of the Future is an expression of science fiction, technology, space and life highlighting the state of LG’s technology. The installation is a poetic phenomenon that can only be described as a tapestry of light – a truly futuristic dimension which confounds and transcends the human senses.”

Wave/Cave Luce & Light L&L is the technical sponsor of the artistic installation Wave/Cave on display at the INTERNI Material Immaterial exhibition in the Cortile d’Onore courtyard of the University of Milan as part of the FuoriSalone 2017.

The installation, designed by the New York firm SHoP Architects, evokes the idea of geological time marked by the different eras. It uses 1,670 blocks of unglazed terracotta to create 797 profiles on three levels, alluding to the idea of rock stratification.

The lighting, designed by PHT Lighting Design, brings out the beauty and porous nature of the material and creates a play of volumes between the façade, compact and regular, and the interior, which reveals a surprisingly rich ornamentation.

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THE FINEST & BRIGHTEST A selection of outstanding products from this year’s Euroluce Exhibit in Milan.

Art / IQ Series Eugenius

LED Sunlight Coelux CoeLux Moon demonstrates how the ability of artificial light to generate comfort and relaxation is connected with the possibility of delivering the experience of an infinite space, even before illuminating. The comfort produced by CoeLux Moon, is not lower than the one generated by the systems that reproduce the sun in the sky, although the intensity of the light is here thousands of times less. www.coelux.com

Rubyc Beneito Faure Designed in Barcelona, Rubyc is a multi-directional and square LED luminaire with an excellent lumen output to transform spaces and provide a visual comfort.

It suits indoor residential projects. it’s available in white, grey and black versions in addition to 3000K and 4000K light colours. It delivers up to 1321lm (4000K). The Rubyc’s electronics and power supply are fully integrated in this fixture.

This luminaire is ideal for illuminating walls as well to stand out special furniture or places. www.beneito-faure.com

A surface-mounted luminaire from the ART range, this exclusive lamp has an obscured, exchangeable light source and is also available with intergrated LED light source. LED modules are developed by Eugenius on Osram chips in colour temperatures 2700K, 3000K or 4000K, and with CRI>80 or CRI>90. The luminaire is made from powder coated aluminium. www.eugenius.eu

Yin and Yang Buzzi & Buzzi The two bi-emission lamps have a multifaceted and extremely geometric form, where elegance and technique are blended to emphasise the light beam. The twine of inclined surfaces crossing each other directly refers to the Yin and Yang symbol, giving up the typical linear configuration.

The unusual and singular form of the luminaires breaks the walls linearity, imposing its presence in a very original way. www.buzzi-buzzi.it

Tour_P Linea Light Group A large lighting ring, a rigorous and perfect harmony synthesis. Aluminium case and power supply included, the LED SMD source single emission with opal diffuser springs a warm diffusive light. Four different diameters defined by an extra slim section, makes this suspension very light and neutral.

Tour_P proposes three different emissions: direct, indirect and lateral.

Three combinable lighting effects in numbers of variations, able to transform spaces with a single minimal and contemporary sign of light. www.linealight.com

DIABOLO TAL For exactly eleven years now, TAL has maintained this collection with each new product becoming a different version in black and gold. This time, the collection will be alternated with lighting fixtures that completely bathe in gold. TAL’s newest addition is the elegant wall fixture DIABOLO, designed

by Lieven Musschoot & Cas Moor. The DIABOLO Gold is plated with 24K gold, which accentuates its nice round shape. www.tal.be

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.

VISIT US AT:

WWW.PROLICHT.AT

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TO ROME WITH LOVE Cariboni group is responsible for leading a new, functional, efficient smart LED lighting programme for the city of Rome; the largest-scale substitution of public lighting currently under way in Europe that will allow the Italian capital to save approximately €19million a year.

Nighttime in the eternal city of Rome will have a new, smart lighting system, with Cariboni group playing a part in this important transformation. More than 100,000 high-performance external LED lighting fittings are gradually taking the place of old gas-discharge lighting for the Capital’s public lighting, with two objectives: to make public illumination more energy efficient and to contain costs, in line with European directives and objectives.

The operation, which began in the summer of 2016, will be completed by the end of the year, with financial savings for the city, according to estimations by Acea,

amounting to approximately €19million per year, with a payback period of less than three years. The project, designed and produced in Italy, involves innovative Italian companies such as the Cariboni group, which has always made the search for excellence and innovation one of its prime objectives.

The numbers are impressive; Cariboni group has supplied 5,000 KALOS fittings for the illumination of green areas and foot and cycle paths, and 123,000 KAI fittings for the illumination of urban and non-urban roads. The project, promoted by Acea Illuminazione Pubblica, extends outside of the city centre, stretching into the city's

suburban areas too.

The new external functional illumination that Cariboni group has produced for the city of Rome uses very highly-efficient LED light sources with a chromatic efficiency of more than 70: a significant improvement in performance, compared to that of the old high pressure sodium or metal-halide street lights. The new lighting also has a positive effect on visibility and reduces chromatic alteration.

A whiter light, similar to moonlight, improves urban spaces and increases the level of safety on the roads. While scientific studies in the field of perception have demonstrated that reaction times in

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unexpected situations are reduced with a lower-temperature light colour.

The project included a number of restrictive requirements. In order to be brought into line with current regulations, the substitution of the lighting required a differentiated approach for the various areas, subdivided by type of system and method of realisation. Aware of the responsibility of the operation, and in order to best respond to the various geometric aspects and photometrical requirements of the city, Cariboni group created dedicated high-performance optics which eliminate light pollution, increase visual comfort and guarantee elevated levels of uniformity,

allowing for increased security for pedestrians and drivers.

Cariboni group has supplied Rome with a solution that is not only personalised, and of high-performance and low environmental impact, but that is also technologically advanced. Thanks to the high levels of efficiency of the sources, excellent optical performance and the integrated Smart system of remote control by Reverberi Enetec, the KALOS and KAI fittings created for Rome allow for an elevated reduction in consumption, with an annual energy saving of more than 55%.

The flexibility of this communication system, which uses PLT technology, offers numerous

advantages, including dynamic illumination adapted to the specific requirements of each urban area, and the possibilityv to remotely define personalised scenarios and programme the quantity of flow, and switching on and switching off times for every single light unit. Elsewhere, the system simplifies and reduces maintenance operation costs by reporting any anomalies or system damage. It is also a potential instrument for the collection of analogue and digital data throughout the urban area.

