THE MAGAZINE FOR DESIGNERS WITH LIGHT
#05 2015 `5 0 0
Front Cover: Light Tunnel by dpa lighting consultants and KKDC Installation at the darc awards, 24 September 2015, London, UK â€œLight is our guide. Light assists when darkness falls. But what if light were a barrier? An obstruction? Enter the Light Tunnel, where you must find your own way.â€? Light Tunnel creates the illusion of a seemingly impassable route by utilising a series of full height lit vertical lines placed carefully so the participant perceives a barrier that prohibits them from travelling through. The use of mirrors to the ceiling, walls and the edges of the lit profiles provides infinite inter-reflections, extending reality and the sense of obstruction so one is left to discover the pre-defined passage. Dynamic control of the installation alters the appearance of the Light Tunnel, ensuring continuous way finding adjustment amongst the blurred visual boundaries. The installation used homogenous illuminated double-faced RGB and tunable white LiNi Glow XL modules complete with mirrored side facias. Each light element was installed at floor to ceiling within a secondary tunnel structure designed to conceal the existing building fabric with mirrors continuing along the entire ceiling length. Cover Image: dpa
THE BEST IN INTERNATIONAL ARCHITECTURAL AND DECORATIVE LIGHTING DESIGN
ESTUDIO BAROZZI VIEGA + ANOCHE, SZCZECIN PHILHARMONIC RENDERED AS A GLOWING BEACON
IN THE LAP OF LUXURY
URBAN STUDIO + LYLE LOPEZ, THE LEBUA RESORT IS CRAFTED AS A CONTEMPORARY RESPITE
DEVOTED TO ART
FRANK GEHRY + BERNARD ARNAULT + L’OBSERVATOIRE INTERNATIONAL, INTRICATE LIGHTING FOR ARTISTIC MUSINGS AT LA FONDATION LOUIS VUITTON
VIBHOR SOGANI, AN ETHEREAL COLLECTION OF CELESTIAL INSTALLATIONS
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details 010 Editorial Comment Editor’s Note. 012 Contributors Professionals that contributed to the issue. 014 Tribute In memory of industry visionaries. 016 Eye Opener Heartbeat, Covent Garden, London. 018 Focal Point Special No. 127, Pae White, Berlin. 020 Drawing Board Our preview of proposed projects. 022 Spotlight A selection of brand new projects from around the world. 030 Briefing We talk to Paul Nulty, Founder of Nulty+. 032 Snapshot Introducing Kunal Shah, Principal, SPK Valo. 034 Folio Ravi Vazirani Design Studio. 038 Lighting Talk In conversation with Talati and Panthaky Associated Designers LLP. 044 Interview Dhruvajyoti Ghose elucidates his journey through design.
050 darc awards
078 Szczecin Philharmonic, Poland
Celebrating the best in international
Barcelona based Anoche has created a glowing
architectural and decorative lighting design.
lighting scheme for Estudio Barozzi Veiga’s beacon of architecture in the heart of Poland. 086 New Parliament Building, Oman Visual Energy has created a dramatic lighting scheme for the facade and landscape of Oman’s new Parliament where shadow is as important as light. 092 National Institute of Faith Leadership, Dasna studio archohm choreographs natural light through spiritual space to illuminate the austerity of its being. 098 Fondation Louis Vuitton, France L’Observatoire International brings the artistic vision of Bernard Arnault and the architectural design from Frank Gehry to life through intelligent and intricate lighting design. 106 Fondazione Prada, Italy Rem Koolhas and his team at OMA, along with lighting practice Les éclaireurs, have provided
a popular environment for artists, bringing old into the new.
[nov/dec] 112 Lebua Resort, Jaipur
PROJECTS 112 Lebua Resort, Jaipur Urban Studio and Lyle Lopez craft a contemporary hotel complex reflecting traditional Rajasthani architecture. 118 The Whitworth, UK A £15m revamp sees the gallery bigger, brighter and bolder than ever before. 124 Britannia Cruise Ship, UK MBLD and interior designers Richmond International have provided P&O’s largest cruise liner to date with a flow of scene-setting lighting installations. 130 Inderlok Hotel, Dehradun Spall Associates introduce an internal vertical garden infused with an abundance of light into a hotel refurbishment. 134 Melbourne School of Design, Australia In reflection of the space itself, Electrolight has developed an integrated lighting scheme that is aesthetically pleasing for the students. 138 LWL Museum, Münster Its re-opening included a renovated lighting scheme by Licht Kunst Licht that guides visitors through a millenium of art and culture. 142 Gedee Car Museum, Coimbatore Amardeep M Dugar illuminates a compelling collection of extraordinary vehicles from across the globe.
ART & DESIGN 146 Alma Mater Enzo Catellani’s gilded discs use LED light to shower Yuval Avital’s multimedia installation. 148 Vibhor Sogani Designer and artist extraordinaire displays a collection of installations reminiscent of celestial light and ethereal auras. 152 A bullet from a Shooting Star SEAM’s illumination of Alex Chinneck’s industrial sculpture at this year’s London Design Festival. 153 Transition: Warm/Wet Melkan Gürsel and Arik Levy’s London Design Festival, two-room installation exploring the interaction between our planet’s elements. 154 ¡Dark! Past installations and site-specific exhibits
TECHNOLOGY 158 Case Studies A selection of innovative lighting projects, including lighting control specific projects from Erco (p158), Megaman (p160), and Crestron (p161). 162 Comment Dr. Geoff Archenhold discusses what’s next for the lighting industry. 163 John Mardaljevic Professor of Building Daylight Modelling comments on the importance of natural daylight in schools. 164 Bench Test David Morgan reviews Osram’s Lightify Pro wireless lighting control system. 166 Lighting Control A selection of lighting control products. 170 Event Calendar Your global show and conference guide.
exploring the power of light in the face of darkness. 156 Chase the Dark IALD’s Chase the Dark event proves to be a global success.
In Issue #04, the article titled ‘Of Light and Lagoons’ (pg. 128) mistakenly credited all images collectively to photographers, Bharath Ramamrutham and Sergio Ghetti. We clarify that all images are by Bharath Ramamrutham, barring three images (top, bottom left and bottom right) on page 133, which are by Sergio Ghetti. We also missed crediting photographer, Mark Cocksedge for his images in the article titled ‘Delicately Poised’ (pg. 50). We apologize for the errors. In case you have not received your copy of Issue #04 of mondo*arc india, email us at: firstname.lastname@example.org or purchase it at: www.stir.lighting
* The opinions, beliefs and viewpoints expressed by the various authors in this magazine do not necessarily reflect the opinions, beliefs, viewpoints or official policies of mondo*arc india.
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[editorial] As 2015 draws to a close, we think of the numerous milestones that have been crossed, trials conquered and triumphs celebrated. It is the season of reminiscence and reviews as we reflect on achievements and countdown accomplishments. Our special feature in this issue covers the darc awards, the first of its kind platform for recognition of excellence in the fields of lighting products, lighting design as well as light art. Organised and hosted by our partner company, mondo*arc and darc magazine in the UK, the darc awards attained much acclaim from across the globe and proved to be a great success. The peer-to-peer format of the competition rendered it truly democratic, with over 450 entries across 12 categories, and 5000 votes - for the good, the better and the best. The international lighting design community came together to acknowledge and commemorate distinction in each category, which stood as exemplars of design and innovation in lighting. Coincident to the dozen awards that were conferred to the darc winners, our Projects section is a collection of twelve cases studies that illustrate natural and intended light and lighting in a range of applications. These include projects from around the world as well as India, and range from institutional buildings such as the Majlis Oman Building in Muscat by Moller Architects, illuminated by Visual Energy, and National Institute of Faith Leadership by studio archohm; to art organizations like La Foundation Louis Vuitton in Paris by Frank Gehry, lit by Lâ€™Observatoire International, and Fondazione Prada in Milan by Rem Koolhas, illuminated by Les ĂŠclaireurs; to hotel properties such as the Lebua Resort in Jaipur by Urban Studio and Lirio Lopez Consultants, and Inderlok Hotel in Dehradun by Spall Associates, among others. This issue showcases a large diversity of independent projects and case studies, along with interviews and profiles of professionals that have played an intrinsic role in contouring contemporary Indian design aesthetics. While we discuss Indian sensibilities with the renowned architectural practice, Talati and Panthaky, we converse with the illustrious visual planner, Dhruvajyoti Ghose about straddling the Oriental and Occidental cultures in lighting. Issue #05 has come together as an impelling assemblage of meritorious thoughts and ideas that not only highlight the lighting perspective in the built environment, but also demonstrates brilliance in its architectural design. This is your scintillating mondo world! Mrinalini Ghadiok
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Martin Klaasen Martin Klaasen is an award winning lighting designer, design consultant and lecturer with more than 30 years of experience in the lighting industry. With a master’s degree in industrial design, he started his career in creative and innovative lighting design with Philips, following which he set up his lighting consultancy practice first with Lumino Design, based in Singapore, and later in Australia with Lighting Images. Recently, Martin established his own company, Klaasen Lighting Design (KLD) in Singapore. Martin brings to his designs a unique awareness of lighting technologies mixed with great creativity and a sense of innovation that improve and enhance the quality of lighting in professional installations. Having worked extensively in the eastern hemisphere, Martin can be credited for the lighting design of the Petronas Twin Towers in Kuala Lumpur and the Raffles Hotel restoration in Singapore, among others. Martin regularly writes articles for publications and maintains a daily blog, Light Talk. He is the author of the much acclaimed book ‘Light Talk, a year in the life of light’. He is also a member of the International Advisory Council of the Chinese Lighting Designers Association (CLDA), a professional member of the IALD (International Association of Lighting Designers) and IES WA (Illuminating and Engineering Society; Western Australia) and a sought after resource speaker at lighting related events, conferences, conventions and seminars. In this issue: Martin pays tribute to der friend, business partner and fellow lighting designer, Navin Krishen.
Lena Ragade Gupta Lena Ragade Gupta is a graduate with top honors from the prestigious School of Architecture, CEPT, Ahmedabad and has been a practicing architect since two decades. Her stint at the Federal Technical University of Zurich, coupled with the extensive travel across India and Europe has been a critical component of her architectural pedagogy. A dedicated academician and mentor, who believes in communicating the essence of design to all enthusiasts, she has been associated with the Vastu Kala Academy of Architecture, the Department of Architecture and Ekistics at Jamia Millia Islamia and is presently with the MBS School of Architecture and Planning. A voracious reader and ‘compulsive writer’, a trained classical singer and dancer, she strives to bring the industry and the education system closer. She is on the panel of examiners of IGNOU and IP University. She has been regularly doing workshops on conservation for the students of Sardar Patel Vidyalaya, is connected with the ‘Rain Centre’ in Chennai and is the co-author of the book, ‘Self Reliance in WaterA Manual for Urban Dwellers’ (2008). Having contributed to a number of publications, Lena has also co-authored a book and worked on the content of several others about the subject of architecture. In this issue: Lena takes a solitary jaunt through the National Institute of Faith Leadership and describes how light is used as a tool to illustrate the scared space.
Ragini Bhow Ragini Bhow is a visual artist who works between a variety of media, ranging from neon light to wood, acrylic, and mirror. Her sculptural and performative practice deals with light, illusion, and principles of the atmospheric. Through an exploration of perceptual space, her work refrains from completion and instead extends its planes through embracing forces of natural elements and the unpredictable. Ragini began her studies in Biochemistry and then completed her Bachelor of Fine Arts from the University of Minnesota. Since, she has completed residencies at Khoj, Delhi and 1 Shanthi Road, Bangalore; and has also exhibited her work at alternate art spaces such as the Clarkhouse Initiative and G.159. In this issue: Ragini has assisted in collating material for various articles such as Folio, Snapshot, Lighting Talk, and also authored Pae White’s Focal Point.
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[tribute] Paying homage to a dear friend and business partner, but mostly, a respected fellow lighting designer, Martin Klaasen shares his thoughts on the life and work of Navin Krishen.
Pic: Saradindu Mitra
Navin Krishen 01 march 1942 - 22 september 2015
When a life is unexpectedly ended it always shocks, regardless of the circumstances. Navin’s passing away is a rude shock for everybody who had the privilege to know him, certainly for all his friends and colleagues in the lighting industry. I am writing this tribute not only as a friend and business partner who came to know him quite intimately these last few years but also as a measure of respect to a man who has contributed so much to the lighting industry in general and to the Indian lighting community specifically. We met in a chance encounter several years ago while on a trip to Italy and Germany visiting some of the leading lighting manufacturers. During our time together we clicked instantly and found that we shared many similar views on the lighting (design) industry but more interestingly about our attitude to life and our passion for lighting. Navin was extremely knowledgeable and dedicated, never shy of putting the extra effort to get things right, to find out more, always making time to educate his clients as well as sharing his knowledge with his peers in the industry on how to provide a better lighting environment. We spent many enjoyable and memorable hours together, bouncing
lighting ideas off each other, dreaming about that ideal lighting project and looking for ways to further improve the delivery of lighting design services to our clients. We would often get lost in time… His enthusiasm for and immense knowledge of lighting was an inspiration to me and provided motivation for the many that crossed his path. For the many ‘youngsters’ in the industry, Navin was their ‘father’, the man to go to for advice. When Navin and I decided to team up together after our chance encounter we envisioned a business partnership for lighting design projects in India for many years to come. His passing away has now brought these plans to a sudden stop. If there is one word to use to describe how we all viewed and admired Navin, then that would be ‘respect’. He was one of the truly respected pioneers of the lighting industry in India with a long track record of successful projects, and he leaves behind a great measure of respect for his achievements and contributions to the lighting industry. Navin will be dearly missed but no doubt the new generation that he inspired will carry on his mission and vision for a better lighting world. Thanks Navin.
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eye opener Heartbeat, Covent Garden, London French artist Charles Pétillon fills Covent Garden’s 19th Century Market Building with 100,000 giant white balloons, marking his first public art installation. United with word-class architecture, the installation was unveiled ahead of the London Design Festival, and was inspired by Covent Garden’s heritage as London’s first public square and the West End’s reputation as the beating heart of the city. Weaving its way through the South Hall of the Grade II listed Market Building, Heartbeat stretches 54-metres in length and twelve-metres in width, and incorporates gentle pulsating white light to symbolise the beating of a heart and reflect the history, energy and dynamism of the district. Pétillon commented on his desired impact of the installation: “My goal is to change the way in which we see things we live alongside each day without really noticing them. With Heartbeat, I want to represent the Market Building as the beating heart of this area, connecting its past with the present day to allow visitors to re-examine its role at the heart of London’s life.” Heartbeat forms part of Covent Garden’s ongoing cultural programme which transforms the district into an ever-changing, open-air art gallery. The complex yet fragile composition represents Pétillon’s largest and most ambitious project to date. Pic: Paul Grover www.charlespetillon.com
focal point Pae White, Special No. 127 neugerriemschneider, Berlin Pae White, an American visual artist, explores material phenomenology, sculptural compositions, and light through her recent immersive installation at Neugerriemschneider, Berlin. Delicately rendered discs and cones are suspended from the gallery skylights at varying heights, a complex composition that balances between weight and weightlessness. The suspended conical forms containing the artistâ€™s personal nuances, memories and samples, connect themselves through a dynamic tubular framework, which reaches ends ever so often with a glowing light bulb. The light almost presents a release from the dynamic materiality of the structure, leading into new perceptual avenues through the space, and creating an involving field of transition and transformation. Reminiscent of architectural and electrical compositions, the installation seems to visually organize and associate the ephemeral sense of memory within the structure of constructed space.
Pic: Jens Ziehe, Berlin
[drawing board] The latest exciting works in progress from the worldâ€™s most imaginative designers. Pics: Planet 3 Studios (P) Limited
Computing Density in Design Planet 3 Studios When the opportunity arose to design Chitkara University, a business school on the outskirts of Chandigarh, Planet 3 Studios went to the drawing board keeping in mind Le Corbusierâ€™s manifesto of architectural framework. Catering to a design brief to create an environment that enables progressive learning and a building that effectively communicates that intent; the project is conceptualised through the extensive collection of data by inhabitants and computational parametric studies that define spatial progression.
The programmatic layout coupled with a sensitive response to the extreme climate results in a cluster formation that opens out towards a cricket field in the north, while condensing functional elements in the south. The zoning of the functions leads to a natural segregation of spaces, usage and intensity of light in the building. This results in large openings, transparent facades and uninterrupted views, allowing uniform north light to fill the volume. The porous north face is lined with public areas that need brighter environments. As one moves inwards, the filtration of light
dwindles, as does its requirement. Interior spaces towards the south edge tend to remain closed and compact, protected from the harsh direct light and heat. Framed in steel and finished in a monochromatic palette of white, daylight frolics into the building bouncing off the solid acrylic surfaces to paint the space in a soft, even and welcoming tone. An interesting amalgamation of spaces of varied sizes and configurations give way to a multitude of intensities of light and shade. www.planet3studios.com
SCREENING THE HOUSE 42mm Located at a busy intersection near a posh South Delhi marketplace, this residence designed by 42mm enjoys the privileges of a corner property and freedom of space in a condensed metropolis on one hand and vies for privacy from passersby on the other. A smooth concrete wall curves around the corner of the house and gradually gives way to a series of trees that transform into the boundary wall. Gracefully grazed with a uniform wash of light, the solid concrete plane surrenders its intensity to a delicate blank canvas, embracing a glowing glass box that sits elegantly in a lush garden. The private spaces float above the luminescent volume, seemingly pinned in place with an array of wooden fins that rise as a vertical pergola and fold over the roof above. The precisely distanced timber elements ensure privacy from the outside world, but allow for uncompromised vistas from within large openings in the faรงade. Acting as a sun shading device, daylight filters into the space, creating a uniform glow of natural light. In the evening, large textural walls are highlighted in a soft wash, while volumes are illuminated with a splattering of carefully chosen decorative light fittings. The classic Artichoke by Louis Poulsen takes place of pride in the living room, as it is ceremoniously suspended in the double height space. www.42mm.in
Pics: Pawan Sharma & Karan Kumar, 42mm
[spotlight] The latest projects with the wow factor from around the world.
a stellar stroll Stepping into the dazzling light, one step into the crystal universe submerses viewers in an unknown world. By installing spatial prisms of LED’s in a three-dimensional space, Japanese creative group teamLab created a real-time interactive moving 3D artwork. Using teamLab’s original Interactive 4D Vision, the Crystal Universe installation in Tokyo’s Pola Museum Annex consists of a seemingly infinite number of light particles positioned in three-dimensional space. Guests can enter and walk around in the three-dimensional light space, causing a
change that will continuously alter the lights in unpredictable ways with their movements. Guests can also interact with the installation using smartphones in conjunction with music that resonates throughout the Crystal Universe, enabling an interactive representation of their actions. While the light continues to change across the entire space that consists of prismatic and cylindrical shapes, the universe in which the viewer causes change will constantly be created with the viewer at its centre. www.team-lab.net
Pics: Bernard Stulzaft
heavenly rivers French artist Julien Salaud’s Fleuve céleste installation stretches out like a starstudded vault. Fragile, ephemeral, the exhibition opened in the wine cellars of the Maison Ackerman, St-Florent in France. Salaud installed the piece to highlight an extraordinary piece of history in this unusual and monumental space. Fascinated by the connections, forces and symbolism that unite man with nature, Salaud’s work offers a different viewpoint of what an animal can be; that of the Cartesian or the geneticist, the predator or the prey. Viewers can walk through the webs spun of nails, cotton thread and black light; Fleuve céleste encompasses the entire cellar, creating strings of light throughout the troglodyte cellars. www.julien-salaud.info
Pics: Adrien Williams
bioluminscence On a summer evening, the air is filled with the flash of fireflies calling to one another. Intrigued by their dialogue, Canadian digital artists Maotik created Light Bearers, an immersive interactive installation presenting a poetic representation of the conversation of fireflies, presented at The Montreal Insectarium, Canada. The immersive environment is a multimedia interpretation of a natural ecosystem that combines thousands of original crafted objects with lasers. Using industrial materials, a light plant environment was
recreated with approximately 2,500 original crafted objects. The entrance is a field of lamps filled with tonic water that shine in the dark under black light. The public then come to the main field and manipulate light beams with IR sensors, causing the sound and visual effects. This facility offers a sensory, playful experience to guests and evokes the aesthetic principles of the communication of fireflies. The aim is not to confine their attention to written scenarios, but to open their imagination by allowing them to
participate in the composition of a fluid and abstract universe, enough to allow reverie and free interpretation. In comparison to Maotikâ€™s previous works, Light Bearers is made with crafted objects, whereas previous works have used generative visuals and images to change perspectives of space, such as domes or surrounding projection. Light Bearers modifies perspective by projecting light onto the architecture, resulting in a living sculpture that reacts and gets shapes according to sound. www.maotik.com
Lahti Light Well - Structure
Pic: Courtesy of Studio Lux Nova
Pic: The Invisible
Pic: Courtesy of Studio Lux Nova
WASHED IN LIGHT Taking inspiration from history, Light Well -situated in the old market square of Lahti, Finland - was conceived by lighting and industrial designer Reija Pasanen of Studio Lux Nova and architect Marjut Kauppinen. In 2013, Lahti’s old market square was rebuilt to make way for a new underground car park; at the same time archeological research on the parking lot site was carried out. It was discovered that 150 years ago there were several small houses, courtyards and water wells on the same site. The discovery inspired Pasanen and Kauppinen’s idea for the interactive art piece that followed. Wells have always been important places for interacting with others - they are meeting points and a place to ‘hang out.’
