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mondo*arc magazine


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issue 93 * October/November 2016


SMART lighting



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Technologies for the future

SWISS LED Smart Lighting with an emphasis on high energy efficiency, uncompromising reliability and perfect optical light distribution. SWISS LED Street Light is ideal for use in public lighting of roads, bicycle tracks, parking spaces, sidewalks, footpaths, etc.

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Technologies for the future

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[oct/nov] Front cover pic: A collage of this year’s darc awards / architectural installations, created by partners of the event.

044 Liz West mondo*arc’s Helen Fletcher chats with West about her steely determination and the difference between ‘lighting designer’ and ‘artist’.

Pic: MDP Photography

DETAILS 022 Editorial Comment darc awards /architectural was a success. 024 Headlines The latest architectural lighting industry news. 026 Eye Opener My Whale (inner revision), Seoul, South Korea 028 Drawing Board Our preview of proposed projects. 032 Spotlight The latest project with the wow factor from around the world 040 Briefing John Cullen Lighting’s Peter van der Kolk talks business and expansion. 042 Snapshot We feature Atelier dada. 044 Lighting Interview Liz West - Artist. 054 Architect Profile mondo*arc speaks with David Adjaye OBE about light, architecture and culture. 186 Inspirations &Agency

ART & DESIGN 134 Dark Source Stories The latest instalment in Kerem Asfuroglu’s dark vision of light. 136 Lights in Alingsås We reflect on the light event’s workshop week ahead of the opening of the 2016 light trail. 140 Venice Biennale We take a look at some of the lighting related events at this year’s celebration of architecture and design. 149 London Design Festival A brief overview of some of the many eyecatching lighting installations at the 2016 London Design Festival. 136

Pic: Patrik Gunnar Helin

TECHNOLOGY 154 Geoff Archenhold Geoff Archenhold talks cyber security in smart buildings. 156 David Morgan David Morgan’s Bench Test focuses on Simes’ Ghost luminaire. 158 Occhio / Casambi Case Study Studio House, Austria 159 Eelectron Case Study Vox Hotel, Sweden 160 Griven Case Study Kurilpa Bridge, Australia 161 illumination Physics Case Study Hong Kong International Airport, China 162 Lamp Case Study OhBo Restaurant, Spain 164 Megaman Case Study St. Paul’s House Hotel, UK 166 OLED Works Case Study Neue Mainzer Strasse, Germany 168 Prolicht Case Study Strolz Sports Shop, Austria 170 Rosco Case Study Petersen Automotive Museum, USA 172 Lamps, Sources & Control Product Guide 184 Expo Diary


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[oct/nov] 079 Special Feature Coverage of this year’s winners and the wonderful installations that graced darc night!

PROJECTS 062 The Broad Museum, USA Through a clever and regulated combination of artificial and natural light, Arup has developed an efficient lighting scheme that is both inviting for The Broad museum’s visitors and sensitive to its artworks. So much so that it won the Places High Budget category of this year’s darc awards / architectural.


Pic: Bruce Damonte

PROJECTS 070 Spillepengen Interchange, Sweden Designed by Johan Moritz and winner of the Structures Low Budget category at this year’s darc awards / architectural, the lighting scheme of Malmö’s Spillepengen interchange is both understated and sophisticated, while improving the safety of its pedestrian and cycling tunnel. 070

Pic: Lars Bendroth

PROJECTS 074 Gasholder No 8, King’s Cross, UK Located in London’s King’s Cross and winner of the Spaces High Budget category at this year’s darc awards / architectural, Speirs + Major’s lighting of Gasholder No 8 uses astronomy and the lunar calendar to highlight the iconic structure and the new public pocket park and event space found within. 074

The Light.

SLOTLIGHT infinity slim 45 mm extremely narrow LED light line

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[editorial] Paul James, editor, writes: For those of you that attended darc night, the culmination of the darc awards / architectural process, I hope that you enjoyed it. It certainly seemed like everyone did! I have once again been blown away by the response to darc night. The visual interest was provided by sixteen inspirational installations created by the lighting designer and manufacturer partners who have bought into this new, fresh awards format and I want to thank them for their tremendous creativity. Big thanks to the teams: Reggiani & Speirs+Major, L&L Luce & Light & dpa lighting consultants, LSE Lighting & Michael Grubb Studio, Concord & Elektra, Heper & Nulty+, XAL & BDP, KKDC & LDI, Forma & Licht Vision / Boom Collective, Cooledge & Arup, Osram Lighting Solutions & Electrolight, GVA & Lighting Design Collective, Radiant Lighting & GNI Projects, Filix & Into, Lucifer Lighting & Light IQ, WILA & ACT Lighting Design and John Cullen Lighting & MBLD who have put in so much work into the darc night installations. Thanks too to Applelec and Min sang CHO who, along with KKDC/LDI and Cooledge/Arup, created a darc night installation to show to a different audience at Tent London, part of this year’s London Design Festival. They looked incredible and you can see a full run down of the event and the winners from page 79. Empowering lighting designers by making them eligible for free tickets to darc night if they vote appears to have struck a chord with everyone out there and we will be continuing with this initiative in the coming years for more awards. If you are a designer, this event is for you and changes the dynamic of most awards where you have to wait to be invited by a manufacturer or fork out yourself - something that is out of the grasp of many junior designers or small practices. We look forward to welcoming you to many more events that we are organising and I hope you have found inspiration in what you have seen so far. Look out for the darc awards / decorative and darc awards / architectural as well as a few other surprises in 2017!

#darcawards #darcnight



Publisher / Editor

Lauren Dyson

Paul James


Deputy Editor Helen Fletcher Assistant Editor Laurence Favager

David Bell Mel Robinson Zoe Willcox



International Advertising Manager

Damian Walsh

Jason Pennington

Finance Director

International Advertising Sales

Amanda Giles

Andy White Steven Willcox

Credit Control Lynette Levi

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



news headlines

For the latest news stories, head online:

Ready Steady Light competition to make regional debut at Light Middle East 2016

darc awards / architectural results announced at stunning darc night event

(UAE) – Seven teams of professional designers, students, and manufacturers will be tasked with lighting a site in its natural state.

(UK) – Second darc awards sees 650 guests attend September’s London event. 1

Read the full story online...

Philips Lighting appoints David Nicholl as CEO for UK & Ireland (UK) – Following a stint as Rockwell Automation Country Director, Nicholl succeeds Peter Maskell, who retires at the end of this year. Read the full story online... 2


Casambi expands to US and Canada (USA and Canada) – Previously at Bridgelux, Doug Paton joins Casambi as Director for Product Marketing for US and Canada. Read the full story online... 5


Nulty launches bespoke division

Orlight announces new venture in Middle East

(UK) – Lighting design consultancy Nulty launches bespoke luminaire design and manufacturing company, Nulty Bespoke, in response to growing need for customised lighting pieces.

(UAE) – New sole agency agreement to deliver technical, commercial and project management support from specifier to site.

Read the full story online...

Read the full story online...

(UK) – mondo*arc and darc launch darc awards / decorative alongside showcase of three 2.5sqm cube installations. Read the full story online... 7 In pictures

the latest news online

mondo*arc and darc show darc night installations at Tent London

scan QR code to link to


1 darc awards / architectural peer-to-peer awards wows for second year. 2 David Nicholl, CEO UK & Ireland, Philips. 3 Each team will have 90 minutes to design and install a

lighting scheme. 4 Fenchurch Street office, London. 5 Doug Paton, Director for Product Marketing, US & Canada, Casambi. 6 Orlight HQ, St Albans, UK. 7 MS CHO Studio’s ‘The Ribbon’, created with Applelec.

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eye opener ‘My Whale’ (inner revision) Seoul, South Korea Visited by more than 200,000 visitors during the period of exhibition December - May 2016, ‘My Whale’ (inner revision) was a reimagined and bigger scale version of Tundra’s projection-based hexagonal installation ‘MyWhale’, which was originally produced as a site-specific interactive installation for ‘Brusov’, a renovated ship, laid up on Russia’s Moscow river and turned into an art-cluster. There was an impressive space at the front of the ship, with a panoramic windshield and hexagonal pattern on the vaulted ceiling, remaining from the 80s, at the time when ‘Brusov’ was constructed in Austria. Standing in that space, visitors seemingly floated through the reflections of the Krymsky bridge lights on the river, inside a giant whale head, looking through its eyes, and listening to its songs. With visuals by Alexander Letcius, Alexander Sinica and Sergey Lubashin; sound by Klim Suhanov and Semyon Perevoschikov of D-Pulse; and production by Bulat Sharipov, the inner revision of ‘MyWhale’ consists of nearly 600 laser-cut projection mapped hexagons. The installation was specially made for ‘9 Lights in 9 Rooms’ exhibition at D MUSEUM in Seoul, South Korea. Each piece of the projection was cloned from the previous installation with some random changes; so that each cell behaved differently, pulsating to the rythm of the whale songs. To interact with the whale, the visitor could place the phone screen above the black box in the centre of the room. Once the phone was above the box, the image from the screen burst into visual patterns and audio fragments all over the cells, merging the precious moments of the user’s life, stored on the phone, and the whale’s imagination with the speed of light. Pic: Alexander Sinitsa




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

THE BEAUTIFUL GAME Philips Lighting and Atletico Madrid have announced an agreement to supply the lighting of the club’s new stadium in the Spanish capital. Under the agreement, Philips becomes Atletico Madrid’s official lighting partner for the next four seasons, making the new stadium the first in the world to use Philips ArenaExperience. With the Philips ArenaExperience multi-purpose LED stadia lighting system, Atletico Madrid will harness the power of lighting to create a lasting impression for its visitors, both outside and inside the stadium. The system will encompass LED lighting for the pitch, stadium façade and hospitality areas. Miguel Ángel Gil, Atletico Madrid’s CEO commented: “Philips is an ideal partner. Its respected corporate profile and position at the forefront of global LED lighting technology, guarantees that our fans will be able to enjoy the best lighting experience in our new stadium.” “We are proud to be able to play a part in the history of Atletico Madrid by lighting the new stadium,’’ added Josep Martínez, CEO of Philips Lighting Spain and Portugal. 

The lighting is designed specifically for this new space and takes light to another dimension. The pitch, access areas, façade, roof and the Atletico Madrid Premium and VIP hospitality areas, called Neptuno, will all be served by digital LED lighting, offering a new level of excitement, thanks to the system’s dynamic nature. The dynamic lighting makes it possible to project the teams’ colours at each match, giving an extra stimulus to the fans as they enter the stadium. Also, the system can change the lighting colour when a goal is scored or to create light shows designed specifically for each occasion. The spectacular roof that is to be suspended above the pitch at the new stadium will be equipped with Philips VayaFlood LED lighting which can display more than sixteen million colours. This, in conjunction with the new façade lighting using dynamic Philips ColorKinetics, will together create dazzling lightshows for visitors. Moreover, this dynamic lighting system can interact with the façade lighting

or be operated independently. The lighting will guarantee maximum quality for television transmission and meet the latest LaLiga, UEFA and FIFA broadcast standards. At the same time, these floodlights can be switched on and off instantaneously or synchronised in light shows, to create a spectacle before and after a match, or at half-time too. The Atletico Madrid Premium ‘Neptuno’ and VIP hospitality areas will be equipped with the most efficient, high-quality LED lighting which is expected to deliver energy savings of more than 60% compared with conventional technologies. Visitors will feel the quality and warmth in these areas, improving the sporting experience at every single match. All of the technological developments in its lighting will ensure that Atletico Madrid’s new home is one of the most innovative, leading-edge stadia in the world, and a new iconic landmark on the Madrid skyline.

TRACE, by artec3 Studio. “Light reveals shape� Striving for a manner in which to illuminate areas without revealing the light source, and inspired by the trace of light created by the moon during an eclipse of the sun, gave rise to the beginnings of a luminaire which shows its shape when it is lit, creating a smooth and soft-focus light which seems to have emerged from inside a line. The light it emits is clear and uniform and it begins its journey on the same plane of the wall. - - tel. +34 93 736 68 00



[drawing board]

SKIN AND BONES Located in the Chinese coastal city of Xiamen, MAD Architects’ design for the Xinhee Design Center is currently under construction, with lighting design by United Artists Lighting Design. Designed for the international fashion group, Xinhee, and its six subsidiary brands, the site is 15,000sqm with a building area of 61,000sqm. “We envision it as a building with skin-andbones,” explains MAD founding principal Ma Yansong. “The correspondence of clothing and architecture is they both explore the relationship between the interior and the exterior.” The centre has the central atrium space at its core; from there, six spanning structures extend to different directions, and become a star-shaped layout which formalises a solid ‘bone’ structure frame. A mix of office spaces and green gardens compose each of the organically-formed arms. A translucent and sun-shading envelope of PTFE hangs slightly off the vertical garden, and provides ventilation during the hot season, which also lightens the building. As a creative office, the spatial organisation mimics six petals, growing from a central point. Each of the six brands have their own individual office and research space, yet can interact and communicate between departments. Unlike traditional corporate

boxes, a radial layout enables the office space to be efficient and flexible, while providing natural light and ventilation. The atrium is a public space for staff and visitors, with its footbridge providing air circulation, and doubles as a catwalk for occasional fashion shows. The two glass elevators in the atrium visually connect the office on different levels. The connection between interior and exterior space extends the design center’s public interaction from inside office space to the outside gardens, and provides a relaxed atmosphere and working environment. The centre is a highly efficient, green building that adapts to the local climate. The void and lifted structure on the first floor reduces the footprint by two thirds. An urban environment, the first floor mainly consists of garden and water features, which are open to the public. To lower solar radiation and provide natural lighting to the office, a translucent coating is applied to the building’s façade which permits 40% light transmittance. Solar panels line the rooftop, providing electricity for daily operations such as lighting. Xinhee design center is currently under construction and is expected to be in-use in 2017.

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Das gute Licht. For a warmer welcome.

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

Pics: Courtesy of Projected Image

NEW VIEWS As you approach or leave Newcastle Central Station on the train, you catch sight of the River Tyne and its many famous bridges. The Staiths, a giant wooden structure on the Gateshead side of the river, has helped carve the North East’s industrial past by facilitating the exportation of coal to the rest of country and far beyond. As the coal industry fell into decline towards the end of the 20th century, this structure of wood declined also and with it part of the North East’s history.
However, after a heritage grant and lottery funding, in 2015 the Staiths was able to open again, this time to the general public. Visitors are now able to walk along nearly 400-metres of the upper and lower areas to access a view down the Tyne that hasn’t been seen in years. Each year a group of volunteers, Friends of Dunston Staiths, plan a series of activities and events for the summer months. Roger

Scott, Director at Projected Image, who lives in the The Staiths housing estate, and is a key holder for the friends of Dunston Staiths, wanted to help shine a light on the wooden structure for the world to take notice. Scott commented: “As a member of the local business community and a resident of The Staiths I have a unique opportunity to put on a spectacular display to light up this wonderful attraction which is part of the History of Gateshead and the North East.” Projected Image was established in 1999 to address the need to provide leading edge custom gobos and projectors to the live events production industry. Gobos are used in many kinds of events, anything from FTSE 100 AGMs or weddings to creative retail signage, corporate branding and hospitality environments. Based in the North East, the company manufactures and ships

internationally, reminiscent of the coal sent from The Staiths all those years ago. The team has designed this specifically for the site, to compliment and enhance The Staiths and turn it into a temporary art installation. The lighting display consists of seven high-powered LED projectors and custom-made gobos, arranged around the structure to give a 3D appearance in the darkness, which has been achieved by rotating the beams through the internal framework. Begining on 24 March this year, the light display took place as a test run, with a showing to a larger audience for The Late Show in May. All-in-all giving life to The Staiths, allowing them to hold their own against their iconic neighbours.

000 033

Pics: Joshua Spitzig

WHERE WE NET As part of a complete landscape lighting design for North Carolina’s new LeBauer Park, Focus Lighting was also commissioned to design the lighting for Where We Met, a permanently installed net sculpture by renowned artist, Janet Echelman. Suspended over the park’s great lawn, the piece spans 200ft and is crafted with over 35 miles of twine and half a mile of rope. Through extensive mock-ups and analysis, and the development of a custom light fixture, the team produced a lighting solution that brings each of the sculpture’s vibrant strokes of colour to life. At the outset, the Focus Lighting team was met with an enormous challenge: they wanted to use LED fixtures to light the piece, but were given an extremely limited budget. To afford the LEDs, the team decided they would specify a single-channel fixture instead of a standard four-channel (RGBW) tunable fixture, and limit the quantity of fixtures to the bare minimum required. It was Focus Lighting’s first time lighting one of Echelman’s pieces, so they began with an in-depth study of the sculpture’s material. “The net is unique because of its limited surface area, so we had to determine how much light was needed to make it stand out at night,” said senior designer Joshua Spitzig. “Janet provided us with a sample net that we hung outside our studios in Harlem. We illuminated it with increasing intensities and viewed it from different angles until we had the right amount of brightness.” Next the team had to find the right colour of light. Using sample threads Echelman

provided, including each colour she planned to use in the sculpture, Focus Lighting tested the LEDs in a range of colour temperatures of white light, as well as with coloured filters. Results revealed either a washed out look under white light, or fading of some of the thread’s colours when filters were used, neither being favourable. The team resolved to use a custom mix of coloured LEDs, without any filters. This allowed for maximum brightness, while the individual LED colours enhanced each thread colour. To determine the best mix of LED colours, the team experimented with lighting the threads using a controllable RGBW fixture. They found a ratio of colours -19% blue, 37% red and 44% white – that made all of the threads look great. Focus Lighting worked with fixture manufacturer Amerlux to find matching coloured LED’s and to have them custom populate their LED boards with as close to this ratio of red, blue, and white LEDs as possible. Glimpses of the sculpture can be seen from almost anywhere in the four-acre park, throughout which the Focus Lighting team implemented a lighting treatment that reinforces the landscape design. Rows of evenly-spaced trees in straight lines were formally lit with inground uplights. In ‘wild’ areas, where trees are sporadically arranged, pole-mounted pattern projectors point at the ground. Fixtures throughout the park use a 3,000K colour temperature, offering guests a warm, comfortable setting.




Pics: Andrew Gale

INTO THE COSMOS Stand 526 accommodates the sun and stars with a sensory installation of light, colour, optics and sound at the National Eisteddfod of Wales held at Abergavenny. Gronynnau (Particles) by artists Jessica Lloyd-Jones and Ant Dickinson, celebrates RAS200 – the 200th anniversary of the Royal Astronomical Society. “We wanted to create an environment that is hypnotic and meditative - encouraging the viewer to contemplate life and existence,” said Jessica Lloyd-Jones, “or just simply to be immersed within what

they see, hear and feel, detached from the world as we most commonly know it.” By using graphical software, Lloyd-Jones and Dickinson created the effect of explosions of particles moving across and spiralling around the exhibition space. The particles move and are then drawn together again in beautiful collisions, like stars or interstellar dust echoing the beauty of the cosmos. According to the artists, they wish to convey the idea of being sucked into a black hole or the centre of the universe. To

create the experience, within a darkened space within the stand, a video projection covers the ceiling and walls, much like a planetarium. The visual effects combine the subtle colours inspired by the aurora, galaxies and planetary nebulae. “The patterns you see are intended to be evocative of celestial occurrences and the beauty and wonder we discover within them,” said Lloyd-Jones. “It was a pleasure to discuss the wonders of the aurora, sun and space with the artists and then see their creative interpretation of astronomy,’’ said project leader Professor Eleri Pryse, Physicist at Aberystwyth University. “They have succeeded in capturing the imagination of people of all backgrounds and ages.” Benefiting from Aberystwyth University’s expertise in planetary and space science, the artists’ work exhibited at the National Eisteddfod of Wales will reach new audiences that may not otherwise engage in science. “By bringing the dynamic of the visual arts and science together, we are pleased to facilitate the exhibiting of Gronynnau,” said Eisteddfod Visual Arts Officer, Robyn Tomos. “Whilst celebrating RAS200, we foresee that the installation will help further the awareness of astronomy and physics in Wales.”

31.10 - 2.11.2016, Dubai


2200k n e w

Hall 3, Booth E23

3000 k

4000 k

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Pics: Courtesy of iGuzzini

NIGHT DESIGN Light is vital for urban life. Especially during the darkened hours, light has the power to change the way we perceive a place, to make it more attractive, safer and more social, especially where diverse human groups, different histories and other identities meet. In July of this year, Diseño Nocturno en Getsemaní (Night Design in Getsemani), a project formulated by iGuzzini, Arup and the London School of Economics (Configuring Light), visited the Getsemaní neighbourhood in Cartagena, Colombia: a UNESCO designated worldheritage site where everyday life, cultural and touristic activities take place, identity is a crucial issue. iGuzzini’s research consortium invited people to participate in the workshop Diseño Nocturno en Getsemaní, where Getsemaní nights were reimagined. As part of the project Smart Everyday

Nighttime Design, an interdisciplinary and participatory research program that has been going on for more than a year, modern LED lanterns - designed in collaboration with local residents and stakeholders – made the most of the cultural and aesthetic richness and the heritage value of the neighbourhood and its inhabitants. Here, interaction with a new kind of street light contributed to the cohabitation of public space. Its aim was to move lighting up on the agenda of urban life to attract the attention of municipalities, consultants, researchers and developers of urban projects, showing how it is possible to change the social life of cities, respecting diversities and identities. Working with a variety of stakeholders and mobilising community participation, Diseno Nocturno en Getsemani explored - in one of the busiest night-time streets

of the neighbourhood – an approach to studying and re-designing the urban night. Diseño Nocturno was brought into fruition by the following interdisciplinary team: Arup (Project lead), Configuring Light research group, London School of Economics (Academic partner for Social Research), Despacio (Local partner for Social Research), Utadeo (Local Academic partner for social research), iGuzzini (Lighting Manufacturer), Citelum (Project engineering, installation and financial contribution), Findeter (Financial partner and facilitator), with the support Rosco, Whiteoptics, TU Cultura, Escuela Taller Cartagena de Indias, Camera de Comercio de Cartagena, CorpoTurismo Cartagena de Indias.


DART Targetti has extended their portfolio of architectural lighting solutions with a new range of outdoor floodlight projectors: DART. The compact design fits easily into any environment and offers a versatile array of luminous flux and output in both small and medium versions. A full range of powerful optics and aesthetically coordinated accessories make DART the ideal solution to illuminate both large areas or provide accent lighting. DART is an ideal solution for lighting design - precise and efficient, yet extremely versatile. DART - technology & design crafted by Targetti.




Pics: Courtesy of Interspecifics Collective

BIO SCREENING Created by Leslie García and Paloma López, who are known collectively as Interspecifics, GFP-Screen is a light installation made up of a 16 bit binary screen that activates the fluorescent properties of a non-pathogen strain of bacteria E.coli, produced by its GFP protein in response to a light spectrum of 440 nanometres. The screen shows a random poetry piece, which has allegedly been written from the bacteria’s perspective in which the microorganism is using Google searches to understand what a human is. The best matching results are then organised in a binary sequence and presented in two characters of ASCII code every three milliseconds. The project explores the possibility for a material agency and the power of light as a medium for information transmission. Although the lighting installation is made mostly from a biological source, sixteen relays, a microcontroller, sixteen black lights and stands were also used.

Stand G19

Your first choice global lighting partner Lucent are proud to be exhibiting at Light Middle East 2016 in Dubai, from 31 October to 2 November. Come and see us at our stand G19 in the Future Zone to view a new range of products that work seamlessly alongside our existing fixtures. London | New York



[briefing] With John Cullen Lighting celebrating its 35th anniversary and opening an office in the Middle East this year, we speak to CEO Peter van der Kolk who, armed with an entrepreneurial mind-set, looks to the future of the lighting industry and ways in which the business can expand.

Can you tell us about your background in the lighting industry (up until joining John Cullen Lighting)? I have been involved in the electronics and manufacturing industry for over 20 years, starting my career in wireless data communication and manufacturing. During the late 90’s I moved to Royal Philips Electronics to roll-out fibre optic networks across Europe, which today are used for Internet, VOIP and Video on Demand services. I used my data control experience to move into the Lighting Controls industry joining Helvar as Business Development Director (LED and Controls). For over six years I contributed as Board Director and Chairman to grow the worldwide digital lighting standard DALI, which today enjoys members across Europe, America and Asia-Pacific. You have quite a background in lighting technology companies. What made you join John Cullen Lighting as CEO in 2014? I have always enjoyed working for businesses who appreciate the quality of lighting technology and lighting services. My passion is to use technology and management expertise to deliver quality lighting solutions to end-clients as well as creating exciting new business models. I believe in businesses who support local innovations and local manufacturing, as a lot of this has disappeared abroad over the years. The combination of the above, as well as my energy and passion for business, made me join forces with John Cullen Lighting. 2016 marks the 35th anniversary of John Cullen Lighting. How has the company evolved in that time? John Cullen himself introduced lighting design to the UK and the company has evolved over the years to include development of light fittings from halogen to now 100% LED. Our unique brand DNA to create inspiring lighting designs and discreet light fittings to the luxury lighting market is still one of the core brand pillars. We now provide quality lighting control solutions and commissioning services with more exciting developments in the pipeline to enable our end-to-end lighting philosophy. JCL has a strong reputation in residential lighting. How are you broadening your offering into other areas? We have developed our strong and good reputation in high-end residential lighting concentrating on other luxury lighting markets. Examples include chalets, luxury MDU-developments, marine (superyachts) and even hospitality such as hotels, spas, bars, lounges and restaurants. All of these applications are based on the same pillars including luxury lighting products, discreet lighting, and mood lighting effects, all aiming to inspire with light.