The system forms a capillary infrastructure, which is necessary for the creation of the Smart City. www.caribonigroup.com

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THE OPULENCE OF THE ORIENT ERCO’s range of LED spotlights and downlights have brought a sense of warmth to Alfons Schuhbeck’s oriental spice shop, at the heart of Munich’s ‘Platzl’, complementing the exotic flavour of the spices on show.

Germany’s most celebrated chef, Alfons Schuhbeck, offers a realm of gourmet experiences on Munich’s ‘Platzl’ (plaza). At the heart is his spice shop that replicates an Oriental bazaar, with exotic flavour creations presented in a professional and eye-catching style with the help of ERCO LED spotlights and downlights.

The design objectives for the fresh look of Schuhbeck’s spice shop at Munich’s ‘Platzl’ required the creation of an ambience that captures the fire of the Orient, modelled on the exotic allure of Asia. Built in 2003, the flagship store reopened recently, offering an opulent shopping experience on two levels with a total floor space of around 300sqm.

In the style of an Oriental bazaar, artisans and artists worked to create an interior adorned with ceiling and wall paintings, furniture and sculptures, columns and domes, all ornately gilded and designed to transport patrons to the far-off lands and exotic cities where the spices were sourced.

The ERCO LED lighting tools illuminating Alfons Schuhbeck’s spice emporium create separate zones, facilitate orientation and display the product in this oriental world of spices in the best light.

The perception-orientated lighting concept for effective product presentation combines accent lighting with vertical illuminance using ERCO LED spotlights and downlights.

Their spectrum of colours and textures is as wide and varied as the selection of spices and ingredients in Schuhbeck’s world of spices, which explains the primary focus on true-to-nature colour rendering in the lighting design. The ERCO LED lighting tools used in the shop – Optec spotlights and Quintessence downlights in warm white at 3000K – guarantee optimal colour rendering (RA ≥ 90) as a standout attribute and unique selling point. The ceilings feature

Quintessence recessed downlights that remain virtually invisible to the customer, providing uniform ambient lighting with efficient glare control in the shop. Their warm white light emphasises the fine wood flooring as beautifully as the wood and gold tones of the elegant furnishing. In contrast, the neutral white light (4000K) of the Optec spotlights, discreetly mounted above the furniture and cabinets, illuminates the white and blue sky painted on the ceiling, making the room feel more spacious.

A choreography of both light colours stages objects, such as the murals up the staircase, for a true visual experience: The lower section of the painting, showing an oriental city in sand and earth tones, is effectively illuminated using Optec warm white spotlights with flood lens, whilst neutral white downlights with spot light distribution accentuate individual clouds in the blue sky above, a narrow spot beam of Optec neutral white light breaking through the clouds like a ray of sunshine. It is this dialogue of neutral white and warm white light, implemented entirely with Optec spotlights, that sets the cool shades of the blue sky painted on the ceiling in stark contrast to the warm, earthy tones of the furniture and spices, thus ensuring optimal illumination of relevant features using the perfect colour of light. The result creates a stunning effect.

In versions with different light distributions, the LED spotlights meet all the requirements of high-quality lighting for shops and product presentations. Specific emphasis given to individual areas of the room minimises the number of luminaires required for efficient illumination, leading to significant savings in maintenance and operating costs. www.erco.com

LpS 2017

OPEN EVENT BROCHURE www.lps2017.com/brochure

7TH International

LED professional Symposium +Expo Smart Technologies for Lighting Innovations

SEPTEMBER 2017

BREGENZ

26TH - 28TH

AUSTRIA

www.lps2017.com Organized by Luger Research e.U.

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LUXURY LIGHTING In the heart of Doha, Linea Light Group has brought an additional element of luxury to the new AlRayyan Hotel Curio Collection by Hilton.

The city of Doha has seen a vast housing boom in recent years for its almost one million inhabitants, while its growing reputation for visitors from the western world has reshaped the skyline with new skyscrapers, offices and hotels.

At the centre of this is the new AlRayyan Hotel Curio Collection by Hilton. A project where Linea Light Group’s lighting fixtures have played an essential role in the enhancement of both the architectural structure and the luxurious interior decoration, including furnishings, materials and finishes.

A cosy, warm atmosphere is created in the suites and in the rooms by the indirect light of Dropper strip lights which, together with Vos recessed luminaires, have been placed in the ceiling niches and around the furniture. The bathrooms predominantly

make use of the strip light Silicone_C, with a synthetic coating that protects it from water and moisture. The kitchens and common areas – functional spaces requiring homogeneous lighting – have been fitted with recessed Anton and Vos luminaires, while Dropper strip lights have been installed in the niches of the ceiling in the corridors.

A lighting choice that highlights details, but also achieves a strong visual impact, in the vast hall a large decorative black satin glass installation is embellished by the LED bars specially created in collaboration with the project’s lighting designer and the expertise of Linea Light Group’s technical staff. The striking effect is obtained by a particularly high performance finish, not overly opaque so as not to block light, but not so polished as to create unwanted reflections.

Moreover, the bars are equipped with Dynamic White technology and managed by the DMX protocol, producing different shades of white light colour temperature, creating suggestive effects. The wall comes to life, with light seemingly dancing for the entertainment of the guests in the lobby.

The hotel exterior is also visually striking.

The Paseo bars with RGBW light installed in the walls of the top floor create appealing dynamic scenes and form an aesthetic synergy with the overall illumination of the facade, featuring Silicone_C strip lights applied to the wooden edges and Suelo uplight fixtures which envelope the columns of the ground floor with light. The result is a true open-air theatre. www.linealight.com

Functionality, efficiency and Smart technology for Rome

Cariboni group has supplied to the Italian capital a personalized, high performance and low environmental impact solution. 128,000 KAI and KALOS luminaires allow a high consumption reduction with an annual energy saving of over 55 %.

c a r ibon ig rou p .co m

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SEE THE LIGHT The introduction of a new Reggiani Lighting scheme has played a major role in the refurbishment of a 500-year-old chapel.

Reggiani Lighting’s Yori and Envios LED projectors have been incorporated into a new lighting scheme for the Chapel at the prestigious Corpus Christi College, Oxford, as part of a major refurbishment project.

In coordination with GBS Architect Oxford, dpa lighting consultants designed and implemented the new lighting throughout the chapel to enhance the stunning architectural interior while ensuring that the new lighting allowed for all the appropriate scenes and flexibility required by a space that is used for a diverse range of functions.