The light installation consists of a granite platform and luminaire in the shape of a traditional draw well. On top of the granite platform there is a round glass surface with a historical map of the Lahti market place and an interactive lighting installation, while movement-sensitive lighting reminds of water in cyan and blue. The Light Well invites visitors of all ages to step on and discover how the white waves follow their steps and start to radiate from their movements and is a new experiential meeting place and stage for small-scale events for residents and visitors in the heart of the city. The interactive visuals, custom computer vision algorithm and on-site commissioning of the interactive feature
were carried out by The Invisible. The ambient general lighting of the square enhances the walkways, from south to north and from east to west, with iGuzzini Lavinia luminaires, using LED lamps and custom made lighting poles manufactured by Tehomet. The centre of the square is a part of a greater axe that links the church (by architect Alvar Aalto) to the town hall (by architect Eliel Saarinen). On this central axe on the square, there lies another lighting thrill, again designed by Pasanen and Kauppinen, with traces of shoes and horse shoes on the pavement, making use of Martin Professional profile projectors and LightAct control systems, organised by Studiotec. www.studioluxnova.com
walk alone Stepping forward through illuminated passageways into the woods, Calgarybased artists Caitlind r.c. Brown and Wayne Garrettâ€™s The Deep Dark illuminates doorways of darkness through the woods. These doorways intend to illuminate the interspaces between our sacred and natural environments and cultural constructs of darkness. Drawing from interviews with participants from various Banff Centre residencies, faculty, and staff, the project asks why we fear the dark, whether the dark is a presence of something or merely an absence of light, and what separates real fear from imaginary fear. By unearthing commonalities between interviewed participants, a loose narrative emerges, illuminating a collective insight into the nature of our human relationship with the deep dark. Meditative, iconic and evocative The Deep Dark invites each viewer to participate in a 600ft solo night hike through the forest surrounding the Banff Centre, alone in communion with the woods, voices in the foliage and their own thoughts. Utilising the domestic imagery of doorways as a
All content copyright Caitlind r.c. Brown & Wayne Garret
literal entry point, the installation imposes artificial light into the wild darkness â€“ brightness by which the darkness grows darker and disillusions the night. Working with diverse mediums and materials ranging from artificial light to re-appropriated architectural debris. Their practice combines divergent aesthetic and industrial backgrounds, often resulting
in participatory public sculptures and installations, like The Deep Dark. Beckoning viewers with interactive contexts and novel materials, participants are invited to share in strange experiential moments. Playful, beautiful, and radically inclusive, their practice emphasises transformation above all else. www.incandescentcloud.com
Pic: Hanneke Wetzer
Pics: Kimchi and Chips
second coming Korean studio Kimchi and Chips’ latest work - Light Barrier, commissioned by STRP Festival, continues from the original Light Barrier (2014) into a new story with new physical techniques. The story follows the journey of a digital form. It begins by passing through the Light Barrier, so that the form transcends the limits of its own reality and enters into our physical one. It then explores the possibilities of its new found physicality and travels through the Light Barrier again to pass away to the next reality. The physical installation is presented with
a heightened intensity, creating colour and contrast against the ephemeral white light projections. Light travels with scale and control to create objects of light within the air, further opening a window into a semimaterial mode of existence. Light Barrier uses eight modified DLP projectors, which are modified to increase their brightness and make them black and white. Also, two Datapath x 4 display controllers were used to split the signal to the eight projectors. One media server, running Rulr, a free calibration toolkit developed in house at Kimchi and Chips,
was used to calibrate the eight projectors. The designers at Kimchi and Chips commented, “We took inspiration from impressionist painters. Their obsession with natural light led them to explore colour and time through brush strokes, their hands became a tool encoded with their technique. Impressionists acted in response to the invention of the camera, creating ‘viewer-less’ images and finding new ways to capture the transient properties of the physical reality.” www.kimchiandchips.com
Photo: mondomoment by Manpreet Deol Photographed by Manpreet Deol
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[briefing] PAUL NULTY Having recently rebranded to Nulty+ we speak exclusively to Paul Nulty on the move towards a new future, why the lighting industry needs a “shake up” and what he plans to do about it... It’s been three years since we last caught up, what’s been happening? We’ve really stepped it up a level. The practice has more than doubled in size and we’re being asked to tender some of the largest projects in the UK. It seems like such a short space of time but in that time we have evolved and matured. My aim was always to build a team that’s full of characters and has lots of charisma; I like people who have ideas and who aren’t afraid to express them and the team are really blossoming into cool designers with opinions and a lot of skill sets. And in the industry – how are things different? Alongside squeezed budgets, in recent years we’ve seen more demands from clients and the deadlines have been harder and tighter than ever before. While this is not so much the case today, it has played to our advantage because it has given us a great platform for learning; we’ve now got more experience in dealing with pace and we’ve been able to nurture the team in tackling this. As such, we’re in a position where the whole team is able to anticipate customers’ needs and respond much more quickly than before. The practice is rebranding to Nulty+. Why now? From day one it was always an aspiration. Having been at Light Bureau for eleven years I wanted to make people aware I was out on my own and calling the practice after myself was the most obvious way. It wasn’t about my ego... I love light, I live and breathe it and am very grateful for the opportunities I’ve had to develop as a lighting designer. I want to create a legacy and would love the practice to become a nursery for the future industry. I always wanted to depersonalise the practice from myself and we’ve now got to the point where it doesn’t really need me - the right people are in the right places. Nulty+ signifies a celebration of what we’ve achieved and a team of people who are experienced, energetic and charismatic – in reality, I’m just a cog in a bigger machine! How have you prepared your team for life as lighting designers? I’m very demanding in what I expect from them! We don’t pigeon hole people, and we try to expose the team to as much project experience with the support of the more senior members. It’s about making all of the team an integral part of a project and we encourage staff to take ownership as much as possible. “Anyone can become a lighting designer”, is this something you truly believe? Yes and no. You’ve got to have a creative eye and a passion for lighting – but everything else can be taught - sharing knowledge will improve our industry. Historically, there’s been a reluctance to share information between rival practices, but to me the ‘old school’ days are changing. Some in the industry don’t like manufacturers calling themselves lighting designers, I’m the opposite - if it’s a good piece of lighting design delivered on time and on budget then what’s the issue? I would rather lighting design was done well regardless of who undertakes it – it’s more about education. Today’s generation is really interesting, there’s more willingness to share – this is a lot to do with social media. It has changed the way we communicate and I think it’s commendable.
Is this part of your aim to “challenge the status quo”? We need to professionalise our business like other creative industries do. Many agencies are set up by designers who didn’t really intend to become business people, or actually want to – they wanted to design and be creative. But I would like the industry to become more educated in the way its practices are administered. There are companies out there that do it very well, but there are others that lurch from project to project, slashing fees and delivering a poor service. This undermines the industry. I really believe one of our differentiators is the level of service and the way we work with clients; our aim is to make it fun and collaborative. Challenging the status quo means challenging the way the industry presents itself as well as challenging the reasoning. I want us to be a leading voice in that and the new philosophy we’re bringing with the rebranding is going to be central to this. What do you think the lighting industry is lacking? One of my frustrations with lighting awards is that while beautiful projects are rewarded no one ever stops to think about whether the project was delivered on time and on budget and whether the lighting designer went bust in the process. We really need to start looking at the way we present ourselves professionally and if all we’re doing is cutting our throats in terms of fees and throwing work out of the door we’re never going to be treated as equals around the table with architects and interior designers. Most lighting education in the UK is geared towards engineering and not design but we need to focus more on the emotional concept that lighting brings to a space, not just the functional. Is Speirs + Major status something you aspire towards? Not just Speirs + Major, there are many other good lighting design practices and we would love to be counted amongst them. Our aim is for us to be at the pinnacle of our industry and who knows, even surpass them. I want Nulty+ to become a practice that in years to come, people talk about. As mentioned, it’s about creating a legacy rather than looking at where we are now – it’s about living and planning for the future of the business. You’re well-known for your retail lighting what does the future hold? Retail lighting actually only makes up about 25% of our business but yes, I absolutely want to remain at the forefront of retail design as we’ve worked hard to get there – my team knows it’s important to me to remain innovative. We’ve already completed a lot of projects in a short space of time and we’ve currently got some amazing projects on our books – our client list is pretty extensive! There’s also been a lot of collaboration with clients and other designers - they are buying lighting advice and understanding the need for it a lot more than perhaps they used to. Our designers have got some great opportunities for growth in the industry. www.nultylighting.co.uk
Fibre Fables An exhibition in collaboration with artists and weavers by The Raj Group A b e e r Gu p TA b r A h M MAI rA
22nd Nov - 31st Dec 2015 11 am to 7 pm
D e e pAK NAT h Dh vA N I b e h l
Du r GA KA I N T h OlA N I Dh I K h u r A NA NI K h e e l Ap h Ale Pa rt n e r s :
The Stainless C-0, Mira Corporate Suites 1 & 2
p u Ne e T KAu S hIK SA h AyA S h A rM A
Old Ishwar Nagar, Okhla Crossing New Delhi 110048
SANDe e p b I SwAS S h I vANI AGGArwAl v I b h u GAl h OT rA
Curated by Shailin Smith
[snapshot] With a mission to create expressive and responsible visual environments, Kunal Shah heads the lighting design practice SPK Valo towards meritable use of energy. The young and passionate design team pushes beyond the aesthetic into deeper consideration of the physical, biological and psychological reasoning. They are driven by ‘thinking global, acting local’. Highlands Whiskey Bar Hyderabad
Pics: Kunal Shah
The posh single malt bar demanded a lighting scheme that would perfectly compliment the Irish dark wood and leather interiors. Keeping the ambience intimate, reflecting high-end exclusivity, Shah’s intention was to provide pools of light where functionally required, and accentuate focal points in the space that commanded attention. The islands of seating are illuminated using 10° halogens that offer precise detailing of the pristine cutlery and glasses, while giving enough light to read the menu. The bar is accentuated in horizontal bands as the shelves are lined with concealed LED strips that make the bottles glow from within. Further, strip lighting hidden in the cove of the counter gently reveals its contours. While the ceiling houses a few recessed downlights to augment the ambient illumination, considerately placed decorative suspensions made of deer antlers and 40W halogens, add to the old world charm of the space. A careful mix of LED and halogen fittings are used to determine a warm and intimate atmosphere, highlighting artwork and display cases.
Bhandari Residence Hyderabad With a conscious sensitivity to refrain from excess light, Shah focuses on highlighting special design elements in the residence. While natural light streams through the large windows in the family room during the day, a combination of concealed cove lights emphasise the volume edge and track mounted spotlights provide for
flexible lighting. Decorative lamps are peppered around the room, with a delicate suspension housed in a corner. The lighting intent was to create a comfortable and relaxed environment for repose. Shah takes a similar subdued approach in lighting the landscape with ground buried LED fittings placed within the foliage creating
an interesting play of light and shadow, and a rectangular niche in the far wall accentuated with concealed LED strips. The fully automated system offers varying scenes through a careful collection of technical lighting that is 100% LED, while the decorative fittings use halogen lamps.
Sureka Residence Hyderabad Lighting for the home of an art collector requires as much care and thought as the art that is displayed. Shah’s lighting intent was clear and unparalleled, in that he wanted to illuminate the artwork, without overpowering the presence of light in the space. Thus, the lighting is kept subdued, with minimal interference, except when the light source itself becomes a work of art. There are a number of crystal chandeliers that share the place of pride with excusive pieces of art in the house. They offer a general and unifrom glow in the space. To accentuate specific artworks, Shah uses ceiling recessed directional spots that cast a gentle light on the vertical surface of the paintings. While the emphasis lays on the artworks and delicately completed interiors, the verticality of the volume is emphasised
with concealed coves that run along the top edge of the drapes, carefully highlighting the undulating fabric.
Madhu Residence Hyderabad The residence takes its design precedence from a modest space, but also an extroverted space enjoying abundant natural light in the day and rendered in a calm intimacy by night. Almond shaped artwork sourced from Pondicherry is installed on a large empty wall. The dramatic mural turns into a series of light sources after dark. Complimented by an array of ceiling mounted downlights, the space is illuminated with a warm and cozy glow. Dividing the space into distinct areas is a large slanted exposed concrete wall imprinted with leaf patterns. While the overall lighting levels are kept low, the textured surface is accentuated by track mounted directional spotlights. The bedrooms follow a similar language, wherein the ambience is dim and decorative light fixtures made of banana fibers add to the intimacy of the rustic environment. The linearity of the tropical landscape surrounding the the house is accentuated by emphasising the perimeter wall and uplighting the foliage with ground buried LED fittings. Without a consolidated automated system, the lighting is kept simple and hassle free for ease of adjustment.
SPK VALO • Principal Designer: Kunal Shah • Head Office: Hyderabad • Established: 2011 • Employees: 2 • Current Projects: Diverse High end residences, Farm Houses, Boutique Hotels and Night Clubs www.spkvalo.com
[folio] Our regular feature highlighting the importance of lighting in the work of a design practice. This issue, we present Ravi Vazirani Design Studio.
Pic: Neville Sukhia
Ravi Vazirani Design Studio is a unique design studio lead by Ravi Vazirani, focused on creating utilitarian yet aesthetically sensitive interior spaces. Their practice caters to a variety of clientele, working on a range of projects from celebrity residences to laidback cafes. Balanced between the refined and the artfully unfinished look, the studio attracts clients ready for a dash of “je ne sais quoi,” as accented by Vazirani. Their work displays impeccable standards even through designs that are on a tighter budget, by magically rendering lower cost materials into a beautiful chic fashion, a talent they have clearly mastered. Their boutique style approach to design retains the polished sophistication of clean lines, yet hints towards a certain element of nostalgia. By responding to the energy and the history of Mumbai, they work in synchronicity with the beauty of old building structures, finishes and furniture also often incorporating found antique light elements with a retro finish. There is an overall sensitivity towards comfort in their spaces, reflective of Vazirani’s value for his client’s stories, needs, and individual aesthetics, resulting in every project being a unique one-of-a-kind collaboration.
Pics: Suleiman Merchant
Jaya Ramchandani, Residence Mumbai The bright 80s inspired retro residence was designed to emulate a refined industrial look using a plethora of tasteful interior lighting accents. Vazirani frames the overall space by installing a series of electrical conduits, which run across the walls, creating an overarching visual flow. The conduits compliment the art deco themed furnishings, Godrej-inspired furniture and vintage light fixtures sourced from various places within
India. During the day, large peripheral windows fill the exterior bedroom and living room spaces with natural light. The generous use of fritted glass allows the light to filter into the darker interior areas. For the night, Vazirani incorporates a combination of decorative and functional lights. In the lounge area, ceiling fixtures with moveable heads provide a freedom in controlling light direction. Nearby, a chic art deco table lamp provides a soft direct beam for work. Large antique fifittings are suspended in the adjacent dining room, illuminating the dinette. Vazirani combines old school toggle switchboards and modern plug points in the bedroom. By fusing both old and new world aesthetics, he achieves an overall fresh and inspiring ambience.
Pics: Neville Sukhia
CafĂŠ Sabrosa Mumbai The CafĂŠ Sabrosa makes use of a variety of creative lighting ideas and interior finishing to generate a trendy, industrial vibe with a dash of nostalgia. Beautiful geometric tiling on the floor, reminiscent of old heritage bungalows, meet polished cement walls creating an interesting juxtaposition of textures. A section of the wall painted a devouring red glows in the light of suspended fabric lanterns, made of brass and mal cotton to achieve a dreamy look. The 250 sq.ft. ceiling at the bar area is studded relentlessly with nearly 10,000 standard naked light bulbs, creating a spectacular visual installation. However, Vazirani chose to light a careful selection of specific lamps that illuminate the area below. In direct contrast to the densely packed delicate glass globules, is an array of robust bespoke cement suspended lampshades that were designed in-house. Additional lamps that are clamped to the furniture were also a custom installation that ties together the space, which derives its inspiration as an homage to the use of naked bulbs in interior design.
Pics: Sheena Dabholkar
Firdaus Variava Residence Mumbai With the intention of injecting a considered intimacy into the family room of the residence, Vazirani created a fresh white monochromatic space with tasteful references to a refurbished feel. In the daytime, one large window lets natural light in which fills the interior with uniform brightness. By night, a combination of ceiling lights illuminates the volume. Semi-recessed down lights in 1W and 3W LEDs cast gentle pools of light on the floor, while directional spots highlight the vertical wall surfaces. Vazirani stripped the plaster off the thick walls to reveal the original brickwork, and accentuate the highly dramatic texture of the walls by strategically placing track lights. Barn door spotlights painted black draw the eye upwards in an attempt to establish an industrial look. Using cement in a multitude of ways, Vazirani drives home the idea of raw yet well composed and delicately presented design.
Pics: Pankal Anand
Vishal Bijlani, Residence Mumbai This high-end apartment resonates an alluring chic beauty. Through an unfinished look that is restrained and refined, Vazirani creates a space of modest grandeur, with an acute sensibility to lighting transitions between day and night. The residence is designed to allow plenty of daylight to filter in, through large floor to ceiling windows. The transition to evening is sensitively brought about by the ability to control the intensity of light through an automated system. Vazirani takes care to highlight important design junctions in the house with subtle effects. Track lights are recessed into inconspicous ceiling niches that become architectural elements, while surface mounted and semi recessed spotlights are directed towards accentuating artworks and artefacts. A well curated collection of decorative lights add a flavour of splendour to the space; flanking the bed as reading lamps, suspended in the bathrooms to add a touch of sophistication, and even hovering above the bar reflecting the intricate carving of the screen in its shades. The overall illumination is gentle and welcoming, embracing the house in polished aesthetics. www.facebook.com/RaviVaziraniDesignStudio
[lighting talk] mondo*arc india converses with the Directors of Talati and Panthaky Associated Designers LLP, an intense design practice that for half a century has played an important role in shaping the architectural sensibilities of Mumbai across a large gamut of projects.