You opened your Middle East office this year. What made you decide to do this? Alongside being successful in the United Kingdom, we have been involved with lots of exciting business abroad. Serving a market from abroad is not totally effective and does not meet our brand promise to deliver quality service to our clients. We always like to be close to our customers and business partners, whether at home or abroad, to ensure the best level of service. The decision was made in spring and by late summer we had our office up and running with a full team of lighting experts on the ground. It shows a good example of the agility and professionalism of our business and staff members. Any plans for further expansion? I have an entrepreneurial business mind-set and I am constantly on the lookout for opportunities that make sense to our business. Our clients and business partners are becoming more global over the years and we will certainly follow this closely. Another good example has been last year’s expansion into the Marine business, where we are now working on many exciting new superyacht projects. How do you see the lighting industry developing and what will be JCL’s place in it? The lighting industry is constantly developing. In recent years, the product life cycles are definitely becoming shorter, hence the need for good sales & marketing intelligence. The industry has also developed by shifting from a component driven model to an end-to-end service driven model. In addition to quality and performance topics, we now also see discussions starting on intelligent (SMART) lighting. Naturally, time will have to tell what this exactly means to the lighting business and its clients, still, it is evidence of the increasing trend of creating service business models. Our R&D department are naturally following this trend closely and we will be starting research incubators to try new ideas in the coming year. How did you enjoy your participation in this year’s darc awards / architectural? It was a pleasure to participate at the darc awards and to work together with Maurice Brill Lighting Design. The event is a great opportunity to meet all the creative talent of the UK and the International lighting community. The darc event is a breath of fresh air offering a professional yet relaxed alternative, in contrast to the more traditional black-tie industry events. We already look forward to coming back next year!

Project : Fenêtre sur cour – 30, avenue du 16 novembre, Rabat - Lighting designer : Florian Douet Design - Architect : Ramy Fischler


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[snapshot] Atelier dada, who call themselves ‘architects of light’ are committed to creating contextual lighting design solutions that straddle the line between art and architecture, Atelier dada is an inspired team of architects, urbanists, artists, engineers, VFX and interior designers that specialize in lighting design at an urban, architectural as well as interior design scale. VOLVO SHOWROOM AHMEDABAD The 100 sq. m. showroom for the swanky Swedish conglomerate, Volvo demanded a careful design consideration that would match the aesthetics and identity of the international brand. Designed by German architecture studio, Blocher and Blocher, the showroom was envisioned to be chic and sophisticated. Atelier dada created a lighting scheme that resonated the minimalist approach, stretching beams of light from the expansive glass façade into the depths of the space. While the luminescent lines cut across the ceiling transversally to cast a very functional and uniform glow in the volume, the defined bands are mirrored in the gleaming curves of the cars displayed below; highlighting the objects of desire in a sparkle of newness.

Pics: Neha Mevada

MANGO TREE HOUSE BHOPAL Located in the suburban area of Bhopal, amid expanses of mango groves, Atelier dada collaborated with architects Kinny Soni and Ujjval Panchal to define the lighting intent for the striking residence. While the architectural intervention posed a sober face towards the community housing on one end, it opened its realm towards the mango groves through capacious terraces on the other. Light was used as a tool to bridge the relationship between the inside and outside, often effacing edges. Large panes of glass that facilitate abundant daylight into the house became critical to obliterate boundaries. A careful curation of decorative fittings inject just the required amount of dramatics in celebrated areas, drawing the eye to important nodes. On the other hand, the landscape was illuminated with the same sophistication, creating a gentle ambient glow, which is interrupted with highlighted focal points. The house delicately wraps itself around the many mango trees that take place of pride, and are lit in the subtle elegance that only their prudence deserves.

Pics: Dhrupad Shukla, Bhavik Kadecha, Ujjval Panchal


SWARNIM PARK GANDHINAGAR Working on a prevalent scheme drawn by HCP Design, Planning and Management Pvt. Ltd., Atelier dada introduced critical elements into the lighting strategy of the park to redirect the intent towards creating visual connections, hierarchy and giving it the sense of an ‘urban living room’. Catering to a vast range of visitors who come for varied leisurely activities, the lighting design demanded to be strategically integrated into the architectural resolve. The pedestrian paths of the 1.5km long park were studded with light poles capped with precisely selected conical lampshades, evoking a nostalgic feeling of a homely setting. Placed at regular intervals, the light poles create a rhythmic pattern that marches from one end of the elongated estate to the other, generating a visual gradation of focal points, which eventually rests at the lambent Gandhi Museum in the distance. The array of luminous markers weaves its way around the green painting pockets of intimate, joyful and celebratory spaces.

Pics: Neha Mevada

Pics: Neha Mevada


AHMEDABAD Working closely with ADS Architects and Beyond Green Landscape Designers, Atelier dada’s proposal aimed to enrich the retail complex by giving it an ‘aura’. This was conceptualised as energy that is derived from venerable trees holding guard, which transposes over the inner streets and winds around the sprawling complex. Realised as ethereal rings of light rising from the

topiary, traveling along building’s crowns and wafting down passages, the ‘aura’ emanates positive vibes for pedestrians and vehicular movement below. Reflecting on the allegory of ‘Aurora’, a fascinating display of naturally colour changing light in the polar skies, the rings are illuminated in a whimsical play of vibrant hues. Media LEDs are programmed to display

soft white colors during the week, while weekends and festivals are celebrated in dynamic chromatism. Set to sparkle for one minute at the beginning of every hour, the fascinating show of lights creates a distinct nighttime identity within the complex, as well as at the larger urban city scale.


Pic: Rejin Anthony Photography | VFX @ Sundar Mahalingam

• PRINCIPALS: Marie Ikram J. Bouhlel, Nirmit Jhaveri • ASSOCIATE PARTNER: Nathalie Maia Baqqa • STUDIOS: Paris, France; Ahmedabad, India • ESTABLISHED: 2010 • EMPLOYEES: 9 • CURRENT PROJECTS: Dandi Kutir Museum complex, Gandhinagar; ONGC Headquarters, Delhi; Mondeal Heights Twin Commercial Towers, Ahmedabad; BCR 219 Residential Tower, Pune; Wall Street Microbrewery Restaurant, Bengalore.



Pic: MDP Photography


NEON NUANCES To some, it would seem Liz West has experienced overnight success - with her kaleidoscopic installations exploding onto the lighting scene. However, chatting with Helen Fletcher over a green tea in leafy Didsbury, Manchester, mondo*arc learned her success isn’t a story of good fortune, more a story of steely determination.

Call her a visual artist, an installation artist, a light artist even… But whatever you do, don’t call Liz West a lighting designer! “I admire architects and lighting designers immensely but I studied art – it’s completely different. They have spent years studying something so specific and have to answer to strict technical briefs, whereas I can make pieces related to my passions and interests. I don’t have the same knowledge as lighting designers and would never claim to be one.” Having grown up in the north of England the old mining town of Barnsley to be exact - perhaps it was West’s gritty northern childhood surroundings that drew her to the vibrant neon colours used in her work today. Surrounded by art from a very early age – her mother an artist with a residency at the Whitworth gallery in Manchester and her father teaching art in Barnsley and with a background from the Royal Academy and the British School in Rome - there was no shortage of opportunities for West to

be creative. Whether it was playing with PVA glue, dyes, glitter and acetate in her mother’s attic studio creating gels, or ‘helping’ her father in his studio shed where she would play with lumps of clay - art played an integral role in her upbringing. “I would pour glue onto an acetate sheet and mix dyes, glitter and sequins then let it dry and peel it off… As you can see, I’ve not really progressed,” laughs West. “I used to love the tactility of picking the glue off and the relationship between how the colours changed when they were flat in pigment form to when they were put up against a window - they came to life when the light shone through! Of course I wasn’t thinking too intellectually about it at that time, but the connection with colour and light was there from an early age.” Alongside her strong creative streak, West has always loved collecting, whether it was different coloured nail varnishes organised in the spectral order along her windowsill, or her now famous Spice Girls memorabilia

collection, which is made up of 5,000 items and has been awarded Guinness World Record status! “I used to have collections everywhere,” she says, “I loved arranging and rearranging them, it was my way of playing… I would arrange a collection then photograph it - this is still prevalent in me today and evident in my work.” While for some during teenage years childhood loves are lost, West’s desire to be creative and her love of art grew stronger and stronger, realising which exhibitions she was interested in and who’s work inspired her. “I first loved a piece by visual artist Jim Lambie at the Tate Britain,” she says. “His work was all about dance, trance, drugs and illusion… I remember stepping onto the floor and feeling sick (in a good way) - there was also one of David Batchelor’s light towers in the middle and I just thought, this is up my street! I loved the relationship between the vivid, chemical, city colours.”



Having studied A Level Art at college and then Foundation Art in Leeds before heading to Glasgow to continue her studies at degree level, when speaking with West you get the sense that a ‘career’ in art has never been something she chose to do, rather art chose her. “It just felt like a very natural progression,” she says. “It was the only subject – along with food technology – I was really any good at. I would skip PE lessons and hide out in the art rooms at school, I didn’t want to do anything else, art was just ‘in me’. “I lost my way a bit at university though. I was in halls of residence with people I didn’t know, the work I was producing was shit, I didn’t know what I was interested in

and I was being pushed and pulled in every direction by my tutors. All I wanted to do was tick boxes and please my tutors and I was really struggling.” It wasn’t until her third year of university, following a meeting with her old foundation course tutor, that West regained her confidence and direction. She had begun to question what she liked about paint – it was its luminosity when wet - this for West was her ‘eureka moment’, she realised her interest lay more in illumination than it did pigment. This eureka moment later developed into a sensory immersive experience for her end of year show Yellow Chamber, or The Chamber series, as the work is now known. It explored the

Previous Page Liz West in front of Through No.3, 2016 - her first outdoor installation at Manchester’s Spinningfields. The temporary installation has now found a permanent home at Manchester’s Children’s Hospital. This Page West’s studio in Manchester is full of colour and creativity. Pics: Felix Mooneeram

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physicality and illusions of space. Using numerous mirrors and constructs of light, the work multiplies through reflection, giving the impression of an endless expanse. “It was different to everything else I had produced. My tutor had suggested I make an aperture in a wall that people had to have a very intimate relationship with. I had this collection of yellow objects that I laid on the floor that were then seen infinitely because of a mirrored chamber I had made, in the ceiling there were yellow fluorescent bulbs that created bands of yellow light on

the walls.” Just as things were looking up for West, having made a degree show she was proud of and felt more like ‘her’, it was soon back to reality with a bump. With no money thanks to three years at university, it was back to the family home in Barnsley, where she wouldn’t make any art for the next three years. “I had this huge overdraft and ended up working in the world of events – stewarding at Sheffield Arena and festivals,” she says. “I became really submersed in this world – I loved performance and pop

and had some amazing experiences during that time but wasn’t creating any art. I had this idea that I’d be able to sketch away while manning an exit gate but it just didn’t happen and I had some big decisions to make. I knew I was an artist at heart and so I left my job, my partner at the time, packed up and moved to Manchester.” Once in Manchester, West applied for as many opportunities as she could, using her university work. “I started remaking my degree show and at first it was really small shows and spaces but I got some

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international exhibitions too. I looked for anywhere I could get my work out, constantly sitting making applications – there was a lot of admin! I just kept pushing it and as I did more I got asked to do more exciting opportunities… I was remaking the Chamber but in different colours, sizes and so on – I did this for about two years! The Chamber series has become such a big part of who I am.” Having been awarded Arts Council England Funding, West then moved on to produce Vanishing Boundaries, which comprised

an array of reflective discs protruding above floor level. The installation emitted intense bursts of light from underneath the discs; the concrete floor transformed into a field of colour, connected by the trailing electrical wires. The same year, she created Tempo, which made use of the fluorescent stick light but modified with a particular colour. “The art world had started to pay me a bit more attention at this stage, but all of the work I was putting out there was sculptural and something still didn’t feel right,”

says West. “I was really struggling with artist’s block and became quite clinically depressed. My mum suggested doing project work, so I would go to my studio every day and make something using the materials around me. I’d take a photo and then put it all back, then repeat the process as many times as I could.” West was relying heavily on working tax credits at this stage, living on a profit of just £2-3,000 a year and was questioning whether she should continue or should start handing her CV out for a more ‘sensible’



job. “I would get paid a block of Arts Council money and slowly see it chip away,” she says. “This is when the panic would set in and it propelled me to look at the opportunities listings again – all the time applying for stuff. “I then spent some time at Kurt Schwitter’s Merz Barn, this is where the shit really hit the fan and I began to question everything! I was supposed to be working on a project for a light festival but it just didn’t look right – it wasn’t working! It was my (now) husband that helped me realise what I wanted to do. He came to the Merz Barn and we looked at what had been successful about my best work so far and why. We figured out that the sculptural work just wasn’t working – it was the experience of colour, whether emotional or physical, that worked for me. A lot of contemporary art can make you think, but how much of it makes you feel? That was what I wanted to do. “This was a big moment for me,” West continues. “It was one of the hardest moments in my life – there were tears, doubts about who I was as a person, I

questioned whether I was even an artist. I came out of it thinking, well I can’t do anything else so I’ve got to make it work!” The work that came next truly announced West; perhaps it came from a fear that she might not succeed, perhaps it came from a deep interrogation of herself, whatever the reason it would set the tone for the next two years. “By this time I had become really interested in how colour changed people’s perceptions rather than it being about coloured objects as a sculpture or form,” she says. “Mark (my husband) was curating an exhibition at Federation House in Manchester. Castlefield Gallery had brokered the building from the Coop and there were eight floors for artists to create work that they couldn’t in their studios. The fourth floor was a 10,000sqft exhibition space and I felt I could really do something great with it. I approached Castlefield Gallery and they said I could have it for just one week.” West’s first idea was to put LED tape down the columns in the room – she had just made Shifting Luminosity, a piece that used black pipes and LEDs propped against

a wall. “I made that piece because I’d just moved studios and wanted to explore the space - find its restraints and attributes and make something really spatial. So I was just going to use them in this new space but realised I needed something that was going to have more of an impact.” After rummaging in her studio West found a bin bag of Lee and Rosco filters left over from her Tempo installation. “I taped lengths of filters together to create an area big enough to fit over the square panel of the pre existing office lights in the exhibition space. It wasn’t refined enough for me though, it didn’t look professional enough. Mark suggested I take down one of the metal grates to reveal the four T8 lamps then cut strips of the filter and wrap the physical bulbs, to see what it looked like once I put the metal grate back up. So I did and it was better but there were four lights in each of the panels and there were 400 panels in the space… this meant covering 1,600 bulbs!” West had just five days to install it and to cover all 1,600 bulbs in time was going to be a big task. “I started to panic. I had to


really think about whether it was do-able but I could see it would work and it was worth a shot. So I got on with it…” West’s first task was to organise the filters into colour order, then decide which to start with. “It was dusk by the time I’d started thinking about it – that beautiful time of day when it’s not quite light or dark yet – and I thought wouldn’t it be beautiful if the space went through the spectrum of red to blue which would then meet the windows and continue into the sky. By the Thursday evening I knew it was going to work… I knew I’d made a piece that felt right and felt like me as an artist. It was spatial, it was site responsive and it was about the architecture and people noticing elements they’d never seen before. It was about changing and challenging people’s perception.” Your Colour Perception was open for two days. West admits the opening was mainly made up of mates and a few people from the arts crowd but by the Sunday the piece was all over social media with people sharing pictures of themselves in the space. “I’d never experienced anything like

that before, I was happy but absolutely knackered! Every muscle in my body was aching and I was there every moment of the exhibition, watching people’s reactions – researching for future works. “Your Colour Perception represents a lot about pop – the colours, the look of it… people were running through the space, sitting and lying and absorbing the space – people were taking real ownership of it.” From this moment, things really took off for West, she had made something she was truly proud of and set to work promoting it in any way she could, writing press releases, contacting different magazines and organisations and so on, which is where her relationship with the IALD begins. “I’ve definitely found a kindred spirit in Emma Cogswell from the UK division,” says West. “And working with the IALD is opening up opportunities for me. Being selected to go to the Enlighten conference in Mexico and talk about my perspective of colour, as an artist is nerve wracking but amazing. Hopefully it will open doors to work with architects and lighting designers on projects.”

Previous Page Our Colour, 2016 - part of a series under the umbrella title Your Colour Perception that began in a residency at Castlefield Gallery’s New Art Spaces Federatio. Image courtesy of Liz West. Left Our Spectral Vision, 2016 - part of the exhibition Colour and Vision: Through the Eyes of Nature at the Natural History Museum, London. Pic: Hannah Devereux Right Autumn Lights, 2016 was commissioned by the National Trust as part of its Trust New Art programme. Pic: Felix Mooneeram



HIGHLIGHTS Projects that you’d like to change: It’s always going to be my own work. I always wish I had more budget and help to make them more refined. Take Damien Hirst, he pumped in thousands of his own money to make that first piece and critics thought it was a piece from a mature artist - not that of a student. It was the quality that got him noticed. So for me it’s about quality. Projects you admire: A lot of James Turrell’s spatial artworks; Ganzfeld; Olafur Eliasson; and the Godfather of light Dan Flavin. Projects you dislike: I’m left cold by a lot of modern art installations that are an arrangement of objects on the floor. Sometimes they’re ready made, sometimes created by the artist. I struggle to find a relationship between the objects. Notable projects: It has to be Your Colour Perception and then Our Colour as a remix of that. Your hero: Robert Irwin.

And what of her relationship with light? “It’s about interrogating what each thing does,” she says. “How can I best control it through coloured filters, through apertures or through structures, how can I make it into something people are going to enjoy. It’s about the space and asking myself what it needs, what’s going to complement it, add to it.” Since Your Colour Perception, West has had numerous works launch including An Additive Mix at the National Media Museum in Bradford; Through No.3 in Manchester; Our Colour Reflection at 20-21 Visual Arts Centre in Scunthorpe; and Our Spectral Vision at the National History Museum in London, to name just a few. While all individual pieces, responding to their surroundings, they have a unified voice. “I’ve still got this vivacious energy and I’m so appreciative of everything that has come my way. Every time I make a new piece of work I understand a bit more about myself and what I want. I’m serious about this;

I’m not a one-hit-wonder or a joke. I never want to dictate through my work and I very much feel that while each piece is personal to me, I want people to have their own experiences – it’s about people questioning perception, their spatial awareness and their relationship with colour and light. “It’s been a weird journey and I still feel very lucky. Why should people keep coming to my exhibitions? Because it’s coming from the heart, I want people to look closer at the beautiful world around them. I want to increase people’s awareness of where we are, it’s ever questioning. “Light changes the way I see the world, it’s integral to my well being and I find it interesting to observe how it affects other people’s well being. But I also think the relationship between colour and light is really interesting and integral – you can’t have one without the other.”

Our Colour Reflection, 2016 was presented at 20-21 Visual Arts Centre in Scunthorpe from 14 May until 25 June and St. Mark’s Mayfair from 4 - 15 July 2016. Our Colour Reflection creates a conversation between the viewer and the setting using more than 765 mirrors made of coloured acrylic. There are fifteen colours in all and the mirrors with diameters of 30, 40, 50 and 60cm are set at different heights so that they both reflect the roof space of the old nave, revealing parts of the architecture that would otherwise be invisible, and project colour up into the historic interior. It is playful, elegant and engaging but also thoughtful. Pic: Hannah Devereux



Pic: Courtesy of Adjaye Associates


DAVID ADJAYE: CAPTAIN OF CULTURE Ghanaian British architect David Adjaye’s ability to communicate with people is second only to his appreciation for history. mondo*arc caught up with Adjaye to talk light, the hybridity of architectural types in the urban landscape and cultural significance.

In the summer of 2015, iGuzzini and MAXXI Architecture – Italy’s museum of contemporary art – embarked upon a new collaborative project entitled Light On. In a similar format to last year’s project, Light On 2016 has so far consisted of talks from four major international architectural firms, including discussions of their work and the topics, themes and contexts defining their professional careers. In doing so, each designer offered a contemporary point of view regarding the relationship between form, technology and light. Taking place in July, the fourth 2016 Light On talk saw Ghanaian British architect David Adjaye OBE, founder and principal architect of Adjaye Associates, share his viewpoint on the identity of architecture in cities and the role light plays in forming said identity. With offices in London, New York and Accra

and having completed work in Europe, North America, the Middle East, Asia, and Africa, storytelling is a recurring theme for the architecture of Adjaye. Through six of his projects, different in purpose, scale and materials used, he graced the auditorium with tales of his process. Adjaye’s ability to communicate with people is second only to his meticulous attention to history and his ability to intertwine culture and structure. These, his very own tools of his trade, are apparent in all of his works, giving rise to an unmistakably ‘Adjaye’ style. Take, for example, Shoreditch’s ‘dirty house’ - a project that got him a lot of attention in London. Previously an old piano factory in the ’50s, this industrial space wore the scars of its wartime existence in plain sight. This allowed the area, and buildings like this, to become popular in the late 20th century

due to cheap price tags and attractive large spaces – two important prerequisites for the development of modern architecture. Now a studio home for two artists, this project saw Adjaye design with an alternative approach: “It was very much a hybrid, generic building,’’ he explains. “When we were given this building, the city said: ‘why don’t you tear this down’. However we were interested in not destroying this generic hybridity but instead celebrating it.’’ In a then controversial exploration, the team took interest in the fabric of the city and how they could layer and add to it. ‘‘We wanted to try something new, not just to create a studio with light but to make a space for experimentation for the two artists in relation to the civic world,’’ explains Adjaye. ‘‘Not just a place to make art but a scale to see how their art worked



Pic: Ed Reeve

Pic: Lyndon Douglas

“Light, for me, is a primary material; the way in which it augments and supports life is critical to the way I work.”

Pic: Lyndon Douglas

This Page A studio home for two artists, Adjaye’s ‘Dirty House‘ is lit by strip-lights, with most of its light being delivered by indirect floor lighting, illuminating its white surface to create a beacon at night. This glowing roof has become a widely recognised sight in London, paving a new way of looking at the city and its architecture. Right Situated on the banks of South Korea’s River Gwangju, the notches of Adjaye’s ‘River Reading Room‘ catch the light to create atmosphere and experiecne for visitors to the water’s edge.


Pic: Kyungsub Shin

in institutional space.’’ During this exploration, and in order to achieve the desired result, light played a crucial role: “Light, for me, is a primary material,’’ explains Adjaye. “The way in which it augments and supports life is critical to the way I work. Ultimately, my architecture is really framing light all the time and addressing how it enhances the everyday experience.’’ In this instance, the top of the house has been lit by strip-lights, with most of its light being delivered by indirect floor lighting, illuminating its white surface to create a beacon at night. This beacon became very famous in the neighbourhood, as in the evening its roof would glow, paving a new way of looking at the city and its “apparently terrible architecture’’. As much as Adjaye’s ‘Dirty House’ is unique, his skill in conducting light to elevate the emotional prowess of his architecture is ever-present throughout his portfolio. In conjunction with this, a man well-traveled, he has developed a global sensitivity towards light. “I’m a creature that first

notices the light when I arrive in a new country,’’ he adds. “Whether it’s cool, warm, the intensity of it, the clarity of it; these are things that really fascinate me.’’ This sensitivity and appreciation for the inevitability of light is apparent in a number of Adjaye’s international projects. For example his ‘River Reading Room’, a public library found on the banks of South Korea’s River Gwangju, forms a gateway, a moment to reflect and look. Framed by four archways, notches cut into the pavilion’s timber structure house books, which catch light in its most organic state and create an atmospheric environment for visitors to the water’s edge. Moving on to a project in New York’s Harlem - his first big project there - ‘Sugar Hill’, a housing start-up centre for homeless people, was started by a group who believe that housing is the best way to move people out of poverty. Within its multi-purpose interior, the museum section uses shafts to bring natural light down into its 40ft space. At the bottom, the light floods the floor to create a corridor that divides the main art

space. Once countryside, Harlem was first a ghetto and now a community for African American immigrants. This saw an incredible explosion in music and culture, which Adjaye encapsulated to make a building with a new type of skin, featuring Harlem’s most prevalent flower - the rose - embossed in concrete. “As it indents negatively, you don’t see it in the sun, you see it in oblique light,’’ he outlines. The building is strong and quite brutal but when you come close, “the light starts to reveal something else,’’ explains Adjaye. “Depending on the angle, you get these flowers appearing and disappearing in a monolithic block. Children often say: ‘oh my god I can see something, or not!’ It becomes a way in which you see ornaments in a new way. A soft game.’’ Now to Beirut, one of the Mediterranean’s many beautiful peninsulas. Positioned in close proximity to Syria and next to a six-lane highway, the Aïshti Foundation project symbolises hope in a time of warstricken instability. A retail environment but



Pic: Courtesy of Adjaye Associates

Pic: Guillaume Ziccarelli

Pic: Wade Zimmerman

also an exhibition space for digital art, a wellness centre and a public plaza for the community, the building takes the form of a box wrapped in a skin. Taking inspiration from a traditional Middle-Eastern idea for creating shade, the skin creates shadow but is perforated to allow natural light through. In this, the façade becomes a way of talking about light and shadow, permanence or not. “We have used reflection, natural light and artificial light to create a kaleidoscope, which brings you from other spaces into the retail area,’’ explains Adjaye. “From

the top, you start to see the light emerge and you come out of it. You realise from looking at the top that it is really a mixing of natural and artificial light that creates the reflections.’’ More recently came the grand opening of perhaps Adjaye’s most famous project to date - Washington DC’s Smithsonian National Museum of African American History and Culture (NMAAHC). At the end of September, Obama, Clinton and the Bushs officially opened the building - the last to be built on the Washington mall, which was designed

Pic: Guillaume Ziccarelli

200 years ago. Eight years in the making, Adjaye’s museum is dedicated to the African American community and its contribution to the identity of America. “It isn’t a museum full of beautiful objects, but about stories and how people contribute to nations and how nations are made stronger through the diversity of their groups,’’ he summarises. Beginning with the Nigerian Yoruba tribe’s motifs and crowns, which became systems to hold up buildings, Adjaye’s contemporary design is a layered structure that tells tales


Pic: Courtesy of iGuzzini

“I’m a creature that first notices the light when I arrive in a new country. Whether it’s cool, warm, the intensity of it, the clarity of it; these are the things that really fascinate me.”