The refurbishment of the Chapel to provide a modern, energy-efficient lighting scheme was purposely scheduled so as to coincide with the College’s quincentenary year celebrations in 2017. The exacting brief from the college was created to ensure that the refurbishment of the 500-year-old,

Grade I Listed chapel remained faithful to all the original architecture and finishes.

Reggiani’s Yori fittings with 13W LED source were supplied on track with 21-degree and 51-degree reflectors, mounted vertically into carved niches within the stone reveals of the adjacent windows each side of the Altar. With three spotlights on each track, these were directed to illuminate the Altar and the painting behind it. The painting itself had been restored prior to the refurbishment project but the new lighting, with its excellent colour temperature, allows the painting to be appreciated in a way in which it has not been seen for decades. The Yori fittings also incorporate a phase dimming driver to allow for gradual dimming as and when required.

Reggiani's Envios 13W LED projectors were also used for the scheme and were positioned on the external roof to the rear

of the large, central stained glass window.

With a 71-degree beam angle and 4,000K colour temperature, this created a backlit effect which allowed the deep colour and intricate detail to be displayed from within the Chapel, forming an absolutely splendid interior centrepiece.

Ian Clarke, Associate at dpa lighting consultants commented: “The lighting scheme had all the normal restrictions and challenges of a protected heritage building.

All lighting had to be carefully co-ordinated with the architectural elements regarding cable routes, housing of control equipment, etc. It was very important that the light sources performed well under dimming to ensure a well-controlled end result.

Having a common light source, the Reggiani luminaires offered excellent consistency, producing just the right effect.” www.reggiani.net

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TECHNOLOGY

LIGHT BEYOND LIGHTING Fulfilling the stringent sustainability and spatial design requirements of Siemens’ Munich headquarters, Osram has supplied a lighting solution that is both energy efficient and flexible, demonstrating that light can be more than just lighting.

The new Siemens corporate headquarters in Munich, Germany has a forward-looking and variable spatial design. This places high demands on the lighting, which must be energy-efficient and flexible. Osram supplied the lighting solutions, fulfilled the requirements of the technology corporation and demonstrated that light can be more than just lighting. The light, in this case, supports the successful architectural unison of heritage building sections with a new modern construction, and the wellbeing of approximately 1,200 employees at the site.

The integration of various lighting scenarios in a light management system ensures utilisation of light according to needs and therefore high energy efficiency.

Following a complete redesign in previous years, in which Siemens Real Estate connected the historic Palais Ludwig Ferdinand with a new, modern building characterised by a high level of transparency, an overground building space of around 45,000sq-metres now accommodates an open and inspiring work environment. The freely accessible ground storey provides an open, inviting passageway for the public.

With the most stringent sustainability standards in the world required of the HQ, maximum requirements were also placed on spatial concepts for the employees.

The new office sections and equipment

correspond to modern forms of work and organisation – as reflected by the openly designed office areas with think tanks, phone boxes and lounges as well as many communication zones throughout the building. ‘‘Light is an elemental component in creating an atmosphere for people to enable them to be creative and productive according to their individual needs,’’ explained Eladia Pulido, Heads of Osram's Lighting Solutions business unit.

Premium-quality LED solutions were installed in almost all building areas, in some cases manufactured according to customer specifications. All luminaires are equipped with DALI drivers to enable maximum energy savings and are controlled and monitored via the central building system technology. The lighting itself can be switched and dimmed according to needs via daylight and occupancy sensors in the building – thus saving further energy.

Around 3,500 customer-specific units of the Arktika luminaire were set up throughout the offices as semi-recessed luminaires in various lengths. This luminaire, featuring high visual comfort matched to the needs of modern offices, supports open and transparent spatial effects. Special hexagonal-shaped reflector technology achieves efficient light distribution with minimum glare, and the opal light emission surfaces on the sides provide an indirect

light component for ceiling illumination.

Around 3,000 Lunis 2 LED downlights were installed in the meeting rooms of the historic Palais Ludwig Ferdinand and in all circulation areas, the sanitary rooms and other ancillary rooms of the office building.

These downlights generate high lumenoutput and create a concise, transparent atmosphere with their purist design.

The downlights were supplemented with the Tecario LED light line system; almost 200-metres of this solution were installed in the circulation areas and larger meeting rooms. The special look of the system is ideally suited to the sophisticated architectural interior of the new building.

The modular insert options of the Tecario LED provide high levels of flexibility and therefore the preconditions for setting eyecatching accents in the lighting design.

Individual visual accents are also set by the Linearlight Flex LED in the historic Palais Ludwig Ferdinand: these flexible LED modules were installed as an indirect light source in the peripheral coves around the central meeting rooms. The lighting concept is completed by 1,500 Monsun 2 damp-proof luminaires, reliably providing good visual conditions in the underground garage of the corporate headquarters. www.osram.com

PRODUCT SHOWCASE:

CELESTE The CELESTE is a fully customizable high-output pendant downlight. Designed for theatres, churches, and arenas, it features a wide range of dimming capabilities ranging from mains dimming to DMX/RDM. The stylish extruded aluminum housing is lightweight and extremely durable. The interchangeable reflectors allow for a wide variety of angles.

The single, powerful LED array allows for dramatic lighting effects that are unobtainable with many of the multiple-array high output fixtures on the market.

(845) 947-3034 www.tslight.com

www.tslight.com/products/celeste

CR75 The CR75 is a powerful LED fixture designed for medium to long throw applications. This efficient, 65-watt LED fixture can produce a 13 degree beam that rivals line voltage PAR technology. The CR75 utilizes a Cree XLamp LED array that delivers a high lumen output and uniform color. At full 7000 lumen output, the fixture can be dimmed on any 0-10v dimming package. A trailing edge (ELV) and leading edge (triac) dimmer system will yield 6500 lumens maximum.

www.tslight.com/products/cr75 fb.com/tslight

@TimesSq

Illuminate Your Space!

Times Square Lighting has the capability to turn your bright ideas into lighting reality.

In our 75 years, we have dedicated ourselves to the lighting community with superior products and innovations.

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TECHNOLOGY

Pic: Dan Paton

SORAA LIGHTS ART Since February of this year, Soraa has been making ordinary lighting extraordinary and efficient in one of the UK's oldest houses of history, the Ashmolean Museum.

Since February 2017, Soraa is now illuminating the showcases at the Ashmolean Museum in Oxford, England.

Soraa’s lamps use LEDs built from pure gallium nitride substrates (GaN on GaN), making ordinary lighting extraordinary and efficient. These GaN on GaN LED lamps have superior colour rendering and beam characteristics compared to lamps using LEDs created from non-native substrates.