Private Bungalow, Udaipur
Pics: Talati and Panthaky Associated Designers LLP
Top left Noshir Talati top right Nozer Panthaky centre left Naushir Devitre centre right Phiroze Panthaki bottom left Sharookh Mehta bottom right Zahir Cassum
COULD YOU TELL USâ€Ś â€Śhow TPA came about being established. We established ourselves over 50 years ago in 1964, in a small 100 sq ft. space. Over the years Mr. Noshir Talati grew the office by providing new services, impeccable detailing and creating a client base in Mumbai of the most affluent. Nozer Panthaky, the Managing Director joined the office in 1979 and the company grew and changed to Talati and Panthaky Associated Designers LLP, which it remains today. We now have over 300 employees and our work ranges from universities to hospitals to corporate headquarters, among others. ...TPA celebrates 50 years this year, can you elucidate on what has changed from the time you started till now, with respect to lighting in design. The single biggest change is the availability of products in India. We would sometimes actually carry light fittings and wallpapers in our bags when we traveled. Now we have easier access to all the latest technology, and also exposure to the latest trends and innovations in lighting through magazines and other avenues.
Windsor Club, Mumbai
Windsor Club, Mumbai
Windsor Club, Mumbai
...about the TPA working methodology and its approach to lighting. There are two important components to our working method - we believe that when clients approach us, they come with certain expectations. It is our duty to try our best to fulfill their requirements. For us, the plan is most critical, the crux of any design. If the plan is wrong then the design will never work. The other important component is that we never compromise on quality. We believe
that you can actually see quality and feel it. Therefore, we are extremely strict about this. We take pride in our quality and that is a reason that clients have been coming to us for generations. We have designed for a father, his son and even his grandchildren. After so many years of practice, we have a basic knowledge of lighting and we work with certain rules of thumb. However, when it comes to larger projects, we work with professional lighting consultants who
bring with them expertise in the subject. ...how important is light in your designs. â€œLight changes the character of the space.â€? Before we begin any project, we insist that we must schedule a site visit. This is not only to get the feel of a place, its volume, or to see the space around it, but also to assess the quality of light that exists at that particular site. We strive to get as much natural light as possible into our design. Light is not an after thought. We work
Windsor Club, Mumbai
Windsor Club, Mumbai
Windsor Club, Mumbai
with light as an element integrated into the design process. Right now there is a particular project where we are trying to get daylight into the building by using light tubes. It is still on the drawing board but it will be the first time this process will be used in India, where you bring natural light into the heart of a skyscraper using light tubes located on the buildingâ€™s facade or the terrace. With regards artificial light, each project demands its own approach to lighting. In an auditorium the lighting would be designed in a very specific manner, avoiding bright spots, generating depth of perception. On the other hand, office spaces need to be lit such that there is a constant balance of light through the day. Therefore, different types of buildings or interiors require different types of lighting solutions. ... the importance of shadow, and the balance of darkness and light in your work. The fact that we have light automatically gives importance to shadows and shades. In any design, certain areas are visualised to be rendered in shade, that perhaps brings a sense of coolness to the space. Natural light helps define interior spaces and shade and shadow become important tools in the architectural layout.
Ceejay House, Mumbai
Ceejay House, Mumbai
Ceejay House, Mumbai
If we compare a building with a curved glass façade with another that has a recessed glass façade – both would respond to light and create tremendously different shadows. While the curved façade would demand special coated glass and sophisticated heat control in the interiors, increasing costs; the recessed façade would create opportunities for shaded areas, cutting heat loads and the need for special material. Therefore, if one approaches lighting design with wisdom, shade and shadow automatically contribute to the sensibilities of the project. ...if light is a magic wand in the hands of an architect, how would you use it to change the experience of a space? Light is a phenomenon that can be used to create magic. If we want an object to float, we light it from underneath. We start at the base of the element so it looks as though the entire object is lifted off the floor. This is especially effective when designing
a water body. We often play with these effects in our interior works. In a building work, if we want to highlight a particular façade, we determine the light fixtures that wil be needed to achieve that effect, and we cater to the positioning of these fixtures within the design of the building. From the beginning of the process, we try to plan for pockets of spaces that will house specific light fittings, so that the light is integrated into the overall design. In Jindal House, we have intentionally highlighted certain architectural elements of the structure. We remodeled the old structure to give it a new façade, and we incorporated lights in it in order to enhance the characteristics of the design. Being a classical buildng, it is a squat structure. We wanted to emphasise its verticality to elongate it. Thus, placing uplighters before each column, we accentuated the long, slender elements for the eye to be focused upwards and create an exaggerated sense of height.
...about the role light plays in the life of a city. Do you believe that as architects it is your responsibility to influence people on the importance of light? Light in the city has to be practical. Practicality comes first, and aesthetics follows automatically. We believe that ‘form follows function’. The road should be well lit and public areas such as gardens and plazas should have adequate light. Earlier, many buildings in town were well lit. Now, except for the Chhatrapati Shivaji Terminus, which is well lit at night, most of the public buildings in Mumbai are unimpressive. It is important to light prominent buildings at night so that they are perceived as part of the city after dark. As an architectural practice we feel that it is our responsibility to bring about greater awareness about the idea of light. However, we also feel that instead of politicians and bureaucrats holding positions of power in this field, authority should be given in the hands of people with the right knowledge.
Lighting is considered too generic and is not given its due priority.
Jindal House, Mumbai
...why there seems to be an inherent lack of awareness about lighting, and its importance in architecture. There used to be a lack of awareness in the past. Everyone took things in their stride, not stopping to think. However, off late, we feel that younger generations are more aware. They are well traveled, exposed to greater opportunities and familiar with variegated lighting systems. Our generation had many restrictions and therefore, did not get similar opportunitites to travel. We had limited resources and materials to experiment with. With the younger generation, we see a great number of talented designers within the country and therefore feel there is a lot more potential to achieve greater heights. ...about the best and the worst illuminated places you have visited. One of our most favorite-lit building has to be the Empire State Building in New York. It has been beautifully illuminated and stands with a sense of persona. Other interestingly lit structures have to be some of the historic buildings in Europe - Vienna, Paris, Rome. The worst lit buildings in our city definitely include government buildings that are lit for special occassions such as Republic Day â€“ multi coloured changing lights draped without a care over the facades. ...how you would best describe architecture. Quoting Johann Wolfgang von Goethe, â€œArchitecture is frozen music.â€? www.tparch.net
A PASSAGE THROUGH ERUDITE LIGHT In a conversation that establishes light as a source as well as a consequence of seeking knowledge, constructing spaces and creating experiences, Dhruvajyoti Ghose, Director of Lighting Design Partnership elucidates his journey through design, as Mrinalini Ghadiok curiously prods him to divulge tidings on his continuing quest for erudition.
Pic: Stefano Veglia
Pic: G Snow
“Engineering is all about quantifying variables and constraints - Designing requires engaging with them qualitatively.” —Dhruvajyoti Ghose When reputation precedes a meeting with someone, it usually results in one of two things - surprise or disappointment. I was pleasantly surprised when I met Mr. Dhruvajyoti Ghose at the launch of mondo*arc india. Having had multiple Skype conversations previously with him about the fascinating idea of how differently light is considered in the Oriental and Occidental cultures, my first encounter with Mr. Ghose’s scholastic evaluation of light and his cerebral perspective on lighting led to the fascinating article titled ‘From Attention to Awareness’ as part of the special feature ‘Garbh to Griha’ in Issue #01 of mondo*arc india. DJ, he implored me to address him as; explicated how the Oriental culture invoked darkness to seek knowledge. “In a Hindu temple, for example, prayer and worship are directed towards the parmatman – the primordial self… one is identifying the self with the divine. The gradual progress
towards darkness, leads one to the garbh griha – the ‘house of the womb’ where all creation is manifest. This chamber traditionally would be the darkest part, with the symbolic representation of parmatman placed within. Gazing inwards, there is the experience of the infinite void, the window into time and space where creation is the continuum, and if creation is taking place, surely the creator is present too.” On the other hand, he elaborated how the central theme of the Occidental culture relinquishes what is valuable and shares it with others, allowing participation of the laity as an audience in the sacrificial ritual. “In churches for example, the altar forms the centrepiece of the sanctuary and is located at the intersection of the nave and transept. In comparison to the nave, the altar is brighter and focuses the attention of the worshippers towards it. Within Occidental philosophy where ‘God is light and in him is no darkness at all,’ the visible rays of light create the connection to the Supreme and a visual link between the real world and celestial paradise.” With an inexorable curiosity about the variegated connotations of light, the means through which one can establish or inculcate such an experience in the built space, and questioning the advent of the process, I sought my next interview in DJ. I messaged
him asking for a conversation; and before long, he was in Delhi, sitting across the table from me, donning his signature hat. Our conversation began with an inquiry about his journey into the field of design. I questioned what piqued his interest in architecture. With a gradual smile appearing to his calm face, DJ began narrating what he himself termed as a ‘bizarre’ encounter with design as a child. Perpetually intrigued by machines and their working, DJ aspired to be an engineer. When challenged with what was claimed to be one of the toughest tests for an undergraduate degree in the country, DJ completed the entrance examination for the School of Planning and Architecture wondering if it was indeed serious or a practical joke. He soon found himself enlisted in the program, knowing a little bit about architects and nearly nothing about architecture. Of course they build buildings, but that seemed too easy a task for this young prodigy. In a span of five years, DJ not only realised that architecture was everything he really enjoyed, but also what he had been preparing himself for through his youth. Paradoxically, by the end of his course, he was so sick of it that he wanted nothing to do with architecture. After casually dabbling with mechanics, he was lured back into the profession by Professor KT Ravindran, and that is where DJ rediscovered his passion for
Pic: G Snow
design and unearthed an indisputable pull towards light and lighting. “The thread of lighting started somewhere during my architectural education with daylight and that progressively moved to artificial light. While I was with KT, I worked on lighting for the first museum that he did, which was the President’s Gifts Museum. Yet for me at that time, lighting was just a tool I could use but could not work it as a craft. That came much later…” At a time when lighting design did not exist in the country as a profession, DJ realised the need to establish his credibility in the field. The only way to achieve that was by enrolling in a formalized system such as the Bartlett at the University College of London. DJ claims it was simply a shortcut. When asked if his expectations were met at university, he merely states that he had none. He goes on to explain that when one has a desire to achieve something, there has to be awareness that it is a destination they can get to. Further, one must recognise that they have reached there and still be aware of the happenings around them. Finally, as a professional, one needs to be able to do that at will. That to him is the real challenge. “There is a difference between being proficient and being talented.” It is difficult to draw the line in this case. As a lighting designer with decades of experience under his belt, having worked in
India, the UK and finally settling in Australia to establish Lighting Design Partnership in 2000, DJ has had quite the journey. He has worked on countless projects of varying scales, typologies and functions. When asked about the role of a lighting consultant in the design process, DJ pauses for a second and with deliberation tells me that his intention is always to make himself invisible. His design philosophy pivots on creating a space where the role of a lighting designer would be experienced, not seen. I find it interesting to note that many designers I have spoken with, often draw analogies between lighting design and music. While some compare their act to a part of a larger symphony, others talk about light as injecting soul into a song. DJ peculiarly associates lighting designers to conduits and amplifiers. He says, “as an amplifier you do not want to distort the music; you need to design to deliver the highest possible fidelity. Sometimes, one needs to correct the emphasis, almost as an equalizer does. Our role requires us to ensure that the original theme is not overwritten.” DJ’s sensitivity towards light in the built environment is more than evident in his works. The Hong Kong Legislative Assembly is a silent witness to his prowess. As a secular building, the space demanded a seamless experience. It needed to be welcoming on one hand and yet maintain a
sense of formality on the other. DJ rendered the space in a simple sophistication, amalgamating daylight and artificial light, without highly decorative or superfluous fittings. “The lighting was an outcome, the experience was the starting point,” explains DJ. The Canberra airport was similar in nature of it being a large civil space, relatable to every visitor and open for free access to the public. The lighting scheme was driven by the desire to invert an ongoing trend. While airports are being perceived as busy retail environments, exciting the traveller and propelling them into impulsive shopping furor, the intent here was to create an environment of calm, stress-free travel. That proved to be a larger challenge for the designer. “It is easier to deal with a situation wherein you are trying to attract people’s attention or their engagement by designing things that are exciting. However, conceiving something that is rewarding without connoting obvious excitement is challenging. It is about having charm, and being charmed. And to develop that means using a very precise palette, which requires the greatest level of care. Even a slight miss-step is extremely magnified.” With the gift of skill and virtue of acumen, DJ’s portfolio spans from the Middle East to the Far East, with hundreds of projects, some of which dot his home country, India.
Pic: Dhruvajyoti Ghose
Pic: Dhruvajyoti Ghose
Previous and facing page Canberra Airport Top and bottom left Hong Kong Legislative Assembly, Tamar centre and bottom right United Overseas Bank, Singapore
Pic: Aditya Arya
One of the most fascinating of these has to be the Jal Mahal, the pleasure palace that floats effortlessly in the placid waters of the Man Sagar Lake in Jaipur. As the water gently laps the periphery of the palace that seems to be anchored in the middle of the reservoir, it seems to lose its heftiness as a series of lights turn on under the glassy sheet, casting magical cyan reflections of misty ripples on the wall. Originally designed for the Lake Palace in Udaipur, the customized apparatus that holds an array of Wibre lights under water were put into use here. “We had to find a technical solution to be able to light the building without exposing the hardware. For that we created this entire contraption which sits under water and adjusts itself as per the level of water of the lake.” It seems to magically hold the fixtures just at the right depth, such that in the day they can not be seen, and after dark they create a very soft light. Captivated by his pursuits, I prod for further encounters that he may have faced in the myriad projects completed over the years. One of DJ’s favourites is the lighting scheme for the Aga Khan Awards held at Humayun’s
Tomb, New Delhi. “I felt challenged simply because at the time when it was being done we did not have access to vast amounts of rental equipment; it was mostly show equipment that was available.” Illuminating the magical monument in a mesmerizing choreography of light and shade, albeit only for one evening, DJ breathed a renewed life into Humayun’s Tomb, radiant in history and shining in all its glory. When lighting a monument, all his energies are concentrated on maintaining the spirit of the heritage building, beyond its architecture. It was fairly easy for DJ to illuminate Humayun’s Tomb, for he knew every nuance and was familiar with every detail of the space. He contested himself to make the spirit of the space come alive, to render that which was unexplainable. Recognizing and accentuating the emotion of the ambience rather than highlighting the geometry is what excites DJ about lighting heritage projects till date. He derives creative freedom in these instances. “For me, it is an attempt to deliver an experience where people can sense the joy and pain of history. Monuments have lasted because
inherently they have had some quality to them that combines with its untold hidden story, untold narrative. Perhaps that can be brought to ‘light’.” With bold strokes of illumination and subtle details, DJ’s canvas, shrouded in darkness is literally enlightened. This is the starting point from where concepts arise, and he works his magic to create emotional experiences. “When you are too aware of your surroundings, you lose touch with your perception. Vision is a tool for gaining knowledge; you acquire a lot of knowledge through the visual sense. However, when you really want to think about something, you have to close your eyes; too much knowledge can also become an obstruction.” Eyes half open perhaps enables DJ to elucidate the conundrum of straddling the Oriental and Occidental cultures himself. What makes it any different to work in India as opposed to other countries, I question. “I have not thought about working in India as different from working anywhere else. Overall, there is no greater excitement than unraveling a project. Everywhere, everything is different. What is interesting though is to
Pic: Aditya Arya
Projects that you would like to change: Chhatrapati Shivaji Terminus in Mumbai, the questionable upgrade of the Marine Drive would feature among a list of global projects that I would say have been vandalized due to poorly thought out lighting. Projects that you admire: I suffer from a designer’s dilemma of constant dissatisfaction. Even in admirable projects, I notice only the missed opportunities and lessons for the future. Projects that you dislike: The indiscriminate use of colour on heritage buildings is something that causes me immense pain. Lighting hero: Still looking! Notable projects by LDP: Hamer Hall, Melbourne; Civil Aviation Department Headquarters, Hong Kong; J W Marriott, Mussoorie; Legislative Assembly and Government Headquarters, Hong Kong; Prestige Golfshire, Bangalore; Sahara Hotel, Mumbai; Art Rotana, Bahrain Changi T3, Singapore; Clarke Quay, Singapore; KLCC Convention Centre, Kuala Lumpur; Private Residence at 63 Perry Cross Road, Mumbai; Brisbane International Airport; The Binjai, Kuala Lumpur; Empress Towers, Taichung; Al Bustan Palace Hotel, Muscat; Mantri Square, Bangalore; Sydney Opera House and Federation Square, Melbourne Memorable projects: Lighting of Humayun’s Tomb for the Aga Khan Foundation. Current projects: The ones that take up most of my mental space currently are Vrindavan Chandrodaya Mandir, Brunei Museum of Islamic History, Hong Cheng Plaza in Guangzhou, Residence for Navin Jindal in New Delhi, Lalu Hotel and Mixed Use Development in Nanjing, Willinga Equestrian Centre in Bawley Point, Kingfisher Tower in Bangalore Awards: A few Facing page Jal Mahal, Jaipur. Top right Jal Mahal, Jaipur bottom Humayun’s Tomb, New Delhi.
Pic: Dhruvajyoti Ghose
find the thread that never changes. There are cultural contexts and obvious reflections everywhere but bizarrely I have never felt the need to focus on them particularly.” Having said this, DJ does hold a personal preference of working in the eastern hemisphere. Owing to the variety and subtleties of variation, he claims that this part of the world is far less homogenous than the west, more diverse. An intriguing project that currently seems to be occupying much of his mind space is a ‘modern’ temple in Vrindavan. Although in the initial design concept stage, it is remarkable to note that as a lighting consultant, DJ is an intrinsic part of the ideating team. Fascinated by the ongoing discussion to define a ‘modern temple’, DJ finds a challenging solace in the engendered dialogue. “It is easier to follow examples of classic pieces of work, which brings the security of knowing we can’t be wrong if it’s replicated. However, this time I have found a team, which is willing to restart from the beginning without any pre-considered themes. Therefore, everything is open to debate and discussion - volumes, materials,
how do you light, what do you light, how much do you light, what is the sequence of emotions you go through, and how is that going to be different from a traditional temple?” Relishing the newfound challenge, DJ confesses that perhaps ten years ago he would not have been ready to accept such a task, but now he feels like he is being tested; and don’t we know how much he enjoys a stimulating trial. Having known him as a professor who taught many of my contemporaries, having discussed and debated many a design philosophies and having witnessed a multitude of scholarly conversations, at this point I feel compelled to ask why DJ has never taught lighting. Much to my surprise, I get a very considered and precise answer, “… because I am still learning.” DJ expounds that he started at the engineering end of the spectrum, dealing with numbers and quantity. He compares that with allopathy, wherein you treat the symptoms without confronting the cause. “The numbers end is purely about the outcome, it is a framework that is a
simplification of what light is really trying to do. Ultimately what light does is something far subtler. It is like a musician, who gets the notes or the sequence of a raga right, but at a certain stage is able to bring life to that raga, it just happens. Once you are familiar with the fundamentals, you keep practicing, hoping that some day you will be able to talk about not just technique but also something further. Maybe it never happens for everyone, maybe it does, but in the last few years I have been able to feel a sort of vacuum, that there is a lot more to be learnt.” As we wrap up for the day, I am left in wonderment of how we have come full circle. My first conversation with DJ was in question of the journey of light through time, its relevance in our lives, cultures and psyche. Today, we conclude our conversation with similar questions, parallel theses akin to his earlier writing, and I cannot help but think – DJ himself epitomises the expedition from the darkness of curiosity to lambent knowledge, a voyage through the passage of erudite light. www.ldp.net
THE 2015 WINNERS A S A N N O U N C E D AT
darc thoughts For those of you that attended darc night, the culmination of the darc awards process, I hope that you enjoyed it. I have been blown away by the response to the peer-to-peer concept of the darc awards making this a truly democratic awards programme. Over 450 entries and over 5,000 votes from the lighting design community has proved that the lighting industry - both decorative and architectural - was eager to embrace a fresh, subversive awards format. This alternative approach was replicated during darc night. Dress code was creative not black tie. Street food (no tables) and drinks were free all night and there was no comedian (unless you count me fluffing my lines!). The visual interest was provided by twelve inspirational installations created by the lighting design studio and manufacturer partners that bought into what we are trying to achieve and I want to thank them for their tremendous creativity above and beyond the call of duty. Empowering lighting designers by making them eligible for free tickets to darc night if they vote (as well as interior designers and architects if they enter) appears to have struck a chord with everyone out there and we will be continuing with this initiative in the coming years for more awards. If you are a designer this event is for you and changes the dynamic of most awards where you have to wait to be invited by a manufacturer or fork out yourself. Something that is out of the grasp of many junior designers or small practices. We look forward to welcoming you to many more events that we are organising and I hope you have found inspiration in what you have seen so far. Paul James Director, darc awards
WINNER Best Decorative Lighting Product
Dimple – Bybeau Dimple is a modular chandelier system designed to allow unlimited configurations. It is made from the highest quality handblown glass with a unique two way mirror-coated finish, available in both chrome and a bronze finish, unveiling the extra interior glass ball when it’s on. It offers a flexible modular chandelier
SECOND PLACE The Buster Bulb – Buster + Punch
system to suit interiors of all sizes, starting from a single pendant through to multiple pendant configurations. Every drop of the chandelier can be configured with a RGBW LED chip, an LED chip with a combination natural whites or a single warm white LED. Each drop can be individually controlled via DMX to offer unlimited possibilities. The
system is designed to work with its own control system or already installed control systems like Lutron or Crestron. During the day the chandelier works like an organic sculpture with the mirror coating reflecting the natural light and it surroundings. At night it becomes an exquisite light show that can adapt to the moment.