Far Left Embossed in its concrete skin, a rose is revealed by oblique light on the façade of Adjaye’s Sugar Hill project in Harlem, New York. Inside the building, the museum section uses shafts to bring natural light down into its 40ft space. At the bottom, the light floods the floor to create a corridor that divides the main art space. Left Artificial and natural light combine with reflective surfaces to create a kaleidoscope inside Beirut’s Aïshti Foundation building, enticing visitors from many of its other spaces and into the retail area. Inspired by a traditional Middle-Eastern idea for creating shade, the building’s exterior is wrapped in a patterned skin, perforated to allow natural light in, showcasing the interplay of light and shadow within its multipurpose interior architecture. Above Adjaye studies some optic technology at iGuzzini’s Recanati HQ at July’s instalment of Light On.

of the past. Forming a monumental cross with other great buildings of Washington, the structure creates a three-layered filtering system through positioning of a glass building inside a skin, with an opaque building inside that. Further enforcing consistency of theme, the skin is a triple tiered reference to the Yoruba crown made from Charleston cast iron and created by a computer-generated matrix, which has been densified or thinned to respond to light. Upon entering, visitors are presented with

a dark ceiling that accentuates the four lights infiltrating each side of the building, like the points of a compass. Natural light penetrates the cladding and is fractured into dynamic patterns. When asked about the role of light in its ability to pattern and texturise, Adjaye responds: “It’s about, in a way, bringing people closer to the power and effect of our natural environment but also letting them understand that’s part of our ritual and our pattern. And somehow, architecture can harness this to enhance the experience of being inside or outside.’’

The ‘Oculus’, a circular raised platform at the west entrance where the slave market once stood, displays a reverse waterfall, acknowledging a moment of significance on the site. Initially, visitors can look down the waterfall, allowing it to become a lens or beacon for the northern side of the site. The top view gives visitors a panorama over the entire mall, with the roof terrace providing a vista to Maryland, Virginia. “Looking at different lighting effects, it becomes graphic at times; in the evening it becomes a lantern,’’ Adjaye adds.



This Page Perhaps Adjaye’s most well-known work to date, the NMAAHC takes cues from the African American history and artefacts of the Yoruba tribe. Like some of his other projects, the building is wrapped in a perforated skin, allowing natural daylight to enter the space from four sides, mixing with artificial light within.

Pic: Alan Karchmer

Pic: Alan Karchmer

Pic: Alan Karchmer

Just like all of Adjaye’s works, the NMAAHC speaks for something much bigger than construction, materials and technology, “it really talks about how we grow as large cities or large super countries, the narratives of people are very important. In the 21st Century, maybe this mixing of people and institutions has a new role; not just to talk about beautiful objects but also how our lives are, how we come together and how we form new places’’. In the context of light, it seems as if Adjaye isn’t someone who floods a space with the artificial but instead acknowledges its natural ubiquity, using his architecture to frame the wonder of its properties and the ways it can influence social experience. He concludes: “I have become much more conscious of light. I was very inspired and informed by light in my work, right from my student days. I just wasn’t very conscious about what was guiding it. But as I matured it has become much clearer what the inspiration is.’’

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IN BROAD DAYLIGHT Through a clever and regulated combination of artificial and natural light, darc awards / architectural winner Arup has developed an efficient lighting scheme that is both inviting for The Broad museum's visitors and sensitive to its artworks.

Pic: Hufton + Crow



Often called ‘the veil and the vault’, Los Angeles’ The Broad museum merges public exhibition space and archive/storage that will support The Broad Art Foundation's lending activities. The building’s architecture, designed by Diller Scofidio + Renfro (DS+R) in collaboration with Gensler, is characterised by a finely honed geometry derived from the solar path in LA. The entire envelope, including the carefully calibrated veil and skylights, serve as a light filtration device, bringing controlled and diffused natural light into the galleries. Rather than relegate the archive/storage to secondary status, ‘the vault’ plays a key role in shaping the museum experience from entry to exit. Hovering midway in the building, its heavy opaque mass is

always in view. Due to this positioning, its carved underside shapes the lobby below and public circulation routes, while its top surface becomes the floor of the exhibition space. The vault is enveloped on all sides by the so-called ‘veil’ - an airy, cellular exoskeleton structure that spans the entire gallery, allowing filtered natural daylight to penetrate the building's interior space. Moving to the upper level, visitors are drawn upwards via escalator, tunnelling through the archive, arriving onto an acre of column-free exhibition space bathed in diffuse light. This 23ft high space is fully flexible to be shaped into galleries according to the needs of exhibits. Upon leaving the exhibition space, visitors take a return trip through the vault via a winding

stair that offers glimpses into the vast holdings of the collection. Tasked with the museum’s lighting design, Arup has recently been awarded the Best Interior Lighting Scheme at the darc awards / architectural for its work on The Broad museum. Working with the architects and the Broad to create a sustainable public space, Arup used energy saving strategies including the configuration of the architectural ‘veil’ as an external shading device, harvesting daylight through the gallery spaces, and use of low energy LED light fixtures. The museum was recently awarded a LEED Gold certification, the first major art museum in Los Angeles, and one of only a handful of museums nationwide to achieve this world-


Pic: Bruce Damonte

recognised status. Collaborating closely with the architects, Arup’s lighting experts devised a way to utilise daylight while ensuring the artwork was protected. The team’s approach has created an original skylight design that eliminates direct sunlight whilst controlling the amount of diffuse and reflected light that enters the space. Applying a passive daylighting approach means that daylight levels in the galleries will vary with the season, time of day and weather, altering the ambience of the interior on each occasion a visitor comes to the museum. The top floor gallery is illuminated by expansive north-facing skylights and a fully-shaded glazed south wall. The 300+ skylights are configured to allow filtered

daylight through while preventing direct sunlight, creating a uniform ambience across the space. The natural daylight passing through the north canted light slots of the veil’s roof section create a uniform but dynamic light right through the 23ft depth of the upper gallery. An appreciable amount of daylight occurs outside museum open hours. Daylight in the gallery at these times could be considered unnecessary exposure of art to light. In addition, some exhibitions may require reduced light levels, either for conservation reasons (e.g. works on paper) or for display reasons (e.g. video works). Working closely with The Broad and DS+R, and drawing on previous museum experience, Arup introduced black-out blinds installed on

The museum's 300+ skylights allow filtered daylight through while preventing direct sunlight, creating a uniform ambience throughout the space and a dynamic light right through the 23ft depth of the upper gallery.

the exterior of the skylights. These can move between full deployment during closed hours to a pre-set position during open hours, giving the museum maximum flexibility to exhibit any medium of art. For the artificial lighting, Arup assisted with the development of custom track mounted LED wallwashers which are used to uniformly illuminate the 23ft gallery walls. Arup worked with manufacturer Litelab to ensure the lighting complied with California’s Title 24. Several fixture reviews were carried out to evaluate the performance of the custom luminaires in terms of light quality, distribution and levels of illumination. In addition, the ambient lighting that is provided to the ceiling coffers by the skylights during the



Pic: Bruce Damonte

day is supplemented at night by fluorescent light fixtures carefully positioned within the coffers. Interior photocells measure the levels of daylight within the space, which trigger the track lights to brighten when daylight levels are insufficient. This means that when daylight levels drop, the artificial lighting slowly brightens so that the combined illuminance is equal to a value set by the museum for that space. An exterior photocell tracks the daylight levels on the roof, and energises the fluorescent lights after dusk. With all the lighting elements carefully considered, a control system was put in place to ensure all the lights worked

together creating a uniformly lit space at all times. With the photocells communicating with the track lighting and fluorescent lighting, an automatic system was installed. An astronomical 365-day timeclock allows the lighting to be automatically controlled, primarily used to turn the lighting off during the museum’s closed hours. This helps to preserve the artwork and reduce the museum’s energy emissions creating a sustainable gallery. After completion and commissioning of the lighting systems, Arup gave the museum a ‘Lighting Handbook’. This guide sets out how the daylight system can be configured to work with any type of exhibition on a month by month basis. This ensures that

Photocells measure the level of daylight within the interior spaces, which then trigger track-mounted luminaires to brighten accordingly to support insufficient levels of natural light levels. With the same photocells installed for the exterior of the building, a control system was put in place to ensure the lighting would work together as a single unit, creating a uniformly lit space at all times.

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Pic and Digital Model: Courtesy of Arup

museum staff and curators fully understand the lighting strategy and how to work with it so the lighting always complements the artwork. “Arup has been an amazing partner in the building of The Broad,’’ commented Joanne Heyler, founding director of The Broad. ‘‘They understand the sensitivities of building a space for a collection of contemporary art and helped develop efficient and innovative solutions for the physical and aesthetic needs of the institution.” A stunning and intelligent project, The Broad museum has received global recognition for its beautiful galleries and critical acclaim from architects and museum professionals for its sophisticated lighting solution.

PROJECT DETAILS The Broad, Los Angeles, USA Client: The Broad Architects: Diller Scofidio + Renfro in collaboration with Gensler Lighting Design: Arup

LIGHTING SPECIFIED LSI track Litelab wallwashers and spotlights Sistemalux Line Reflector fluorescent fixture on an adjustable bracket

Top A close up of the north-facing skylights shows how elimination of direct sunlight, whilst controlling the amount of diffuse and reflected light that enters the space, is achieved. This passive daylighting approach means that natural light levels in the galleries will vary with the season, time of day and weather, altering the ambience. Above A digital model of The Broad's 'veil' shows how the angle of its skylights regulate the daylight penetration.


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GATEWAY TO EUROPE Designed by Johan Moritz, the lighting scheme of Malmรถ's Spillepengen interchange, darc awards / architectural winner of the Structures Low Budget category, is both understated and sophisticated, while improving the safety of its pedestrian and cycling tunnel.

Pics: Lars Bendroth


The illumination of the Spillepengen interchange uses light to enforce identity and to connect commuters to the city and definitive limits. Its simple yet effective lighting methods have created a more coherent sense of place.

Located in Malmö, Sweden, the Spillepengen interchange project was a collaboration between the Swedish Transport Administration and the Municipality of Malmö. The project's aim was to solve the traffic conflict between the roundabout in one of nine European transport routes that connects Scandinavia with Europe via the port of Malmö with one of Malmö's major commuter routes. The solution was to lift commuter traffic with a bridge over the roundabout in a so-called ‘fly over’. Commencing in 2009, with construction starting in spring 2014, the interchange was finally inaugurated on 1 December 2015 when the bridge was opened for traffic. The project's task was to find ‘the key to North Harbour’ and the solution became a ‘gateway to Europe’. The construction form was decided to be a turn-key contract, but the lighting design was strongly controlled by the client. Originally, the bridge had a simple illumination that provided an interesting light image of the bridge. Bronze street lights could be seen as a string of pearls, creating a safe cycle route for the commuting cyclists through the interchange. Designed by the City of Malmö’s official lighting designer Johan Moritz, the new lighting scheme involved retaining the masts and strengthening lights to create a backlight of the area. The alternative was to take down the masts and have the traditional street lights around the circle. “The place had an unclear identity. Commuter traffic did not know where the city began,’’ explained Moritz. ‘‘Traffic to and from the port didn't know if it was in Malmö or outside the city. Seeing as the port is part of the city it was important to use lighting in a way that would strengthen the identity and the orientation of the area as a whole.’’



Above areas surrounding the interchange have been illuminated to increase safety for cyclists and pedestrians. Left positioned in a ’string of pearls‘ formation, streetlights emit warm white light from above, while the interchange is uplit by cool white light from below, creating an interesting mix of moods.

Approaching the city from the inner ring road defines its ending and then connects to the beyond. The team wanted to signal from a long distance the significance of the interchange for all users. So the bridge piers have been illuminated from below to begin a common method used for bridges along the inner ring road. Initially, white and other colours were suggested for the illumination, with warm white streetlights on the bridge selected to create the same feeling of a string of pearls. “We lowered the lighting height of the bridge to eight-metres and slightly reduced the distance between lighting points,’’ explained Moritz. Street lights on the bridge also shed light on the ground between the bridges with their warm white lighting.

The scheme also helped to strengthen the safety aspect by enhancing lighting inside the pedestrian and bicycle tunnels with the completion of targeted ground lighting on their respective wing walls. For the selection of light sources and luminaires in the project, priority has been given to the selection of environmentally friendly materials. Therefore, there is a mixture of traditional light sources and solutions with LED. “For many international commuters to and from Europe, Interchange Spillepengen is the only iconic view that is accessible. By using simple yet effective lighting methods we were able to appeal to many users and create a more coherent sense of place,’’ concluded Moritz.

PROJECT DETAILS Spillepengen Interchange, Malmö, Sweden Client: City of Malmö Architects: Henrik Undeland, Sweden Lighting Design: Johan Moritz, Sweden

LIGHTING SPECIFIED Philips Copenhagen CGS441 361 1*SON-TTP 1000W TP FG, street lighting the way. Philips Copenhagen BRS691 FG T 15 C GRN70-2S/830 DM OPAL CLO C 10K, street lighting on the bridge. Philips MVP507 mast lighting. Malux Titan A45 621304, roof of bicycle tunnel. Erco Tesis LED33581.000, ground effect lighting. Meyer Nightspot B2 LED 42 W, lighting of the game cursor. Malmös city Fältcom typ MIIPS G2, lighting control systems.


Toolbox ERCO has reconsidered retail lighting. The Cantax recessed spotlight with LED is the perfect toolbox for illuminating goods and objects. A vast array of different light distributions from narrow spot to oval flood and wallwash recessed virtually invisibly in the ceiling. Minimalism in the system.

160927_en_erco_cluster_motiv_6_236x333_mondo.indd 1

27.09.16 17:42



Pics: Courtesy of Speirs + Major


Italic: regular The historic gasholder frame is uplit with we-ef cool white 24W narrow beam LED luminaires from the inside, creating the illusion that light is emanating from the corona generated by the interior canopy. This reinforces the sense of enclosure, marking the park out as a truly special place to be.

ASTRONOMICAL ILLUMINATION Located in London's King's Cross and winner of the Spaces High Budget category in this year's darc awards / architectural, Speirs + Major's lighting of Gasholder No 8 uses astronomy and the lunar calendar to highlight the iconic structure and the new public pocket park and event space found within.

Located in the northern residential quarter of London's new King’s Cross redevelopment, Gasholder No 8 is the largest of the iconic gasholders that once dominated the skyline in the area. This magnificent heritage structure has undergone a major offsite restoration and been repurposed as the frame to contain a new public pocket park and event space. Bell Phillips Architects added a mirror polished stainless steel canopy and a landscaped lawn to create a tranquil green space for use by local families and the children from the neighbouring school. With a long standing involvement in the wider King’s Cross regeneration, lighting designers Speirs + Major were engaged to ensure that the new ‘Gasholder Park’ would

be as attractive and as usable by night as it is by day. The lighting is designed to ensure that park users feel safe and secure as natural light fades, but also to make the most of the uniquely juxtaposing materiality and forms of the new park. The circular layout led to the idea of using light to create both a beautiful night-time landmark and an enlivening immersive experience inspired by the idea of a solar eclipse. In an eclipse, the form of the moon is revealed by a soft corona of light, which shifts in intensity and position as the sun and moon move relative to each other. Within the park, each of the canopy uprights are uplit with cool white light on the inside using a very narrow beam that

enforces the architectural rhythm. This light reaches the interior of the canopy and is reflected back onto the path, creating a glowing ‘corona effect’ that highlights the circular form and creates a sense of enclosure. The historic gasholder frame itself is uplit with cool white light from the inside. The resulting silhouette is not only highly legible from a distance but also creates the illusion that the light is emanating from the corona generated by the interior canopy. This reinforces the sense of enclosure, marking the park out as a truly special place to be. As with a solar eclipse, much of the beauty of the experience lies in how the light animates the form as it moves. The pavilion lighting is programmed over twenty



Left each of the canopy uprights are uplit with Photonstar 1W cool white LED narrow beam luminaires on the inside to enforce the architectural rhythm. This light reaches the interior of the mirrorpolished stainless steel canopy and is reflected back onto the path, creating a glowing ‘corona effect’ that highlights the circular form and creates a sense of enclosure. Below a close up of the historic gasholder frame, which is uplit with we-ef cool white 24W narrow beam LED luminaires from the inside.

minute cycles, beginning with all lights on and cross fading from east to west over three minutes, followed by a pause of two minutes in darkness (full eclipse) and then a slow east to west cross fade back up to full brightness. This creates fabulous shifts in the shadows and inter-reflections from the polished surfaces, gently animating both park and users. The management of the lighting program is based on an astronomical time clock, with the timing of the light cycles also changing in accordance with the lunar calendar. The light scheme is completed with warm white lighting to the steps and ramps neatly integrated into the handrails to ensure the safety of all visitors to the park and to integrate into the wider public realm.

PROJECT DETAILS Gasholder No 8, King's Cross, London, UK Client: Argent Architects: Bells Phillips Architects, UK Lighting Design: Speirs + Major, UK Additional Design: Dan Pearson Studio, UK; Townshend Landscape Architects, UK, Arup, UK; Hoare Lea, UK , Carillion, UK; Michael J Lonsdale, UK

LIGHTING SPECIFIED Photonstar 1W cool white LED narrow beam uplights to canopy we-ef 24W cool white LED narrow beam uplights to historic gasholder Mike Stoane Lighting 18W warm white linear LED luminaires - handrail lighting Control Lighting - part of the site wide lighting control system

MondoArc_Ad_Gasholder no.8_ME__ 07.10.2016 09:28 Seite 1

Light for Gasholder No. 8 at King’s Cross, London (UK) | Architect: Bell Phillips Architects | Lighting design: Speirs + Major | Photographer: James Newton

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Welcome... The 2016 darc awards / architectural carried on the baton from the impressive start that was made by the inaugural darc awards last year. 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 2016 darc awards / decorative will be launched in late September and will culminate in its own darc night in May in London. The 2016 darc awards / architectural process came to an end on September 15th with a spectacular event in the wonderful surroundings of MC Motors in London. Light installations, street food, a free bar and a unique presentation format all contributed to a hugely enjoyable and creative evening. 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 darc night, turning the usual attendance dynamic on its head. But without the voters the peer-to-peer concept of the awards would mean nothing and I’d like to thank all the independent lighting designers that participated. 6,000 votes is a massive stamp of approval for this fresh, subversive and democratic format. But of course, without the entries the good people of lighting design would have nothing to vote for! 400 entries from 40 different countries, purely for architectural 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 decorative in May and darc night architectural next September! Paul James Director, darc awards


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SPACES and DARC AWARD WINNER: Best Landscape Lighting Scheme Low Budget

BEST OF THE BEST Into The Glacier, Iceland

Europe’s second-largest glacier, at a height of 1,200 metres, lies Iceland’s newest tourist attraction: a magnificent, man-made, 500-metre ice cave tunnel, the longest in the world. The aim of the project was to provide a natural and unique experience, well planned light scenes with natural light colours and limited use of other colours. Guests are to experience the lighting without any visible equipment or cables. This project presented many challenges, including the fact that the temperature is consistently around 0 degrees Celsius, so heat from LED lighting had to be minimal in order to prevent melting. This was done by raising lighting equipment from the ice so that it is never in direct contact with it, as well as having a tight network of sensors and precisely programmed DMX controllers to limit the light-time of each light source to 5–7 minutes. All equipment had to be placed inside the walls and ceilings, with light sources of up to 6 metres in length, without visible cables, control tables or light sources. Holes were drilled with a specially built steam drill for illumination, and slots were made in the tunnel corners for control and power cables. It was often difficult to reach the tunnel opening in winter, in a blinding snowstorm and at a height of 1,200 metres, we had to rely on GPS to find

the opening and tunnel in to begin our work. The built-in lighting in the walls and ceiling of the tunnel provides pleasant illumination through the ice, which varies depending on the thickness and age of the ice, as well as highlights layers of ash from times past, including ash from the infamous Eyjafjallajökull eruption. The visitor experience is divided into segments with darkened passages in between to provide contrast. When guests view the Eyjafjallajökull ash layer, for example, the passage ahead is darkened, with only a back-lit wall at a 50-metre distance providing soft and billowing blue and white colours. When the guide has finished his/ her account, the lights in the tunnel walls are turned on, slowly and gradually, until reaching the visitors by the Eyjafjallajökull ash layer 50 metres above. The purpose is to provide the visitors with a unique and powerful experience. There are several themed spaces on the 500-metre trek through the glacier, including an assembly hall, chapel and pillar hall where lighting was installed in locations such as an altar, benches, walls and the floor without any visible installations. This was one of the major challenges in this project. The most spectacular experience on this journey is the large crevasse

SECOND PLACE: Dalston Roof Park, London, UK by Michael Grubb Studio, UK THIRD PLACE: Full Moon, Olot, Spain by unparelld’arquitectes, Spain

that crosses the tunnel and provides guests with a spectacular and mystical connection to the natural forces from the bottom of the crevasse, 30 metres below the glacier surface. The lighting, provided by powerful LED projectors and controls, is a major factor in capturing the magnificence and drawing out the contrasts of this 200-metre- long, 5-metre-wide and 30-metre-deep crevasse. The crevasse is darkened when the guests reach it but is then illuminated in stages, enhancing the experience even further. The video sent in was recorded early in the process when lighting equipment was still being installed and work lighting was still present (light strands).

Project: Into The Glacier Location: Langjökull Glacier, Iceland Lighting Design: EFLA Consulting Engineers, Iceland Client: Isgöng Architect: Arni Pall Johannesson – Reynir Sævarsson, Iceland Lighting Suppliers: Osram, Anolis, Griven, Robe, Pharos

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Best Landscape Lighting Scheme High Budget


Gasholder No 8, UK

Located in the northern residential quarter of the new King’s Cross redevelopment, Gasholder No 8 is the largest of the iconic gasholders that once dominated the skyline at King’s Cross. This magnificent heritage structure has undergone a major offsite restoration and been repurposed as the frame to contain a new public pocket park and event space. Bell Phillips Architects added a mirror polished stainless steel canopy and a landscaped lawn to create a tranquil green space for use by local families and the children from the neighbouring school. With a long standing involvement in the wider King’s Cross regeneration, lighting designers Speirs + Major were engaged to ensure that the new ‘Gasholder Park’ would be as attractive and as usable by night as it is by day. The lighting is designed to ensure that park users feel safe and secure as natural light fades, but also to make the most of the uniquely juxtaposing materiality and forms of the new park. The circular layout led to the idea of using light to create both a beautiful nighttime landmark and an enlivening immersive experience inspired by the idea of a solar eclipse.

In an eclipse, the form of the moon is revealed by a soft corona of light, which shifts in intensity and position as the sun and moon move relative to each other. Within the park, each of the canopy uprights are uplit with cool white light on the inside using a very narrow beam that enforces the architectural rhythm. This light reaches the interior of the canopy and is reflected back onto the path, creating a glowing ‘corona effect’ that highlights the circular form and creates a sense of enclosure. The historic gasholder frame itself is uplit with cool white light from the inside. The resulting silhouette is not only highly legible from a distance but also creates the illusion that the light is emanating from the corona generated by the interior canopy. This reinforces the sense of enclosure, marking the park out as a truly special place to be. As with a solar eclipse, much of the beauty of the experience lies in how the light animates the form as it moves. The pavilion lighting is programmed over twenty minute cycles, beginning with all lights on and cross fading from east to west over three minutes, followed by a pause of two minutes in darkness (full eclipse) and then a slow east to west cross

SECOND PLACE: Verdensparken, Oslo, Norway by ÅF Lighting, Norway THIRD PLACE: Cikat Bay, Losinj, Croatia by Skira, Croatia

fade back up to full brightness. This creates fabulous shifts in the shadows and interreflections from the polished surfaces, gently animating both park and users. The management of the lighting program is based on an astronomical time clock, with the timing of the light cycles also changing in accordance with the lunar calendar. The light scheme is completed with warm white lighting to the steps and ramps neatly integrated into the handrails to ensure the safety of all visitors to the park and to integrate into the wider public realm.