The last few years have seen an improvement of LED light sources and the Museum decided that the technology had advanced enough for them to replace their existing halogen powered light generators.

In 2015, the Museum partnered with Absolute Action to find a solution. Absolute Action chose Soraa VIVID LED Optical Light Engines to incorporate within the new fibre optic projector to illuminate the display cases.

“Our quest to find high quality colour

rendering and longevity led us right to Soraa,” said Emma Dawson-Tarr, Managing Director, Absolute Action. “With Soraa’s LED innovations, we have given the Ashmolean Museum more flexibility and control for the future.”

Another reason Absolute Action decided upon Soraa was the large energy savings.

By utilising the new Soraa LED light engines versus the previous halogen lamps, they will save nearly 75% in energy costs.

Also, the ability to maintain the optimum temperature of the Soraa diode via the NTC reader control from the driver means the Museum can be assured of a long operational life. “The Ashmolean Museum aims to display exhibits with the most accurate colour rendering and clarity possible. However, until recently, we found that this quality was only available with inefficient halogen lamps,” said Harry Phythian-Adams, Executive Officer at the

Ashmolean Museum. “We required a more energy efficient solution to achieve our lighting goals in both quality and energy efficiency.”

Soraa’s GaN on GaN LED with VioletEmission 3-Phosphor (VP) LED technology renders the widest range of colours in the objects that we see, without ultraviolet (UV) or infrared (IR) radiation that can fade or harm the artifacts. Utilising every colour in the rainbow, especially deep red emission, Soraa’s lamps render warm tones and achieve a colour rendering index (CRI) of 95 and deep red (R9) rendering of 95.

And 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. www.soraa.com

Glass dichroic colour correction filters ideal for warming or cooling a light source.

Warming filters for LED lamps.

Honeycomb louvres available in custom shapes and sizes.

Glass diffusion filters available in custom shapes and sizes.

LEE Filters offer a wide range of products to help control, colour and correct different light sources.

Visit our website for further details.

6936 LF_Arch_Ad_CC_333x236.indd 1

www.leefilters.com sales@leefilters.com +44 (0) 1264 366245

03/10/2016 13:35

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TECHNOLOGY

WHITE-KNUCKLE RIDE Washing the enormous wooden structure of Plopsaland De Panne’s new Heidi rollercoaster in a saturated glow, ILUMINARC’s exterior products provided Belgian creative design studio Painting With Light with colour vitality and strong throw.

The name Heidi may conjure up images of a sweet young heroine in a Swiss children’s tale, but for thrill seekers in Benelux it is coming to stand for a rollercoaster ride.

Towering above the heart of the Plopsaland De Panne theme park in Belgium, Heidi The Ride is a new 22-metre high wooden rollercoaster. Named after the successful Heidi TV show produced by amusement park owners Studio 100, it can be seen by visitors and passers-by at all times of the day, thanks to an impressive lighting design utilising fixtures from CHAUVET Professional’s ILUMINARC division.

Luc Peumans and his team at the Belgian creative design studio Painting With Light were tasked with giving Heidi an exciting nighttime visual aesthetic to match the experience of the ride itself. They chose 74 ILUMINARC fixtures, including the COLORIST Pod 7Qa, COLORIST Panel 8Qa and 36Qa and

COLORIST Line 12Qa and 6Qa to douse the structure in a magnificent saturated glow.

“It was an honour to be invited to light this beautiful and intricate structure,” commented Peumans, whose concept involved highlighting the detail of the €6million attraction, which is built from some 56,846-metres of wood. “Its shape immediately evoked a range of different lighting treatments,” added Peumans.

After considerable research and testing, Peumans created a lighting scheme involving three layers – internal, external (with a selection of fixtures grazing up the sides of the structure) and some oblique lights to illuminate the drama of the ramps.

The ILUMINARC fixtures were positioned on the ground and embedded into or rigged on concrete blocks for ease of service.

“The ILUMINARC range is ideal for exterior illumination projects of this kind,”

continued Peumans. “The combination of pods, panels and lines provides fantastic collective output for filling lots of areas and spaces within the structure.”

Thanks to the quad colour RGBA LED source of the fixtures, Peumans could cover the entire structure in light. “Given the height, it was vital that the throw of the fixtures be long and strong enough to maintain the vitality of the colours,” he explained. “The ILUMINARC fixtures provide a fantastic quality of light and colour, even from throw distances of over 22-metres.”

The fixtures needed to be IP rated for outdoor use, tough and accessible.

The new lighting scheme serves as a focal point of the new Heidi Zone, and for the surrounding area, where it can be seen for miles around. www.iluminarc.com

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TECHNOLOGY

TM Lighting has created a niche in the world of art lighting, by venturing into the previously unexplored area of lighting private art collections. Here, David Morgan looks at the firmâ&#x20AC;&#x2122;s new TM Slim Light Pro.

PICTURE PERFECT

Good quality lighting is needed to bring out the best in valuable paintings and other artwork.

While professional gallery and museum lighting is generally well considered, the lighting of artworks in private and heritage collections has until recently been fairly basic. The traditional picture light, incorporating linear incandescent or LV Xenon lamps with limited beam control, was used as a form of indirect wall light and did little to enhance the artwork. They performed quite poorly as lighting tools, producing a hot spot of light at the top of the picture and often making the frame brighter than the artwork. Little of the light ended up in the centre of the picture where it is generally most needed and the projected heat would, over time, damage sensitive pigments.

At the bottom end of the market picture lights became commodity products available at low prices through retail distribution.

While more expensive picture lights

incorporating halogen lamps had better light quality and beam control projecting more light towards the centre of the painting, they also projected heat and some UV radiation, both undesirable in this application.

With the fairly recent introduction of high CRI LEDs, more sophisticated and effective picture lighting systems are now becoming widely used by discerning art collectors and curators. The rise in the value of artworks has helped to justify the higher costs of better lighting equipment.

A number of UK companies have entered this market in the past decade to take advantage of the growing interest in good quality picture illumination.

TM Lighting was launched in London in 2010

by Harry Triggs and Andrew Molyneux, who had both worked in the lighting industry for a decade as lighting designer and luminaire designer for other companies. They have what they describe as â&#x20AC;&#x2DC;a passion for the art world and a mission to improve picture

lighting qualityâ&#x20AC;&#x2122;.