THIRD PLACE Eclipse – Tilen Sepic
WINNER Lighting Designers Favourite Architectural Lighting Product - Exterior
VarioLED Flex VENUS – LED Linear VarioLED Flex VENUS is a high quality, opal encapsulated, IP67/IP68 protected flexible LED design light line. Above all, the astonishing uniformity of the light in combination with a small cross section and a high degree of flexibility characterises the VENUS, making it an appealing and innovative product. Despite being, in principle, a semi-finished product in terms of design, it is without doubt a finished luminaire that presents an air of fascination.
SECOND PLACE Trick - iGuzzini illuminazione
It is available in two versions with different bending characteristics. The Top View (TV) is vertically bendable and comes with a cross section of 16mm x 15mm. The Side View (SV) is horizontally bendable and comes with a cross section of 10mm x 20.5mm. Depending on the version it can be delivered in lengths of multiples of 62.5 mm or 125mm and with a maximum length of 7,540mm. In short, VENUS is a flexible neon tube with outstanding touch, look, feel and
technical lighting properties. Products of the VENUS family provides a lamp life time up to 53,000 hours, glare and dot free LED illumination and a colour rendering (CRI) of 85. The product comes in various colour temperatures of 2,400 K, 2,700 K, 3,000 K, 3,500 K, 4,000 K, 5,000 K, red, yellow, blue, green and RGB as well as IQ White. VENUS can be used for manifold in and outdoor applications, from furniture design to façade illumination.
THIRD PLACE LD56 – LightGraphix
WINNER Lighting Designers Favourite Architectural Lighting Product - Interior
Laser Blade - iGuzzini illuminazione Laser Blade revolutionises the concept of the downlight. The product with miniaturised optic, providing high visual comfort, uses the physical principle of pinpoint lamps, generating circular light emission. No more rigid frameworks, but instead ample opportunities for customisation. Innovative in its simplicity, Laser Blade is the result of an integrated process involving various disciplines: the science of lighting, technology, design and culture. The system
SECOND PLACE Flexible LED Light Sheet - Cooledge
is a multiple, flexible, universal tool, having received international awards. A classic circular downlight forms a point in space. Laser Blade, with its linear geometry, forms a segment, a direction. The luminous effect being equal, Laser Blade introduces a new approach with visual stimulation, graphic lighting of rooms, surfaces, walls and ceilings. The possible configurations affect behaviour and the way people relate to space (â€œField theoryâ€?).
The great care taken by iGuzzini in its constant and repetitive selection of LEDs, establishing partnerships with the best suppliers in the world, guarantees colour consistency which is not just constant over time, but also the same for different products in the same project. Laser Blade houses LEDs with a MacAdam Step value of <3. The chromatic difference between two or more colours is imperceptible.
THIRD PLACE Design LED Products - NESS
Project: Maritime Museum of Denmark Location: HelsingĂ¸r, Denmark Concept: Lucia Moreno Abenojar, Lumabe, Spain
WINNER Best Unrealised Lighting Concept
Maritime Museum of Denmark The research project has a purely academic nature and is part of a light plan that explores new approaches about a completed project that has been published and disseminated in several media. The concept rises up from the point of view of architectural analysis and its relationship with the environment. The proposal suggests a new means of interaction with people and environment, with the idea to create a frame of blue dots in a grid that can anticipate the sea state through sound and movement of sea.
SECOND PLACE Media Sky Dome
Urban furniture is one of the key elements of the building, the peculiar design of which is based on Morse Code. The lighting proposal highlights each piece that makes up the furniture. Light is responsible for reading the hidden message through light pulses; dots (quick pulse) have a shorter length than dashes (slow pulse) - like Morse Code. Bridges connect the main entrances and exhibition spaces of the museum, while the lighting proposal is an intervention between plastic and nature like a light
THIRD PLACE Jale
art installation, inspired in luminescence that can be found in animals, creating an enigmatic atmosphere. The auditorium has an open design criteria with a lighting proposal that searches to adapt a free solution. The ceiling works like a big screen that can be turned off and on as needed, adapting to each specific use. The lighting project achieves to adapt to needs of the building through the previous analysis of the architecture, without altering its essence and environment.
Project: Emergence Location: London Heathrow Terminal 2 – The Queen’s Terminal, UK Lighting Design: Cinimod Studio Client: Caviar House & Prunier Interior Design: Cinimod Studio
WINNER Best Decorative Lighting Installation
Emergence, UK Upon the recommendation from the retail directors at BAA (British Airport Authority), Caviar House & Prunier commissioned Cinimod Studio to conceive, develop and produce an iconic sculptural intervention to mark their presence within Heathrow Airport’s new terminal, T2 “The Queen’s Terminal”, and to provide an impressive and memorable addition to the overall terminal. Emergence captures the re-imagined movement of a school of fish moving underwater, a playful reference to the core business of Caviar House. It is a sculptural
SECOND PLACE KINETICA, UK
expression of the light patterns and shimmers that are created as a school of fish moves in harmony within water. The structure comprises bespoke LED arcs spiralling thirteen metres up to the ceiling, made from engineered carbon fibre composites as found in the newest airplanes. The resultant form manifests a kinetic moment frozen in time and then reanimated through cutting edge interactive digital lighting. The sculpture is an iconic and memorable scene that sets the brand up for incredible exposure to the millions of
THIRD PLACE Star Burst, UK
travellers flocking through the terminal on a daily basis. Each arc of light, controllable in movement, mimics the shimmer seen against each fish when they move in unison. Held together through beautiful mechanical fixings, each sits in the space above the bar, as a weightless mesmerising glow. This fragmented shimmer of scattered light translated as a fish vortex achieves a light movement that mimics that of the lateral line system that fish have.
Project: Light Barrier Location: Nikola-Lenivets Art Park, Russia & Eindhoven, Netherlands Artist: Kimchi and Chips, Korea & UK Client: Comissioned by the British Council and FutureEverything
WINNER Best Light Art Installation
Light Barrier, Russia / netherlands Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014. The light installation creates floating graphic objects which animate through space as they do through time. A fascination with natural light drove the technique of the impressionist painters, they explored new qualities of colour and the trail of time. Kimchi and Chips’ study of digital light discusses a new visual mechanic, their installation adding to the visual language of space and light. As the
artist’s inquiry deepens, brush strokes become descriptive like code, detailing reality and allying light with canvas. The Light Barrier is the universal law which separates light and material. Both by limiting the actions of materials so that they cannot move like light, and by defining Einstein’s mass-energy equivalence formula. The second edition of Light Barrier commissioned by STRP Festival continues the work of the original ‘Light Barrier, 2014’ into a new story with new physical techniques.
The visual story follows the journey of a digital form. It begins by passing through the Light Barrier, so that this digital form transcends the limits of its home reality and enters into our physical one. It then explores the possibilities of its new found physicality, whilst attempting to assert its digital identity. Finally the form travels through the Light Barrier again to pass away to the next reality.
SECOND PLACE Forest Lumina, Canada
JOINT THIRD PLACE DiscoDisco
JOINT THIRD PLACE Your Colour Perception, UK
Project: Memories of the Mirror Location: Convent de Sant AgustĂ, Barcelona Artist: Lupercales Client: Festival LlumBCN, 2014 edition. Ayuntamiento de Barcelona Main Lighting Suppliers: Lamp
WINNER Best Landscape Lighting Project - Low Budget
Memories of the mirror, Spain In ancient times, astronomers used a mirror over their desks in order to study the movement of the celestial sphere. This was an artistic installation that created a reflexive and out-of-a-dream atmosphere. The use of five circular mirrors of twometre diameter allowed it to be even a daylight artefact, capable of articulating a spatial discourse during the day. The metaphorical use of the mirror wants to talk about the architecture of the place (a gothic courtyard of a former convent) and also wants to reflect the (available)
SECOND PLACE Opera House Lane, New Zealand
darkness of the sky, a situation that implies a strong issue in urban context. The mirrors also reflect, multiply and make visible from other points of view, two other light art installations (by James Turrell and Gina Cubeles). Any further object and light element in the scheme serves to complement and integrate with the existing installations, controlling the colours and the illuminated surfaces. Prior to the installation, the educative programme was expanded with a workshop. That programme saw Lupercales working
in downtown Barcelona with young people who had left school before completing their degrees. The students, who were following a first-job oriented programme in electrical installations and maintenance, attended classes on lighting fundamentals and techniques, with the objective being to increase their knowledge while motivating them to look beyond the restricted scope of a basic professional level.
THIRD PLACE Antigua Villa de Santa Monica, Mexico
Project: UK Pavilion Location: Expo Milan 2015, Italy Lighting Design: BDP, UK Artist: Wolfgang Buttress, UK Client: UKTI Landscape Architect: BDP, UK Structural Engineer: Simmonds Studio, UK Main Lighting Suppliers: Mike Stoane, Lumenal, LEDFlex, Lumenpulse AlphaLED, Light Projects, Luxonic Lighting
WINNER Best Landscape Lighting Project - High Budget
UK Pavilion, Expo Milan 2015, Italy The two greatest challenges for BDP’s lighting designers were the one year programme, from design competition success to the grand opening in Milan, and a limited architectural lighting budget to provide 5* lighting on a 1* budget (£25k for all areas except the Hive). These constraints forced innovation and were overcome with close design team collaboration and assistance from UK manufacturers. The theme of the 2015 World Expo is ‘Feeding the Planet, Energy for Life’
SECOND PLACE Queen Elizabeth Olympic Park, UK
and Wolfgang’s overarching concept for the UK Pavilion is the importance of the bee. This artistic vision is abstracted into various forms and fundamental throughout the design that culminates in the Hive structure. This is a multisensorial experience that uses sound and light mapped from a live stream of a real beehive in the UK. Accelerometers are used to measure the activity of the colony and algorithms are used to convert the bee colony vibrations into lighting effects. One thousand individually-addressable LED
luminaires allow the Hive to pulse and glow, acting as a visual representation of bee activity. In addition to the Hive, the pavilion has various spaces and functions. These range from the entrance orchard and meadow walkways, lit in warm white ‘honey’ light, to the conference suite with honeycomb pendants where high level UKTI meetings are held. In each of these spaces careful detailing was the key to the project’s success.
THIRD PLACE Kings Cross Square, UK
Project: Shadow Play Location: Hämeenlinna, Finland Lighting Design: WhiteNight Lighting Client: Hämeenlinna City Architect: Architect FCG Finnish Consulting Group, Finland Main Lighting Suppliers: iGuzzini
WINNER Best Exterior Scheme - Low Budget
Shadow Play, Finland The 1952 Olympic swimming stadium was restored to its old glory after being abandoned for almost 30 years. The commission was to create a light art piece to bring the Olympic history back to life. The challenge was the Nordic location since the pool is used during the summer and in these latitudes the summer nights are short. Daylight became a crucial part of the installation; the surrounding ambience and history were connected in a shadow art that changes according to sunlight and weather. During night the lighting gives the figures
SECOND PLACE Liverpool Department Store, Mexico
another feel compared to their daylight appearance. After analyzing the site we concluded that daylight was entering the main façade on an optimal angle and it should be taken into account on the design. The pool was also used at summer time during daylight hours so it made sense to make the art piece work also during daytime. The clients’ wish was to bring back the sites Olympic history. WhiteNight Lighting went to learn more about the modern pentathlon that took place during the Olympics. The old
black and white photos inspired the team to use them as a part of our installation. They even managed to find two old grandpas who had taken photographs during the Olympic Games. They wanted to bring the other four pentathlon events back since the outdoor pool was the only clue left. When you arrive to the swimming stadium the road comes down from a hill. From faraway you see the art piece can be seen from a side angle and figures look complete.
THIRD PLACE Kucukcekmece Municipality Building, Turkey
Project: Szczecin Philharmonic Location: Szczecin, Poland Lighting Design: Anoche Iluminación Arquitectónica, Spain Client: Barozzi Veiga Architect: Barozzi Veiga, Spain Main Lighting Supplier: Traxon
WINNER Best Exterior Scheme - High Budget
Szczecin Philharmonic, Poland The Philharmonic Hall of Szczecin, in Poland, is an example of architectural creativity. Without this expression that puts the architecture of Barozzi Veiga on the table, the rest would not exist. It has been a challenge to endure the design process from the beginning, working together hand by hand with the architects.
SECOND PLACE BCP Affinity, Peru
Audacity and risk taking have resulted in this as a successful project, working together with the architects to find solutions to all their ideas. The concept of the façade of this building, born from the architects, emphasises the need to use the lighting that crosses the façade like a link of union with the people of the city.
A façade of glass, lit from inside, contains a conceptual load, transmitting different perceptions according to the use and the moment. This illuminations transmits what happens in the building’s interior, while sensors situated in the outside light as the sun sets, to stand in all its splendour.
THIRD PLACE Energy Tower, Denmark
Project: Sorae Sushi Sake Lounge Location: Ho Chi Minh City, Vietnam Lighting Design: ASA Studios, Vietnam Client: District 1 Concept Interior Design: LW Design, Hong Kong Main Lighting Suppliers: Philips, Osram, NVC, ELEK
WINNER Best Interior Lighting Project - Low Budget
Sorae Sushi Sake Lounge, Vietnam Sorae is one of the most spectacular Japanese Sushi and Sake Lounge destinations, located at the top of a highrise building at the heart of the Saigon district (HCMC), with a panoramic view of the city, where tasting and dining are taken to an exciting new level. The lighting concept is to create high contrast of light and darkness with a dramatic visual effect for guests to experience the authentic Japanese cuisine and culture heritage. The lighting scheme also enhances the
SECOND PLACE House of Vans, UK
experience of “dining in the sky”, with the ceiling illuminated softly by concealed light strips, accentuated by the glowing cloud lit in dynamic warmwhite tone to imitate the sky after the tropical rain in Southern Vietnam. This scheme connects very well with the real sky images reflecting on the large glazing offering an extensive view to the city nightscape. Every design feature is carefully treated with integrated lighting to focus on the presentation rather than the details. One of the major successes of this project
is that it was achieved within a very low budget using simple lighting techniques and technologies. Lighting helps “dining in the sky” become an unforgettable wonderful experience for the guests.
THIRD PLACE Pingtian Farming Museum & Manual Workshop, China
Project: Fulton Center Location: New York, NY USA Lighting Design: Arup, USA Client: MTA Capital Construction Architect: Grimshaw, UK Artist: James Carpenter Design Associates, USA Main Lighting Suppliers: Beta Lighting, Edison Price Lighting, Gammalux
WINNER Best Interior Lighting Project - High Budget
Fulton Center, USA From the inception of the project, light
enter, which during summer months penetrates
and daylight played a critical role in this
as far as two levels below ground, to the
The reflector panels of the cable-net structure
reinvisioning of a downtown transit hub that
delight of passengers stepping off platforms
have a custom semi-specular coating that
serves eleven subway lines and 300,000 daily
dynamically reflects light as both exterior
commuters, by acting as a key wayfinding
A cable-net structure with reflective panels
conditions and viewer position change. The
element. By studying the solar geometry of the
fabricated of a custom designed reflective
unique surface finish of the panels allows for
site, the design team was able to determine
aluminium coating surrounds the interior of
subtle direct reflections without direct glare
the influence of surrounding buildings on
the space below the oculus, reflecting both
from reflected sunlight. Perforations in the
daylight access, which informed the location,
the direct sun and diffuse skylight, and folding
panels vary from 30% open at the top of the
height, and angle of the primary feature of the
subtle images of the surrounding environment
structure to 70% open at the bottom, designed
building, a 50-foot diameter skylight oculus.
into the space. The oculus and reflector-net
to optimize reflection of light.