Project: Gasholder No 8 Location: London, UK Lighting Design: Speirs + Major, UK Client: Argent Architect: Bells Phillips Architects, UK Additional Design: Dan Pearson Studio, UK; Townshend Landscape Architects, UK; Arup, UK; Hoare Lea, UK , Carillion, UK; Michael J Lonsdale, UK Lighting Suppliers: Photonstar, WE-EF, Mike Stoane Lighting, Control Lighting




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Best Exterior Lighting Scheme Low Budget


Spillepengen, Sweden The project was a collaboration between the Swedish Transport Administration and the Municipality of Malmo, which was responsible for running, managing and owning the project. The majority was managed by the City of Malmo. The project was led by a project manager with an appointed steering committee consisting of executives from the City of Malmo and the Swedish Transport Administration. Construction form was decided to be a turn-key contract, but the lighting design was strongly controlled by the client. The bridge can act as the Gateway to Europe. Simple lighting that provides an interesting light image of the bridge and bronze street lights that could be seen as a string of pearls. Safe cycle route for the commuting cyclists through interchange. Retaining the masts and strengthen lights to create a backlight of the area. After lighting calculation can be possible reinforcement need to be supplemented. The

alternative was to take down the masts and have the traditional street lights around the circle. We wanted to signal from a long distance the significance of the interchange for all users. The bridge piers would be illuminated from below to have a common method used for bridges along the Inner Ring Road. White or another colour was suggested; Warm white streetlights on the bridge to create the feeling of a “string of pearls”. We lowered lighting height of the bridge to 8m and a slightly shorter distance between lighting points. Street lights on the bridge would also shed light on the ground between the bridges with their warm white lighting.

Project: Spillepengen Location: Malmo, Sweden Lighting Design: Johan Moritz, Sweden Client: City of Malmo Architect: Ramboll, Sweden Lighting Suppliers: ERCO, Philips, Malux

Lighting helped to strengthen the safety aspect by enhancing lighting inside the pedestrian and bicycle tunnel with the completion of targeted ground lighting on their wing walls.

SECOND PLACE: Casa Triangulo Gallery, Sao Paulo, Braxil by Fernanda Carvalho Design da Luz Estudio, Brazil THIRD PLACE: Hyundai Understage Open Performance Plaza, Seoul, South Korea by KGM Architectural Lighting, USA


Best Exterior Lighting Scheme High Budget


CEPSA Flagship Station, Spain

In order to transmit the values of the company through the architecture of the new station, the choice of materials and forms became essential, as the central idea of creating a structure that is nearly invisible and acquires an edgy presence at night, indicating the presence of the station on the road. The use of a material such as ETFE in the marquee above the suppliers helped to convey the idea of lightness and also achieved one of the main objectives of the cover, which is to allow the passage of natural light, minimising the use of artificial lighting during the day. A significant reduction in energy consumption, given that sunlight is spread over more than 10 hours a day in Spain during half of the year, not being necessary to use artificial light until 22:00 in the summer. ETFE permitted a very light steel structure with a profile of 40cm instead of 100cm standard canopies, turning the marquee in a line in the landscape. A red line during night.

The Y shape columns give support to the entire canopy elegantly, maintaining the same engineering design language used on the marquee. Efficiency and sustainability have been very present in the lighting design values: all luminaires used are LEDs: very low consumption and maintenance, high visual effect, full integration into the metal structure… The lighting has been regarded as one of the canopy’s main components, which illuminates itself at night with the corporate red, creating a strong visual impact within the environment. Lines of white LEDs integrated in the structure provide functional lighting to the entire area, which is complemented by sub-canopies with integrated lighting, located over the pump islands. These provide a better illumination level required in the area, creating a more localised experience for the customer and reducing energy consumption by avoiding flooding the space with light. Furthermore,

SECOND PLACE: Kirikkale Merkez Nur Mosque, Krikkale, Turkey by ZEVE, Turkey THIRD PLACE: Sainte-Agnes Church, Lac-Megantic, Canada by Ombrages, Canada

using sensors, the station identifies when there are no customers to reduce the luminous flux. The C-store building becomes a new beacon itself, signaling the presence of the station by its red polycarbonate skin, shining bright both day and night. The main lighting goals were: Simple and clear lighting solution; Transmit company values; Illuminate at night materials that should be transparent during the day; Full integration of the luminaires.

Project: CEPSA Flagship Station Location: Arevalo (Avila), Spain Lighting Design: AUREOLIGHTING, Spain Client: CEPSA Architect: Malka + Portus Architects, Spain Lighting Suppliers: Philips, Sakma


Best Interior Lighting Scheme Low Budget


Bolon Eyewear, China Bolon is China’s largest spectacles manufacturer and the third largest sunglasses brand worldwide. The overall architectural lighting design idea is based on a truly brilliant product presentation with high visual comfort. Developed as an integral part of the new brand architecture, the lighting concept designed for the eyewear (“display fins”) dominates the overall image of this first Bolon Flagship Store. In perception hierarchy, the products are the focus - with all further lighting features designed to work in the background. The horizontal glass display panel is illuminated by an invisible LED strip behind the rear panel edge. The three remaining (and visible) edges are coated in solid white with high opacity, to create contrast, and

to enhance the homogenous appearance of the panel. Integrated in the vertical fin (panel thickness is 12mm), a bespoke LED spot with oval lens radiates a strong light on the displayed eyewear below. Both lighting techniques jointly evoke a spectacular “wow” product presentation, virtually with a surreal pulling effect. The reflection of the white floor has been used as a reflector to illuminate the highly reflective, golden ceiling – it gives the space a warm and glowing ambience, recalling a warm sunny day at the beach. The designers wanted to prevent any light from the ceiling touching the walls or displays, in order to keep their spatial impact clean from scallops, shadows etc. Further lighting elements (homogenous lightpad) are

SECOND PLACE: Rotunda, Thessaloniki, Greece by L4A, Greece & iGuzzini Middle East THIRD PLACE: May Fair Bar, London, UK by Lighting Design International, UK

integrated in the free standing vitrines. The displayed products are also lit from above by very narrow-beam angled, adjustable spotlights. All wall-integrated niches are equipped with lightpads and focused product lights.

Project: Bolon Eyewear Location: Shanghai, China Lighting Design: pfarré lighting design, Germany Client: Xiamen Artgri Optical Co. Architect: Ippolito Fleitz Group, Germany Lighting Suppliers: Fushida


Best Interior Lighting Scheme High Budget


The Broad Museum, USA

“Arup has been an amazing partner in the building of The Broad. They understand the sensitivities of building a space for a collection of contemporary art and helped develop efficient and innovative solutions for the physical and aesthetic needs of the institution.” - Joanne Heyler, founding director of The Broad. Drawing natural light into The Broad – Los Angeles’ newest museum – in a way that protects the art was central to Diller Scofidio + Renfro’s design. The building’s architecture is defined by the finely honed geometry of the solar path in LA. The entire structure, including the carefully calibrated veil and skylights serve as a light filtration device, bringing controlled natural light into the galleries. The skylights include blackout shades, enabling lower light conditions for all or portions of the third floor, giving the museum maximum flexibility to exhibit any medium of artworks. The top floor gallery is illuminated by expansive north-facing skylights and a fully-shaded glazed south wall. The skylights are configured

to allow filtered daylight while preventing direct sunlight. The natural daylight passing through the north canted light slots of the veil’s roof section create an absolutely even lucency right through the 23ft depth of the upper gallery. This passive daylighting approach means that daylight levels in the galleries will vary with the season, time of day and weather, altering the ambience of gallery interiors on each occasion a visitor walks around. Some exhibitions may require reduced light levels, either for conservation reasons (e.g. works on paper) or for display reasons (e.g. video works). Lower daylight levels can be achieved by the deployment of blackout shades – the shades can move between full deployment during closed hours to a pre-set position during open hours. For the electric lighting, Arup assisted with the development of custom track mounted LED wallwashers which are used to uniformly illuminate the 23ft gallery walls when daylight levels are insufficient. Several fixture reviews

SECOND PLACE: Sussex Cellar, London, UK by Sutton Vane Associates, UK THIRD PLACE: Museum of the Cathedral of Florence, Italy by Massimo Iarussi, Italy

were carried out to evaluate the performance of the luminaires in terms of light quality, distribution and levels of illumination. Energy savings strategies include the extensive use of the architectural ‘veil’ as an external shading device, harvesting daylight through the gallery spaces, and the use of low energy LED light fixtures. The museum was recently awarded a LEED Gold certification, being the first major art museum in Los Angeles to achieve such a certification and one of only a handful of museums nationwide to achieve LEED Gold Status.

Project: The Broad Museum Location: Los Angeles, USA Lighting Design: Arup, UK Client: The Broad Museum Architect: Diller Scofidio + Renfro, USA; Gensler, UK Lighting Suppliers: Litelab, Sistemalux


Best Light Art Scheme Low Budget


Untitled, Belgium The installation is a rectangular shaped hole, which borders the water surface and forms an abstract interruption in the water. The unexpected aspect of this hollow space is amplified by cutting through the water, feeling like an unnatural, near to impossible gesture. The pond limits the work’s accessibility. Its experience remains on a visual level, enforced by curiousness. Standing on the pond’s shore, it’s hard to define the hole exactly. Its depth is unclear, as is its material and construction method. The hole appears as a container of emptiness, of indefiniteness. This bare, rectangular void stands opposed to the surrounding water. The pressure between them appears maximised and almost tangible. A constantly shifting contrast appears between the rigid black of the hole and the visual play of currents, reflections and colours surrounding it. The work’s perimeter includes these elements, their serenity and force, their effort and indifference.

At night, the dark hole turns into a white, bright element within a vast dark surface. The lights, invisibile, seemingly at the bottom of the hole, define a certain but unclear activity within this area.

searches consciously and unconsciously for assignments within such a specific context. These assignments come commissioned or self-initiated. After a personal, instinctive reading of the context, an answer is articulated.

Dimensions: 12m x 1,20m, depth undisclosed Materials: steel, LED-lighting; the sculpture was on view until 11th of October 2015.

The artistic research consists of measuring the relevance of form, typology, physicality and materiality, but even so the void, the absence of intervention within this context. This relevance is defined again and unconditioned for each project. The contribution is questioned continuously during development, until the moment the answer on it is irrevocable.

88888 is the collaboration of Karel Burssens (b. 1984, Belgium) and Jeroen Verrecht (b. 1984, Belgium). They share a general interest in spatial conditions and establish this in a practice of installation art, scenography, architecture and photography. Together or separate, they work on several international projects in the worlds of museums, fashion, contemporary dance and architecture. Their expertise grew on both conceptual and productional levels, the broad interests and experience nurturing mutually. In projects, a research on the experience and use of space is unfolded. The spatial and contextual play a crucial, defining role. 88888

Project: Untitled Location: Horst, Belgium Lighting Design: 88888, Belgium Client: Horst Arts & Music Festival Architect: 88888, Belgium Lighting Suppliers: Luxlumen

SECOND PLACE: Color Wheels, Frankfurt, Germany by Aleksandra Stratimirovic, Sweden; Athanassios Danilof, Greece THIRD PLACE: An Additive Mix, Bradford, UK by Liz West, UK


Best Light Art Scheme High Budget


Deep Web, Germany Deep Web is a monumental immersive audiovisual installation created by light artist Christopher Bauder and composer / musician Robert Henke. Sublimating the spectacular industrial architecture of Kraftwerk Berlin, Deep Web plunges the audience into a ballet of iridescent kinetic light and surroundsound. The generative, luminous architectural structure weaves 175 motorised spheres and 12 high power laser systems into a 25-metre wide and 10-metre high super-structure, bringing to life a luminous analogy to the nodes and connections of digital networks. Moving up and down, and choreographed and synchronised to an original multi-channel musical score by Robert Henke, the spheres are illuminated by blasts of colourful laser beams resulting in three-dimensional sculptural light drawings and arrangements in Kraftwerk Berlin’s cavernous darkness. The installation brings together decades of separate research and experimentation by two artists with unique visions and passions for sound and light, and by innovative companies working in these fields. High-end laser system manufacturer LaserAnimation Sollinger provided the technical expertise and development for this very specific spatial laser setup, while the motor winch systems and main control software are provided courtesy of

design studio WHITEvoid and Kinetic Lights. The work was originally commissioned by the Festival of Lights Lyon 2015, and developed in cooperation with local producer Tetro. Due to the festival’s cancellation after the tragic events in Paris, Berliners have the unique chance to attend an exclusive preview before the project will be presented in December 2016 in Lyon. An artist and designer working in the fields of light and installation art, media design and scenography, Christopher Bauder focuses on the translation of bits and bytes into objects and environments, and vice versa. Space, object, sound, light and interaction are key elements of his work. In 2004 he founded the multidisciplinary art and design studio WHITEvoid, which specialises in interactivity, media, interior architecture, and electronic engineering. He is best known for his city-wide light art installation “Lichtgrenze”, created in 2014 together with his brother Marc, for the 25th anniversary of the Fall of the Berlin Wall. Alongside his numerous releases as Monolake, Robert Henke is also well known for the music, audiovisual installations and performances he has been creating under his own name since the early 90s. Due to his background in engineering and fascination with the beauty of

technical objects, the development of his own instruments and algorithms has always been an integral part of his creative process. Henke also co-developed the omnipresent Ableton Live music software, which since its invention in 1999 has become the standard tool for electronic music production and completely redefined live performance practice. Henke has continuously pushed his love for music and programming to new levels, most recently with “Lumière” and “Lumière II”, an audiovisual composition for lasers and sound, and long term artistic project that explores syntax, meaning and narration within a newly developed and self-written audio-visual language.

Project: Deep Web Location: Berlin, Germany Artist: Christopher Bauder & Robert Henke, Germany Client: Originally commissioned by: Fête de Lumière Lyon, Tetro Additional Design: Ralph Larmann Photography, Netherlands; LaserAnimation Sollinger, Germany Lighting Suppliers: WHITEvoid, Kinetic Lights, Kraftwerk Berlin, CTM Festival, Lichtblick, satis&fy

SECOND PLACE: Light Cube, Moscow, Russia by Koptseva Natalya & Vasily Tarasenko, Russia THIRD PLACE: Pixel Flow, Lima, Peru by Claudia Paz Lighting Studio, Peru


Best Creative Lighting Event


Night of Heritage Light, UK

The Society of Light and Lighting (SLL) responded to the United Nations International Year of Light with the Night of Heritage Light (NoHL) “It’s about inspiring the next generation of minds to make the great breakthroughs in lighting by thinking big and realising the industry’s potential.” Liz Peck. On 1st October, in an event to showcase the talents of SLL members and the lighting community, teams of dedicated lighting designers shone a ‘new light’ on UNESCO World Heritage Sites across the UK and Ireland to celebrate the International Year of Light (IYoL). Starting at William the Conqueror’s Tower of London, the NoHL worked its way up the country as the natural light faded. The 9 sites across the British Isles included Giant’s Causeway, Liverpool Maritime, Edinburgh Old and New Towns, Fountains Abbey, Ironbridge Gorge, Blaenhavon, Blenheim Palace, and the Jurassic Coast. Each installation was captured in images taken by volunteers from the Royal Photographic Society. The sites were either lit for the first time, or the lighting designers supplemented existing lighting installations. “The RPS welcomes the NoHL which offered amateur photographers a unique opportunity to record some the UK’s best known heritage sites in a unique and exciting way.” Dr Prichard (RPS). Each site was allocated a design team leader taken from SLL volunteers across the nation. Design teams were asked to develop a design

specifically for their site, mindful of the set-up time available, while being respectful of the World Heritage status and the owners wishes. Design teams then produced scheme designs to the Core NoHL team with a shopping list of dream equipment to be sourced. Logistics formed a huge part of the challenge, with the equipment list consisting of in the region of 1000 luminaires, 2.5km of cable, filters, baffles and mounting accessories sourced from NoHL partner organisations. All shipped up hill and down dale to carefully coordinated rendezvous points with design teams. By combining a love for light and art, design teams showcased the practical applications of lighting and how it can improve and enhance architecture. The event was conceived and organised by Members of the Society of Light and Lighting donating their time and talents to deliver this unique event. The success of the event can be measured against the NoHL’s core team’s original goal – to showcase the lighting communities skills and creativity to the nation as a whole, raising the profile of the UK and Ireland’s talents while celebrating the UNESCO IYoL. In terms of achieving these aspirations NoHL was a resounding success: 26 separate pieces of media coverage including: 9 regional broadcast; 1 national broadcast; 2 national press and 14 regional press. Extensive press coverage across trade and consumer media (including a 5-minute slot on BBC’s The One Show, filmed on location at the Durdle Door

SECOND PLACE: Lumiere London, UK by Artichoke, UK THIRD PLACE: Lumiere - The Play of Brilliants, Paris, France by Elephant Paname, France

installation) provided an estimated audience reach of over 13 million. On the night: 899 twitter posts, 1.35 million interactions, 2.84 million impressions with a 47% engagement rate (advertising quality Tweets average 3%).

Event: Night of Heritage Light Location: 9 UNESCO World Heritage Sites across the UK Organiser: Society of Light and Lighting, UK Client: 9 UNESCO World Heritage Site Stakeholders across the UK Main Partners: Arup, BDP Lighting, F Mark Ltd, LPA Lighting, Apollo Lighting, Cundall Light4, Designphase, DPA Lighting, G3 Lighting Design, Hoare Lea, Light and Design, Lite-Ltd, Michael Grubb Studio, Edinburgh Napier University, Ramboll, Speirs + Major, Troup Bywaters & Anders Main Sponsors: Amerlux, Black Light, Blue Parrot, Chroma Lighting, Core Lighting, Cree, Double Take Projections, DW Windsor, ERCO, Fagerhult, GE, HSS Hire, iGuzzini, Kemps, LED Linear, Light Projects, Lumenpulse, Martin Professional, Meyer, Osram, Performance In Lighting, Philips, Reggiani, Rosco, Rose Bruford, Soraa, Thorn, Zumtobel

LIGHT DEFINES THE EXPERIENCE Lyon, France Photographer: Xavier Boymond Client: City of Lyon

The city of Lyon turned to Lumenpulse to provide customized Lumenfacade luminaires with internally fitted colour filters to match the original design and give the structure an eyecatching presence at night. Find out more at


Best Architectural Lighting Products Interior Luminaires


Billet â&#x20AC;&#x201C; Mike Stoane Lighting Mike Stoane Lighting have developed the Billet fitting as a flexible magnetic solution for cove lighting and other applications where the multiple plane flexibility allows it to be manipulated to integrate with the architectural features. As a magnetic product it can be attached to ferrous surfaces but if they donâ&#x20AC;&#x2122;t exist, nail tape (as photographed) can be pre-attached to the mount surface or set in the desired location. The magnetic feature allows subtle and flexible repositioning of the product to

SECOND PLACE: iGuzzini Laser THIRD PLACE: Delta Light Splitbox

tailor the lighting effect during the focusing stages of a project. This product can also be supplied without magnets for bonding to surfaces. Ideally delivered in pre-agreed lengths the system can also be site trimmed. Billet uses high quality LEDs with great colour rendering properties, densely packed together and with even diffusion. Each billet is just 52mm long and 12mm wide.

Product: Billet Manufacturer: Mike Stoane Lighting




Best Architectural Lighting Products Exterior Luminaires


Ghost Rectangular â&#x20AC;&#x201C; SIMES Architectural outdoor lighting specialist SIMES, offers a raw and stylish, Sadler designed, exterior lighting solution with Ghost Rectangular. The new luminaire is fashioned from concrete creating a rugged lit effect for exterior spaces.


The light blade comes from the concrete. When itâ&#x20AC;&#x2122;s off, it disappears, with no visible luminaire structure but just a cut in the concrete with brutal and magic inspiration. Actually a technical prodigy, directly cast into the concrete, the product is of a sophisticated and invisible genius tha fuses architecture and light in a natural way.

Ghost is composed of two elements; the housing and the lighting element. The housing has two separate parts, firstly, a jig, which forms the housing, and is extracted together with the retaining panel after completing the casting and removing the anchor screws. Secondly, a housing that remains embedded inside the casting and houses the lighting lement when the jig is removed. The housing is supplied with bolts, locking system and stickers to be applied on the outside of the retaining panels to ensure the perfect alignment if installing multiple luminaires.

Ghost is a lighting void that is created using a polypropylene housing anchored to two retaining panels before pouring in concrete to make the structure. Once the concrete is dry, the housing is removed and a space is left, it is a natural and sharp cast created in the drying

The lighting element is die cast aluminium and is anchored to the casing through proper screws. It remains completely hidden in the void and is hard wired with a three-metre cable. The LED lighting is supplied for a 230V circuit and comes in a 3,000K colour temperature

SECOND PLACE: Design LED Products Ness Outdoor THIRD PLACE: Reggiani Cells

with a CRI of 80. Ghost Rectangular has a luminaire luminous flux of up to 360lm. The IP65 rated luminaire is ideal for concrete based structures including residential and commercial properties as well as walls and facades. The flexible luminaire can be created in a horizontal or vertical position and can be positioned wherever is required. SIMES manufactures superbly-finished exterior lighting solutions for parks, gardens, buildings, humid areas, swimming pools, fountains and pedestrian zones. The company, with its R&D and manufacturing base in Italy, produces stylish and slimline fixtures that use the latest LED technology to combine minimalist design aesthetics with maximum energy-efficiency ratings.

Product: Ghost Rectangular Manufacturer: SIMES

3D LED Flex 40 system Red LEDs, 8° lenses, and custom snoots Individually addressable modules via DMX

‘Murmur’, Darc Night installation, London. Lighting and installation design by Ingo Kalecinski and Graham Rollins of GNI projects. Tel 44 ( 0 ) 208 348 9003 Web email

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3D LED Flex 40 system RGBW LEDs, and custom snoots Modular, 3D flexible LED linear lighting system All products designed by

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Best Architectural Lighting Products Technology


OLED Light Panels – LG Display It’s time to let your imagination run away with you. LG Display’s OLED Light Panels, in rigid and groundbreaking flexible options, have been designed to give freedom to creativity. Incredibly thin and lightweight, OLED Light Panels ensure designers can develop much more creative shapes than existing lighting can provide. With a bending radius of 20mm, the flexible panels can be twisted into the most extraordinary shapes whilst maintaining homogeneous light from their surface. Freedom of movement creates freedom of expression as the flexible OLED Light Panels present entirely new ways to seamlessly blend light into interior and lighting design. As a surface light source, OLED Light Panels have a completely flat and even light output with no glare and no shadow. This is the first of a unique combination of human-friendly characteristics that are provided by OLED light.

Running at a cool <35 C, the panels do not require additional heat sinking meaning the 0.88mm thickness of the rigid panel and 0.41mm flexible panel depth is not compromised. This cool-running operation ensures the panels are touchable and easy to handle. The light produced by the OLED panels has spectral power distributions that are close to natural daylight. As well as reducing glaring light, OLED Light Panels have no UV and their blue levels are much lower than non-organic LEDs. People feel emotionally comfortable under OLED light which makes it ideal for places where there is limited natural light. With 3,000K and 4,000K CCT, the rigid OLED panels have an efficacy of up to 65lm/W whilst the flexible panels achieve 50lm/W. OLED Light Panels have a high CRI of over 90 without compromising the efficiency of the panels. A variety of rigid panel sizes are now available, from the smallest 53x55mm to the

SECOND PLACE: Xicato Intelligent Module with Bluetooth Smart (XIM BLE) THIRD PLACE: Soraa Flicker Free MR16 LED Lamp

largest 320x320mm. The flexible panel types are currently available in 200x50mm and 406x50mm. Further sizes are in prototype. The combination of impressive product features and human-friendly benefits of OLED light means the range of OLED Light Panels are ideal for integration in furniture, objects, luminaires and lighting schemes. LG Display’s OLED lighting can be experienced in the UK by visiting Applelec’s central London showroom. The showroom features a lighting scheme composed entirely in OLED which makes it the ideal place to discover this unique technology and to understand how it can be used by designers.

Product: OLED Light Panels Manufacturer: LG Display

Tate Modern, Terrace Shop. Design by Uxus. Luminaires by Flos. Supplied by Atrium.

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XAL & BDP Lighting ‘Mirage’ is an artistic collaboration between BDP Lighting and XAL. The 2.5m cube installation is designed to be an immersive experience that distorts the viewer’s perception of space. The mirrored entrance and the interconnecting contour lines of the internal elevations create a level of disorientation, intrigue and invitation. The installation provides dual layers of interest; the concealed internal façade details and the illusion of height and depth, which was not revealed until entering the cube itself.   Once inside the cube, the viewer discovers the mirrored finish floor and ceiling which in turn

reveals coloured lines of light integrated into the slim shelf detail otherwise hidden at eye level. To add a level of interaction small XAL Just 32 spots were focused onto a mirrored faceted column allowing users to break the beams of reflected light. The infinity mirror creates the illusion of space reaching downwards and upwards into the distance.

Design Team: BDP - Nick Meddows, Martina Frattura XAL - Mathew Inett, Paul Welbon Technical Support: David Deehan, XAL (& XAL sales team), Rische Group fabricators Equipment: XAL Just Focus spotlights


John Cullen Lighting & MBLD Using the geometry of the cube as the outline of the installation, MBLD and John Cullen Lighting created a playful exhibit with a truly interactive experience. Based on the familiar game ‘tick tack toe’, the design immersed the guest in a human sized tournament that combined innovative LED technology, colour and lighting controls. The special scheme used John Cullen’s new narrow 10° LED engine, which will be launched in the first quarter of 2017. Housed in the popular discreet low glare Polespring downlight, it created a narrow beam of white, blue or red LED light to exactly match the squares below.

The John Cullen lighting scheme was controlled by Helvar’s DALI lighting control solution using a special John Cullen iPad app, part of John Cullen’s capability to provide end-to-end lighting solutions. The cube was dressed in Lee 251 Filter to both conceal and elaborate the activity from within. Using an iPad interface each player navigated the board with narrow beam downlights that illuminated selected squares with saturated colour. From the outside the continuously changing colour combined with the moving silhouettes invited more players to explore the installation.