It would seem as though their introduction to the art lighting market came via a chance encounter with one of their early customers, who was an eccentric art dealer and collector who pretended to be a butler and introduced his picture restorer as his master. Later it transpired that he was in fact a former art dealer to Lucien Freud, and close friend of Henry Moore and Graham Sutherland. Shortly after the meeting he commissioned TM Lighting to make the first set of TM Picture lights, to light his significant collection of modern art. These were designed, manufactured and delivered within two months.

The latest picture lighting range to be launched by TM Lighting is the TM Slim Light Pro. As the name implies, this range has a smaller body than their earlier larger and more traditionally shaped products and is only 19mm in diameter.

A series of tightly binned 95 CRI LEDs fitted with lenses to give precise beam control

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are housed in the machined aluminium body. A wide variety of lengths and finishes are available and a simple anti-glare accessory can be fitted to cut off any stray light. The modular design is suitable for artworks from 200 to 2,000mm width, and can illuminate canvases up to 2,500mm in height. The lighting head can rotate through 60-degrees. The mounting arm fits into a holder that is generally screwed to the picture frame. The LED driver is remote and can also be fitted to the picture frame. In the sample I was shown a manual dimmer was fitted to the driver so that the light level on each picture in a space can be tuned to work with the ambient lighting and to balance the lit effect.

The demonstration luminaire lit a sample picture evenly across the whole picture surface with a good rendition of reds as would be expected with LEDs rated at 95 CRI. As the light level was dimmed down, the colour rendition quality seemed to be

maintained quite well even at the lower light levels. Some competitors are offering warm to dim options in their LED picture lights, which TM Lighting consider to be inappropriate but I would think this could be a popular option for less discerning users if the ambient lighting in the space also had this feature.

TM Lighting has rapidly established itself in the world of art galleries, collectors, artists and lighting designers with a glittering client list including Antony Gormley, Damien Hurst and Conrad Shawcross.

All products are made and assembled in the UK, which enables the company to work closely with its customers to produce custom versions designed specifically for each project.

The company is now expanding into other product types for the same market with a range of high CRI LED spotlights for use in lighting three-dimensional artwork, and also for retail display applications. A variety of

other custom luminaire developments based on their high CRI light engines have also been undertaken for clients.

It is encouraging to see another UK startup company carving out a successful niche in a specific area of the lighting market based on high levels of product performance, quality and customer service. I am sure the TM Slim Light Pro will be a useful addition to their range. www.tmlighting.com

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: david@dmadesign.co.uk Web: www.dmadesign.co.uk Tel: +44 (0) 20 8340 4009 Š David Morgan Associates 2017

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TECHNOLOGY

HERE’S TO THE WINNERS A pick of the luminaire winners from this year’s iF World Design Awards.

Ameluna Artemide

Shot Light Arkoslight A luminary conceived to be a small, discreet point of light in the ceiling that hides the illumination source and aims to offer maximum visual comfort.

In order to achieve this, it has an antiglare screen and a specifically designed micro-reflector that generates a perfectly defined light beam. The Shot Light defines light in a totally controlled way, so it stops the losses from being able to glare or illuminate in undesired areas, both from the space and the luminary. www.arkoslight.com

ARAXEON LED Trilux Today, lighting designers and electrical contractors have high demands and look for energy-efficient, applicationspecific planning solutions that are also simple and can be intelligently controlled. The ARAXEON LED enables the advantages of LED technology.

The slender weatherproof luminaire is also intelligent: together with sensors or a light management system, practical and energy-saving functions can be implemented. The ARAXEON LED also makes full use of today’s LED technology benefits due to its modern design. www.trilux.com

Fold Fluxwerx Fold is a linear pendant luminaire with minimalist, sculptural form and a unique void aperture that creates longitudinal transparency through the fixture without any horizontal or diffuse lenses.

Featuring third-generation anidolic extraction optics with low brightness and superior efficacy, the luminaire’s vertically oriented optics result in an absence of glare. www.fluxwerx.com

The Ameluna discloses an innovative optoelectronic system integrated in the transparent frame. An aluminium band that is welded with the optics, supports the LED strip. This is also hidden behind the lower profile, in order to maintain the purity of the form. The transparent body allows the light to be both direct and partially refracted. A countless number of chromatic atmospheres can be created with the use of an innovative RGBW spot. www.artemide.com

Ontero ID Bäro The Ontero ID spotlight combines simple, high-quality design with cutting-edge technology. The compact dimensions, the characteristic asymmetry and the interplay of different materials give the luminaire an elegant look. The new, innovative and highly efficient LED technology with a hybrid construction ensures that the decisive part of the light reaches the target surface through the 3D silicone lens in a controlled manner via the reflector facets and produces soft, defined light cones. www.baero.com

PABLO XAL This patent pending spotlight developed specifically for galleries and museums enables custom colour enhancement for paintings and sculptures. The integrated LEDs in red and blue enhance the original colour naturalness, highlighting works’ intensity and the effect of depth.

The attachments can be rotated and tilted to focus light beams on selected areas. Thanks to X-TALK Technology, any smart device can be used to control track lights individually or in groups, which leads to considerable cost savings during renovations. www.xal.com

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Dirigo Linea Light Group Dirigo creates lighting paths through an elegant opposite plans game, hiding the source. Its peculiar profileâ&#x20AC;&#x2122;s section makes the fixture compact and solid, perfectly integrated in all outdoor contexts. The internal LED source gradient was studied for the best lighting distribution along the pathways. The stainless steel AISI 316L quality increases the fixtureâ&#x20AC;&#x2122;s value, ideal for installation in high salinity environments. www.linealight.com

TRIM Square Applique Simes A functional synthesis between thin shapes and the strength of aluminium, characterised by square and essential lines, the TRIM is a structured lighting piece, which is suitable for any type of context, whether classic or modern.

It creates a charming atmosphere for the surrounding space. As a result of the union between aluminium and glass, TRIM is an extremely versatile solution for indirect lighting and can be mounted on a wall or pole. www.simes.com

ERCO Kona ERCO Kona is great for the illumination of large buildings or objects. Its tapered housing ensures maximum visual comfort with excellent glare control.

High luminous flux packages define Kona as a perfect lighting tool for great projection distances and allow the luminaires to be spaced far apart. The luminaire is available in three sizes with versatile light distributions. With its round shape, Kona can be used flexibly in different spatial situations and architectural formats. Maintenance-free optoelectronics are designed for a long life and help reduce operating costs while enabling operation in mounting locations with challenging access. www.erco.com

Split-It On Delta Light The new Split-It On is a made-tomeasure profile for surface mounted application. It combines the extreme versatility of the recessed version, adding extra flexibility with the miniature Split-It On downlight module. Two fixation options are available to customise the position of the profile. Perfect to create continuous planes of light in spaces with changing ceiling heights.