The skylight is tilted gently towards the south
illuminate the interior of the building, allowing
to allow more direct sunlight and skylight to
electric lighting to be turned off during the
SECOND PLACE Das Gerber, Germany
THIRD PLACE Guinness Storehouse, Ireland
darc night installations
Pics by Sven Eselgroth Photography unless otherwise stated
lse lighting / troup bywaters & anders LSE lighting partnered with the Lighting Solutions team at Troup Bywaters & Anders (TBA) to create an installation for darc night. The core aim was to create something that was both immersive and offer a photo opportunity. It is a lighting designers dream to design lighting for a dark (darc) space, this gave the team the opportunity to create something minimal and striking. To make the allocated space feel even larger they decided to use mirrors to create the illusion of an even better space. The linear concept came from the idea of creating a tunnel effect that would occupy our space
and beyond. LSE distribute for a range of lighting manufacturers. The company that TBA thought would best help them achieve the brief was ProLED with their RGB LED Flex Strip and RGB glass brick. The glass brick RGB was used to create the digital branding idea, these bricks create their own infinity effect and have DMX control as well as being IP rated. The linear strips of light combined with Proled M-Line profile with square diffuser to create a neon styled effect. The installation won the â€˜best darc night installationâ€™ vote on the night.
credits Lighting design and concept Troup Bywaters + Anders, Manchester office (Nick Meddows, Faye Robinson, Zoe Faulkner) Equipment ProLED RGB LED Flex Strip, ProLED RGB glass brick, Meanwell drivers (supplied by LSE Lighting)
Pic: Jim Ashley-Down
GRIVEN / NULTY The concept for THE WAVE POOL was to design an interactive light installation and space that truly immersed people in light. Nulty+ wanted to create something that was refreshing and new, that inspired a childlike sense of wonder and play and that would manipulate mood and senses as the light changed. The piece was centred round a mirrored wall erected from a deep ceiling void to form a wave of facets and reflections that culminated into a pool of light. The pool was filled with over 9,000 translucent balls for people to submerge themselves and the team designed the light effect to mimic a ‘rainfall’, where a sequence of different
coloured light fell down through the void and dripped from the pixel sticks before spreading out into the pool. The light was able to pierce through the translucent balls flooding the swimmers inside and the area around them. With a focus on scale and interaction, the installation encouraged viewers to become participants, impacting on their perception of the environment, stimulating the imagination and changing their visual perspectives and inviting them to swim in light. Not only was the installation a success during the event it also created a wave of ‘bubble bath’ inspired
Pic: Jim Ashley-Down
pictures and took social media by storm, winning the hearts of the so-called grownups of the lighting industry, who really are all kids at heart.
credits Lighting design and concept Nulty+ (Christina Hébert, Philip Copland, Ellie Coombs, Daniel Blaker & Emilio Hernandez) Equipment Griven - Diamond RGBW floodlight, Graph-i-Line media façade pixel sticks, Parade X RGBW linear floodlights, Ruby recessed RGBW uplights Programming Griven (Alessandro Pederzani)
darc night installations
megaman / design in progress Johannes Brahms was a German composer and pianist born in 1833. Franz Liszt was a Hungarian composer, pianist and conductor born in the same century. They were joined together by some cheeky cockneys to form a popular rhyming slang phrase that leant itself perfectly to the goings on at the darc night bar… The installation used MEGAMAN’s 6W golf ball Dim-to-WARM LED to illuminate the lettering and the mirrored dimmable Crown Silver LED to provide a contrasting glow on the treble clef. Eaton’s lighting controls provided the perfect platform to showcase the smooth dimming curve of the MEGAMAN Dim-to-
WARM lamps. When dimmed to 10% the LEDs appeared so warm (1800K) that many commented that they ‘must be halogen’. There was also a popular interactive element to the design. With so many of the lighting and design industry’s greatest minds in attendance, it would have been a shame not to capture some of their inspiration – and so the ‘#Megathought bubble’ was born. A MEGAMAN filament lamp would light up above the head of anyone who came to offer a #Megathought - as if in a cartoon. The warm glow from the lamp illuminated the #megathought and was shared via social media.
credits Lighting design and concept Design in Progress (Deb Wythe) Equipment MEGAMAN 6W Golf Ball Dim-to-WARM LED, MEGAMAN 5W Dimmable Crown Silver LED, MEGAMAN 3.2W Classic A75 Filament LED lamp (2200K) Controls Eaton Lighting Controls
Day Scene Visual
Day Scene Sketch
Night Scene Visual
Night Scene Sketch
Darc Awards Light Installation Design Concept
concord / speirs + major The Well is an experiential light installation that stimulates the memory of a day using both visual and auditory aspects of an urban lightscape. An excerpt from Paul Bowles’ Sheltering Sky projected on the entrance wall sets the tone of the piece: “Because we don’t know when we will die, we get to think of life as an inexhaustible well. And yet everything happens only a certain number of times, and a very small number really. How many more times will you remember a certain afternoon of your childhood, an afternoon that is so deeply a part of your being that you can’t even conceive of your life without it? Perhaps four, or five times more? Perhaps not even
that. How many more times will you watch the full moon rise? Perhaps twenty. And yet it all seems limitless...” Within a brick built shaft-like space, niches are converted into windows with curtains and flowerpots, and laundry is hung out, contributing to the illusion of life behind the panes. A fan gently animates the fabrics with natural movement. Birds sing, the sun rises. A careful blend of warm and cool coloured light appears to fill the space with daylight. The light and soundtrack shift continuously, and eventually daylight fades. Warm light begins to appear in the windows, signalling a playful transition to night.
credits Lighting design and concept Speirs + Major (Kerem Asfuroglu, Sam Tuck, Neville de Sa, Jack Wates, Ting Ji, Luciana Martinez, Jaime Fuentes McGreevy) Sound design Harry Wills Equipment Concord Lumistrip, Beacon; SIMES Movit Projectors Controls Enliten (Paul Simson)
darc night installations
L&L luce & light / ldi Gathering around a camp fire, standing around an oil drum fire, or eating around candle light, we are all drawn towards light but over time the source of light has changed from fire, to incandescent, to halogen and now LED. Warm white focused artificial light can replicate feelings of intimacy, welcoming the viewer closer and calming uncertainty of what the dark may hide. Artificial light now brings our cities and spaces alive at night more creatively than ever before, fighting back the dark, and transforming our environment. In contrast, daylight has intensity far in excess of artificial light, and its full colour
spectrum bathes our world in colour daily, inviting us to use its potential alongside the fantastic LED alternatives. Warm white Smoothy 5 fittings uplight the string trees, representing artificial lighting and creating an intimate mood lighting effect. In contrast the installation sequences at varied rates and orders to more intense cold white Bright 5 fittings, representing daylight, and reflecting colour back up from the barrel lids below. The varied reflected colours are intended to illustrate how light is made up of spectral colour wavelengths, and how the world around us reflects these colours for us to see.
credits Lighting design and concept Lighting Design International (Graham Rollins, Nathan Gummow, Alex Bittiner, Ben Ferris, Emily Hopper, Cristina Escofet, Theofili Machairidi, Katerina Chanioti, Gavriil Papadiotis) Equipment L&L Luce&Light Smoothy 5.0 2700K and Bright 5.0 5000K (supplied by Lightworks)
innermost / elektra lighting Innermost and Elektra Lighting’s installation at darc night featured the newest additions to innermost’s lighting collection. Ambient Stupa pendants by Freshwest and Latitude spotlights by Flynn Talbot floated amidst a series of illusionary funhouse mirrors. Six commanding mirrors defiantly rejected the common reality, and substituted their own. Suddenly, the same pendant lamp transformed into six different designs; the same person, into six different individuals. As one weaved in and out of the illusions presented by the mirrors, the contrasting lighting installation – with the ambient glow of Stupa lamps against the striking outlines
of the Latitude spotlights – seemed to come to life. YOYLight table lamps, also present at Innermost and Elektra Lighting’s installation, mirrored the playful theme of illusion versus reality by projecting it’s own halo of a classic lampshade onto the wall. Elektra Lighting commented: “Innermost are suppliers of a large range of creative and cool pendants. We wanted to show them off in a similar creative and cool way; not just hanging in the space, but in a way that would encourage interaction and for designers to look at them with a fresh perspective. We created a “hall of mirrors”
with the pendants reflected in each one. Using distorted circus mirrors forced people to look at the pendants in a new light, and to see them as if for the first time. To encourage this, we created a dedicated hashtag so people could take selfies and tweet them with the hashtag – with a prize for the best.”
credits Lighting design and concept Elektra Lighting (Neil Knowles, Marta Michalski and Rachel Tunnicliffe) Equipment Innermost Stupa lamps, Latitude spotlights, YOYLight table lamps
darc night installations
lucent / michael grubb studio Working with Lucent Lighting, Michael Grubb Studio’s (MGS) concept stemmed from the idea of celebrating ‘more than the downlight’ with particular emphasis placed on integral lighting and a hand-crafted construction process. The team CNC’d a pattern of scaling triangles that were cast out from the circular ‘Source’ in the centre of the installation. The Source was inspired by the definition of Lucent; glowing with or giving off light ‘the moon was lucent in the background’. MGS then used Artex to create a landscape texture which was side illuminated by the entire Lucent ProStrip
Black range in it’s various formats. The team individually addressed the LEDs and created an animation, which tied together with a projection. Both teams from Michael Grubb Studio and Lucent worked as one to construct the light installation and wire the 112 triangles back to the DMX drivers. Both teams enjoyed exploring ideas and solutions and were proud to create something new and different. “Finding a use for Artex was one of our proudest moments at Michael Grubb Studio!” commented Michael Grubb.
credits Lighting design and concept Michael Grubb Studio (Michael Grubb, Greta Smetoniute, Stuart Alexander, Matt Waugh, Alberto Romero) Equipment Lucent ProStrip Black
zumtobel / arup Arup and Zumtobel were co-creators in the lighting installation ‘chromatic fantastic’, held inside the Doodle Bar within a warehouse space in Battersea, London. As a fully functioning bar, the team had very limited installation time, completing the installation in just six hours on the day of the awards! The concept for the installation was lava and naturally occurring movement of light, as well as looking at interior space and how light can accentuate and change an environment. The installation had moving projections on the back wall, drawing people in, and created a contrasting lit
effect to the ceiling. On the ceiling, linear fittings were mounted aiming up from the top side of suspended timber blades, and created a strong colour wash. The way they were mounted upwards created a silhouette effect for any other objects on the ceiling, which added interest. The bar also had a large blackboard wall, which prompted people to ‘doodle’ on the wall. The team used this wall to write and project poetry on the wall, by a local poet Tom Mansfield on the topic of light. This poetry was reflective of the title of the piece and lit effect of the installation. In terms of
lighting equipment, Zumtobel’s Hilio, Aphrodite, and Arcos projectors showed off the space in the best possible way.
credits Lighting design and concept Arup (Tim Hunt, Joni Foster, Lauren Blow, Signe Lindberg Iversen) Equipment Zumtobel Hilio, Aphrodite, Arcos Control Zumtobel (Colin Swinton)
darc night installations
cooledge / light bureau The connection between music and food are many and varied, from quotes such as ‘if music be the food of love’. and of course great parties always have great food and great music. However we are told from an early age not to play with our food, we want to give the participants of darc night a chance to not only play with their food but play with light. The installation designed and built in partnership between Light Bureau, an award-winning lighting design and consulting studio, and Cooledge Lighting, manufacturer of the industry’s first Flexible LED Light Sheet Technology. Inspired by the piano and trying to create an interface where the guests could latterly
play light as an instrument. The system was designed so that when visitors touched the fruits, they affected and essentially controlled the illumination of selected album covers. Because of the responsive nature of the installation, the lighting continually changed depending on each individual’s interaction with the lighting installation. Light Bureau designed the installation and used Cooledge LINE and SQUARE light sheets as standalone decorative fixtures that could be easily suspended from the ceiling. Others hung from the TESTBED1 bar wall and a special illuminated counter-top was created to house the wireless interactive lighting
controls. Throughout the evening, darc night attendees were able to control their environment, introduce light into the relationship between music and objects, and enjoy playing with their food.
credits Lighting design and concept Light Bureau (Valeria Surrente, Joe Vose, Emilios Farrington-Arnas, Paloma Pulmed Martin) Equipment Cooledge Lighting LINE & SQUARE Controls & Technical Support Cooledge Lighting (Gianmarco Spiga)
lumino / electrolight Darkness is the absence of light. That was the conceptual premise for Umbra and Penumbra - a two-part bespoke lighting installation created by Electrolight with Lumino for the Darc Awards in London. Light is not just an optical perception; itâ€™s a psychological influence on the human experience. We live in an environment that is ever-changing; every day we experience natural light and artificial light within the context of darkness. Umbra and Penumbra represent opposing views from the same location above London at an elevation of 18km. Umbra is a work that celebrates the natural light of a thousand twinkling stars in the
dark infinity of space. The constellations that were visible from the awards venue on the awards night - are represented. The work explores how the oldest light in the universe is visible only against the darkness and infinity of space. Penumbra is a work which reflects a more personal relationship with light. The edges of our city, populous and animated; a work of art meticulously created by the human hand. In the absence of natural light we create our own tapestry of light as rich as the skies above.
credits Lighting design and concept Electrolight (Maria Rosaria Favoino, Christopher Knowlton, Jackson Stigwood) Equipment & Fabrication Lumino (Chris Small, Iaroslav Vychemirski, Jago Wickers)
darc night installations
Pic: Andy White
kkdc / dpa â€œLight is our guide. Light assists when darkness falls. But what if light were a barrier? An obstruction? Enter the Light Tunnel, where you must find your own way.â€? Light Tunnel creates the illusion of a seemingly impassable route by utilising a series of full height lit vertical lines placed carefully so the participant perceives a barrier that prohibits them from travelling through. The use of mirrors to the ceiling, walls and the edges of the lit profiles provides infinite inter-reflections, extending
reality and the sense of obstruction so one is left to discover the pre-defined passage. Dynamic control of the installation alters the appearance of the Light Tunnel, ensuring continuous way finding adjustment amongst the blurred visual boundaries. The installation used homogenous illuminated double faced RGB & tunable white LiNi Glow XL modules complete with mirrored side facias. Each light element was installed at floor to ceiling within a secondary tunnel structure designed to
conceal the existing building fabric with mirrors continuing along the entire ceiling length.
credits Lighting design and concept dpa (Nicholas Belfield, Michael Curry, Tommaso Gimigliano, Shayne Grist, Ingo Kalecinski) Equipment KKDC LiNi Glow XL
reggiani / bdp BDP’s Manchester based lighting team focused on the element of ‘fun and games’ when it came to designing their installation for the darc awards. With the area already playing host to a series of table tennis and foosball tables, the theme was extended so guests would be able to immerse themselves in much loved games and have some fun! The heart of the space featured a pingpong ball installation suspended above the tables with RGB spots at high-level. The
installation extended across the width of the space connecting the tables together. A small seating area featured oversized playing cards, a hearts and diamonds window display and suspended pendants from high level. The pendants featured an array of transparent dangling hearts / diamonds, providing a subtle sparkle whilst also localising the lighting to the games on the tables below. Childhood favourite board games featured Connect4 and a bespoke version of guess who; ‘A Lighting Designers
Special’. Continuing with the card theme, a joker silhouette was located towards the rear of the space featuring the BDP – Reggiani branding. Lastly, the floor featured a way-finding pac man game for guests to navigate around the space.
credits Lighting design and concept BDP (Rhiannon West, Katja Nurminen and Katerina Konsta) Equipment Reggiani YORI Track and Spot, UNISIO, ROLL IOS
darc awards trophy design
Pics: Kerem Asfuroglu
applelec / kerem asfuroglu Kerem Asfuroglu: “I felt privileged designing the darc awards trophy. It was great fun working collaborating with mondo*arc & Applelec on this bespoke project. I never liked the trophies that utilised light as a decoration rather than considering it as a source. A trophy for the lighting design community had to be a light bearing object just like a candle which was my initial inspiration. Often we see trophies that are ruined by the amount of inscription and advertisement all over them. This design needed an industrial look which meant it had to be decoration-free. It had to be
the light which hints you where to find the information, so we decided to embed the inscription label with the light source. Materiality and weight are the key aspects of any transportable object, that’s why we wanted the trophy to feel raw and heavy. 3mm thick cast-steel made this possible. Rough inner finish provided the textured surface for the light to reveal. Having a cut out image from the steel tube provided depth and contrast to the design. This design came to life thanks to the brilliant engineering and production work done by Applelec. They have done
an excellent job in realising the trophy exactly how I envisaged it. Circular LED Light Sheet and the gear was designed and manufactured with precision. The inscription label is designed by graphic designer Hasan Gozlugol and manufactured by Applelec.”
credits Trophy design and concept Kerem Asfuroglu Inscription Hasan Gozlugol Manufacturer Applelec
PROJECT / SZCZECIN PHILHARMONIC, SZCZECIN, POLAND
the magic lantern Barcelona-based Anoche has created a glowing lighting scheme for Estudio Barozzi Veiga's beacon of architecture in the heart of Poland.
Left The dynamic LED façade lighting solution contains over 25,000 customised Traxon Dot XL-3 RGB fixtures (controlled by an e:cue control system) mounted on flexible strings between the walls of the building and its glass covering. Top The cavernous Space Hall uses ERCO 4000K LED intensive narrow spot downlights for general overhead lighting from a height of over 25-metres. The alcove areas such as the reception and cloak room are illuminated at a warmer temperature to identify them to the visitor.
Influenced by the steeply pitched roofs and the verticality of the city’s residential buildings, Szczecin Philharmonic Hall is identified by the monumentality of the upright ornaments of its neo-Gothic churches and the heavy volumes of its Classicist buildings. Designed by Barcelona-based Estudio Barozzi Veiga with an expressionist mindset, the architectural practice aimed to use geometry to give shape to a new rhythmic composition that conveys feelings by balancing massiveness and verticality. The use of glass as the exterior cladding material highlights how the building contrasts with the conditions of its surrounding environment. It creates a bright, transparent and upstanding object that has been the perfect canvas
for architectural lighting design practice Anoche, again from Barcelona. The design of the Philharmonic Hall goes hand-in-hand with attempts to revitalise the city and restart it as a lively hub with cultural attractions of reference. It is a new interpretation of what were the main attractions of the city, harshly treated by a history of crises and world wars. The interior of the building showcases the main hall, with everything focused on its needs and on facilitating the movement of spectators and the work of music professionals. Its overall intention is to reproduce a traditional Baroque music hall, maintaining the typically warm atmosphere inside but with the architects' own vision and a new reading of the form. All this is brought together in a single
building, designed and intended only for music, cloaking the interior neutrality with an expressive façade inspired by the profile of the city itself, whilst transmitting the necessary personality to mirror the city’s identity. With this achieved by the distinguishable shapes and colours, the music hall has become a new city landmark. The façade is translucent to allow its night-time expression by lighting its white glass with marked vertical profiles. The backlighting of the façade adapts to different moments prior to concerts, heralding their proximity with staggered phases of intensity, in a nod to the ringing of the bells in ancient temples. The start of the concert is announced with maximum intensity of white light. This
PROJECT / SZCZECIN PHILHARMONIC, SZCZECIN, POLAND
announcement, silent and stylish, is part of a broader communication repertoire that the building and the façade provide to music and the city. In fact, the LED lighting system allows for all kinds of configurations, sequences and colours, even though the project specified and required only an expression in white. The dynamic LED lighting solution contains over 25,000 customised Traxon Dot XL-3 RGB fixtures which replaced the originally planned linear fluorescent lamp arrangement. Mounted on flexible strings between the walls of the building and its glass covering, the reflected light emerges from the empty space. e:cue’s control systems manage the installation, with a combination of the Lighting Control Engine 2 fx, Butler XT, and Video Micro Converter delivering pre-programmed content. There are dynamic and static scenes available for festive days like Independence Day, Anniversary of the Constitution, and Christmas, as well as scenes for special events, concerts, and regular days. The façade illumination starts at the end of the day via the sunrise trigger and stops at midnight, and manual operation is also available via a Glass Touch terminal. By entering a special combination, the Glass Touch is deactivated and the system returns to the sunrise trigger operation. Functionality is monitored by a temperature sensor which automatically switches off the illumination if necessary. Inside, the uniformity of its white walls, floors and ceilings meant that cluttering the space with visible luminaires was out of the question. Therefore light appears not as a lead actor but as a messenger for the main medium: architecture. It is maximum result with minimal intervention. The largest area in the building is the Space Hall - giant, transcendent, expressive, neutral and empty. The entire message is
Left Inside, the minimalism of the white, cavernous spaces require the use of recessed downlights that disappears into the architecture. In the smaller areas track lighting is used. This page The faรงade lighting gradually grows in intensity to inform visitors of the proximity of a concert.