Design Team: MBLD - Eleni Nikiforidou, Rebecca Hines, Raluca Dascalita, Alessandra Ravinale, Francesca Bottazzi, Alberto Monti, Alexandra Bourganou, Rob Honeywill John Cullen Lighting - Alex Hay, Matt Healey, Andrew Glossop, Chris Painter, Sarah Roberts Equipment: John Cullen Lighting Polespring downlight & 10° narrow beam LED engine, OSRAM OTi DALI Drivers, Helvar DALI Router, Lee Filters 251 ¼ White Diffusion filter (supplied by White Light)


ETHEREAL FOREST OF LIGHT Lucifer Lighting & Light IQ Light IQ started the journey to darc night with the overall guiding concept to create an ‘Ethereal Forest of Light’. Initially they imagined using a piece of real nature – a small tree, mysteriously concealed inside a swath of flowing muslin hung from a circular metal structure. After a number of 3D renders and feasibility studies, the team moved away from this literal interpretation and followed the ethereal qualities of light through leaves, dancing in shadow and brightness through the day / night. They opted to build a plain wooden box, almost like a large packing crate and contain our forest within it. The viewing portals were kept small, mysterious and placed randomly around to allow multiple viewers to enjoy the creation.

125 pieces of dichroic glass (kindly supplied at cost by Instrument Glasses) was hung on fine jewellery wire to allow them to move in a gentle breeze inside our box. The team wished to have a level of infinity within the contained space so Rosco foil was added to the floor creating a watery version of our dancing leaves. Light IQ worked closely with Lucifer Lighting’s surface mounted Cylinder fixture, using the warm dim LED module, which cycled through the warm dim curve, and provided total beam control. A level of control was added with a Lutron system creating a ‘story’ of lighting cues through day and night, with a tiny splash of colour filters.

Design Team: Light iQ - Flick Ansell, Jenny Bland, David Celerio, Seoyeonjin Choi, Althea De Ste. Croix, Magdalena Dyrda, Danguole Linkeviciute, Philip Moule, Gerardo Olvera, Lee Painter, Rebecca Weir Lucifer Lighting - Claire Gleed, Alexandra Matthews Equipment: Lucifer Lighting surface mounted Cylinder with warm dim LED module, Lutron control, Rosco Silver Foil, Instrument Glasses dichroic glass pieces

CIRCUS FREAK SHOW Concord & Elektra

Elektra wanted to create an informal, less serious approach for their installation. Most often the lighting installation gets full attention; however, little known to visitors, they were actually the main attraction.

were being filmed and their reactions projected onto a nearby wall. This provided hours of entertainment for those who watched others pop their head into the face cuts and their reactions as the limelight came onto them.

The run-down circus was designed in relation to the surrounding architecture and site. Elektra wanted to create a circus that seemed to have always been located within the venue but had been abandoned long ago. Inside a peepshow concealed various anomalies within blacked out exhibition boxes.

Within the circus peep show were several freak exhibits including a false shadow, a floating face, rings of fire with flying lamps, and of course ‘Party Dave’, the scary clown who filmed the show.

By giving the circus goers the front row seat, they were lead to believe they were just looking at miniature installations. Only the most discerning noticed that their reactions

The team used other lighting effects such as UV, flickering, gobos and presence detection to enhance the experience. We hope you enjoyed the show!

Design Team: Elektra - Sam Walle, Alexia Gkika, Matt Wright, Zsolt Bodzay, Erin Slaviero, Armando Villasenor, Marta Michalski, “Party Dave” Concord - David Neale, Steve Jackman, Lee Fowler; Simes - Dave Warburton Equipment: Concord Beacon Gobo Projector 26W 3000K, Concord Beacon Muse Spotlight 26W 3000K, Concord Beacon MR16 (MR16 UV lamp, 3W – supplied by Elektra), Simes Nanofocus RGB 3.6W 27 beam angle, Simes Minishape 3.6W 3000K (+ 3no filter colour), Sylvania Sylcone, Sylvania T5-R circular fluorescent lamp 40W 3000K, Sylvania RefLED retrofit lamps, Lumiance LumiStrip RGB 4.8W



L&L Luce & Light & dpa lighting consultants Inner Iridescence is an installation that provokes a contrast of feelings. Its dull, modular exterior is in stark contrast to the beautiful, random interior. This sharp change in atmosphere is designed to play with the user’s mood. The bright colours surprise and uplift the user as they move from the purposely drab environment that encases the installation. A key characteristic of the installation was the choice of materials. As this exhibition is temporary, it was very important that the materials were reusable and recyclable. With this thinking as a driver for the design, tin foil was chosen for its reflective properties and cost effectiveness. Readily available, simple cardboard boxes created the desired, familiar, unassuming façade. The outer walls allow the light to filter between the slits, hinting at the luminous event unfolding

within the installation. This effect is achieved with the aid of small, powerful projectors (Templa), usually used in ampler contexts – to light the vaults and naves of churches, for instance – and which here concentrate their luminous power into a small cavity between the walls, from where it is freed through the slits. In the interior, the light works across the textured, reflective walls and alters the spectator’s perception of the space, making them lose their bearings and themselves in the repeating colours. This effect was achieved by mixing precise colour tones and criss-crossing light beams of different widths. Overhead RGB spotlights (Spot) and low level RGB linears (Snack) immerse the cube in a full range of colours and reflections.

Design Team: dpa lighting consultants London - Veronica Lykou, Javier Marcos Castro Equipment: L&L Snack linear profile, L&L Spot outdoor projector, L&L Templa indoor projector


Radiant Lighting & GNI Projects Often recognised for Heart lighting sculptures, GNI Projects were keen to explore a different direction for darc night, whilst still maintaining the narrative and signature style of their previous works. In absence of a more graphical representation, a heart was implied by its beat. In homage to the city GNI Projects live in, and a love of light, the designers hand formed a free interpretation of the London skyline and washed it with saturated chasing red light. The DMX sequence was designed to replicate a heart beat on an ECG monitor. A group of random shapes surround the central pulse like clouds or waves of interference, revealing the cityscape at some intervals, and disguising its form at others.

Two identical sets of Radiant’s 3D LED Flex 40 System were positioned on the floor and ceiling, programmed so that the corresponding modules of the strips would light up together. Each module contains 4 x Red Luxeon Z LEDs with an ultra-narrow beam Gaggione lens and anti-glare snoot. Each module is individually addressable and controlled via custom DMX programming. Additional DMX controlled wide beam RGBW fittings, with 4 channels, provided a wash of coloured light onto the other hanging elements.

Design Team: GNI Projects - Graham Rollins, Ingo Kalecinski Radiant Lighting - David Morgan, Jonathan Morgan, Andy Wilde Equipment: Radiant 3D LED Flex 40 System (Modular 3D flexible LED lighting system with custom 4 x Red Luxeon Z LED’s and ultra narrow Gaggione lens and anti-glare snoots) Radiant 3D LED Flex 40 System (Modular, 3D flexible LED lighting system with wide beam RGBW Luxeon Z LED’s and anti-glare snoots) Nicolaudie Stick 2 lighting controller



Into and Filix Lighting’s ‘Light Ubiquity’ was born from a series of concepts that played on how light interacts with glass, acrylic, and reflective materials. With Filix’s expertise in IP rated & submersible luminaires, the over-arching concept was that of creating the notion of falling rain drops, using 40 of their punchy narrow-beamed RDD35 inground LED sources to effectively project streaks of light inside an arrangement of translucent rods that could be controlled and sequenced. For a fuller experience, Into were also keen to encourage people to walk through & be surrounded by the installation, in turn triggering a kinetic visual response.  

The Into team – Daniel Green, David Armstrong, Dean Carpenter & Phillip Dickinson – working with Marko Jurman from Filix Lighting, created a striking 3-sided mirror structure, flanked by glowing acrylic tubes of varying heights that gently dimmed up and down via DMX control. A PIR sensor momentarily increased the lighting’s tempo to ‘celebrate’ people’s movement as they walked through the centre of the installation. This created two different scenes, one of ambient presentation and one of playful interaction. The walkway through the space was additionally presented using Filix’s slim LINE linear LED profile, dimmed to a subtle yet eyecatching level.

Design Team: Into - Daniel Green, David Armstrong, Dean Carpenter, Phillip Dickinson Filix - Marko Jurman Technical Support: Interiors 2000 Equipment: Filix RDD35 inground 3W 24V LED 11 degree 3000K uplights, Filix LINE surface mounted 5W/m 24V linear LED 3000K profile, Mode Colourstyle DMX controller, Mode Setsquare PDOCH-L presence detection sensor, Rosco Silver Shrink Mirror


LSE Lighting & Michael Grubb Studio “Contrasting the ideas of inside and out, the fabricated with the natural we aimed to bring a visual and tactile experience to the audience at darc night. Creating a beachside oasis within - some where you could hide away from the ‘DARC madness’, rest a little and be cosy.” – Michael Grubb Studio Capturing that Dream³ The aesthetic of both the city and the darc night venue would provide the canvas but ultimately, being immersive and fun was the goal; and as Michael Grubb Studio had such a wonderful time on the beach this summer they decided to bring it to East London. We only know the world as it is because of light and in the darc night they wanted to stand out.

In the final delivery, a laser cut cor-ten steel exterior provides an industrial frame replicating the grit of city life. Starkly contrasting with the interior where the vibrant colours, soft sand, illuminated deck chairs and flowing fabrics cause the space to open up. Complimented by the illuminated ceiling its subtle hint of an endless sky, visitors can escape, slip into the Dream3’s atmosphere, to experience tactility, to hide from the intensity, to dissolve into the never-ending dream that is Dream3.

Design Team: Michael Grubb Studios - Michael Grubb, Greta Smetoniute, Stuart Alexander LSE Lighting - James Mansfield, Alex Bray, John Thomas Equipment: LSE ProLed Profile LED & DMX controller



Reggiani & Speirs + Major

“As a pedestrian moves through the urban space at night, the dark sky provides a uniform backdrop for miscellaneous layers of artificial lighting. From the soft glow of streetlights to the stark flicker of the fluorescent lit convenience store, these layers encompass unique light qualities: colour, intensity, contrast, direction and movement. It is the build-up of these layers that form the character of any given space and it is these characters that create personal connections to the city at night.”

The installation is informed by snapshots of artificial light, recorded and fractured as a means of deconstructing the lit character of the city. These layers of illumination are projected into a cube through a single, simple prism. Shafts of light filter through a soft haze, reflected by mirrored walls and playing on the viewers within the space. Sound heightens the experience and helps guide emotions, combining with light to create a beguiling illusion of depth, mystery and magic.

Conceived by designers Speirs + Major and realised in collaboration with lighting manufacturer Reggiani, NightShift is an immersive installation that explores how artificial light contributes to the personal experience of urban space.

In creating a narrative based on the qualities of urban light, NightShift is designed to trigger recall of personal sensations and memories. Viewers experience a physical and psychological response that is at once stimulating, and yet strangely familiar.

Lighting Design: Speirs + Major - Mark Major, Keith Bradshaw, Sam Tuck, Neville de Sa, Philipp Schmitz, Iain Ruxton, Jaime Fuentes McGreevy, Youmna Abdallah Technical Support: Reggiani, Eurostand Equipment: Reggiani Cells - Narrow Beam Optics Lee Filters ‘Urban Effect’ colour gels Helvar 920 Router


Design by: Speirs + Major

Bringing quality light to urban contexts with a brand new modular solution inspired by nature.




Forma & Lichtvision / Boom Collective

Modern day light pollution has created ‘A Fuming World!’ Our play-on-words describes how the World is furious and simply fuming about the amount of light pollution happening on her surface. The ‘A Fuming World’ cube takes a light hearted approach by geographically mapping out pollution with light and smoke penetrating the surface to create a visually appealing installation. Setting a very low budget, our design had to be simple! The scaffolding cube was wrapped with clear palette stretch film on which a World map of light pollution was printed; holes were punched through the façade at the centres of pollution and inside the cube, floor mounted light fittings and a smoke machine ‘beamed’ light and ‘breathed-fire’ through the holes

creating a red glowing and smoking, fuming World!........all for £150! From a distance one witnessed a large, slightly wonky, glowing and smoking object; getting closer to the cube the graphics revealed interesting and amusing detail on the World map, enabling the audience to appreciate facts and information about light pollution. Cheap, cheerful and effective!

Design Team: Lichtvision – Karen Ihlau, Paolo Cocconi Boom Collective – Mike Whitehurst, Patryk Zduniak Equipment: 8 x Forma Fronteluce Pro in RGBW & DMX controller, 1 x Martin Magnum 850 smoke machine











OSRAM Lighting Solutions & Electrolight

Electrolight created this piece, in conjunction with OSRAM Lighting Solutions, as a statement about society and our inherent prejudices... “There are parallels between how we perceive objects through light and our view of the world. We tend to see the world through the lens of our upbringing, our politics and the communities in which we live. This influences our views and ultimately our understanding of the world around us. Through the spectral composition of light we can choose what to reveal, what to hide. We can dictate what’s visible.

We took 600 gerberas, trimmed them to the same size and installed each in its own mini vase. The flowers were then arranged such that various interesting shapes emerged under limited spectrum lighting conditions. While that’s OK and perhaps interesting in its own right it’s only when the piece is lit with a full spectrum that you see the love. And life’s a bit like that.”

Design Team: Electrolight - Maria Favoino, Christopher Knowlton, Paul Beale OSRAM Lighting Solutions - Robert Goode & Mark Pearmain AC Special Projects (OSRAM partner) Lance Bromhead & Chris Little Technical Support: Bethany Upwell Equipment: Chroma-Q inspire x 4 (AC Special Projects) E:CUE SYMPHOLIGHT 2.0 & SYMPL Modular Controller Range

Visit us: Booth 4-F18

31. Oct. – 2. Nov. 2016

Light – Innovative. Individual. Efficient. Light – Innovative. Efficient. LightingIndividual. Solutions OSRAM OSRAM Lighting Solutions

OSRAM Lighting Solutions sets new standards with innovative and customised lighting solutions, thereby creating global added value for customers. The passion, decades of experience and profound expertise with light enables breathtaking, OSRAM Lighting Solutions sets newlighting standards with innovative customised innovative and state-of-the-art solutions to be and designed for alighting highlysolutions, thereby creating global added value for customers.The passion, decades of experience and profound expertise with light enables breathtaking, innovative and sustainable and energy-efficient future. Light is OSRAM state-of-the-art lighting solutions to be designed for a highly sustainable and energy-efficient future. Light is OSRAM

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AN UNCERTAIN START KKDC & Lighting Design International

The concept for ‘An uncertain start’ began with exploring the contrast between hard edges and fluid shapes and how multiples of solid objects can create soft forms & density. LDI wanted to capture the energy & movement of an explosion and its transformation into sparkling weightless particles of light. The installation is intended to be interactive, the experience of ‘an uncertain’ start begins with the observer activating the installation and immersing themsleves in an explosion of light and colour temperature, ending in a sensation of weightlessness.

Using lines of rigid, reflective and moulded elements we built up the physical form starting from a dense core to the weightless extremities. Strip lighting is discreetly integrated into the elements, the sequencing of the lights and the reflections of light onto the elements link the individual elements to one another creating an exploding effect. The installation lives in a continuous cycle until the ‘stop to restart button’ is pressed triggering a momentary black out, then gradually the core will reignite starting a new explosion.

Lighting Design: Lighting Design International - Alex Bittiner, Emily Hopper, Nathan Gummow, Ben Ferris, Gavriil Papadiotis, Charlotte Svenson, Cristina Escofet, Kimberly Elletson, Wei Lin, Tim Gurl Technical Support: KKDC - Tom Fairhall, Bill Fairhall, Tom Hall, Neil Rampersad Equipment: KKDC eFX IP20 210 length (supplied as 187.5mm), KKDC eFX IP20 550mm length (supplied as 500mm), KKDC eFX IP20 900 mm length (supplied as 875mm) Nicolaudie STICK-DE3 & ESA PRO software


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Heper & Nulty

Have you ever wondered what it’s like to be inside a kaleidoscope? Surrounded by countless reflections of colours, changing inconsistently. Nulty’s installation ‘Lucy’ aimed to take visitors on an amazing colour trip, without the addition of drugs. With the vast amount of media we’re exposed to everyday, through screens, “the Nultys” felt a need for something more interactive and created an installation that required human interaction to be fully experienced. As a result, the installation looked slightly different to each visitor. Entering the cube, a few colours painted the white walls and floor. A comfortable cloudlike environment, but no colour trip. By turning a handle on a central beam, colours moved, disappeared and reappeared on all surfaces.

The cube would never be fully covered by colours at once, but rotation of the handle allowed a play of light to surround the visitor. Paired with Heper, Nulty used the Punto Flexo spotlight indirectly. Five spots mounted at each ceiling edge were aimed horizontally at 20 separate “artwork” of dichroic mirrors. The mirrors were glued onto a metal surface attached to large-scale cogs for rotation and tilted at 45 degrees, reflecting the light down through triangular prisms as in a kaleidoscope.

Design Team: Nulty - Ida Moe Evensen (Project leader), Trevor Morgan, Dan Blaker Heper - Paul Thorogood (Pt Lighting, Heper UK distributor) Technical Support: Half of the Nulty office (no external workers hired for construction) Equipment: Heper Punto Flexo spotlight

MILESTONE® Technology: Perfect performance

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MILESTONE® has a patented unique complex surface reflector technology designed to be used for/in different types of road classification like ME1, ME2, ME3 and ME4 by increasing the number of modules used on fixtures. Modular system also meets specific needs such as street lighting, highway applications and tunnel lighting. The placement of modules in different numbers and positions provides symmetrical or asymmetrical light distribution. MILESTONE® has a perfect glare control system by using light indirectly with the multifaceted reflector.



WILA - Nordeon Group & ACT Lighting Design

“Everyone is a moon, and has a dark side which he never shows to anybody.” - Mark Twain Light and shadow are linked without question. Both can let us witness one of the most wonderful natural effects, the moon phases. Thanks to its rotation, the illuminated surface of the moon is never the same and as a consequence, it is always changing its appearance despite being the same sphere. It is then remarkable how the position of the light and its shadows can transform us completely from one to another person. Lunacy is a brand new ‘photomaton’ where the visitor can experience its own ‘lunar’ transformation while this one is recorded, giving as a result an animated portrait of the

user. Once inside, people can freely transform and express themselves feeling the movement of light around them. An invitation to interact with yourself and the light. For this installation ACT Lighting Design (ACTLD) was collaborating with WILA – Nordeon Group and had chosen Griven - Amira 9 projectors. Those projectors, all controlled by DMX, were placed in specific positions in order to create different light effects on the visitor’s faces. Inviting the users to interact in a playful way and share their experience during darc night event, short videos were recorded in loop by different mobile devices to be spread in real time on social media platforms.

Design Team: ACT Lighting Design - Ana Vargas, Paul Coadour Wila – Nordeon Group - Vy Pettit, Alex Green Equipment: 18 x Griven Amira 9 LED projectors, 4000K, narrow beam

Linic NX - Free Lines for Individualists Light should follow the architecture and functionality requirements. The new Linic NX provides different light modules for a variety of geometries: selectable lengths, 90° angles, cross and T-figures and transitions from ceiling to wall. The result is a variety of combination, allowing quick and safe planning with the WILA web-based configurator. More details can be found during the light+building on our homepage @WILA_lighting #TrustWILA


LIGHT SAID FRED GVA & Lighting Design Collective

Light Said Fred is a participatory light installation using electronic midi instruments. Players could take to the stage and play along to the music. With each midi channel mapped to a particular set of GVA luminaires, everything from singular notes to complex combinations produces a discernable lit response, with variations in rhythm and dynamics affecting colour and vibrancy. Available for kids parties!

Lighting Design: Lighting Design Collective Programming: Unstatic Technologies Equipment: GVA Highlighter HL-DL, GVA STR9 Linear, GVA FL100 Projector Midi electronic drum kit, guitar, keyboard and interfaces

MODOARC ADVIRT - Svindersvik Bridge - 16-10-05, REV3.pdf 1 2016-10-05 3:34:01 PM



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PARADEIGMA Cooledge & Arup

PARADEIGMA is a shadow box of contrasts.

how they move.

The installation is an immersive exploration of the enigmatic qualities of light and its transformative ability to affect our perception of a space. PARADEIGMA represents the team’s shared vision to push the boundaries of design by applying light as a creative material. The deliberate juxtaposition of innovative surface materials paired with a sequential tuning of visible and invisible light reveals entirely new possibilities to design and make with light.

Cooledge’s TILE Premium product, a tunable, paper-thin, lightweight and flexible, LED light sheet provided the flexibility to illuminate tightly fitted spaces without the need for thermal management. Engineered to be easily cut with a pair of scissors, and simple snap connectors to provide the easy conduit to scale as needed, the modular and uniquely field-adaptable properties of TILE made it integral to the making of PARADEIGMA.

At the awards night, the installation invited people to become a part of it; taking a step beyond merely observing it. It flipped the spectator into a silhouette and created a truly immersive environment wherein the experience was not just about how people look but also

“The convenience with which Cooledge TILE (Premium) can be installed is its biggest USP,” said Rohit Manudhane, Sr. Lighting Designer, at Arup. “I can say this from my hands-on experience of working with the product on the PARADEIGMA art installation.”

Design Team: Arup - Rohit Manudhane, Guillermo Martinez Pajares, Nicola Rigoni, Angeliki Bakogianni, Marina Carretero Cooledge - Kuldeep Vali, Gianmarco Spiga, Anne Lam, Katharina von Buelow Construction: KD Productions Equipment: Cooledge Premium TILE with Perspex 9T25 diffuser, Vinyl Warehouse True Mirror Finish Vinyl Fablon, Vinyl Warehouse 45cm High Gloss Chrome Silver Sticky Vinly Fablon, Vinyl Warehouse Gloss Brushed Aluminium


Imagine if you could apply light to virtually any surface in a flexible, paper thin, modular and scalable form and design with light as a material. COOLEDGE TILE: uniquely versatile to be used and integrated in a myriad of applications â&#x20AC;&#x201C; imaginatively extending the boundaries of what is possible.



Applelec & Min sang CHO

“The motivation to create shapes of flowing ribbon was rather simple. It was an attempt to celebrate the fluidity of flexible OLED, a miracle of modern lighting technology.” Min sang CHO Min sang CHO’s sculptural light installation, entitled The Ribbon, combines LG Display OLED and 3D printing technology, processes designed for precision manufacturing, and responds to these systems with craftsmanship and a desire for artistic experimentation. The Ribbon is 3D printed in a basic form before being manipulated by hand to make each piece unique. Following traditional techniques of Korea, gold leaf is delicately applied to each piece of ribbon to heighten the light reflection of the OLED. In preparation for the creation of

The Ribbon, Min sang CHO spent time in Korea to understand the art of gold leafing from a fifth generation master artisan. The installation was not shown at darc night but was shown at Tent London at the 2016 London Design Festival as part of a feature space organised by the darc awards to show three special installations. Min sang CHO worked with Applelec to present The Ribbon within a mirrored enclosure. The mirrors are etched and segmented with the intention of disrupting and distorting the organic nature of The Ribbon. Producing a confusing portrait that Min sang CHO hoped would spark joyful illusion in the viewer, the twisting reflection of The Ribbon is endlessly repeated in the fragmented mirrors.

Design Team: Min sang CHO & Applelec Equipment: LG Display OLED

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The 2016 darc awards/architectural trophies Designed by Light iQ, manufactured by Applelec +44 (0)1274 774 477

LED Light Sheet is manufactured in the UK by Applelec

MondoARC Oct Nov.indd 1

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TROPHY darc night

Above Left The darc awards trophy manufactured by Applelec Above Right The concepts and inspiration for the design from Light IQ

THE TROPHY Applelec & Light IQ

Light iQ collaborated with Applelec to create the award trophies with a design developed from the cube concept of this yearâ&#x20AC;&#x2122;s darc night installations. We explored a number of concepts, with our final proposal being to create a floating, infinity effect using multiple pieces of acrylic layered vertically to give the optical illusion of a central cube surrounded in light. From our sketches, Applelec formed a plan for the manufacture of the trophy and a single prototype was assembled which became the template for the final construction. Optically clear acrylic sheets were etched with the darc awards / architectural logo and layered to build a three dimensional cube. A base in opal acrylic

was embedded with Applelecâ&#x20AC;&#x2122;s LED Light Sheet along with a small battery before being wrapped with a brushed steel band, engraved with the winning category details, which forces light upwards through the top surface of the base. Diffused light travels through the vertical acrylic layers, enclosing the etchings, and transmitting illumination through the depth of the cube. The illumination softly highlights the cube design and the awards logo etched within it. Light iQ were delighted with the final result and thoroughly enjoyed collaborating with Applelec and the darc awards team. The darc award was striking in its simplicity with a strong clarity emphasising all the teams involved.