With its linear geometry both new Split-It profiles enable you to define spaces and create volumes, to show direction, frame the room and add sharp edged detail to your architecture. www.deltalight.com

Akro Luce & Light

BENT HALLA The luminaire excels in functionality and simple, minimalist design. It consists of a bent aluminium profile and vacuum opal diffuser. It fully utilises the unique light properties of LED technology, which opens up the possibility, among others, for new unconventional shapes. The flexible and specially designed LED board gives BENT a playful appearance. The luminaire is powered through wire suspensions without power cable. www.halla.eu

The Luce & Light Akro projector utilises LED technology, and is designed to offer indoor optical performance for exterior use. The anodised aluminium body houses a system of optics allowing manual variation of the zoom. The Akro comes in standard colour temperature, with a colour rendering of up to 90 CRI. Alongside zoom functionality, the enormous versatility of the Akro allows for multiple filter combinations such as elliptical, diffusion, dichroic and colour temperature conversion. www.lucelight.com

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TECHNOLOGY

AVVENI Pendant 5 Series SATTLER

Arch Fluvia Arch is a family of luminaires for general and accent lighting, surface-mounted or recessed, with the simplicity and elegance of a circle. It is very versatile and intended for residential, retail and tertiary sectors, but also for formal and artistic installations due to its modularity. Its special circle of light gives it great potential. The optical group emits light with photometry, generating a fuzzy appearance that illuminates the whole circle, obtaining exceptional comfort. www.fluvia.com

The AVVENI luminaire series is characterised by its unique modular structure and clear expression of form, which can be applied to floor lights, pendant or ceiling luminaires.

Delicate curvatures and transitions as well as synchronised radiuses and angle elements result in a harmonious form in any combination. FLOOD and SPOT light heads in different colours may be exchanged easily at any time. www.sattler-lighting.com

View iGuzzini The award-winning spotlight, developed in collaboration with Arup, uses Opti Linear technology with an anodised, super-pure aluminium reflector to duplicate light and illuminate vertical surfaces with superior uniformity using very wide flood and wall washer optics.

The Opti Beam technology, with lenses and refractors allows for a clean-cut distribution.

View is iGuzziniâ&#x20AC;&#x2122;s most complete range of spotlights and is ideal for lighting retail, museums and shared environments. www.iguzzini.com

LINETIK Zumtobel LINETIK challenges the established concepts of office lighting. The freestanding luminaire catches the eye with a delicate and minimalist design language that conceals a revolutionary lighting concept â&#x20AC;&#x201C; light exactly where the user needs it most. Innovative lighting technology enables the user to precisely illuminate the work surface with direct and indirect light that can be individually and separately controlled, depending on the visual task. An integrated motion sensor turns off the luminaire when no one is present. www.zumtobel.com

aero Lumini

Purelite Regent Lighting A pure, shadow-free and ultra-flat light line that can be integrated into the interior space even in the final stages of a project: the LED channel lighting system has an overall height of only 35mm. The semi-recessed version can be integrated into any concrete ceiling at any time. Patented clip-in modules with through-wiring provide quick and easy mounting. The integrated ceiling illumination ensures the room is evenly illuminated, giving a bright room impression. Purelite meets all requirements of lighting standards for office spaces. www.regent.ch

The aero is a luminaire designed to be used in walkways, landscapes and parking areas, adjustable for three or four-meter mounting poles.

Manufactured from die-cast aluminum, it has a heat sinker housing with intelligent thermal control incorporated into its design and slots for water runoff. With an efficient and diffused light distribution, the aero has a 31.5W LED module, colour temperature of 3,000K or 4,000K and its optical system counts with a prismatic polymer diffuser for uniform illumination. www.lumini.com

graphics: Vilfredo Maria Ricci - © 2017 Studio Due

light masterpiece

www.studiodue.com

Goodman’s Fields, London Lighting design by EQ2 Light Photograph by Simon Winson – Berkeley Group Tel 44 ( 0 ) 208 348 9003 Web www.radiantlights.co.uk Email david@radiantlights.co.uk

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TECHNOLOGY

SALIOT Cube MinebeaMitsumi

lui spotlights Occhio The new lui spotlight series unites clear, minimalist design, state-of-theart VOLT LED technology and perfect lighting technology in a comprehensive spotlight system. Interchangeable lenses and a zoom function turn the lui spotlights into a multifunctional ‘light tool’ for precise lighting design tailored to the situation. Both fixed and mobile versions are available as recessed, surface-mounted or track spotlights. The almost invisible hinge mechanism allows the clear, functional geometry of lui to be displayed to its best advantage. www.occhio.de

The integration of preeminent optical technology and circuit, motor, and wireless communication technologies in the SALIOT Cube captures a new world of smart lighting. The light distribution angle can be adjusted from narrow to wide in the SALIOT, thereby optimising lighting options for any application.

Simplicity and safety along with reduced cost, labour and time are assured by SALIOT through the elimination of the high cost and long hours of work on high ceilings. www.minebeamitsumi.com

Artist Nordlux

CRUISER 2 LED LUG Light Factory The main advantages that the CRUISER 2 LED industrial luminaire has over other solutions for this application segment are high quality, a set of dedicated optics systems for different types of projects, good design, a variety of mounting methods and user-friendly packaging. During the CRUISER 2 LED development, needs of different groups of recipients were taken into account including investors, electro-installers and all the people who work in the spaces illuminated with the product. www.luglightfactory.com

Artist is a stylish pendant that can perform both solo and in clusters.

Its lightness and warmth instantly create a special atmosphere. The thin design is possible because of the use of an LED panel. The Artist range is available in copper, grey and black.

Behind the design is Bønnelycke mdd, a multidisciplinary design firm with both national and international experience.

The range of design disciplines is wide – architecture and interior design, furniture and product design. www.nordlux.com

Philips OneSpace luminous ceiling prefab Philips The Philips OneSpace luminous ceiling prefab integrates LED lights with textile to create a white light ceiling surface that hides the source of light completely. Compact thin units make home spaces look great while delivering uniform light distribution.

Glare-free LED light eliminates shadows completely, meaning users can see more clearly and view objects in their true light. www.lighting.philips.com

Series of KEA Castaldi KEA reinterprets the light within the residential environment, matching the needs of lighting different spaces with a complete range of compact outdoor fixtures. The composition of the elements remains unchanged among all the lighting fixtures, which makes KEA distinctive: thinness, parallelism, and a light sign for all versions.