PROJECT / SZCZECIN PHILHARMONIC, SZCZECIN, POLAND
PROJECT / SZCZECIN PHILHARMONIC, SZCZECIN, POLAND
Previous page The main concert hall, resplendent in gold, is lit from above with 3,000K halogen narrow beam projectors and from the sides with 3,000K LED spotlights hidden in the walls. Top The small concert hall uses 4,000K narrow spot downlights to highlight the space and to punch through the black walls and ceiling.
offered and communicated there, opening up as a vast meeting point including a cafeteria, where human coming-and-going flows towards the points of attention - the box office, cloakroom, stairs to the main hall, spiral staircase and the cafeteria itself. These spaces, lit as small and open alcoves, express their human concentration by giving off a more welcoming atmosphere and warm lighting that identifies and showcases them. The lighting fulfils its original function: to show, to lead and to disappear. A major technological challenge, which was achieved by using ERCO 4,000K LED technology for general lighting, was to concentrate overhead lighting with very intensive narrow spots (NSP) from a height of over 25-metres, managing to avoid
illuminating the walls surrounding the space. The use of technology accompanies visitors on the journey to the movement areas of the hall, where the use of metal-halide downlights (also in neutral light, 4,000K) of between 20W and 35W with very extensive WW optics, helps the feeling of volume in these spaces to reach the walls. This becomes visible to help the user detect the change in scale and prepare them to enter the rooms. Having crossed the gigantic lobby, long staircases close in, changing the scale and preparing the visitor to reach the main hall. A prior area is used to acclimatise the eyes, which is achieved with a transitional space in which pupils can dilate and grow, a black space with very low lighting. This dilation of
pupils allows the visitor to arrive in perfect conditions for the surprise to be even greater upon discovering the golden heart of the building. The main concert hall is lit from above, with 3,000K halogen projectors with intensive narrow spots to gain height and ensure that light reaches the stalls. This overhead lighting helps the visitor better understand the space by showing its brightness and textures. 3,000K LED spotlights, integrated into the geometry of the walls in such a way that they are not seen by users and appear to be reflections of light, are also used to reinforce this luminous discourse of brightness and texture. The concert hall is also equipped with controls at each point of light, so that the different scenes can be programmed
Pic: courtesy of OSRAM
The dynamic LED lighting solution contains over 25,000 customised Traxon Dot XL-3 RGB fixtures controlled by an e:cue control system. Mounted on flexible strings between the walls of the building and its glass covering, the reflected light emerges from the empty space. There are dynamic and static scenes available for festive days like Independence Day, Anniversary of the Constitution, and Christmas, as well as scenes for special events, concerts, and regular days.
according to needs (welcome, concert, accompaniment, maintenance, for example). The small concert hall, all black, stands out for the use of neutral 4,000K lighting to showcase the space. The integration of points of light on the ceiling is absolute, and this regulation makes its versatility total at all times. Circulation areas in the room are resolved with more intensive NSP lights so as not to cast light on the walls, which in turn are lit by 4,000K LED points near the floor to provide a sense of security during periods of low light intensity. The remaining areas of the building harmonise naturally with the main lighting concept, adapting to the tighter budget that these areas receive. The dressing rooms, rehearsal rooms and public bathrooms strive towards practical and
integrated lighting, in this case with linear or compact fluorescents, always with warm 3,000K light as they are areas of use, drawing from the architecture to prove integrated and functional. Szczecin Philharmonic is the new icon of the city and darling of the architectural world thanks to its form and it's spectacular lighting. Following it's inauguration in September 2014 it has won a plethora of architecture awards including the coveted European Union Prize for Contemporary Architecture â€“ Mies van der Rohe Award 2015 in May. It remains to be seen if Anoche's lighting design will be rewarded with a similar honour at the darc awards. www.barozziveiga.com www.anoche.eu
Project Details Szczecin Philharmonic, Szczecin, Poland Client: City of Szczecin, Poland Architect: Estudio Barozzi Veiga Lighting Design: Anoche
lighting specified Interior ERCO Lightcast downlights, ERCO Compact HIT downlights, ERCO Parscans, Lucifer downlights, Zumtobel Panos M 100W downlights, iGuzzini Sistema Easy FL, iGuzzini Le Perroquet, XAL Frame 70 & 110 systems, XAL TUBO 100 profiles, SBP IKE LED ceiling luminaires, Viabizzuno Cilindro S40 Exterior Traxon DOT XL-3 RGB Facade, e:cue Engine 2 fx lighting control system, Butler XT & Video Micro Converter
PROJECT / MAJLIS OMAN BUILDING, MUSCAT, OMAN
shadow government Visual Energy has created a dramatic lighting scheme for the faĂ§ade and landscape of Oman's new Parliament where shadow is as important as light.
Omanâ€™s recent civilisation is very visually present in the architecture of the landmark buildings that are spread throughout the country. It is the vision of Sultan Qaboos, the Sultan of Oman, to build a modern civilisation that has its roots in the Islamic arts and culture and this can be best seen in the modern Omani architecture of the low rise buildings in the capital city, Muscat. The architecture of modern day Oman is unique in the Arab world combining Arab and Islamic culture and heritage with a classic contemporary style. Most of the buildings utilise the simple lines and arches found in the traditional forts and
castles together with the precise cutting and carving technologies of the modern day to create some of the most magnificent Islamic architectural sculptures found around the world today. The Royal Opera House, the Grand Mosque and the Allam Palace are examples of this architectural style. Majlis Oman, the new parliament building, is the latest of these landmark buildings in Muscat. The building comes as a testimony to the Sultan's vision of establishing a modern democratic state built on grounded Islamic routes where the people of the land are an integral part of the decision-making
authorities in the country. The symbolic significance of this project cannot be overstated. The Majlis is at the very heart of Oman's constitutional power and is the only legislative body in Oman where all members are democratically elected. The building is located in the prestigious Al Bustan area of Oman close to the Ceremonial Palace and Ministerial buildings. The new Majlis overlooks the Gulf of Oman and is surrounded by a mountainous background and primary dual carriageways. The building's design has a number of elements that are based upon elements
Pics: Adam Parker - www.buildingimages.co.uk
from the numerous early forts located throughout Oman. This building both respects the origins and takes from it, and also adapts into a modern Omani style showing the forward looking intents of the government. Scale is the key to the design of the external spaces. The architectural scale of the Majlis Oman built form is truly grand and monumental and drives the design. This grand and monumental scale is preserved in the landscape. Broad and flexible spaces open views to the architectural faรงades. These spaces are also designed to
Low level bollards with one-side emission highlights the grounds creating dramatic shadowy effects leading the eye to the building. This technique is used throughout the faรงade scheme.
PROJECT / MAJLIS OMAN BUILDING, MUSCAT, OMAN
accommodate the grandeur and spectacle of ceremonial functions. The grandeur establishes the Majlis Oman as the symbol of the highest order of national governance. The design of external spaces also provides human scaled spaces within the campus. Trees and palms planted relatively close to the facades transition the scale from monumental to human. Social scaled spaces are created in areas close to buildings. Examples are the two enclosed courtyards, the Clock Tower Courtyard and the Mosque Plaza that are more detailed and intimate spaces for smaller groups or solitary enjoyment of the outdoor environment. The actual construction of the main building started on 29 July 2009 and was completed on 13 October 2014. The 101,931sq.m site featured a new building to the upper and lower houses of parliament (Majlis Oman, Majlis A’shura and Majlis A’ddowla), VIP areas, an information centre, library and associated offices/ facilities to support the buildings. The concept design of this iconic building started as a design competition that Australian architectural practice Moller Architects won. Detail design was carried out by Oman’s Royal Court of Affairs’ inhouse team of architects, designers and engineers with Ammar H. Mohamed (Senior Lighting Engineer) and Anthony Coyle (Coordinating Architect). The preliminary site enabling works took six months as the site had a hill which was removed and a number of Wadis (water channels) that were diverted away from the project site. Lighting design practice Visual Energy was commissioned by the Royal Court of Affairs to design the façade and landscape lighting for the entire project. The brief was to bring the Majlis alive at night time with the help of artificial lighting to enhance the style and identity of the building. With over 2km of façade to illuminate, it was by far the largest and most visible element of the project. A number of challenges had to be tackled including finding a solution that was unique, sustainably and economically viable, and would enhance the architectural lines and contours of the highly engineered façade stone work. During the concept design, two approaches for illuminating the building were studied simultaneously, the first relied on conventional inground metal halide uplights and floodlights and the second was a more revolutionary (at the time) linear inground high power LED system that would evenly illuminate the façade. A number of
computer models and physical mock-ups at site were made to compare the two systems and to communicate the idea to the architects and the client. The selected solution had to successfully illuminate the façade so that it could be seen from a minimum distance of 250m away for the public and close-up for the VIP guests and dignitaries visiting the building. From the mock-ups it was very clear that the traditional system of uplights and floodlights (spaced at 6m apart) would not achieve this goal as it resulted in the following adverse effects: • The carved details in the façade of the building will be flattened out if floodlit from a distance. These details can only be seen when layers of light and shadows are present to emphasise the depth of the grooves in the façade. • The shadows created by the architectural elements such as arches will not be evenly seen on the building. • A single burned out lamp will create a gap of 12m of darkness which would be very visible from the viewing platforms created alongside the main roads. • The VIPs and dignitaries would be affected by the glare from the floodlights as they walk out of the building at night time. • Due to the low lumen output of LEDs at the time, metal halide floodlighting was not considered viable due to the large amount of power it would consume. Therefore the selected solution was to project a linear beam of light at a precise distance away from the façade so that the shadows could be controlled. The location of the light fitting had to be closely coordinated with the landscape architects as it would run around the entire building, and coordinated with the architects on the floors above. The scale of the Majlis dictated that the lighting had to be plentiful, varied in its form and function but beautiful to behold. There was no room for standard products in such grand surroundings. One of the principle terms in the lighting contract as per the Royal Court of Affairs criteria was that lighting manufacturers had to provide a five year limited warranty (due to the extreme heat and dusty conditions) and the qualifying companies must have been running for a minimum of ten years. Working closely with specialist lighting manufacturer Linea Light, Visual Energy designed a custom linear LED recessed in-ground solution that allowed for a small offset from the wall of only 900mm while still maintaining a uniform vertical illumination and minimal glare to the users of the space. The length of the fitting was
In order to get the potential shadows on the façade under control Visual Energy worked closely with Linea Light to design a custom linear LED recessed in-ground solution (below) that allowed for a small offset from the wall of only 900mm while still maintaining a uniform vertical illumination and minimal glare to the users of the space. Visual Energy used over 5km of linear LED to uniquely light the facade and to bring the architectural lines and contours together in the highly engineered stone work. Uplighting illuminates the arched area of the Port Cochere (right) to bring out the depth and to add drama to this very prominent architectural feature.
PROJECT / MAJLIS OMAN BUILDING, MUSCAT, OMAN
Low level bollard lighting with two beam angles softly washes down the wadi and the lawns as well as creating safety and security lighting for the guards. Bollards use optics and lenses to control light distribution. Bollards also use reflectors to give a higher light output or distribute light in certain directions.
The concept of producing shadows and dark bands of light was achieved using a minimum of light fittings at ground level and a simple design. Shadow is as important to the scheme as light so Visual Energy didn't try to light everything, instead retaining some mystery.
Surface mounted linear wash light give a soft even wash of light. To integrate with the architecture the fitting is a custom RAL colour. Recessed uplights illuminate the port cochere in a subtle wash effect adding texture and depth to the facade.
also customised to be exactly 1,200mm so it could fit into the 4.8m grid used around the building. Furthermore, the inground casing of the fitting allowed for running the three-phase cables and DMX within the body of the fitting, minimising the number of tapping points from the building, and the depth of the fitting was restricted to 100mm so it fits within the screed and top finish of the flooring. The fittings in the upper terraces were dimmed down to give a continuity effect to the light from the fittings in the ground. Finally a number of metal halide inground uplights were added around the main entrances of the building to emphasise the importance of these entrances when compared to the rest of the building.
Another important decision that was taken during the mock-up stage was the selection of the exact colour temperature of the inground light fittings to best illuminate the two-shade stone cladding of the building. 2,800K was finally selected as the most appropriate colour temperature and was used for all the LED fittings illuminating the faรงade of the building with the metal halides being 3,000K. When the building was fully illuminated, the shadow lines were clearly visible as sharp lines seen from the 250m away roundabout and viewing platforms. The building now has a striking night-time faรงade and landscape set on a backdrop of the rocky Al-Hajar Mountains that can be enjoyed by the local population and visitors to the region alike. www.visualenergy.org
Project Details Majilis Oman, Muscat, Oman Client: Royal Court of Affairs - Sultanate of Oman Architect: Moller Architects Detail Architect: Royal Court of Affairs - Sultanate of Oman Lighting Design: Visual Energy
lighting specified Faรงade Linea Light iLED SteelWalk, iLED Star Line, iLED Xenia, iLED New-Farled; iGuzzini iRoll 65; WE-EF DOC220 Colonnades Linea Light iLED StarLine; iGuzzini Light Up, Light Up LED-Dual Optics Landscape Lumascape LS343; iGuzzini Light Up Walk Professional; Linea Light iLED Xenia; Siteco SL10 Mini; WE-EF NTY184; Simes Eos Square
project / National Institute for Faith Leadership, Dasna, Uttar Pradesh
LIGHTING THE AUSTERE A narrative of ‘chaperoning light’ on a one-day visit to the National Institute for Faith Leadership (NIFL) designed by studio archohm, and witnessing its pilgrimage with architecture, by Lena Ragade Gupta.
Pics: André J Fanthome
“I am not a slave of darkness; I am a slave of light” —Rumi It was a serendipitous visit to the Masjid next door which enabled Maulana Madaniji to view studio archohm from there and almost instinctively decide that its principal architect, Sourabh Gupta would be the one to help him realise his vision for the National Institute for Faith Leadership (NIFL). NIFL sits in Dasna-Ghaziabad, with a distinct and enviable poise of a modern sculpture in the middle of a vast backdrop of green and serene fields, drenched in sunlight. It is a built rendition of a mission undertaken to help Islamic scholars evolve into national leaders. Also envisaged as an ecosystem to modernize Islam aligned to contemporary times, the campus whose students are tomorrow’s faith leaders, reconnects the nationalist and liberal Islamic virtues, while celebrating traditional values. The institution, built in phases, includes a residential block, research and seminar spaces, open air and formal auditoria and a mosque. The main building houses the classrooms, a library, a prayer hall and dining space. Interestingly, the exercise of making the building a tangible reality has been a journey that helped immensely in clarifying and crafting the abstract vision. From the inception itself, the vocabulary of design and the employment of architectural tools such as light, materials, volumes and forms to articulate functions have gone hand in hand with the interpretation of the brief. The play of light in space and in time has in particular, brought in the required ethic and aesthetic to the institution. No ecosystem can claim to survive without
project / National Institute for Faith Leadership, Dasna, Uttar Pradesh
light. Thus fundamentally, light has been provided to enlighten the minds at work, in the workspaces, but also in the interaction spaces and the movement spaces. The quantum of light, be it during the day or night, based on the activities, seeks to balance parameters of efficiency and accent; but the architecture uses light as a trump card to express the metaphysical and philosophical dimensions of the intent and to provoke the repositioning of dogmas. And since the programmatic brief is itself interpretative, light plays into its hands. So, there is something almost endearing in the way in which it is used to express the dilemnas and vulnerabilities of the institution and its people, for paths are still being chartered, and the search for ‘a new’ is still on. Says Gupta about light in the Indian
context, “It is all about taming it; in fact the design of light is more like the design of darkness.” Light is actively used to ‘reveal’ the purpose of spaces in a subtle but clear manner. One can identify the reading spaces and classrooms as they are well lit, but notice simultaneously that spaces that are intrinsically introspective in nature remain in shadow or near darkness, as if saying, ‘when in doubt, keep it dark.’ Muted light also empowers continuously inhabited spaces to be ‘cool by nature’ and incidentally to climatically sort themselves out. Most of the attention has been paid to daylight as the students who reside here begin their day early and end it early. The need to seek help from artificial illumination is thus marginalised. The basic form of ‘this object on site’ is
a mass with a hole, a void defined as a courtyard laced with wide verandas, which allows light into the building celebrating the introverted magnificence of an Islamic institution. Positioned at the mid-level of two floors of the institution, it maximises access to nature, to light and greenery. The mass on the other hand is largely brick which encloses a simple set of classrooms, language laboratories and faculty rooms. Two concrete volumes that contain the library, the prayer hall and the dining space extrude and extend themselves out of the brick line to facilitate a slit of light along the plane of inter-locking. The walled receptacles clad in dense and opaque materials do manage to restrain the mighty Indian sun. However since they are bare, their own severity gets not only exposed but actually exaggerated on the outside. “Bold architectural impressions are absolutely imperative and intentional; meant to push people towards questioning fundamentals and towards brave expressions in the pursuit of change,” explains Gupta. “However, brick receiving light is nowhere the same as concrete,” he adds. Ironically, the same light also creates the ethereal ‘lightness of being’ in the interiors, in perfect unison with the brief of the quasi religious institution. The tonality matches the mood of the space. The double height library has a large circular window that inscribes a halo of light into the space, cajoling the bare stone floors, raw wood structures and exposed concrete walls that house the double height stacks of books and the desktop multimedia library to endorse the reflective academic space. Keeping in mind the intense concentration required of prayer, light is kept under a
leash and the multipurpose hall is mostly enveloped in shadows. However, the profoundly meditative quality of the space comes from the pouring in of light from the massive circular opening. This pitting of well lit and considerably less lit spaces is an attempt by the building to allay the somewhat intimidating responsibilities of the scholars residing here and offer reassurance. Likewise in the dining room, the severity of the brutally raw textures of the surfaces is mellowed down due to the crescent shaped openings letting in a gentle light and there comes about softness in the space. The aura of the predominantly monastic space is also made less stark through the illuminated projections by way of lit shapes on the walls, floors and ceiling; prompting the user to gaze in directions least expected. Light is designed to ‘behave’ in a manner befitting the austerity of the institution, making a statement that it is not easy to come by; but at the same time, allowed to exercise leverage and make its presence felt, understood, valued and even overwhelm. Like an inverse veil or Purdah, the introverted building seems to have a ‘no-looking-out but letting-light-in’ policy. On a typically hot summer afternoon when the sun is overbearingly overhead, the loud concrete plane becomes a knight in shining armour. Like a floating lid or parasol, it sweeps across the top of the building, shielding the campus, but opens up to the courtyard. Here again, a game is played out between the almost juvenile looking triangular or star shaped cut-outs in the slab and the sombre atmosphere. As the sun chugs along on its path through the day, shapes drawn in light on the floor
project / National Institute for Faith Leadership, Dasna, Uttar Pradesh
of the verandas, through the cut-outs tag along. Some of the cut-outs are covered in coloured glass. The shards of coloured light seen percolating through them create a delightfully surreal, speckled pattern of a starry night during daytime and indeed introduce a measure of frivolity in the mood. Like ornaments that shimmer in the midst of a tactile setting, these are the boldest expressions of the syncretism. Also, the sun, moon and stars, all associated with light and with divinity, are celebrated. As Gupta rightly points out, “The idea behind this metaphoric play of stars on campus is to enchant and excite the mind on one hand, but more importantly, to distract it just that little from the unrelenting rigour and regimental learning.” The courtyard that basks in ‘shade’, the alter ego of light, gifted by the enclosing volumes and the generous extended roof, sports an air of relative relaxation and informality. It is here that the students interact amongst themselves and learn through debate. Like the sun itself, the epicentre of the courtyard is the brightest and the quantum of light recedes from it. The openness diminishes, as first the semi covered verandas and then the walls close in on light, giving it just the appropriate intensity needed for reading, studying or praying. The arch that the Muslims brought from Persia, in medieval times had caught the fancy of Indian monarchs and artisans alike. It went on to become a highly visible and signature element of the amalgamated architecture that emerged thereafter. It would not be an exaggeration to then say that this humble arch has gone a long way in cementing architectural ties between two very different cultures. As if to say that the time had come for a defining moment of change for the arch as well, Gupta designed one in concrete, a monolithic and contemporary material, which rendered the traditional keystone obsolete. Now, the ‘deconstructed arch’ once again enjoys the limelight, with a new shape manifesting a new connotation, framing change. The sliver of light that comes through the
slit in the arch forms a ‘reverse silhouette’ in the shaded courtyard and transforms into an inverted arch that allows in light and space. The declaration it makes is simple and straightforward; to use the institution as a place to liberate the mind and break free of myths and outdated traditions. Sufi saint, Rumi said that those receiving light give out light. In a totally different context and era, Louis Kahn poignantly expressed the concept of a structure as a ‘giver of light’ in his musings and architecture. At NIFL, the sunlit structure claims this title, even as it casts myriads shadows on the floor. The columns in the loggias hold up the structure, but also produce a discernible rhythm of ‘light, no light, light, no light...’ The cadence in the
collonaded paths can be seen as a catalyst that helps build up the tempo of the journey towards a newfound ideation. Each time through light, the dichotomy that is an intrinsic part of any re-interpretative process, is narrated in a subtle, simple but hard-hitting and profound manner. As the sun sets on the institution at twilight, the metaphor rests its case. While the purist efficacy of the night lighting is evocative of the solemnity of the institution, the twist in the tale, as a climax, comes from up lighting the signature arch. When viewed from the courtyard, the arch frames the world outside; the world that lies beyond, largely enveloped in darkness waiting to claim its ‘slice of the sun’!