Design Team: Light IQ Manufacturer: Applelec

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DARC AWARDS GOES DECORATIVE Last year the innovative peer-to-peer voting concept of the darc awards took the lighting design industry by storm. The unique format combined architectural and decorative lighting entries that were voted on by the international lighting design community to discover what were the best projects and products of 2015/16. The darc awards is a novel concept utilising darc and sister title mondo*arc magazinesâ&#x20AC;&#x2122; reputation as being the most widely read and respected lighting design publications in the world. With our database of over 1,400 international lighting design practices (as well as even more interior designers and architects) and, in collaboration with creative consultants Light Collective, we have created a unique opportunity to get

every practice involved in the awards process. This year the darc awards has been split into two distinct elements - darc awards / architectural for the architectural lighting industry and darc awards / decorative targeting, you guessed it, the decorative lighting industry. darc awards / architectural, launched earlier in the year, has been yet another incredible success with the awards event, darc night, taking place at MC Motors in London on September 15th. There were over 400 entries and 6,000 votes for this yearâ&#x20AC;&#x2122;s architectural awards, which resulted in over 500 designers attending the darc night event. darc awards / decorative is being launched at this yearâ&#x20AC;&#x2122;s London Design Festival with

its own decorative darc night taking place in May 2017 in London. The awards will showcase the best in decorative lighting, with projects and products entered being voted on by lighting designers, interior designers and architects. This will result in the winners receiving the highest accolade of being voted on by their peers and all the kudos that that brings. The categories for the awards will reflect the diverse range of decorative projects and products we cover in darc magazine ranging from residential, workplace, hotel and bar/restaurant schemes to a complete range of product categories from pendants and chandeliers right down to the lamps that power them (see the table right for full category listing). As with darc awards / architectural, the



Following the successful inauguration of the darc awards last year, the concept has been split into architectural and decorative elements with the decorative event launching at this yearâ&#x20AC;&#x2122;s London Design Festival.

sponsorship package for the decorative awards allows manufacturers to get more actively involved in the awards event by displaying their products in a creative installation during darc night. All of the pictures above show the installations by lighting designers using the manufacturer partnersâ&#x20AC;&#x2122; products. It is an excellent opportunity for sponsors to get their products in front of specifiers instead of just having a logo and a free table at a traditional awards. In fact, there are no tables at the darc awards. The atmosphere is very informal and relaxed with a free bar and street food all night so that attendees can explore the venue and the installations inside. But the best bit about darc night is that all independent lighting designers, architects

and interior designers that vote are eligible for a free ticket to the awards ceremony (non-sponsor manufacturers must pay a fee) so that junior designers and smaller practices have as much a chance of attending as the usual larger practices. The website ( features both the architectural and decorative components with the decorative awards content becoming live by the time London Design Festival 2016 is in full swing. Any decorative lighting manufacturer that is interested in becoming a sponsor for the darc awards / decorative should contact the awards director and darc / mondo*arc editor-in-chief Paul James (

DARC AWARDS / DECORATIVE THE CATEGORIES PROJECTS LIVE - the best residential project WORK - the best workplace project REST - the best hotel project PLAY - the best leisure project

PRODUCTS BESPOKE - the best bespoke fixture CEILING - the best pendant / chandelier WALL - the best wall fixture FLOOR - the best floor standing fixture TABLE - the best table standing fixture EXTERIOR - the best exterior fixture SOURCE - the best lamp








Pics: Patrik Gunnar Helin


Lights in Alingsås brings the small Swedish town just outside Gothenburg to the forefront of lighting design through its annual workshop and festival.

During the month of October, anything can happen in the little Swedish town of Alingsås. Located just outside Gothenberg, it is not only the 'capital of fika' - a concept in Swedish culture meaning "to have coffee", often accompanied with pastries or sandwiches - but also host to the annual Lights in Alingsås festival. Beginning with a group of architecture students from Gothenburg who needed somewhere they could experiment with lighting, Lights in Alingsås is now the largest light event in northern Europe with 80,000 visitors a year. For restaurants, cafés and other businesses in the town, October has become one of the most prosperous months in the year. Alingsås municipality continues to be responsible for the festival, which is run in collaboration with Estrad Alingsås, IALD and several major sponsors of which the foremost are Alingsås Energi and Sparbanken Alingsås. Now in its seventeenth year, the 2016 festival welcomed eight lighting designers (Chiara Carruci, Italy; Erik Hagström, Sweden; C J Brockway, USA; Debra Gilmore,

USA; Ignacio Valero, Spain; A. Jytte Basler, Germany; Sabine De Schutter, Belgium; Tad Trylski, UK) and their 58 international student assistants to illuminate churches, abandoned buildings, parks, and streams. This year's theme, The Enlightenment, was selected in conjunction with the UN's seventeen sustainable development goals. Using these, and in partnership with world leaders, they have committed themselves to achieving three vital things in the next fifteen years: 1. To eradicate extreme poverty. 2. To reduce inequality and injustice in the world. 3. To solve the climate crisis. In order for the goals to be successful more people need to be aware of them. With this in mind, Lights in Alingsås strives to be a way of ensuring that more people learn about the world’s most important issues. The first, and often most testing element of the event, is a week's workshop where the lighting designers create and develop the theme, which is then designed and built with the help of the students. Aside from highlighting the UN's goals through their

Above Water from above showers Team Trylski at site number seven ’’Life Below Water”, which tackles Global Goal No 14 - life below water. Right Top Students from Team Valer at site number two “The Red Button” contemplating their work. The installation alongside the bridge, the edges of the path and in the water is designed to increase our understanding of how wonderful this earthly paradise is - but also how weak and vulnerable. Right Middle Reliance; workshop heads Chiara Carucci and Erik Hagström react differently to the pouring rain at site number 6 “Nature Calling‘‘, which tackles Global Goal No 13 - climate action. Right Bottom “A Time to Reflect” by Team Gilmore at site number one begins the light trail with a promotion of peaceful and inclusive communities, with the local church acting as a location for visitors to make a decision and reflect.




lighting installations, a lot happened in a week for the teams. New friends can be made, business contracts created and even life-long love affairs between participants may illuminate the proceedings. This year was no different, with through-the-night working, wet weather conditions and tight time constraints, emotions were running high. However, although participants were up against it, the teams came together through coffee and companionship to create beautiful and thought-provoking installations. After the workshop, the light installations go on show in Alingsås for five weeks. Every evening there are guided tours from Alingsås tourist office along the light trail. Visitors can hear more about the history of light, the work behind the light installations and learn about the international light designers and their work. As a media partner, mondo*arc will be covering the installations in depth next issue.

Top Left Team Basler's goal is No 10, which is outlined to reduce inequalities within and between countries. This, “The Abandoned House”, looks to illustrate the constrasts of modern society and how not everyone can be part of the idyll we take for granted. Above Left Headtorches of Team Trylski students glow in the late-night darkness at they navigate one of Alingsås' many ponds. Top Right A member of Team De Schutter basks in a evening glow at site number five “Gender Equality’’, which tackles Global Goal No 5 of the same name. The team's installation focuses on women's rights and opportunities in all aspects of today's society. Above Right Tad Trylski and his team share a moment of joy when playing at headquarters with the photographer's drone. Right Candytime in the rain at Team Trylski's site “Life Below Water”.





REPORTING FROM THE FRONT Now in its 15th instalment, this year’s International Architecture Exhibition, titled REPORTING FROM THE FRONT, was curated by Alejandro Aravena and organised by La Biennale di Venezia. With 88 participants from 37 different countries, we have collated some of the lighting-related highlights.

ONE MAN’S TRASH... The inspiration for this project comes from ‘Darzanà’ - a word from Lingua Franca, a common language that developed in the Mediterranean from the 11th to the 19th century among people such as sailors, travelers, merchants, and warriors, which sailed the Mediterranean sea when it was the main vessel connecting the surrounding cultures. A hybrid word, ‘Darzanà’ means dockyard, like the Turkish word ‘tersane’ and the Italian word ‘arsenale’. These words are derived or distorted from the same root, the Arabic ‘dara’s-sina’a’, meaning “place of industry”. In the same way, it is possible to talk of a common architectural language and to define it as ‘Architectura Franca’, which resembles the meaning of the whole project, aimed at highlighting the common cultural and architectural heritage shared between the dockyards of Istanbul and Venice. It challenges the increasing confinement within borders of religion, language, race, nationality, ethnicity and gender. A project of high cultural profile, in terms of dialogue and sharing, while respecting the different identities. From this concept, the Pavillon of Turkey, coordinated by the Istanbul Foundation for Culture and Arts (İKSV), hosted a ship constructed out of discarded materials found in the old dockyard of Istanbul and transported to Venice to suggest a new connection in the Mediterranean. Entitled Baştarda, the ship is a cross between a galley and a galleon and is propelled by oars and sails. It creates a

bridge between the two shipyards, one left to rot away in the megacity of Istanbul, the other springing to life only at certain times of the year in the museum-city that is Venice. When La Biennale closes in November 2016, Baştarda will continue her journey and will eventually become the centrepiece of a museum opened to the public in Istanbul. The Pavilion of Turkey is characterised by a focus on light, designed in detail to emphasise both the architectural nature of the exhibition and the concept behind the whole project. The lighting system was created by Zeki Kadirbeyoğlu and Şeyma Kılıç of ZKLD Light Design Studio and the choice fell on some lighting solutions provided by Linea Light Group by Tepta. The key product is Angular from the i-LèD collection: a powerful spotlight with a sleek minimalist look. The tilting movement up to 90° is supported by a practical degree indicator for precise tilt adjustment. The arrayLED source ensures efficient clean lighting featuring high performances. A customised honeycomb filter was specifically designed for this project to achieve a twofold effect: limiting glare and, at the same time, guaranteeing a sighting of the beam, which is clear and focused. In addition, Folia table luminaires from MA[&]DE collection were used, which combine an elegant leaf-shaped design with LED technology to achieve a high energysaving light.


Pic: Marcus Bredt

Pic: Marcus Bredt

SHARING IS CARING The Academy for Architectural Culture will be hosting two exhibitions and workshops at this year’s architecture biennial in Venice. Occhio will be there as a cooperating partner and is handling the lighting design at the centrally located Palazzo Rossini. Occhio’s lui spotlight series (in the rail variation) was selected, which marries design and lighting technology in a puristic, technical form. Equipped with innovative zoom technology, lui is the ideal lighting tool for exhibitions. The Academy for Architectural Culture is a private, nonprofit organisation based in Hamburg, Germany that was launched in 2008 by the architects at von Gerkan,

Marg und Partner (gmp). The academy’s instruction draws from its founders’ and sponsors’ many years of experience. The exhibition offers a glimpse into the culture fostered at aac, following in the tradition of the many presentations and publications the academy has employed to proactively contribute its findings to encourage public discourse and promote societal dialogue. In addition to the exhibitions, a portion of the aac’s upcoming summer workshop will also take place during the architecture biennial, with all lectures open to event visitors.



SAVING THE CITY Once again, as in the past, award winning architectural practice Rogers Stirk Harbour + Partners has chosen their own Ambar, designed for Reggiani, to illuminate their installation at the Venice Biennale. The 15th International Architecture Exhibition, entitled ‘Reporting from the Front’ includes 88 participants from 37 Countries of the world and examines the relationship between architecture and civil society, giving voice to those people who have acquired a privileged point of view and who were able to use architecture with a functional purpose. The exhibition raises issues related to civil architecture such as segregation, inequality, the suburbs, access to sanitation, the house shortage, migration, informality, crime, traffic, waste, pollution and the participation of communities in the city life. Within this context, Rogers Stirk Harbour + Partners propose “Saving the City”, a project which shows 30 years of industrial accommodation and highlights the need

for a revolution that will lead to the construction of well-designed, fast build, and affordable industrial housing. Its proposal is made by several prefabricated building solutions, which over the decades have emerged as real models of sustainability and efficiency: the ‘Zip-Up House’ designed in 1969, the ‘Y: Cube’ and ‘PLACE / Ladywell’ used for emergency housing in London or the ‘Tree House’ based on volumetric technology. “We are proud to participate with Rogers Stirk Harbour + Partners in such a prestigious international festival as the Venice Biennale,” said Matteo Reggiani, Corporate Strategic Office at Reggiani. “This participation confirms once again our positioning as a strategic partner for the designers and the industry professionals, and this is why we constantly invest in research and technological innovation to provide advanced performances and increasingly pioneering ideas.” Ambar is a versatile pendant or track

mounted projector characterised by a modern, transparent design that reveals the technical complexity of the control gear, fully detached from the aluminium body that houses an optical compartment integrating the IOS system. The technical and functional details become decorative, like the red silicone rubber adjustment knob, inspiring the imagination and facilitating use. In the lighting project designed for the Biennale, Ambar is flanked by Yori Track. Ambar was designed during the practice’ exhibition “Richard Rogers: From the House to the City”, hosted by the Pompidou Centre in Paris. After the famous Maantis, Ambar is the second result of the collaboration between Reggiani and Rogers Stirk Harbour + Partners and it was shortlisted by ADI Design Permanent Observatory for the XXII ADI Compasso d’Oro Prize in 2009.

Photography James Newton



JACOB’S LADDER As usual, a part of the Venice Biennale exhibition is located in the Arsenale, a collection of buildings which were formerly shipyards and armories. The Arsenale offers an extraordinary experience for its visitors: while walking through the various installations and works, one is dwarfed by the buildings’ lofty ceilings and massive columns. One exhibit along the way is Lightscapes by KlimaEngineering experts Transsolar and German architect Anja Thierfelder. It recreates the natural phenomenon of crepuscular rays (also known as sun beams, sun rays, Jacob’s ladder). The idea for this light-choreography arose out of the cooperation between Thierfelder and Transsolar, between architectural aesthetic and technical art. In order to make the light beams visible, one must have the knowledge and skill to manipulate a room’s thermodynamic conditions. Only a particular configuration of humidity, temperature, stratification and air movement in the room can bring Lightscapes to life and make a rain of light for the visitors’ enjoyment. Like many other Transsolar projects, the team drew on prototype testing and

years of experience to ensure success of the installation. One of the technologies employed for the display is a high-pressure nozzle system which supplies the room with the required humidity. The usual source of crepuscular rays is sunlight, but none enters the room. There were neither existing skylights nor could skylights be added (due to the protected status of the heritage building). Therefore light beams from 20 spotlights extend diagonally across the dark room, and enter a dialogue with the symmetry and rhythm of the room’s columns. The light beams are static, however different impressions are offered depending on the visitor’s location. When entering the room, shafts of light appear to radiate and expand from a single point. As you walk to the side, it becomes apparent that the light beams are actually parallel to each other. With her deft artistic sense, Thierfelder conjures a magical setting. By defining the position, direction, brightness and spread of the light beams, she transforms the space into a dramatic play between light and darkness. A poem, engraved in the wooden floor,

describes the potentials which belong to any site in the world. Five wooden ladders scattered throughout the room symbolise stairs to the heavens, while didactic texts at the entrance and exit explain the physical phenomenon of crepuscular rays for the visitors. Lightscapes is not an esoteric exercise; in fact, it contains a message for all. With their installation, Klimaengineer Matthias Schuler and architect Anja Thierfelder wanted to inspire others to sharpen their senses: “Seek out and delve into the local identity of a place and let its potential help you define your buildings and cities!” This is how bespoke, sustainable and aesthetic solutions can arise and distinguish themselves from global architectural trends. An example of this theory transformed into practice is the new Louvre Abu Dhabi. Transsolar analysed the complex physical elements which cause crepuscular rays (including the high dust content, which is characteristic of Abu Dhabi), in order to realise the rain of light desired by architect Jean Nouvel. Pic: Anja Thierfelder

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A LOAD OF RUBBISH Created by architect Hugon Kowalski and architecture critic Marcin Szczelina, Let’s talk about garbage is an installation that raises the concern about the waste of resources and the overproduction of material which, inevitably, turns into never recovered garbage via an experience that invites silence and reflection. Kowalski and Szczelina have designed a structure that summarises their own investigation. In Poland, just as in the rest of the world, garbage is a human product: tracing the path of it brings us in close contact with people, and understanding their needs allows us to identify waste. The video material filmed in Asian megacities projected on monitors throughout the installation leaves no room for doubt: people walking among heaps of trash, mountains of waste and buildings abandoned to decay. Eco-sustainability and reducing waste of natural resources and materials are issues that are dear to Linea Light Group, the main lighting sponsor of the project, whose products have highlighted the prominent features of the installation. A single wall separates and at the same time links two areas with different characteristics. On one side of the wall there is a clean, minimalist space, on the other, a “dirty”, derelict scene. Viewed from the front, the installation is a manifesto of virtuous recovery: building materials reused by means of intelligent, informed recycling,

dry bricks made from old tires and recycled rubbish. The scene is lit up by the Eyelet projectors from Linea Light’s i-LèD collection: mounted on extremely small adjustable brackets and designed to enhance objects placed in alcoves and windows. These LED lights have been cleverly positioned so as to illuminate the products following the direction of movement in the exhibition stand. Like the other products by Linea Light selected for the installation, Eyelet fulfills the requirements identified in the planning stage: adopting highly technological products that are also sustainable. Sustainability is guaranteed by the use of LED and by a product designed and realised entirely in Italy, away from areas of the world where the waste of raw materials during the production phase has reached unsustainable levels. The other side of the wall reveals a very different scene: an “organised landfill” with small piles of rubbish and special set pieces, including a few pigs intent on rooting in trash. In order to give them the right emphasis, the choice fell on the Clivo range of small size spotlights mounted on pivoting brackets, ideal for enhancing garden decorations and elements such as statues or plants. The spotlights are also placed along the grate in the floor to single out and highlight the rubbish below. Angular is a powerful array LED source

projector with a streamlined, minimal design. It has a tilting movement up to 90°, with a convenient goniometric indicator that ensures precision in tilt adjustment. Installed next to a window wall in combination with Vektor, an array LED projector with light shaping system optics, versatile thanks to dim-on-board knob and zoomable focus, it highlights the wall’s main features. The result is a visual map of “iconic” waste distributed in different historical phases and geographical areas, and a map of the routes of global illegal waste trafficking. Among the most representative projectors in the i-LèD collection, Pound is fitted with an array LED light source and combines high performance and versatility. Here it is placed next to a window and directed toward the installation to illuminate a mezzanine floor that simulates, through a deliberately dangerous and unregulated structure, the Dharavi, Mumbai’s “largest hovel” found in the poorest slums of the metropolis. The installation combines two very different sides of a wall, enhanced by ad-hoc lighting solutions, and a clear common message associating the philosophy of Linea Light Group with a provocative installation to deliver a very important global message.

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LONDON LIGHTS We bring you some of the light art highlights from this year's London Design Festival.

FOIL LAYER X BRAUN Benjamin Hubert of experience design agency Layer has designed a landmark installation in collaboration with Braun for the V&A during The London Design Festival. Over the last six decades, design has become a core pillar of Braun. The values of quality, functionality, clarity, longevity and timelessness have been integrated into an enduring design philosophy. Braun design's ethos is epitomised by the statement ‘Less but better’ as once written by Dieter Rams, the former head of design. This provides the starting point for the installation Foil. Located in the Tapestries gallery at the V&A, the gallery houses the historic Duke of Devonshire tapestries, which were made between 1425 and 1450 and are among the Museum’s greatest treasures. The installation was designed to showcase

the performance engineering, materiality and movement of Braun's shaver foils. A 20-metre-long undulating ribbon comprising 40,000 individual metallic elements ran down the entire length of the Tapestry Gallery. The ribbon moved continuously and dynamically in a sine wave formation, reflecting and scattering light around the gallery. The shape of the 40,000 mirrored metallic elements is informed by the precision engineered shape of the Braun shaver foil, and the movement inspired by the 360º movement of the Braun shaver head. A system of ten LED lights were directed onto the undulating metal foil, which reflected, amplified and traced the light across the tapestries responding to the way in which the Braun Series 9 foil seamlessly

traces the contours of the face. “Together with the Braun design team we saw an opportunity to create a large-scale installation for the for the London Design Festival at the V&A to communicate the brand’s commitment to design and deliver an engaging and meaningful experience to a wide audience that embodies the values of excellence, engineering and quality that are imbued in every Braun product,” said Benjamin Hubert, Director, Layer. “The installation in the V&A is celebrating the foil – the most important part of a shaver, touching your skin. The simplicity of focusing on one part, one material can create amazing experiences.”




LIGHT POLLINATION Light Pollination is an interactive digital artwork commissioned by iGuzzini to celebrate the power of light as a vehicle for social innovation. It was designed by London-based digital-arts studio Universal Assembly Unit. The artwork seeks to spread the word about light, and in doing so, it explores the strong links between light and communication. Fibre optic, the primary material used to create the artwork, is a vehicle for light through which high-speed communication is facilitated. Thus, the art installation is both an expression and a prototype of this, albeit on a smaller scale. Rather than addressing a particular function, it imagines an alternative way of interacting with artificial light. The light art installation was revealed

to the public during this yearâ&#x20AC;&#x2122;s London Design Festival, located in the heart of the Brompton Design District, in South Kensington. Powered by love of playful light, it features around 20,000 individual points of LED light brought to the surface through fibre optics, and is dotted with interaction points. When light is shone onto these pollination points, the artwork immediately responds with growing bands of light, expanding progressively into wider and faster light bursts. This creates a pollinating effect across the artwork, completely transforming its landscape. Being inspired by light found in nature under a whole spectrum of expressions and behaviours, the artwork suddenly resembles an open meadow pulsating with the flickering lights of fireflies, looking more

and more vibrant as dusk descends and the evening light wanes. This vibrant scene is in line with the Brompton Design Districtâ&#x20AC;&#x2122;s central theme of transformation. To re-enact this beguiling beauty of bioluminescence, and to ensure that visitors experienced the artwork at its full potential, the space hosting Light Pollination was darkened to provide an ideal setting. Besides interacting with the artwork itself, visitors were able to interact with each other in a fun and engaging way, powered by playful flickering lights. This highlights the importance of the social aspect of bringing people together to pollinate the surface of the artwork and to communicate through light.


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THE SMILE The Smile, designed by Alison Brooks Architects, in partnership with the American Hardwood Export Council, ARUP and SEAM Design, during the London Design Festival, is an immense urban installation that showcases the structural and spatial potential of cross-laminated hardwood using American tulipwood. Engineered into a long curved rectangular structure – the first ever hardwood ‘mega-tube’ – it measures an impressive expanse of 34m long, 3.5m height and 4.5m wide. Lighting supplier Atrium was introduced to the project by SEAM Design, responsible for giving the centrepiece identity and performance at night. "We have been working with SEAM for many years now," said Patrick Lourie of Atrium. "When they approached us to join them on this year's Landmark Project for London Design Festival, it was an opportunity we

did not want to pass up. After they shared the initial lighting concepts for The Smile, we knew immediately that Grupo's MCI exterior range would be perfect for what they were trying to achieve.” “The pavilion seems to levitate on site like its defying gravity,” added Javier Aznarez, lighting designer and architect at SEAM Design. “Illumination at the base enhances the idea of floating by making the pavilion lighter. Once inside, the curved shape connects the visitors with the sky by hiding the horizon as if the pavilion and the sky were continuous. The lighting guides the visitors to the ends where the lighting continues the curve and extends the interior space into the sky.” "The Smile is about simplicity and weightlessness. The lighting feeds this concept by casting light along the ground where the pavilion touches the ground

erasing the gravity of its mass," said Emory Smith, Director of SEAM. The lighting fills the interior volume with a warm luminous glow. All of these are accomplished with simple LED lines simultaneously minimalist and geometric and seamlessly integrated. "The end result is like a lantern in the landscape, an intimate interior space luring people to come in," added Smith. "Climbing the gently curving slope of the interior you approach the end walls where a glass balustrade extends views out but simultaneously reflects line of light, which appear to vanish into the space above the square."


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Another month and yet another security risk identified with smart lighting systems but what can architects, lighting designers and engineering firms really do to assure their clients their projects are secure and robust? Dr Geoff Archenhold investigates.