Trimless recessing, compactness and looping installation make the family an innovative tool for lighting. Where the structure stops and the light is generated, the product becomes architecture. www.castaldilighting.me.uk

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TECHNOLOGY

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

Oseris Spotlights ERCO The new Oseris system of lighting tools features a uniquely characteristic swivel joint bevelled flush against the semi-spherical light head for a sleek design. As well as enhanced aesthetic appeal, this approach offers several functional advantages. Sophisticated digital technology means that Oseris delivers a superior standard of quality with a wide range of lumen packages and light distributions that will inspire even the most creative designers and users. www.erco.com

Profile 200 Fabric Light Box LEDCONN Powered by Perimeter Lighting, the Profile 200 Fabric Light Box integrates the technology of LED module strips with a frameless anodised aluminium frame, allowing for seamless application to virtually any environment. The Profile 200 Fabric Light Box is ideal for store window displays, with doublesided graphic display capability.

Perimeter Lighting uses LED modules that use 15 Watts per LED module with a life expectancy of more than 50,000 hours. Replacement of the modules is a simple and convenient task and can be easily done on the spot. www.ledconn.com

ARCHILED 200 Studio Due The ARCHILED 200 RGBWA is the last version of the Archiled range.

Itâ&#x20AC;&#x2122;s even more compact, highly reliable and more robust from a mechanical point of view, with IP 67 rating protection.

With its sixteen powerful RGBW LEDs and ten AMBER LEDs, it is particularly effective to light up with a deep beam of light, and has several applications in the architectural field, specifically for hotels and hospitality, retail and commercial malls, parks and landscapes, historical and cultural monuments. www.studiodue.com

deviceCONFIGURATOR Tridonic With deviceCONFIGURATOR, Tridonic is releasing new software for easy driver configuration. It allows customers to edit driver settings while reducing programming errors.

The application can configure both PREMIUM and EXCITE drivers of Tridonic.

The software also supports the DALI USB interface and the ready2mains programmer. deviceCONFIGURATOR can set the following parameters, amongst others: current, corridorFUNCTION, chronoSTEP, constant light output, DC level for emergency lighting, the GTIN or item number of the luminaires. www.tridonic.com

DLE Advanced Tridonic The fourth generation of the DLE ADVANCED module proves itself through high module efficacy and flexibility in driver selection. With 185lm/W, the fourth generation of the DLE ADV solution has increased module efficacy by 12%. Costs could also be reduced at the same time. The accompanying white diffuser ensures a uniform and neutral light appearance. Thanks to the BLO (Best LED Operation) operating mode, an optimal balance between efficacy, durability and costs is guaranteed. www.tridonic.com

Concept S Roxo Lighting Concept S is an LED lighting system that drives the movement of light through your space. This modular system allows new lighting concepts, contemporary visual effects and unique creative solutions. CONCEPT S is available as surface mounted or suspended fixture, comes equipped with the latest LED technology, and is available in sixteen colours. www.roxolighting.com

3

YEAR

STANDING THE CR WITH OUR FESTO

WARRANTY

IP66

UTOF WD N

LED FESTOON BALL LIGHT-60 LED FESTOON BALL LIGHT-100

RISING DRAGON GROUP #19 Yongsheng Road, Yonghe Economic Zone Of Getd District,Guangzhou City, Guangdong, P. R. China Tel: 020-82986986

Fax: 020-82986198

Michael@risingdragononline.com

Join our award winning lighting design practice in Oxfordshire, London or Dubai dpa has created an international lighting consultancy Practice, which puts “design excellence” as its main focus. We are working on a wide range of exciting projects throughout the world. Our work includes lighting for all aspects of the built environment.

We are currently looking for a Lighting Designer to join our Oxfordshire, London and Dubai Studios.

INTERMEDIATE LIGHTING DESIGNERS

The role will involve being part of a design team and providing support in the production of concept presentations, layout drawings and details, lighting specifications etc. Opportunities to progress within the company exist.

Isometrix’s extensive global portfolio encompasses all sectors of lighting design including Hospitality, Food & Beverage, Retail, Residential, Exterior, Commercial, one-off Events and Exhibitions.

Remuneration will be commensurate with experience and includes bonus opportunities. The Dubai position enjoys a tax free environment subject to personal taxation circumstances.

We work on challenging and unique projects worldwide with the world’s premier Architects, Interior Designers and Clients.

Applicants should have excellent AutoCAD and Photoshop skills, an understanding of InDesign, Visualisation programmes and other packages would be advantageous. Excellent written and spoken English is also essential. Please note that our Oxfordshire Studio is in the rural hamlet of Clifton, therefore candidates would need a car to travel to the office as there is no public transport available.

LONDON STUDIOS INTERMEDIATE LIGHTING DESIGNERS

For further details about dpa, please refer to our website: www.dpalighting.com Please e-mail your application letter and CV along with a portfolio of examples of completed projects where you have had a significant contribution, to Elizabeth Grundy eg@dpalighting.com. Please clearly state on your covering email which studio you are applying for.

“Right Light, Right Place, Right Time” TM

Candidates will have demonstrable creative and technical experience, be organised with the ability to offer ideas and solutions. The role includes design input into projects from concept to completion, working within a team with direct contact with Clients, Architects and Designers.

Successful candidates will be able to demonstrate the following skills: • Excellent visualisation skills including hand sketching (2D and 3D) and Photoshop renderings.

• Proficiency in AutoCAD, Adobe and MS Office.

International travel will be required.

Competitive salary plus bonus and benefit package offered.