At NIFL, observing from close quarters, light going about its job, it is difficult not to be captivated by it. Even though it is mercilessly sent on a wild goose chase, it never gets ‘lost in translation’- if only, it seems to persist in bouncing back. That is why there is spirituality in light! www.archohm.com
PROJECT DETAILS National Institute for Faith Leadership, Dasna, Uttar Pradesh, India Client: Maulana Mahmood Madani Architects: Sourabh Gupta, studio archohm Design team: Sanjay Rawat, Amit Sharma, Rachna Sharma, Yashveer Singh, Kriti Aggarwal Lighting Design: studio archohm
project / LA FONDATION LOUIS VUITTON, PARIS, FRANCE
devoted to art Lighting design practice L'Observatoire International brings the artistic vision of Bernard Arnault and the architectural design from Frank Gehry to life through intelligent and intricate lighting design.
Pics: ÂŠ Studio Dubuisson
project / LA FONDATION LOUIS VUITTON, PARIS, FRANCE
Standing in the heart of Bois de Boulogne, Paris, in October last year La Fondation Louis Vuitton opened the doors of its first commissioned stand-alone building, dedicated to the display of artistic creations in all forms. Commissioned by Bernard Arnault and designed by Frank Gehry, at the heart of the space the public is invited to discover the permanent collection made up of works belonging to the Fondation and drawn from Arnault’s personal collection, as well as temporary exhibitions – two per year – and musical events in the auditorium. Twelve mainsails, made up of 3,600 glass panels, shape the building, housing a total surface area of more than 11,000m², including 7,000m² available to the public. The building holds eleven galleries
dedicated to the collections, along with a 350-seat auditorium featuring a modular design. The visionary collaboration between Frank Gehry and Bernard Arnault inspired architectural lighting designer Herve Descottes, Principal of L’Observatoire International, to add his poetic vision and infuse La Fondation with the luminous vitality that the structure commands. The building has a very different presence during the daytime compared with at night because of the layering of the glass sails and the way the lighting works within it. During the day the exterior of the building feels more opaque – the glass and the frit embedded on it, reflects the daylight giving a sense that the exterior is more of a definitive shell with subtle cracks in
between, which are felt in the shadow. As night falls however, the structure undergoes a breathtaking transformation from opaque shell to glowing lantern, as the central core of the building begins to glow with warm light and the glass sails, made transparent by the night sky, take on a delicate, almost diaphanous quality. The lighting allows the glass to become cloudlike and the architectural layers behind it become more present. In this sense, elements that were in the shadows during the day are bathed in light at night. The lighting has been designed to allow the spaces in between, to glow subtly behind the glass while not completely losing the presence of the glass itself. It is about seeing and experiencing the building as a cloud-like object, but also as a series of
project / LA FONDATION LOUIS VUITTON, PARIS, FRANCE
The intensity of the forms and spaces of the building mean the lighting needs to find a way to feel as though it is coming from the architecture, not simply applied to it. It was also important that there was an honesty about the presence of the lighting fixtures themselves.
This pic and opposite The candela intensity of the lamps was extremely important as was the CRI. Following numerous tests and changes from CRI80 to CRI90, along with adjustments to ensure a good level of candela intensity, Lucent Prospex Pinhole Accent Trim downlights with Xicato engines were specified by Ingelux, the technical lighting consultants, for high ceilings areas, while Lucent Prospex Pinhole 90 Accent downlights using LED50 Gen 1 engines feature throughout general public areas. A deeper baffle on the standard Pinhole to avoid any effect on the walls as initially there was an effect on the beam, which was to be avoided. Targetti Pyros are used on the ‘powerbars’.
moments that are woven together. The architecture is present and at the same time not present, with the lighting trying to evoke this. “His architecture is of course very distinct and dramatic,” comments Descottes on his collaboration with Frank Gehry, “so in turn, the lighting has to follow the movement of the architecture without overpowering it.’’ “With La Fondation we wanted people to see and experience the architecture as a series of moments woven together, creating a beautiful suspension of material reality.” Working within such a magnificent architectural structure naturally brought about challenges when implementing an appropriate lighting system. According to L’Observatoire International, when working with the Gehry team, lighting is always a
challenge – but one that the practice loves to embrace. The intensity of the forms and spaces of the building mean the lighting needs to find a way to feel like it is coming from the architecture, not simply applied to it. There also needs to be an honesty about the presence of the lighting fixtures themselves and as such, the Gehry team often exposes the building materials for what they are… steel members, glass and its systems etc and so the lighting needs to do the same. The fixtures are exposed, not over designed individually, but they blend with the honesty of the architecture in which they are integrated. At the most basic level, the main challenge is often where the fixtures can be located in such a complex architectural geometry while still being able to illuminate the
necessary floor surfaces and so on. Luckily, having worked with the Gehry team over many years (including Walt Disney Concert Hall in 2003 and the Guggenheim Abu Dhabi, due to open in 2017) L’Observatoire International was able to work with the team digitally to get the fixtures in the right spots. In the project’s infancy, LED technology wasn’t exactly at the point it is at today in terms of efficacy and refinement; the offering from the lighting industry was much more traditional, meaning comparisons with more mature technologies were recurrent and under serious consideration at points. However, as time has gone on and products have developed, dimmable integrated LED fixtures were chosen in the final design, aided by French
The faรงade is lit with Targetti Pyros (white 3,000k + RGB LED 42W) luminaires.
The illumination from the Targetti Pyros gives the building a cloud-like appearance at night.
project / LA FONDATION LOUIS VUITTON, PARIS, FRANCE
“(Gehry's) architecture is of course very distinct and dramatic, so in turn, the lighting has to follow the movement of the architecture without overpowering it.” Herve Descottes, principal, L’Observatoire International
practice Ingelux, which was tasked with the detailed lighting design, allowing for a degree of sustainability that exceed the most stringent energy policies. The outdoor pond and glass sail lighting however, was designed using more conventional fixtures but in a creative and subtle way - either concealed or sometimes voluntarily and blatantly exposed. The lighting in the galleries and various public spaces needed to be of the highest level of energy efficiency while maintaining excellent colour renditions. A broad range of fixtures were considered and tested for the gallery spaces, evaluating intensity, colour rendering, uniformity, contrast ratio, room cavity ratio, daylight harvesting, energy use and all associated control systems. The fixtures used in the galleries are extremely practical – a system that offers both a base uniform and smooth light level over the vertical surfaces and complemented by an additional layer of more focused lighting, offering extra accentuations when and where needed. Developed by L’Observatoire International and the Gehry team over a number of years, they call it the ‘powerbar’ – it has many incarnations and allows for gallery fixtures to be installed via a clamp mechanism on a bar that is suspended from a single point in the ceiling. When not in use, the bar can
Twelve mainsails, made up of 3,600 glass panels, shape the building housing a total surface area of more than 11,000m².
be removed and the point in the ceiling closed up with a trim plate. The points also serve as structural hanging points for gallery installation purposes. The complexity of the project was increased as very little was known in terms of the curatorial experience and so a flexible system was required – one that would allow for versatile exhibition content. Another challenge faced by Descottes and his team was designing lighting for completely off the charts spaces with room proportions and shapes rarely seen or studied before, with the integration of lighting. Both inside and out, Descottes has struck a balance between integrating the fixtures into the architecture and complementing Gehry’s precise revelation of structural and material elements. The warm light from within highlights the astonishing architectural detail of both the central core and the sweeping sails wrapped around it, while never losing a sense of the
structure as a singular, holistic entity. Descottes’ elegant lighting design gives this monumental structure buoyancy and movement, as light from the reflecting pool dapples the billowing glass sails that weave around La Fondation’s prow, drawing it westward to the Arc de Triomphe. Floating, ark-like amidst the green, the luminosity of La Fondation provides it with an arresting sense of ethereal grace. “La Fondation Louis Vuitton opens an exciting new cultural chapter for Paris,” states Arnault. “It brings the city a new space devoted to art – especially contemporary art – and above all a place for meaningful exchanges between artists and visitors from Paris, from France, and from the entire world. By encouraging spontaneous dialogue, the new Fondation seeks to inspire both emotion and contemplation.” www.foga.com www.lobsintl.com
Project Details La Fondation Louis Vuitton, Paris, France Client: LVMH Group Architect: Gehry Partners Lighting Design: L'Obersvatoire International Technical Lighting Consultants: Ingelux
lighting specified ERCO 34085.000 fixtures JC Lampes Ultralight 30° 2,600K luminaires KKDC KKSL 503 fixtures LEC Lyon bespoke LED linear 5631-Vuitton fixtures Lucent Prospex Plus Pinhole Accent Trim downlights with Xicato engine Lucent Prospex Pinhole 90 Accent downlights with LED50 engine Lucent LU-90413-A-LED-IP exterior recessed downlights Osram LINEARlight Power Flex Génération II light source Philips eW blast POWERCORE 21° 27,000K wash lights Robert Juliat LED 43 framing projectors Sammode NIEPCE 70 TF luminaires Targetti PYROS LED 43W projectors Targetti PYROS HIT 35W SP projectors Targetti PYROS HIT 70W projectors Targetti PYROS HIT 150W projectors Targetti NANO PYROS LED DALI projectors
project / FONDAZIONE PRADA, MILAN, ITALY
confronting conditions Thanks to the work of Rem Koolhaas and his team at architectural practice OMA, along with lighting practice Les éclaireurs, the new Milan venue of Fondazione Prada provides a popular environment for artists, while bringing old into the new. The new Milan venue of Fondazione Prada, conceived by architectural firm OMA and led by Rem Koolhaas, expands the repertoire of spatial typologies in which art can be exhibited and shared with the public. Characterised by an articulated architectural configuration, which combines seven existing buildings with three new structures: Podium, Cinema and Tower, the new venue sees a gin distillery dating back to the beginning of the 20th Century restored and transformed. The expansive project came with two conditions – preservation of the existing building and the creation of new architecture, which although separate - confront each other in a state of permanent interaction. Located in Largo Isarco, in the south of Milan, the compound
Photograph by Bas Princen, Courtesy of Fondazione Prada
covers an overall surface of 19,000m². Working alongside OMA, lighting practice Les éclaireurs was responsible for the lighting throughout, providing a flexible and powerful tool for Fondazione Prada to exhibit modern and contemporary art pieces. For the renovated elements there was a strong desire to retain traces of the intervention and restoration that took place and so reinforcement beams have been exposed and painted with contrasting colours; the plaster refection has been left raw; and breakthroughs and doors are clearly identifiable through the use of brushed aluminium and large windows. Haunted House, a permanent exhibition in the space, takes up a four level section of the renovated distillery. Designed with
Photograph by Bas Princen, Courtesy of Fondazione Prada
gold leaf cladding it displays masterpieces from the Fondazione Prada collection and required complete concealment of all technical equipment. Lighting was realised by three phase tracks featuring ERCO Parscan 24W spotlights - used with wide flood distribution to achieve uniform ambient lighting in the exhibition spaces, while ERCO Parscan 12W with spot and flood lenses allow the exhibits to come to the foreground of attention. The minimalist design of the grey Parscan spotlights blends unobtrusively into the structural steel work of the existing building, directing the focus entirely on the illuminated exhibits. The flanking galleries feature Parscan 12W spotlights and 12W lens wall washers for perfectly uniform illumination of the paintings,
Photograph by Charlie Koolhaas, Courtesy of Fondazione Prada
Photograph by Bas Princen, Courtesy of Fondazione Prada
Photograph by Bas Princen, Courtesy of Fondazione Prada
project / FONDAZIONE PRADA, MILAN, ITALY
Pic: copyright les éclaireurs - Lucas GOY
Lighting inside the Podium presents the sculptures in a mineral and artificial landscape composed of marble-travertine slabs laid on transparent acrylic slides. This central museum section features glass façades on three sides.
Picture taken during commissioning: copyright les éclaireurs - Lucas GOY
emphasising their expressive colours. As well as delivering the building lighting, Les éclaireurs designed and commissioned the lighting of one of the opening exhibitions - Serial Classic, which focuses on classic sculpture and takes place in the Podium and Beam spaces. The Podium forms the central museum section and features glass facades on three sides; the lighting presents the statues in a mineral and artificial landscape composed of marble-travertine slabs laid on transparent acrylic slides. The lighting had to present the sculptures at every angle and seeks to avoid imposed views on the meaning or aesthetics of them. The sculptures are illuminated to minimise shadows and provide a complete reading of the details. Directions of light are specifically designed to reduce the shadows and allow light to penetrate into the sculptural volumes. ERCO Optec contour spotlights and Pantrac
lens wall washers are combined in the space to deliver superb professional LED lighting tools. Parscan 12W with Spherolit lens with spot and flood distributions complement the Parscan 4W with narrow spots to illuminate and accentuate the ancient masterpieces, bringing out even the finest of details for a threedimensional effect that is delivered with absolute photometric precision. On the first level of the Podium, Pantrac LED lens wall washers 24W, 4,000K, illuminate the wall surfaces in a uniform manner in neutral white light resembling daylight a lighting concept that produces a wide and spacious impression of the room. The exhibition that takes place in the Beam space is more didactic and attempts to show techniques of copying and the differences between originals and copies, using video mapping on a block of marble to illustrate this.
The Cinema acts as a mirror to the Podium; with its stainless steel mirrored façade it multiplies the Podium, extending its outlines. Inside, the room is lined with black carpet – a nod to the 1970s from OMA and Prada – while a large chandelier dominates the entrance hall and fluorescent lighting, slipped under a perforated, folded metal mesh, creates a strong welcome sign, extending into the room. The lighting features Zumtobel Linaria with T5 seamless fluorescent lines, positioned between the metal beams of the ceiling with alternate beams forming black and white stripes on the ceiling of the cinema. Steel bars complete the system between each fluorescent line in order to be able to fix stage projectors and allow for different stage configurations. Zumtobel Linaria are also used for the Podium ceiling, general corridors and toilets, while Zumtobel ZE with T5
Pic: copyright les éclaireurs - Lucas GOY
Pic: copyright les éclaireurs - Lucas GOY
Left Inside the Cinema, the space gives a nod to the 1970s with its black carpet throughout and fluorescent lighting, slipped under a perforated, folderd, metal mesh, creates a strong welcoming into the room.
fluorescents, under PMMA grey cores are attached to the curved ceiling of the foyer. Robert Juliat ZEP 340LFWW fresnel projectors with 150W LED have been specified for the exhibitions in the Great Hall, the Tank and the Cinema, along with Robert Juliat TIBO 533WW profile projectors with 150W LEDs. At almost 70m long and 20m high, the Great Hall is a huge space dedicated to monumental exhibitions and events. Having been partly dismantled for the construction of the tower, its structure has been reinforced by visible steel beams that have been painted orange. The Tank, which faces the Great Hall consists of three exhibition spaces each 15m in height and a totally transformed eastern façade, with the addition of balconies and large contemporary windows. In both buildings lighting is achieved through stage projectors fixed onto a special cable
tray system with a continuous scenic bar; RJ45 and power sockets allow for multiple configurations to be performed. General lighting for mounting and cleaning is delivered through high-power asymmetrical floodlights that are wall mounted. The original north and south galleries have been subtlety rehabilitated while leaving the structural reinforcements exposed. A series of clean rooms in raw and industrial atmospheres hosting the temporary exhibitions have therefore been created. The existing lighting with T26 fluorescent lines on the trunking system has been removed and replaced with identical equipment but now featuring DALI ballast allowing for individual dimming. Three phase tracks for installing exhibition projectors were added alongside the fluorescent lines - again, working with lighting and general lighting enhancements of works with the use of spotlights. The
venue is equipped with intensive and semiintensive LED spotlights, a number of LED profile projectors and wall washer lighting for artwork on entire sections of walls, all from ERCO. For such vast lighting design, a powerful centralised management system was required. Les éclaireurs designed a complete DALI management system, including execution studies: DALI relay, dimmers, management for single lights and so on, with multiple lighting scenarios made for each space. A heliometer analyses the amount of sunshine and sky typology there is and automatically switches between different lighting scenarios: sunny, day, cloudy day, dusk, twilight, night, building closure. A wireless touchpad allows for control at any point with wall panels dedicated to each space. For the main exhibition spaces, lighting is reconfigurable via a graphic interface again
project / FONDAZIONE PRADA, MILAN, ITALY
Photograph by Bas Princen, Courtesy of Fondazione Prada
Pic: copyright les éclaireurs Lucas GOY
designed by Les éclaireurs. It allows the user to select the fixtures one by one, in groups, or individually to graduate as they please. Moving outside of the space, the exterior sections between the individual buildings of the complex are illuminated using warm white light. Beamer projectors in 36W from ERCO with flood distributions set off the paved pathways, with the special outdoor floodlights of ERCO’s Lightscan range
Photograph by Bas Princen, Courtesy of Fondazione Prada
providing lighting for the ground around the entrance areas. Excellent glare control from the ERCO outdoor luminaires ensures a high level of visual comfort and makes sure that the light shines precisely when needed. This once abandoned industrial space has become a popular environment for artists to display their work, with its predictable conditions non-conflicting with the artists’ intentions, merely enlivened occasionally
Photograph by Bas Princen, Courtesy of Fondazione Prada
with exceptional architectural gestures. Not a preservation project and not new architecture, the Fondazione sees two conditions confront one another in a state of permanent interaction – offering an ensemble of fragments that do not congeal into a single image or allow any part to dominate others. www.oma.eu www.leseclaireurs.net
The Cinema acts as a mirror to the Podium, with its stainless steel façade mirroring and multiplying the Podium, extending its outlines. The Great Hall is a huge space and having been partly dismantled for the Tower, its structure has been reinforced by visible orange steel beams. The original north and south galleries have been rehabilitated while leaving the structural reinforcements exposed.
The lighting project designed multiple environments in the corridors and toilets; either exposed lines or highly integrated, making use of LED lines that all run on presence detection.