WILL SMART BUILDINGS BE A SECURITY RISK TOO FAR? Modern smart buildings are embracing technology at a rapid pace and smart lighting is a vanguard for creating a new working environment that embraces the quality of personalised lighting. Indeed, the research firm Gartner predicts that more than 500 million connected devices will be installed in commercial buildings during 2016 to help improve energy efficiency by up to 20 - 50%. The use of embedded ambient light and occupancy sensors will allow smart buildings to run with optimal conditions using building management systems (BMS) that can be connected to the corporate network and internet. Smart systems can now determine desk, office and building occupancy rates to adjust heating and lighting accordingly in unused areas. However, this increased connectivity also brings about vulnerability to cyber-attacks. With so many entry points to a BMS in a modern smart building, it becomes crucial to build cyber-security into the system architecture from an early stage, in order to reduce the risk of attack. Cyber security has become second nature to IT companies and the same needs to be true for lighting designers, architects and engineering consultants. In July, security researchers discovered nine vulnerabilities in the Osram Lightify LED light bulbs that could allow attackers access to the local Wi-Fi network to either control the lights without authorisation or to control the network itself. The vulnerabilities range from poor security management principles such as storing unencrypted Wi-Fi network passwords in the mobile app to more complex Zigbee protocol based issues. The researchers discovered that the lighting systems’ installed management console, which runs on Ethernet ports 80 and 443, was open to a continuous cross-site scripting (XSS) vulnerability that could facilitate the injection of malicious code into the management interface. Third party code could be executed as if it were a command from an authenticated user, which

would allow the hacker to alter system configurations, access and modify data, and override the system to launch attacks against other systems. Although Osram has stated it will attempt to patch the more obvious vulnerabilities with a software release, the real issue is how many of these systems will be updated and will they be secure, especially if the software isn’t pushed to all devices? Osram isn’t alone as previous security flaws have also been found in LiFX and Philips Hue smart bulb systems. Unfortunately, the vast majority within the lighting design and engineering consultancy community seem to be ignorant of the importance of system security. Last month I visited two well-known lighting design and engineering consultants in London to discuss security in lighting control systems with significantly different outcomes. The first organisation embraced new technologies and wanted to know more about how to secure control systems whilst the second organisation stated security wasn’t considered or wouldn’t be perceived by them to be an issue for their clients as they believed no one would ever want to hack a lighting control system. As I tried (and failed) to explain to the latter organisation, security isn’t just about the possibility of the lighting being hacked and controlled, it is also about the corporate risk covering damage to their clients brand and reputation, data protection issues and business continuity. There are three types of reasons to disrupt a BMS or smart lighting system: 1. The Thrill Seeker – This encompasses anyone who just wants to access a system to see what they can do. 2. The Goal Seeker – This type of disrupter seeks to accomplish a goal such as infiltrating a corporate network via the BMS, and to get past those controls to accomplish a larger goal or seek a more specific target. 3. The Prankster – They don’t want to access a system at all but want to stop the

system from working by causing disruption. This could easily be achieved by blocking RF signals or a Dedicated Denial of Service attack. The following precautions will ensure that basic cyber security in your BMS and lighting control system can be achieved: • Invite critical personnel, including the CIO and necessary IT staff to talk about cybersecurity. • Examine the information networks used by facilities staff. Predict and plan how to safeguard vital information and network access points. • Include BMS cybersecurity in annual operational expenditure budget. • Remember the value that staff has for security; encourage vigilance, send facility management staff for periodic education, and conduct security audits on control network use. • Prepare for the possibility of cyberattacks and train staff how to respond accurately and methodically. • Encrypt network traffic and secure wireless network access. • Choose your suppliers carefully, and be aware of exactly what BMS functions are accessible via online portals. • Look for easy access points. • Avoid wireless systems within the BMS. • Include firewalls to protect the network where possible. • Make a plan to ensure the operating system can be patched for security flaws and updated to latest supported versions. • Create a straightforward method for adding, removing and suspending user accounts on the BMS system without the need for users to type in username and passwords. • Ensure all networked devices are secured by minimizing IP and MAC addresses and changing default passwords. • Attempt to isolate the BMS system from corporate networks. Who is liable for cyber-security breaches? • The lighting designer, architect or consultants – If the BMS or lighting control

system is defined by the designers and they haven’t undertaken basic cyber security diligence should they be liable? • The system manufacturer – If the BMS or control system has security vulnerabilities should the manufacturer be liable? • The installer – If weaknesses, such as not changing default passwords for routers, are not closed down then should the installer be liable? • The client – If the client doesn’t specify the need for cyber security within the project, should they be liable for any breaches? In order to simplify your selection criteria for suppliers of smart lighting and BMS systems, I have compiled a list of questions you can ask to gain additional cyber security assurances: 1) What security principles does your BMS or lighting control system employ? 2) Do you employ encryption rather than usernames and passwords and if so what type and how many bits are used to encrypt the data? 3) How quickly can the system repudiate, generate and transfer encryption key-pairs between devices that are on both the open and secure parts of a control network? 4) How do we ensure the operating system and application software can be patched for security flaws and updated to the latest supported versions? 5) How quickly can one add, remove and suspending user accounts within the system? 6) Is the core system reliant on RF based technologies to operate and how does the system perform if RF jamming systems are deployed? 7) What support do you provide once the system has been commissioned? 8) If a system is compromised how does the system know and what contingency plans do you have to repair the system? 9) Does your system connect to the internet and is it physically separated from any corporate network and how can you prove this? 10) Has the system been tested by third party security experts or test laboratories? Top 500 global companies are being compromised on a daily basis despite spending billions on cyber security activities, so the lighting sector will need to take the threats to smart lighting seriously.

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Following its success at the Red Dot and darc awards / architectural, David Morgan takes a look at Simes’ Marc Sadler-designed concrete-cast Ghost luminaire, and its technical inner workings.


Light has become remarkably ‘heavy’ in recent years with the growing use of cast concrete to manufacture luminaires of all types including some seemingly unlikely products such as pendants. The process of casting concrete dates from the Roman era and lamp posts have been made from concrete for many years. However, producing luminaires from this material has been a more recent development. While the mid-20th century brutalist style of architecture based on rough cast concrete with all the shuttering details left on show is still generally unloved, the use of smoothcast concrete for architectural accessories seems to be on a strong growth path. Simes Lighting has enthusiastically embraced the use of concrete in recent years and their latest concrete luminaire series – Ghost - designed by Marc Sadler recently won the exterior luminaire section of the darc awards in London after

previously receiving a Red Dot award. Simes is a family run company based in northern Italy with three production facilities covering the complete luminaire engineering, testing, manufacturing and assembly process. Established in 1973, the company is now run by Roberto Botti - son of the founder Egido Botti who had a background in the production of aluminium die castings. Roberto Botti has taken Simes towards a higher level of luminaire design and innovation, introducing a variety of independent designers to the company including Matteo Thun, Klaus Beggati and Marc Sadler. An early adopter of LED technology, over 80% of the Simes range is now solid state with a clean contemporary aesthetic. Milan based veteran designer Marc Sadler has a long experience in the design of mainly decorative lighting products with a clientele including Flos, Foscarini, Barovier&Toso and

Fabbian. The use of novel materials and processes has always formed a central part of his work. The Simes product range is grouped by material type, termed Material Expressions, and includes separate sections for concrete, aluminium and wood - which is a novel and useful approach for the customer. The first Simes concrete series of products was launched at Euroluce in 2014 and was based on design concepts from Roberto Botti. The Ghost collection was developed from this concept with the French born Sadler, who was selected to undertake the design as his first project for the company. The range was launched at Light + Building in March this year and has had a very positive reception. The range takes the ideas of design minimalism and hidden light sources to the logical conclusion, as the luminaire is completely concealed within the concrete housing that is poured on site.


Technical diagrams for the Ghost product show the inner workings of its construction and one of its most impressive design festures - the way it assists with on-site casting of concrete around the structure. A two-part injection moulded polypropylene housing is fixed to the wooden shuttering with disposable thumb screws prior to pouring the concrete. Available in both dimmable and non-dimmable versions, the LED light engine is positioned withint the concrete cast. The non-dimmable type runs direct from 230 VAC with an on-board ic based driver system. The dimmable version runs from a remote dimmable driver for easier servicing. Simes claims a light output of 305 lumens with 3,000K 80 CRI LEDs with an input power of 9W.

Simes describe the range as a lighting void. One of the most ingenious features of luminaire design is the way it assists with the on-site casting of concrete around the structure. A two-part injection moulded polypropylene housing is fixed to the wooden shuttering with disposable thumb screws prior to pouring the concrete. A template is supplied to ensure the luminaires are correctly positioned and provides a drill guide for the fixing screws. Flexible electrical conduit is run to the housing and sealed with a generous sized compression gland. After the concrete is set, the shuttering is removed and the front moulding can be withdrawn leaving a neatly formed smooth concrete recess. Any trapped air bubbles or imperfections in the surface of the concrete are said to add to the personality of the lit effect. The light engine is housed in a die cast aluminium heat sink, with the moulded

polycarbonate window sealed with resin then installed into the housing, which is now fixed into the concrete. The LED light engine is available in both dimmable and non-dimmable versions. The non-dimmable type runs direct from 230 VAC with an on-board ic based driver system. The dimmable version runs from a remote dimmable driver for easier servicing. Simes claims a light output of 305 lumens with 3,000K 80 CRI LEDs with an input power of 9W. The Ghost series currently includes vertical and horizontal rectangular types as well as a square recess. It is understood that a smaller square version is now under development. Ghost is a type of ‘negative product’ – the result of removing half the product to create a light emitting space. From a luminaire designer’s perspective I would always be concerned about leaving the

quality of final finish to the company pouring the concrete but the advantages of completely hiding the luminaire are clearly attractive. The design is well-considered and executed and the good reaction received so far by the architects and designers bodes well for future sales. David Morgan runs David Morgan Associates, a London-based international design consultancy specializing in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: Web: Tel: +44 ( 0) 20 8340 4009 © David Morgan Associates 2016



HOME OF THE FUTURE Through a collaboration between Occhio's design-led approach and Casambi's technological solution, this Austrian studio house allows its inhabitants to control lighting to suit any situation.

Situated at the Wörthsee lake in Austria, this studio house communicates a feeling of seclusion and peace. Its large windows establish a direct connection with the surrounding landscape, lake and the woods. The owner constructed the place firstly to create a space for working undisturbed and secondly to provide a private, inspirational atmosphere for talks with business partners. With regards to lighting, the project is a collaboration between Occhio and Casambi. In a combination of design and technology, Occhio's luminaires can be turned on and off and dimmed by different hand movements in front of the sensors. Its Più spotlights light the ground floor, distributed randomly around the room, letting light reflect from the walls, creating a basic brightness. Mobile reading and table luminaires provide additional light for the work surfaces and reading area on demand. In the basement Più piano recessed spotlights cast beams

of light on the walls as light art. One highlight is the Sento luminaire positioned above the dining table. Thanks to its height adjustment feature, it can be easily adapted to fit any table situation. The whole studio house is controlled by Occhio air, Occhio’s Bluetooth low energy based control system with its own app – a system made by Casambi. The whole air system works with one Casambi semiconductor chip integrated within the luminaires, meaning no wires, no DIN-rail mounted lighting control components and all functionality existing on one tiny chip. Casambi's business model is to be a technology and solution provider for its partners and since its technology can be integrated into fixtures, LED-drivers and within LED modules, it creates the optimal solution for collaboration with companies like Occhio. As an advocate of smartphone and wireless technologies and their ability

to change the way we interact with everyday objects, Casambi's solution suits the mentality of the Wörthsee house. Key aspects of the Casambi solution are great user experience and high performance. The user interface is made in a way that anyone - regardless of technical proficiency - can use the system. With Occhio air, Occhio expands its technological portfolio to include a new dimension of operation. The luminaires can thus be controlled easily and intuitively with a wireless system . All that is required is to download the free app, which allows switching on, dimming, fading or creating entire lighting scenarios and groups. All of this helps to transform the experience of using light and its aesthetically pleasing effects, both in a residential and professional setting.

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Through the installation of a KNX solution, Eelectron and 2CTRL have provided a simple supervision software for Sweden's Vox Hotel, including lighting management.

Based in Jonkoping, Sweden, the Vox Hotel hosts a total of 143 premium rooms plus common areas. With Synchronicity's range of access control, supervision, HVAC control and Eelectron’s backbone actuators, the hotel's shutters, dimming, lights and fancoil speeds can be controlled, showcasing the flexibility of KNX in complex environments. Hotels are continuously pursuing high energy saving, reliable and simple supervision software to manage clients’ requests and of course looking for a simple and nice way to supervise their rooms and common areas in an efficient way. Eelectron's technical team was directly involved with its Swedish partner 2CTRL for the planning of the installation, first by operating a consultancy on the whole KNX installation and in a second step with local meetings and visits to match the client’s enquiries. Hardware, software and special design

and finishing features of the products was reviewed to match the requests of architects and planners involved in the project. The team equipped all rooms with Transponder Reader and Holder customised with special LEDs and glass finishes requested from architects. Both products embed two digital inputs and two relay outputs, which, in this particular case, were used to manage courtesy lights and television activation at the client’s entry. The outside reader was programmed to differentiate clients to service/maintenance access and to visualize Do not Disturb, Make up Room and Service call signals out of the room. The Transponder Holder has been mainly used to activate and deactivate the energy saving mode in the rooms at clients’ presence, keeping it in standby mode at the

maid’s entry. Lighting management was a priority in this project, with Eelectron required to control LEDs in every room, in common areas and in the basement. An intelligent feature of the products has been used to perform constant lighting management via LED dimming in every room, based on room occupancy and brightness determined by a presence detector. More than a new experience, the project confirms that KNX is the ideal solution to manage a complex environment, and that high skills, knowledge of the application, clear specifications and client needs are key to a satisfying result.



CITY LINK Providing a pedestrian and cycle crossing over Australia's Brisbane river, the Kurilpa Bridge is illuminated at night by Griven's programmable LED lighting system. Pic: Adam Axten

Providing a pedestrian and cycle crossing over the Brisbane River, Australia, Kurilpa Bridge connects the city's Central Business District with the its South Bank and major cultural precinct. As the world’s largest structure based upon a system of balanced compressive and tensile forces named “tensegrity”, Kurilpa Bridge is a 470-metre long multi-mast, cable-stay bridge with a 120-metre main span. While the geometry of the bridge is informal, the cables (in tension) and tubes (in compression) have been arranged with a structural rhythm, in order to deliver the strength and resilience required to carry thousands of pedestrians and cyclists. Kurilpa Bridge also features two large viewing and relaxation platforms, two rest areas and a continuous all-weather canopy, which has become a symbol for art, science, technology, and healthy living. Completed in 2009, Kurilpa bridge has recently had its lighting system upgraded with a new Griven LED lighting system specified by Cameron Gunning of Vision & Sound Technology (VAST), working close to Griven’s exclusive distributor in Australia, the ULA Group. The project was initialised and managed by Adam Axten from electrical contractors Stowe Australia. Gunning commented: “Griven manufacture an excellent product that is robust and

reliable. The LED sources are high quality with consistent colour matching across luminaires. Both fixtures offer accurate optics and powerful output in a compact housing. The slim line design of the Emerald and small footprint of the Ruby fixtures provides an unobtrusive addition to the bridge structure.” At night, the bridge is lit up by a sophisticated LED lighting system, which can be programmed to produce an array of different lighting effects. Depending on the different lighting configurations, 75%-100% of the power required is provided by solar energy, mounted directly on top of the bridge, generating a daily output of 100KWh. 32 units of JADE 16 in RGBW colour configuration with narrow optics have been installed in selected points of the bridge in order to enlighten its structure, made of huge metal tubes, up to the top. Moreover, ten EMERALD RGBW with narrow optics have been mounted on the external cornices of the bridge to deliver a splash of coloured light to the whole structure. In order to avoid any unpleasant glaring effect to pedestrian and cyclists and to better direct the light beams, these fixtures have also been equipped with specially developed anti-glare shields. JADE 16 RGBW is a newly engineered

rounded spotlight, which houses sixteen high power RGBW LEDs, as well as in-built electronics and power supply unit. Providing a vibrant colour palette from a compact chassis, JADE 16 RGBW features functional efficiency along with dynamic lighting performance that is assured by digital control of all functions, either onboard for standalone operation, with Master-Slave selectable for multiple unit synchronisation, or from external DMX512 controller. The wide choice of selectable optics groups, ranging from narrow aperture beams to elliptical wide distribution, and the aiming orientation adjustment further enhance JADE 16 RGBW maximum flexibility for any surface mount application purpose. Benefiting from advanced electronic colour mixing, EMERALD RGBW features 60 premium quality high RGBW power LEDs, coupled with a variety of high build and design optics groups for optical efficiency, balanced projection and photometric flexibility. The combination of RGBW LEDs offers an impressive white light output quality, as well as a wider variety of intermediate colour hues for an even broader range of application purposes. Such performance is enhanced by the capacitive touchscreen display that allows for a direct access to all on-board functions.



Faced with a lack of space and environmental constraints, illumination Physics has created an intelligent lighting solution for the feature walls of Hong Kong International Airport's refurbished business and first class lounges, bathing the space in Cathay Pacific Airway's signature teal blue.

Foster and Partners have refurbished the business and first class lounges at Chep Lap Kok, Hong Kong International Airport - the home of Cathay Pacific Airways. The new lounges are smart, elegant spaces devoid of superfluous distractions that are irrelevant to the guests. There is everything you need and nothing you do not. The signature theme in all of the lounges is the ceiling to floor glass feature wall illuminated by LED lighting found at the reception and within the overall space. The reception walls are neutral white, while the inner wall changes colour, subtly. This should be simple lighting, however what makes it complex is the lack of space and environmental constraints. Hong Kong International Airport is full to capacity. There is not a millimetre to spare in the lounge and any additional elements

will compete with existing features. The illuminated glass walls act as partitions so they are functional as well as decorative. However, there is little space for the lighting systems. Buried in the ceiling and the floor, access to the luminaires and the potential for overheating become pivotal issues. illumination Physics designed and manufactured a special version of the Linear Graze wash light. It was essential that the luminaire be simple and reliable. To achieve this, the fixture could not contain any electronics and remote drivers had to be located in an accessible service room nearby. Heat was an issue because the 100mm gap between the frosted glass and the back panel is poorly ventilated. Therefore thermal models were produced to determine the dimensions of the luminaire

so that sufficient conductive cooling for the LEDs was achieved. The luminaire also had to be short in length, just 250mm, so that it could be manoeuvred past the metal framework that supports the glass wall. The new light fixture was eventually designated IP XHP 250. Each fixture contains two sets of LEDs. One set of five RGBW composite LEDs for pastel colour mixing, allowing Cathayâ&#x20AC;&#x2122;s signature teal blue to be achieved, and a second set of single colour LEDs, from a particular colour temperature bin, which would be used for a Warm White only, which could not be achieved by colour mixing. The cool wall has been designed by illumination Physics to be the ideal solution for this particular project.



LOCALLY SOURCED Taking its inspiration from an industrial environment, Barcelona's OhBo restaurant welcomes its guests with a host of eclectic furniture and recovered materials, which is highlighted by Lamp Lighting's Imag projectors.

The OhBo restaurant is located on a wide street in the Sant Gervasi neighbourhood in Barcelona, Spain. It represents an unusual approach with a cosy ambience which bids its guests to relax and enjoy a healthy meal made from ingredients that are organic, locally sourced, and in season. Isabel López Vilalta + Asociados took their inspiration from an industrial environment and used recovered materials. They designed the identity of what has to be a franchise by means of an iron grid framework with old and recovered glass panes with shades of green, blue, and grey, which now covers the main wall of the restaurant. All of this is enhanced by the

use of paper painted to look like concrete and the facilities being left open to view. The two façades are fully glazed and have views onto a garden area, which lends the space a natural feeling of vegetation, echoing the farm products. The glass windows are lightly covered with a deployé mesh and a metallic structure in order to provide some privacy to all of this transparency, safeguarding the diner from the outside world. The interior layout of the different tables includes a large Chester sofa, eight-metres long, running the length of the premises, as well as some vault-style leather benches against the deployé mesh. A solid oak table

presides over the space in the centre. Both quality and authenticity can be seen in the high-end materials, such as wood, steel, and leather, which have been used for the furniture chosen for this space. Lamp Lighting's participation in this project took the form of the installation of several Imag projectors, one of the most valued interior projectors in the Lamp Lighting portfolio. Combining a variety of technological innovations, in which the body functions as both shell and heat sink, Imag was designed for high luminous fluxes, and was prepared to offer the latest COB (Chip on Board) version.


Pic: © Laurent Barranco


Hôtel Dieu in Toulouse (France) in use: 4660-Corsica in warm white



IN HONOUR OF HERITAGE Paying close attention to the building's industrial heritage, MEGAMAN has provided both tasteful and technologically advanced products to welcome the St Paul's House hotel guests with some unique Birmingham history.

St Paul's House hotel, a recently opened boutique hotel in Birmingham, UK, has based its lighting around its industrial heritage. Formerly a rope factory, the location of the hotel, in the heart of Birmingham’s historic Jewellery Quarter, is reflected in the hotel’s logo that features jewellery making tools. The heritage of this building is also echoed in the interiors and lighting via filament lamps hung from brightly coloured ropes throughout the lobby, bar and restaurant areas and the exposed brickwork in the public spaces. Husband and wife team, Adrian and Sharon Harvey, owners of the hotel and the ones responsible for the direction of the hotel’s look and feel, worked hard to create a distinctive style. Sharon Harvey commented: “We tried to create a mix of the local tradition and more cutting edge design.” 3ci Lighting worked alongside the hotel owners and their designer to deliver this

design brief. Tom Shanks, owner of 3Ci Lighting commented: “We chose to work with MEGAMAN because of their reliability and performance of their lamps. We sampled all the products in advance and all of the lamps and luminaires chosen performed well and suited the project perfectly.” MEGAMAN’s 10.5W Dim to Warm LED lamps were used throughout the hotel’s 34 bedrooms to create the ideal ambience for relaxation. All of the bedroom en-suite areas were also fitted with MEGAMAN’s 8W IP65 VersoFIT downlighters, in satin chrome and additional standard VersoFIT firerated downlighters were used throughout the hotel. The Dim to Warm lamps were the natural choice for the bedrooms due to their ability to follow the same dimming curve of filament lamps and at the same time emit a warmer light as they are dimmed. Incorporating MEGAMAN U-DIM technology, these dimmable LEDs are compatible with the widest range of

existing dimmers, whether they are leadingedge or trailing edge dimmers. For the bar and restaurant, MEGAMAN’s Gold Filament Classic, Globe and ST58 shaped 2,200K, dimmable LED lamps were the ideal choice. With 200 used throughout the public spaces, suspended to maximum effect, they create a stunning visual effect. In total the lighting installation includes 200 MEGAMAN Gold Filament lamps, 68 MEGAMAN LED Dim to WARM lamps and 400 MEGAMAN VersoFIT downlighters and will deliver a combined saving of over €125,132 in electricity costs and 550,579 kg of Co2 over the lamps’ lifetime. St Paul’s House hotel showcases what can be achieved when tasteful design and the latest in high performance LED lighting are combined to create a welcoming environment that will draw people in through the doors for many years to come.

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WELCOME WATERFALL Using OLEDWorks' panels, Black Forest-based hatec collaborated with architects Eike Becker and project developers Groß + Partners to transform Frankfurt's Neue Mainzer Strasse entrance with one of Germany’s largest OLED projects.

Berlin-based architects Eike Becker, accompanied by hatec and the project developers at Gross + Partners, were faced with the challenge of creating an impressive lighting installation with a sense of modern elegance for the entrance of Neue Mainzer Strasse, a new residential and office building in Frankfurt, Germany. At an early stage in the project, Eike Becker in communication with Peter Matteo, managing director of Gross + Partners, designed a sophisticated solution for the entrance of the new building. He turned to hatec, who has a deep understanding of the quality of light from over 25 years of innovative projects. According to Florian Koch, the lead architect on the project, “the entrance defines the character of a building. It is where all the visitors and users get particularly close to the building.” The lobby was the ideal spot to add a first and lasting impression for those that pass through the building. “The OLED is not appropriate for all lighting tasks,” said Andreas Pfefferle of hatec. “Getting a handle on the relationship between physical and electronic properties is the greatest challenge when working with OLEDs.” However, despite any minor challenges, after careful research there

was no question that OLEDWorks Lumiblade Brite FL300 panels would be the ideal light source for the installation. With its simplicity and versatile range of uses for different applications, using OLED for this installation was an exciting test for all parties involved. Designing luminaires can prove to be a challenge for designers; “After all, it is the function that has top priority, and that is influenced by both the technical construction and the design of the luminaire”, according to Pfefferle. However, OLEDs provide a uniquely creative scope to the design philosophy of creating luminaires, as they help bring designers back to focusing solely on the creative influence of the installation rather than on the coordination of the room and lighting concept, which can sometimes be very limiting. Through OLEDs’ flexibility and streamlined appearance, their versatility is endless in lighting as an art form. With new attention to the artistic element of the design, designers were able to carefully arrange the OLEDs in such a way that visitors are drawn deep into the building through the slightly curved shape of the ceiling. The OLED light panels were displayed in staccato segments while utilising the

integration of light and shadow to create a pleasant experience and a visual effect “comparable to rays of light shining through the leaves of a tree and their dappled shadows on the ground.” The end result was a lobby with over 1,000 luminous OLED panels interlaced with close to 500 unit plates, creating the effect of light cascading down from the ceiling like a “waterfall of light”. The installation is considered one of the largest OLED projects in Germany, and is revolutionary in architectural lighting design. OLEDs are not only a green light solution, but also provide an additional layer of freedom in designing and ingenuity. Designers are harnessing the future of lighting technology with OLEDs, and the result is demonstrated in the Neue Mainzer Strasse. Although OLEDs are still a relatively new lighting technology, they already show today that they will be far superior to conventional lighting systems in terms of efficiency and power consumption. They follow LEDs in setting new standards in this area. With OLEDs, designers can design with less restrictions and revel in infinite creative design possibilities.

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EAT, DRINK, SHOP, SKI Creating atmosphere within Strolz's new multipurpose ski and sports shop, PROLICHT's luminaires are both adapatable and seamlessly integrated to suit the company's aesthetic standards. Located in Ambrosius Passage in Lech am Arlberg, Austria, the new Strolz ski and sports shop has become a hotspot for fashion, cafés, museums and lifestyle. The Austrian company has brought together Kitzmüller architects, lighting designer SHOUP and PROLICHT for the task. The internal spaces blend into a concept where functional areas, such as ski hire and ski storage, combine seamlessly into a shop interior and entrance to a nightclub. The retail areas are complemented by a café and museum of ski boots, illustrating the origins and traditions of Strolz's business. The fundamental design element that creates the atmosphere of the shop is light. Jürgen Kitzmüller of Kitzmüller architects explained: “It’s about using the light to draw guests in and guide them through the room.” Exposed concrete, black plate and aluminium contrast with clay plaster, oak and leather, however it is the lighting design that completes the atmosphere. “Light works with the material, and the material works with light,” said Kitzmüller. Lighting designer Dietmar Unger's choice of technical luminaires supports the interior design with sensitivity. With an appearance between industrial functionality and traditional charm, the lighting system emphasises the ambience. In terms of both optics and lighting effect, variable solutions allow the rooms to adapt to suit the seasons and to change individual niches into cosy lounge areas with a choice of lighting scenarios and dimmer functions. Prim arily trimless integrated systems were used to

suit Strolz's aesthetic standards and clean ceiling requirements. PROLICHT developed a channel system, which Unger and Johannes Lückl of SHOUP laid out across the whole area in an imaginary grid. Breaks in the grid squares produce frames of light to outline areas and corners, acting as arrows pointing towards individual niches. All the channels provide indirect lighting, producing a general lighting effect throughout the rooms. Individual integrated spotlights can be positioned to provide accent lighting, which are inset and barely visible. Each spot has its own driver, uses a simple plug connection and can be positioned individually. The five-way adjustable articulated arm with MAP system (Multi Axis Positioning System) makes it possible to adjust the rotation, angle and height of the spots. Another bespoke solution from PROLICHT is a dynamic ‘daylight’ in the entrance to the ski storage area. The luminaire, which looks like an oversized industrial window in the ceiling, simulates the light from outside, depending on the time of day. The light colour of the timer controlled programmable LEDs varies from pale morning to evening dusk, conjuring the sky in the room. Strolz managing director Stefan Maierhofer concluded: “The lighting solutions from PROLICHT are an outstanding addition to the shop’s design and create a wonderful atmosphere in the room.”