To join our dynamic multi-national team please send your CV and work samples to: ltg@isometrix.co.uk or 8 Glasshouse Yard, London, EC1A 4JN, UK www.isometrix.co.uk

ADVERTISERS INDEX Acclaim..................................................... 109

Hacel......................................................... 8-9

Nicolaudie.................................................. 13

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

Heper Group.............................................. 85

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

Applelec................................................... 179

Huda......................................................... 119

Optolum................................................... 135

Barrisol........................................................ 99

IALD.......................................................... 129

PLDC.......................................................... 16

Bega.......................................................... 6-7

Illumination Physics.................................... 17

Precision lighting........................................ 23

Cariboni.................................................... 155

Indelague................................................... 91

Prolicht...................................................... 149

Chromateq............................................... 171

InterLumi.................................................. 130

Remote Controlled Lighting..................... 103

Clay Paky.................................................... 41

Isometrix................................................... 174

Rethink the Night..................................... 163

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

KKDC.......................................................... 81

Rise........................................................... 159

darc awards .......................................... 10-11

LEC Lyon................................................... 141

Rising Dragon Technology....................... 173

David Morgan Associates......................... 169

LED Linear........................................ 175, 180

StrongLED................................................ 139

Dial........................................................... 171

Ledia......................................................... 113

Studio Due............................................... 169

dpa........................................................... 174

Lee Filters ................................................ 161

Times Square Lighting.............................. 159

Ecoled........................................................ 65

Lighting Design International................... 175

Tyson.......................................................... 95

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

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

Unilamp.............................................. 15, 175

Forge Europa............................................ 157

LPS............................................................ 153

Vode........................................................... 77

Forma......................................................... 25

Lucent......................................................... 39

Wibre........................................................ 143

Fuhua Electronic ...................................... 145

Luxonic....................................................... 59

Wila............................................................ 51

Glamox Luxo.............................................. 35

Martin......................................................... 37

Xicato........................................................... 3

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

MBLD........................................................ 175

Zumtobel.................................................... 29

GVA............................................................ 89

MBN........................................................... 14

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.

CREATING ADVENTURES IN LIGHT FOR 30 YEARS Continued expansion means that we are looking for talented people to join our creative team. This is a rare opportunity for ambitious lighting designers to join our successful design studio in London, to work across a range of prestigious projects all over the world.

Senior Lighting Designer

Candidates will already hold a senior position and will have at least 5 yearsâ&#x20AC;&#x2122; relevant experience with an independent lighting design consultancy managing others in a team. You must be self-motivated and able to demonstrate a high level of design, project management and communication skills. Experience of high-end residential and five star hotel projects would be preferable.

Assistant Lighting Designer

We are also looking to employ a Lighting Design Assistant who has at least a few months to one year's experience plus a design course qualification. AutoCAD and Photoshop skills are essential.

Applicants must be eligible to work in the UK. The salary for each position is commensurate with experience. To apply, send your CV along with a portfolio of your work to recruitment@ldi-uk.com.

Please state which position you are applying for in your application.

Sales and Sales support roles (various) Led Linear UK

We manage the UK distribution of LED Linearâ&#x20AC;&#x2122;s high quality linear LED lighting solutions.

We think light.

Company Overview Providing high quality linear LED lighting solutions with a background of knowledge and passion.

We supply worldwide, high quality linear LED lighting solutions based on flexible printed circuit boards. Our offer is a cost effective, unique modular LED tool kit for interior or exterior linear lighting solutions with an ingress protection of up to IP68.

Our international recognition and reference projects, including exquisite lighting solutions for decorative or architectural applications, stand as proof of our high quality manufacturing philosophy. With our LED products you can economically realise general lighting tasks.

Based on this philosophy and the depth of our LED knowledge we are constantly working on improving products for your lighting requirements. We are happy to provide solutions with knowledge and passion.

Led Linear UK are looking to add to their growing sales team, we have various roles from external sales through to sales support and administration.

We have a dedicated, professional team working in a relaxed, flexible environment, if this sounds interesting and you would like to be a part of the team then please reach out to us now. We want you to join us.

External Sales roles Remuneration: Competitive salary + company car + benefits + high open-ended bonus scheme.

Internal Sales support and Admin roles Remuneration: Competitive salary + benefits + high open-ended bonus scheme.

Contact: Stuart.Knox@led-linear.com

ASSISTANT LIGHTING DESIGNER INTERMEDIATE LIGHTING DESIGNER SENIOR LIGHTING DESIGNER MBLD are extending the London Studio, and as part of this expansion we are looking for a number of new creative designers to join the team on projects locally and globally.

The diversity and range of projects is extensive. You will be working with highly experienced designers, and a company that has been pioneering design for over 30years. MBLD has a track record of innovation, excellence, and quality. You will be working on many lifestyle and corporate collaborations all from the MBLD new Studio base in the heart of Shoreditch.

We need an Assistant Designer, an Intermediate Designer and a Senior Designer with relevant degree qualifications.

Salary and benefits will be negotiable depending on ability and experience.

Please send your cover letter, cv and portfolio to Jill@mbld.co.uk

EVENT CALENDAR

LuxLive 15-16 November London, UK www.luxlive.co.uk

Northern Light Fair 6-10 February 2018 Stockholm, Sweden www.stockholmfurniturelightfair.se

Guzhen Lighting Fair 22-26 October Guzhen, China www.gzlightingfair.com

Hong Kong Int’l Lighting Fair 27-30 October Hong Kong, China www.hktdc.com/fair/hklightingfairae-en

IstanbulLight 21-24 September Istanbul, Turkey www.istanbullight.com

LED Symposium + Expo 26-28 September Bregenz, Austria www.led-professional-symposium.com

shanghai-international-lighting-fair.hk.messefrankfurt.com

BIEL 13-16 September Buenos Aires, Argentina www.biel.com.ar

darc awards / architectural 14 September London, UK www.darcawards.com

W WW. D A RC W A R DS. C O M

CELEBRATING THE BEST IN LIGHTING DESIGN

www.interlight-moscow.ru.messefrankfurt.com

Interlight Moscow 7-10 November Moscow, Russia

Light Middle East 17-19 October Dubai, UAE www.lightme.net

darc room 21-23 September London, UK www.darcroom.com

PLDC 1-4 November Paris, France www.pld-c.com

Shanghai International Lighting Fair 5-7 September Shanghai, China

IALD Enlighten Americas 12-14 October Denver, USA www.iald.org

London Design Festival 16-24 September London, UK www.londondesignfestival.com

InterLumi 29 June - 1 July Panama City, Panama www.inter-lumi.com

INSPIRATIONS / #43 ARTEC3 STUDIO

CURATED BY

For the latest Back Page, Light Collective has invited artec3 Studio (www.artec3.com) to share what inspires them about light. Founder Director Maurici GinĂŠs leads an award winning and stylish Lighting Consultancy based in the stylish city of Barcelona who have fused lighting design, product design, and light art in their practice for the last 20 years.

Photos Š Concrete series by Roberta Ferreira

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The ability of light to change the perception of a material.

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

The 2017 darc awards / architectural trophies Designed by Light iQ, manufactured by Applelec

www.ledlightsheet.co.uk ledlightsheet@applelec.co.uk +44 (0)1274 774 477

LED Light Sheet is manufactured in the UK by Applelec

MondoARC advert June.indd 1

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