Pics: PROLICHT / Armin Kuprian




Design freely. From grand custom installations to elegant sleek luminaires, designers are energizing the OLED lighting experience. Made with OLEDWorks Lumiblade Brite Panels Installation by Carl Stahl | Zhen by Birot




MIRACLE MOTORS In homage to the timeless beauty of classic cars, Rosco's Miro Cube fixtures provide a flexible lighting solution for the illumination of LA's Petersen Automotive Musuem $125M renovation.

To the delight of classic car lovers, the Petersen Automotive Museum, which anchors Los Angeles’ famed Miracle Mile, just had its grand re-opening after undergoing a $125M renovation over the past twelve months. To properly illuminate the rare and luxurious vehicles inside the famed museum, the renovation necessitated a complete overhaul of the lighting system and controls. The project utilised a total of 850 Rosco Miro Cube WNC fixtures, six colour-mixing Miro Cube 4C fixtures and nearly two miles of Rosco DMX Data Track to illuminate the exotic cars on display. The Scenic Route undertook the management of the renovation, along with the integration of its design elements. According to Ron Gould, Creative Director, The Scenic Route, their goal was to give the museum the future-proof solutions and technology required to create a dynamic environment that would allow them the flexibility to move and shift the exhibits as needed. Perhaps the most important aspect of the design strategy was the decision to install a broad grid comprised of Rosco DMX Data Track above all three floors of the museum. The Data Track allows easy, streamlined installation of Rosco’s Miro and Braq Cube LED fixtures by combining power and DMX control into one single track. Frank Janesh, Project Manager for The Scenic Route, commented: “This grid allows the ultimate flexibility in placement of lighting fixtures, which will complement the museum’s plans to rotate cars into/out of the exhibit. In addition, ongoing special events in the first floor promenade can be illuminated easily and in-step with the museum’s overall lighting design using Rosco Miro Cubes.” Chris Werner Design was selected to create the lighting scheme for the museum. When asked about specific lighting design challenges presented by the Petersen

Automotive Museum project, Werner referenced a number of issues including the avoidance of glare when illuminating the highly reflective car surfaces and allowing close visitor interaction to the exhibits without compromising the effective illumination. Werner noted that his concept for the lighting system required LED-based, individually addressable, track mountable fixtures that were lightweight and easy to move around the space. Other critical features included tunable colour temperature, flicker-free dimming and complete beam-shaping capabilities. Given the dynamic environment requirements sought by The Scenic Route and the design aesthetic envisioned by Chris Werner, Rosco’s Miro Cube WNC, coupled with their DMX Data Track, presented itself as the ideal solution to fulfill all of the project’s requirements. The mix of warm, neutral and cool white LEDs inside the Miro Cube WNC provided a rich colour spectrum that allows the cars and exhibit pieces to dazzle the museum’s visitors. The WNC will also provide the museum’s design staff the capability to change the colour temperature in order to fit the ever-changing needs of its exhibits. The fixture’s convenient track mounting capability, individual DMX addressability, and lightweight & compact form-factor make the Rosco Miro Cube a nimble light source that lends flexibility to the museum. Thanks to the efforts of Peter Rogers at Forman & Associates, a series of successful lighting mockups confirmed that the Rosco Miro Cube WNC would perform well in the museum’s various venues. This led to the Miro Cube’s specification throughout the Petersen Automotive Museum – one of Rosco’s most prominent light fixture installations to date.

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THE KNUTS & BOLTS A selection of the latest in lamps, sources and control.

R63 LED retrofit Ledvance An alternative to classic halogen lamps, the R63 LED retrofit from Ledvance is a direct replacement for halogen products with screw bases. With very low energy consumption, a lifetime of up to 15,000hrs, the clear lamps feature innovative LED filament technology. Its design, dimensions and luminous flux are comparable to an incandescent or halogen lamp. Suitable for domestic, general illumination and outdoor applications in suitable luminaires.

NAVI ELECTRON ELECTRON SA’s NAVI is a dimmable RGB LED lamp that has been created for ambient illumination of interior spaces. It has a cutout of AR111 and ELECTRON can offer various fittings for installing the lamp. The NAVI LED lamp operates at 350mA, has a power consumption of 13.5W and can be controlled by the dimming systems made by ELECTRON SA.


LED 360° illumination lamps Megaman Megaman’s new LED 360° illumination decorative lamps offer the same value as the rest of the portfolio with excellent output and quality of illumination along with the same classic look as incandescent lamps. The sleek finish of the LED 360° illumination lamps allows for light to be emitted in all directions incorporated in a carrier free design and includes a 3W Candle, 3W Ping Pong, 5.5W and 8.5W classic lamp.

AR111 Platinum reflector spot Swiss LED Swiss LED AR111 Platinum reflector spot has a unique design with a 50,000 hour lifetime and five years warranty. With low‑power and high‑efficiency, this AR111 uses a custom heat sink design. In collaboration with multiple driver and optic partners, Swiss LED has created an integrated and optimised system. The product demonstrates the increasing value of multi‑disciplinary design using anti-glare optics and harmonic driver technology to bring a unique product to market.

Warm Tune Linea Light The new Warm Tune technology, evokes the old incandescent lamps. The lower the intensity, the warmer and softer the light. The arrayLED source and the study of the dedicated optical units ensure visual comfort, a clean light cone and a high colour rendering index (CRI92). The same characteristics are found when the luminaire is set at the maximum intensity, with a 3,000K colour temperature, and at the minimum intensity, with a 1,800K colour temperature.

LED Spot WarmGlow Philips The Philips LED Spot WarmGlow is a glass LED spot that replaces the popular halogen spotlight. The use of WarmGlow technology in conjunction with the glass spot, ensures it looks the same and shines with the same colour and intensity as halogen spotlights. The WarmGlow technology, with its gradual dimming feature, enables light levels to dim to warm tones of traditional halogen spotlights. It addresses the demand from consumers for comparative light quality and is up to 90% more energy efficient than halogen lighting.

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Beauty Series Xicato Xicato Beauty Series puts people in the spotlight. Developed in collaboration with lighting designers and leading cosmetology professionals and backed by independent research, Xicato Beauty Series is engineered to deliver high fidelity that improves foundation colour matching at cosmetics counters. Beauty Series carries Xicato’s warranty on both lumen and colour maintenance. It is available in Xicato’s XTM LED module with 19mm light emitting surface, in 1,300 and 2,000 lumen options.

TILE Cooledge Cooledge’s colour-tunable TILE products expand design flexibility for designers. Colour temperature control – from 2,700K to 5,700K – allows architects and designers to make light feel more natural and to create drama in retail, hospitality, entertainment, and corporate environments. Interior ‘skylights’ can be programmed to change through the day, replicating the behavior of sunlight. Walls and ceilings too can be tuned to create an emotional response, support branding, and establish a unique appearance in a space.

FreshFocus Technology Lumileds For bread and pastries, Lumileds offers FreshFocus Technology on select LUXEON CoBs for spotlights and downlights. At 2,700K, the LUXEON CoB 1208 and 1211 arrays achieve >100 lm/W efficacy and produce 3,464 and 4,750 lumens when driven at 900 and 1200 mA, respectively. FreshFocus Technology is offered in the Matrix Platform using LUXEON LEDs on flexible or rigid substrates. The Platform’s proprietary Oberon pick-and-place technology delivers a consistent light appearance.


Orion Plessey Plessey Combines GaN on Si LEDs with Stellar Beam Forming Optics technology in Orion - an efficient and slim line module. Offering an innovative replacement for COB type modules, it provides customers with a fresh approach. Boasting effective control of both beam angle and colour over angle; improved thermal characteristics, reducing heatsink requirements, the module is available in a variety of CRI and CCT are available. Stellar Beam Forming Optics provide optical control from a module 5.6mm including optics, delivering compact beam forming whilst reducing the fixture size.

1616 XNOVA Cube Luminus

OLED Light Panels LG Display LG Display offers OLED light panels in a variety of shapes and sizes. Eleven different models are available with different colour temperatures. Including: square type, rectangular type, circular type, and flexible type OLED light panels.

The 1616 XNOVA Cube is a 1W LED with a 170° viewing angle, which improves system efficacy, reduces cost, and simplifies optical design in panel lights and omnidirectional bulbs. Unlike traditional mid-power LEDs, which were originally designed for LCD backlighting, the XNOVA cube is engineered specifically for illumination applications with high quality of light, one of the widest viewing angles, and a compact 1.6 by 1.6mm SMD package.

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Active+ Helvar

App and firmware update Casambi

Helvar’s Active+ is an out-of-the-box standalone solution consisting of an LED driver and its smallest sensor yet built into the luminaire. Active+ is ideal for refurbishment projects, new offices, corridors, open plan and storage areas. A luminaire fitted with Active+ is easy to install, with no control wiring, programming or configuration needed. Active+ uses 60-100 hours to learn about its environment and achieves smart energy savings compared to a simple switched luminaire via presence detection, daylight harvesting, seamless and comfortable dimming.

Casambi is constantly improving and advancing their app and firmware. A new release is available with support for Bluetooth low energy based push buttons and remote access possibilities. As a technology provider for luminaire manufacturers, Casambi also gives the opportunity for its partners to make their own switches that will work seamlessly with the Casambi app. The Casambi app can be downloaded for free from Apple app store or Google Play store and includes a demo version to show system functionality.

STICK-CU4 Nicolaudie The STICK-CU4 from Nicolaudie is a programmable DMX lighting controller designed around a touch sensitive colour wheel allowing for control of RGB and RGBW lighting in addition to brightness and colour temperature control. The controller is USB programmable from a PC or Mac using the ESA2 software. Up to 36 scenes can then be stored within the controller and directly recalled via six touch sensitive scene buttons.

CONTROL LumoSeries Fulham Fulham’s LumoSeries drivers are designed to efficiently power and control LED solutions for many lighting applications. Its high specification and low inrush currents means more drivers and luminaires can be operated on a single circuit, thus reducing the cost of installation. In the full range of, both constant current and constant voltage models are available including versions with various dimming and DALI capability. Some are configurable to operate as either constant current or constant voltage drivers. They feature thermal overload and over- voltage protection; very high power factor; have excellent EMC behaviour and have high efficiency across a wide range of loads.

SYNAPSE iLumTech DMR.730 ELECTRON The Trailing Edge Dimmer DMR.730 is the upgraded dimmer manufactured by ELECTRON SA. It is designed for dimmable 230V LED lamps and manufactured with ELECTRON’s ‘Switch Mode Regulated Dimming’ technology, to allow flicker free operation. This makes the DMR.730 a dimmer that achieves stable output voltage, unaffected from mains fluctuations (output remains stable in power supply range from 173V to 265V).

SYNAPSE by iLumTech is an innovative, intelligent, dynamic smart city control and monitoring system. It is an easy-tomaintain open platform on the base of wireless LoRaWAN technology, and able to connect 20,000 GPS nodes within a range of 15km. The nodes harvest data about the luminaires (real-time power consumption, temperature, device status) and the environment (environment quality, traffic, parking, utilities consumption, waste status), inputs it into software, which makes analysis, reporting, monitoring and control of luminaires easy.

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X-TALK XAL This smart communication standard enables wireless communication between luminaires. You can use any smart device (such as a smartphone or tablet) to con­veniently switch luminaires on and off, either individually or in groups. Communication takes place using the X-TALK technology module, which is based on a wireless standard. Luminaires send information to each other over a mesh network, which increases the range. XAL’s smart gateway offers enhanced functions, such as controlling lighting over the course of the day.

instalight Vario Insta instalight Vario is the ideal control system for small through to mediumsized lighting systems of manageable complexity. Commissioning is made easy by means of a intuitive app. You just choose the required modules and plug everything together. Then you choose the colour mode required e.g. Tunable White, RGB, RGBW etc, the desired profile for your existing operation elements from a pool of pre-assembled operation profiles and finally the desired light scenes. Various static and dynamic light scenes are available.

Wireless Grouping Multi Zone RGBW Controller Signcomplex Used for control of 12-24V RGBW LEDs, this RGBW controller features RGB, dual colour and single colour remotes. The 2.4G wireless remote has a control distance of up to 100-metres, four zone controller, and can synchronise changes in effect. With each zone able to connect multi group lights at the same time, the controller is suitable for a variety of applications, such as architectural lighting, hotel, shopping mall, restaurant or façade.

ATIVO Zumtobel ATIVO can be used as a DALI master system to autonomously actuate luminaires. Integrated into LITECOM, it supports lighting management functions, such as daylight control and can automatically select the right lighting scene to suit a room’s use. It differentiates between people or vehicles, such as fork lift trucks, or adapting the lighting level due to the intensity of room use. Designed for energy efficient applications, its Plug&Play technology means it’s simple to assemble and install. An industry version comes with a rugged housing that meets protection class IP64.

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

net4more Tridonic The net4more toolbox, consisting of LED drivers, communication modules, sensors, routers, software and apps, was featured in the luminaire Zumtobel MIREL 600 x 600 wireless – prototype. net4more provides access to data without the need for an additional gateway and is therefore a platform for developing services that go beyond light, such as indoor navigation and space management. The crucial benefits of the net4more concept are its open platform - based on the open standard of the IPv6 internet protocol -, flexibility and scalability.

Come and visit Helvar at Lux Live 2016 London ExCel on November 23 - 24 2016. Helvar will be showcasing a range of innovative lighting control solutions. In addition to human centric lighting we shall also be demonstrating personalised mobile solutions, self learning and solutions with no or very little configuration. We welcome you to experience how Helvar sees the new â&#x20AC;&#x153;lighting for the futureâ&#x20AC;? IoT ecosystem. Stand H36 For more information

Mondo Advert Luxlive 2016.indd 1

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We bring you a selection of some of the industry’s newest products.

Fuga Kreon

LUNA LED Linear LUNA is a small linear luminaire for recessed applications that offers high modularity. With twelve different optics, it is suitable for various applications. Three lenses in 10°, 30° and 60°, and nine covers enable grazing light effects as well as soft light for general lighting. Equipped with powerful LED strips of up to 40 W/m the luminaire offers a high luminous flux of up to 4,300 lm/m. It is suitable for application in living rooms, museums, galleries, corridors, shops, hotels and offices.

Quad Eye Acclaim

OptiLight Linea Light

ZOUK Unilamp

OptiLight, a transparent polymethylmethacrylate (PMMA) panel distributes the light from a LED perimeter source in a homogeneous way thanks to its laser-engraved pattern: a soft, glare-free light providing total visual comfort. The Optilight technology allows high lighting performances whilst offering effective luminance control, a feature that makes the products fitted with Optilight the ideal solution for use in offices and workspaces where compliance with standard EN 12464-1 is required.

Slim and surface-mounted, the ZOUK family is now available in a thin round shape. Thanks to the high output Samsung LED engine, ZOUK offers both low glare and high output. Manufactured from LM6 aluminium, the housing is built to last harsh climates. The double coating of polyester powder and nano-ceramic film ensures longevity. Built with the mindset of light comfort and soft visualisation, ZOUK has no visible glare. With a CRI > 80 and an offering of both 3,000k and 4,000k, ZOUK is also available in square and rectangular shapes.

The Quad Eye is a high output, DC powered, colour-changing downlight. It features an adjustable head that rotates and pivots, an on-board DMX + RDM driver, and a single 10W CREE quad colour LED. With a power consumption of 17W, operating voltage of 24VDC and lumen maintenance of L70 at 150,000 hours (25º C), the product is available in a white (standard) and black (optional finish and has a die cast aluminium housing material. It weighs 1.75 lbs (0.8 kg) and measures 5.3” Dia x 4.35” L (135mm Dia x 110.6mm L).

Fuga is a pendant lighting fixture that creates an independent, autonomous form. With its slim profile dimensions and flexible product layout, a fascinating tension between the closed, ceiling mounted and pendant illuminated profiles is created. At the same time, a relational space develops between the object and architecture. The lower horizontal bar includes an LED-strip with diffuser for a homogenous light output. This bar can be repositioned to an offset position or in the middle of the vertical bar. The additional possibility to rotate the lower horizontal bar makes Fuga a dynamic pendant luminaire.

Direct DMX Series CLS With the new series, CLS offers durability, ease of use and installation and maximum performance in a compact housing. With the DMX electronics and power supply integrated in the fixture, the luminaire is available in both normal and REVO Compact series as well as in IP67 and Rail versions. The fixture also offers white, single colour, RGBW, RGBA, AWB and tunable white versions. Dynamic Power Control (DPC) ensures 25% higher light output, while Dynamic Temperature Control (DTC) ensures optimal protection of the fixture in hot weather conditions.

RT P9808

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CCT LED Downlight (Mini / WW) Targetti A compact recessed downlight that delivers a high performance and impressive wall wash solution for architectural lighting. The new wall wash optic is fitted with high efficacy LED sources to deliver up to 150lm/w for an energy-efficient light application. As a part of the CCT Led Downlight Mini Series range, the downlight is available in a variety of colour temperatures, CRIs and additional distributions. The series is constructed with first choice materials and components to meet high quality standards.

Adhara Aldabra


Adhara is a compact adjustable (±25°) recessed fixture, made of natural anodised aluminium. Fitted with specular hybrid optics (16° or 40°) characterised by high visual comfort or with diffusive screen, Adhara is available in monochromatic finishes (3,000K or 4,000K). Powered up to 500 mA, it uses highly efficient power LED light sources with an output ranging between 105-140lm/W. The product also has stainless steel springs included and a protection degree of IP40.

TULPI is an LED moulding luminaire designed by Matyáš Kočnar and proposed in co-operation with UMPRUM industrial design atelier. The body of the reflector is part of the same mould as the driver covering, facilitating production and achieving a playful look. The luminaires can be equipped with highly luminous LEDs with colour rendering index Ra>80 or Ra>90 and with LED sources with Real Colour technology, ensuring a rendering index Ra>97.

ADVERTISERS INDEX Acclaim.......................................................... 151

Hacel.............................................................. 8,9

ACT............................................................... 183

Helvar............................................................ 179

Nicolaudie....................................................... 13

Agabekov........................................................ 17

Heper............................................................. 117

OLEDWorks................................................... 169

Anolis.............................................................. 4,5

Huda Lighting................................................ 147

OM Light......................................................... 23

Applelec........................................................ 125

IALD............................................................... 139

Osram Lighting Solutions.............................. 113

Neonlite............................................................. 2

Architectural Area Lighting............................ 187

Illumination Physics....................................... 145

Panzeri............................................................. 69

ATEA Lighting................................................. 41

Insta............................................................... 143

PLDC............................................................... 78 Precision lighting............................................. 25

Aurora............................................................ 153

Instrument Systems....................................... 127

Bega................................................................ 31

ISTL................................................................ 163

Prolicht........................................................... 169

Cariboni........................................................... 35

Kim Lighting...................................................... 3

Pulsar............................................................... 85

Casambi......................................................... 177

KKDC............................................................. 115

Reggiani........................................................ 109

CLS.................................................................. 10

Lamp................................................................ 29

Remote Controlled Lighting.......................... 175

Cooledge...................................................... 123

Lamp Lighting................................................. 29

Rising Dragon Technology.............................. 12

darc night....................................................... 6,7

LEC Lyon........................................................ 163

Rosco............................................................... 53

David Morgan Associates................................ 97

LED Linear..................................................... 188

Signcomplex.................................................... 14

Design LED...................................................... 97

LEDYi............................................................. 165

StrongLED..................................................... 181

Dial................................................................ 167

Lee Filters ....................................................... 47

Studio Due.................................................... 177

Electron......................................................... 179

Ligman............................................................. 11

Swiss LED........................................................ 16

Erco................................................................. 73

Linea Light....................................................... 61

Targetti............................................................ 37

Euchips.......................................................... 127

Lucent.............................................................. 39

Unilamp........................................................... 15

Forge Europa................................................. 165

Lumenpulse..................................................... 93

Vode.............................................................. 155

Forma............................................................ 111

Luxologie....................................................... 183

We-ef............................................................... 77

Glamox............................................................ 67

Luxonic............................................................ 83

Wibre............................................................. 173

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

Marl............................................................... 171

Wila............................................................... 119

Grupo MCI.................................................... 167

MBN................................................................ 81

Xicato.............................................................. 99

Guangzhou International Lighting Exhibition.148

Mike Stoane Lighting...................................... 95

Zumtobel ........................................................ 21

GVA............................................................... 121

NDYLIGHT..................................................... 183

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.

SENIOR LIGHTING DESIGNER We are a full-service lighting design consultancy, working with clients from site planning to design to construction and commissioning. As independent lighting design consultants, we build close professional relationships with our clients, designers and construction teams. We have extensive experience in delivering sustainable lighting design solutions. We work closely with design teams, architects, planners, developers and engineers to determine the most effective project specific solutions. We believe that the best creative solutions are obtained when input is sought in the initial planning stages and throughout the design and construction phases. We are currently looking for a talented Senior Lighting Designer to join our team in London office. In this exciting position you will involve some or all of the following key tasks at varying times. Duties include, but are not limited to: Establishing lighting concepts and prepare design documentation for creative lighting solution on NDYLIGHT Projects, ranging from lighting design work in a variety of sectors, including retail, exhibition, commercial, hotels, leisure, sports, health, education facilities, residential arts, public realm and master plan landscape developments. participating in client facing activities such as design workshops, design team meetings etc in the presence of the NDYLIGHT Studio Manager, reviewing drawings and technical submissions by contractors and sub-contractors against the specified requirements as well as the quality of construction against the specified requirements, attend site meetings as appropriate and report on the status of the work and any items of concern. To be considered for this role, you will come from a solid lighting design background with a degree in lighting design, interior, product or architecture design. You will have fantastic organisational skills with a disciplined work ethic to enable the most productive working environment and be motivated by the prospect of design excellence with a practical and commercial awareness.

Please apply by submitting your CV and work samples to Dilek Celik


Immediate hiring Senior lighting designer & Junior/Associate lighting designer ACT LIGHTING DESIGN

Position based in Brussels. Belgium

We are a lighting and visual environment design company, working with clients from site planning to design to construction and commissioning. We are active internationally since more than 20 years. Joining us means that today you will work on an immersive installation in Moscow as well as on some creative lighting design in Dubai and probably in the same time on a show for a theme park in Europe.

mondo*arc has the most targeted circulation of any international lighting magazine.

We are currently looking for 2 positions: - A talented Senior Lighting Designer/ Project Manager [ENG/FR] - A Junior Designer or Associate Designer [FR/ENG].

Look at our International Lighting Design Survey to see what we mean.

For more information

Reach our comprehensive circulation of 12,000 lighting designers, consultants, architects, manufacturers, distributors and end users in 107 countries. Adverts are also included in the digital issue and website. Call Andy White on +44 161 476 8350 or email

ACTLD has 11 nationalities with 12 languages and a 50/50 mix between gen­ ders. We are an equal opportunity employer and engage in fair employment practices. Using the living wage system and benefits. Our work ethic and enthusiasm have given us a prominent position in the in­ dustry. We're known for a creative, open and challenging work environment, and our people consider their work a vocation rather than a job. We offer a competetive package including relocation fee for the right candi­ date ls] To apply: email with CV and portfolio


LEDucation 28-29 March 2017 New York, USA

Future Landscape & Public Realm 6-7 February 2017 Abu Dhabi, UAE

Interlight Moscow 8-11 November Moscow, Russia

InterLumi 29 June - 1 July 2017 Panama City, Panama


Guangzhou Int’l Lighting Exhibition 9-12 June 2017 Guangzhou, China



Light 22 - 24 March 2017 Warsaw, Poland

Japan Lighting Expo 14-16 December Tokyo, Japan

Light Middle East 31 October - 2 November Dubai, UAE

Lightfair International 7-11 May 2017 Philadelphia, USA

Euroshop 5-9 March 2017 Dusseldorf, Germany

INALIGHT 30 November - 2 December Surabaya, Indonesia

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

LightExpo Africa 20-22 April 2017 Nairobi, Kenya

Strategies In Light 28 February - 2 March Anaheim, USA

LuxLive / Strategies in Light Europe 23-24 November London, UK

MATELEC 25-28 October Madrid, Spain

Euroluce 9-14 April 2017 Milan, Italy

Integrated Systems Europe 7-10 February 2017 Amsterdam, Netherlands

IALD Enlighten Europe 13-15 November Prague, Czech Republic

China (Guzhen) Int’l Lighting Fair 22-26 October Guzhen, China


INSPIRATIONS / #39 &Agency


mondo*arc Oct/Nov 2016 - Issue 93  
mondo*arc Oct/Nov 2016 - Issue 93