Pic: copyright les éclaireurs - Lucas GOY
Project Details Fondazione Prada, Milan, Italy Client: Fondazione Prada Architects: OMA Scenographers: dUCKS scéno Lighting Design: Les éclaireurs
Pic: copyright les éclaireurs - Lucas GOY
Disano Rapid System with T8 fluorescents ERCO Beamer LED spotlights ERCO Lightscan LED luminaires with oval filters ERCO Parscan small and medium fixtures with narrow and flood optics ERCO Parscan small and medium fixtures with narrow and flood optics and special bracket ERCO Pantrac asymmetrical ceiling washlight ERCO Optec spotlights with profile lense Zumtobel linaria with T5 seamless fluorescents Flux-Lighting Xline LED ramps Robert Juliat ZEP 340LFWW fresnel projectors with 150W LED Robert Juliat TIBO 533WW profile projectors with 150W LED Zumtobel ZE with T5 fluorescents Zumtobel linaria with T5 seamless fluorescents
project / lebua resort, jaipur, rajasthan
Pic: Amit Mehra
IN THE LAP OF LUXURY Sprawled in lavish lustre and draped in intricate detail, the Lebua Resort in Jaipur personifies traditional motifs in contemporary form and vernacular design in modern craft. Urban Studio designs a complex that commands attention and innovation in its illumination, which is technically detailed by Lirio Lopez Consultants. When tradition meets contemporary, art meets design and hospitality meets luxury, Devi is appended to Nav Ratn to give birth to an extravagantly sumptuous hotel property in Jaipur, designed by Urban Studio’s Pronit Nath and Amisha Thanawala, and illuminated by Lyle Lopez of Lirio Lopez Electrical and Lighting Design. Formerly known as the Devi Ratn Hotel, it derived its name directly from Nav Ratn, nine gemstones that are believed to focus cosmic energy of celestial bodies. The resort sets aside all clichés and stands illustriously as a modern 21st century hotel. “Abstracting the qualities of the Nav Ratn, our primary intent was to insert devices that would give every space its unique personality. These devices, formal, material or programmatic become anchors of each space and form the visual vocabulary for the entire project. The vibrant colours of the nine gemstones inform the colour palette at the resort. Emerald green, Ruby red, orange Coral, yellow Sapphire and metallics like Gold, Silver and Copper give the project its unique colour coding. Most spaces are monochromatic rendered with shades and tones of the same colour,” explains Nath. Located in the heart of Rajasthan, one cannot shy away from the strong presence of historic architecture. The Lebua Resort embraces the contextual ambit and reinterprets patterns of rich cultural connotations. Thanawala elaborates on how modern techniques of conception and production helped create contemporary patterns, “Reminiscent of the past, each pattern combines the aesthetics of the present with the emotional values of yesteryear and forms an eclectic language which has been used through the project ranging from the architectural scale of floors, walls, facades and jalis, to the interior and product scale of accessories, cutlery and textiles.” The Lebua Resort is a laudable piece of architecture with bold strokes and considered moves. Its response to daylight is a welcoming play of hide and go seek, as rays of sun filter through intricate screens, slither through calculated cracks and beam through intentional voids that are willfully peppered across the plan. The intense desert climate
brings with it an abundance of daylight and the Lebua Resort relishes in its bounty. The light becomes a building material as it begins to define spaces and creates emotional engagements with the builtform, evoking myriad moods and memory. Urban Studio conciously harnesses natural light to explore its potential to transform spaces. “(Devi Ratn) was conceived as a composition of jewels that glowed in the Jaipur light. The entire project was visualised with lighting in one completely immersive design experience,” they elucidate. Light is celebrated in varying forms and rituals, through a direct invocation into large open spaces and smaller intimate courtyards, through screens that create dramatic dappling effects, and in fully shaded zones that offer a cool respite from the direct sun. The jali, an element integral to traditional Rajasthani architecture, is designed with varying tessellations to respond to programmatic needs. While its scale, density, and porosity varies with reference to its context, its original hand carved nature
remains. Therefore, it translates into the ‘skin’, giving the facades much of their elegance. This is witnessed from the very point that one begins to experience the built form of the hotel. The entrance courts, enclosed with intricately carved jali walls allow for an effortless transition from the outdoor to the indoor space. Embracing the reception area, the red sandstone filligree envelopes the long linear arched volume; rendering it in an animated play of light and shadow along its length. As the sun traverses its path through the day, the space comes alive in a splattering of dancing rays penetrating the porous enclosure. Veiled from the desert sun, this is the first moment of respite as one soaks in the shards of light piercing through. At night, wall lights directed upwards graze the continuous arched ceiling, accentuating the graphic detail of the finely carved surface. The main corridor stands in deep contrast to the reception. The delicate pattern of the reception gives way to robust arches that are flanked by slatted walls. The
Pic: Amit Mehra
project / lebua resort, jaipur, rajasthan
Pic: Amit Mehra
glistening floor reflects the arches to make the corridor appear effortlessly floating. Floor recessed uplights placed before each column extends the volume upwards, filling the space with a surreal glow. The weightlessness in porosity is replaced by a wafting ambience rendered in cooler tones of illumination. Punctuations in the corridor lead to various spaces, each rendered in their individual accord. While the middle path leads into the central pavillion, one end houses the fascinating circular bar and the other is home to the intriguing cuboidal structure intended as the conference room. The conference room is a rectangular glass box veiled on all four sides with massive panes of white marble suspended delicately between the ceiling and floor. The weighty panels shield the glass box from harsh sunlight in the day, creating protracted shadows that slither through the gaps in alluring patterns that transform with the moving sun. The crossing shapes of shade on the inside are quickly transferred to the other side of the panels at night. While the interior space is lit in a bright wash of white light, the relation between light and shadow is inverted. The box darkened in the day, now glows at night. The suspended marble panels are accentuated with floor recessed uplights and the volume gets defined as the
Pic: Sebastian Zacchariah
Pic: Amit Mehra
edge of the ceiling catches the light in a fine line. This is the only part of the hotel’s facade that is intentionally illuminated in the dark. Enclosed in a shallow pool of water, the box seems irradiant, like a crystalline jewel. The other end of the corridor leads to another fascinating structure. Contrasting in shape and size, the Chakra bar is named due to its tall cylindrical volume. With an oculus staring into the depths of space, the bar inculcates a feeling of a surreal reverie. The reflective surfaces come ablaze in the day as sunlight beams through the skylight. At night, the bar resonates with channels of slow moving light on concentric layers of silver slate. Coves in the walls pulsate with colour changing light impulses that are synchronised with the music. The concave ceiling surface covered in laser-cut mirror panels reflects the throbbing light into infinity. Nath and Thanawala explain the effect, “It is like mapping the passage of time in slow motion, giving the feel of being in a surreal, revolving space. Time slows down here and one’s senses are lulled into a hypnotic trance.” In an attempt to redefine Jantar Mantar, the famous Jaipur observatory, the designers take the idea of revolution literally as ‘natural unconcious movements’, and philosophically as ‘stages of life, coming from the earth and returning to it; from the day returning to the night’. Their stark and monochromatic rendition of the Chakra Bar borrows from vernacular Jaipur architecture, transforming it into a contemporary avatar. The adjoining restaurant also sees hints of traditional Jaipur architectural elements in its tall collonaded spaces capped with gilded vaulted ceilings. The opulance of the gold finish juxtaposed with the indomitable silvery columns epitomises luxurious dining. While floor recessed uplights draw the eye along the smooth metallic surface skywards, the aurous ceiling casts a compassionate warmth from above. Ornamented with contemporary suspension lights in dark and delicate geometric frame structures, the space embraces an old world charm with crisp modernity. A similar language is used in the glass façade of the pool restaurant, wherein sillhouettes of iconic patterns from the fort walls of Amber Palace are imprinted in a jali. “The pattern articulates the façade creating visual layering, transperancy, and luminousity, and reflects the blue waters of the pool. Once again, light has been used along with glass as a building material, a seamless integration of design and lighting solutions,” explain Nath and Thanawala.
project / lebua resort, jaipur, rajasthan
Pic: Sebastian Zacchariah
Pic: Amit Mehra
Pic: Amit Mehra
While the public areas are subject to a constant play of translucency and luminance, the private rooms and villas command their own attention to detail. Rendered in the different colours of the Nav Ratn, each room is characterised by its own design. While some are bathed in hues of reds, others are washed in yellow or green or blue. The common thread between them lies in an abundance of natural light that filters through the windows and creates a refreshing ambience within. Some bathrooms open into enclosed courtyards that invite daylight into the space, giving a natural aura to the interiors. At night, the lighting is kept subdued and sombre. LED strips concealed in linear ceiling coves emit a warm ambient glow. This is complimented by unobtrusive ceiling recessed downlights that emphasise vertical wall surfaces and artworks. Decorative
Pic: Amit Mehra
light fittings are used to add another layer of illumination in the space, keeping the ambience subtle and sophisticated. While lighting plays an important role in determining the characteristics of the variegated spaces, it is kept from being overpowering. The lack of ornately decorative light fittings does not take away from the luxury of the space. Urban Studio attempts to “create (what formerly was known as) Devi Ratn as a hotel that is informed by the culture and aesthetics of traditional Rajasthan but transcends it to form its own contemporary expression in 21st century India.” The lighting scheme reflects this ideology and experiments with innovative techniques in design, keeping the ambience sharp and vivid. The Lebua Resort is thus an ethereal experience in the lap of luxury. www.urbanstudioindia.com email@example.com
PROJECT DETAILS Lebua Resort, Jaipur, Rajasthan, India Client: Devi Hotels, Lekha and Anupam Poddar Architects: Pronit Nath, Amisha Thanawala of Urban Studio Lighting Design: Lyle Lopez and Urban Studio
LIGHTING SPECIFIED Luz Lighting: Signage + Footlight Bollard made at site: Low Height Bollard Sunglow: 9.0 W ground Buried Uplight, various optics Sunglow: 6.0 W adjustable miniature accent downlight Sunglow: 1.0 W surface mounted LED node with diffuser Sunglow: Linear LED in rigid Acrylic Housing, Various optics Sunglow: Linear LED striplight in Silicon Sheath Reiz / Vizion: 2.0 W Wall Recessed Footlight Vizion: 2.0 W Wall Recessed POP Footlight Reiz: IP 68 micro 1.0 W LED, various optics Tulip Lighting: Wall Sconce Uplighter, 23W CFL Havell’s Aura: Lighting Controls Fittings by Sunglow and controls by Innovative Lighting Solutions for the dynamic lighting in the Chakra Bar.
PROJECT / THE WHITWORTH, MANCHESTER, UK
room with a view The Whitworth Gallery is something of an institution in Manchester having been around since 1889. A ÂŁ15m revamp sees the gallery bigger, brighter and bolder than ever before and finally encompassing the surrounding parks it has neighboured for so long. As part of this year's Manchester International Festival line-up the new gallery now presents endless opportunities for the arts.
Pic: David Levene
Cornelia Parker's Cold Dark Matter, The Whitworth
It’s won several RIBA awards this year including the National Award, the North West Award, the North West Conservation Award and the North West Building of the Year Award; was this year's Art Fund Museum of the Year winner; and most recently co-commissioned and produced the Richter / Pärt project as part of this year’s Manchester International Festival… ‘It’, is one of Manchester’s most notable buildings and galleries… The Whitworth. Making up part of the University of Manchester, the Whitworth was founded in 1889 as the first English gallery in a park. Originally designed by J.W. Beaumont, it is home to an internationally important collection of works on paper, wallpapers and textiles as well as a contemporary collection institution, acquiring works by emerging and established artists. Having undergone various development stages over the past 126 years, the gallery is now an amalgamation of numerous alterations and reconfigurations, which often resulted in inappropriate, compromised and inefficient use of space. For example, in 1908, the external frontage was resolved, however the west end of the building presented an unresolved, blind mass to the park. Then in the 1970s, the original Grand Hall on the first floor was altered to contain collection storage as well as study and office space. More recently, with a growing national and international profile, an increasing audience, an ambitious
PROJECT / THE WHITWORTH, MANCHESTER, UK
Central Exhibition Gallery, Cornelia Parker's exhibition, The Whitworth. Pic: David Levene
exhibition and education programme, and a growing arts collection, the Whitworth found a new need to expand. The gallery’s RIBA architectural competition, which was won by MUMA architects in 2009, wanted to make its internationally important collection accessible to a wider range of visitors; make better use of the existing gallery spaces; and establish a relationship with the surrounding grounds and park. The brief included the following quote from previous Whitworth Director Margaret Pilkington following a visit to Oslo in 1932: “I have come to the conclusion that a good museum or gallery should be a place where people feel comfortable. If it stands in a garden or park, the visitors should be able to enjoy the beauty of the outdoors as a counterpart to what is within.” This quote struck somewhat of a chord with MUMA and underpins the architectural firm’s design approach to the Whitworth, with new visual connections to the park created and celebrated. Equally important to the architectural firm was the opportunity to establish a new transparency. MUMA’s design aimed to respond to the existing characteristics of the site and building. For MUMA's Stuart McKnight, it wasn’t just the Whitworth’s wants and desires that were the main focus of the project, it was their vision also, as he explained: “We all wanted to better connect with the park as the competition brief had outlined and so
we took both horizontal views of the park and opened up the original Victorian roof lights to bring in light from above." The new gallery extension encapsulates the unresolved west end, creating a new frontage to the park, while the architectural hierarchy and scale has been carefully considered to ensure that the clarity of the principal entrance is not undermined. McKnight spoke with mondo*arc about some of the improvements made through the project: “One of the issues with the existing building was that it was quite dark, only 16% of the ground floor galleries had daylight and we felt that had to change. Now, 56% of the ground floor galleries have daylight but there is also the café and promenade, so the majority of the ground floor has daylight streaming through it, as well as views connecting to the park.” Working with the lighting group at BuroHappold Engineering and company Partner Stephen Jolly, two new wings of contrasting character extend into the park containing a garden courtyard and new entrance. Placed at main gallery level, the transparent, slender wing of the café and its south-facing terrace celebrate the park context and the avenue of trees. DAL Cool Ambience X100 recessed ceiling downlights with Xicato LED light engines feature in the café's dining area, while pendants from Delta Light’s Ultra C range illuminate the server area. With its transparent linear
form positioned above a sloping site, as the ground falls away, diners find themselves within the tree canopy of the park. To the north, we find the more solid form of the Landscape Gallery, featuring Zumtobel’s ZE batten luminaires - overlapped by 100mm to ensure a continuous linear lighting effect and concealed in the Landscape Gallery lantern. The new study centre is also featured in the north wing extension and makes use of recessed downlights from DAL, surface mounted XAL Mino 60 fixtures, while louis poulsen AJ table lamps feature in the workspace. Both areas provide an urban edge as well as a visual and acoustic buffer that contains the garden. New openings have been created in the existing building at significant locations, connecting the new extension and providing the heart of the building with a range of long views. A promenade gallery - lit by DAL Ambience 100 downlights using Xicato light engines - wraps the existing exhibition galleries and provides a vantage point to view the garden and park beyond. This glazed link maximises the visual connections to and from the park and connects the central exhibition gallery to the garden, meaning artwork inside and out can connect. Gallery lighting throughout the Whitworth sees ERCO track mounted LED gallery Lightboard spotlights used. The promenade is repeated on the lower ground floor, turning the former windowless
Left Cai Guo-Qiang, Unmanned Nature, Landscape Gallery, The Whitworth. Pic: Alan Williams; Centre Portraits, The Whitworth. Pic: David Levene; Right Sarah Lucas's exhibition, The Whitworth. Pic: David Levene
basement into a generous space that engages with the Art Garden, which comes alive at night with various Bega luminaires and creates a welcoming informal park entrance at the west of the Whitworth. The lower promenade is lit through Modular Lighting Nude Par 30 surface mounted downlights semi-recessed in the ceiling. As well as this, Bega LED surface mounted downlights with deep lamp recess for maximum glare control, are featured within the brick arch soffits and plastered arch soffits. The creation of this courtyard and promenade allows light and park views into the heart of the existing building. MUMA’s strategy was to work with the inherent characteristics of the building and the high daylit volume of the Grand Hall has now been recovered as a place of gathering. “We knew that as soon as light was brought in we would need to think about how to control it. We worked with Stephen and the lighting group at BuroHappold, who developed a system of daylight control that’s automated to work in tandem with
the track mounted LED gallery spotlights. It was about maximising daylight but balancing artificial light to highlight the art… How did we do this without overexposing the pieces?” As the sun moves around the building the louvres open and close on the roof lights - as the evening approaches and the daylight diminishes the artificial light recognises this and lifts light levels. “We agreed with the Whitworth that a more dynamic approach to conservation of objects and lux exposure was needed and we agreed to year round lux hours for certain objects,” said McKnight. “This was very helpful because with our daylight control mechanisms the galleries can put themselves to sleep at night so that when the building closes, the louvres all close and the remaining quantities of daylight get cut out. As the lux exposure is cut out at night, the visitor hour lux level for an object can be lifted during the day.” Stephen Jolly adds to this telling mondo*arc: “The brief was for a 21st
Century gallery in the park to drive community engagement, so daylight and views were key - without creating glare, energy or conservation issues. We agreed with the client very early on that the exhibition galleries should be daylit and not black boxes. This allowed us to restore and reuse the original rooflights that had been covered up. Restoring the roof lights also restored character and dynamics to the daylighting of the galleries. “We had to provide flexible space that could work at different light levels for exhibits with different sensitivities to light exposure. We agreed a series of different set points with the curatorial team that would form the basis of the user control interface: 50 lux, 100 lux, 500 lux, 1,000 lux and so on. “Diffuse glass was used to provide the background daylight level moderated by internal louvres to achieve the different set points. The control system balances the amount of daylight and artificial light to achieve the overall agreed lux-hour exposure defined by each set point. At each
Richter / Pärt This extraordinary MIF project, several years in the planning, brings together two of the world’s most influential and enduring cultural figures. In early autumn 2013, Hans Ulrich Obrist and Alex Poots introduced artist Gerhard Richter and composer Arvo Pärt for the first time. As a result of that meeting in Dresden, both men made work inspired by and dedicated to the other. The work that developed from this remarkable creative partnership premiéred at MIF15 in a significant new show. A suite of four new works by Richter, Ashes (2015) and his Doppelgrau (2014) presented with Pärt’s Drei Hirtenkinder aus Fátima in the newly renovated Landscape Gallery of the Whitworth from July 9-19th. www.mif.co.uk Pic: Alex Poots
PROJECT / THE WHITWORTH, MANCHESTER, UK
Left The Whitworth re-development extension now connects the gallery with the surrounding park, bringing natural light inside and making use of the outdoor space for exhibits and events. Below Nathan Coley's The Gathering of Strangers, The Whitworth. Pics: Alan Williams
design stage modelling and visualisations were carried out to confirm the design assumptions and communicate the brief back to the curatorial team.” As a listed building there were naturally key considerations that had to be worked to during the project, including carefully positioned lighting tracks in the vaulted ceilings that would suit light angles but also the building’s fabric. Working within an existing building also predefined the amount of glazing in the roof lights and the source daylight level for each gallery. BuroHappold assisted with performance requirements for the glazing to provide the right amount of daylight, which could be moderated by the louvres as required. Integrating new with old is something of a
skill and at the Whitworth the two blend seamlessly - bringing new life to an out-ofdate space. According to McKnight to make this work there are a lot of subtleties within the space - contrasting colour rendering for when looking at art and eating food, considered use of materials and careful consideration of how the old space flows through to new. As part of this, the lighting throughout the gallery has been carefully constructed. Bespoke LED wall scoops with hidden fixings from Mike Stoane Lighting are recessed into the internal stair treads, while Fagerhult Diva II surface mounted LED linear fixtures were concealed throughout the new Learning Studio, and in the Conservation Studio, Whitecroft Glide luminaires are fixed in the soffits.
“Similar materials repeat or reference themselves, while views out needed to work from one space to another,” McKnight noted. “As you move through the lighting, where the central gallery opens onto the west promenade there could have been the danger of optical strain as there is so much glass, however a delicate steel structure casts a shadow on the west elevation to help adjust the light level of the west promenade. The contrast isn’t too radical from inside to out - the equivalent of wearing a baseball cap or shading your eyes. “The glass itself has solar controlled coatings," continued McKnight. "Also built into the design of the west promenade are translucent blinds which help control a medium light level for the central gallery.
The lower and upper promenade
Pic: Alan Williams
You can still see through them but they cut the optical strain, unifying the two. We were thinking about the visitor experience in less tangible circumstances.” Commenting further, Jolly adds: “Each lighting set up is an integral part of the exhibition design for each show. We have provided the gallery with a daylight and artificial lighting infrastructure that can be adapted to suit the exact requirements of each exhibition. The needs of the artwork come first but it is important to provide daylight for comfort. The circulation promenade that wraps the galleries provides views to outside without exposing the artwork to uncontrolled daylight.” This reinvention of space by MUMA and the lighting group at BuroHappold Engineering has set the Whitworth on the right track to continue growing Manchester’s position as a cultural hub. Concluding, McKnight said: “The Whitworth has been described as a breath of fresh air and I think this is a reaction to light and the way we’ve changed the existing building. It feels light and airy due to the quality of light and views. These galleries have been made possible through an approach to controlled light and views.” www.muma.co.uk www.burohappold.com
Project Details The Whitworth, Manchester, UK Client: The Whitworth, The University of Manchester Estates Architect: MUMA Lighting Design: BuroHappold Engineering - Lighting Group
The lower promenade in detail
Pic: Alan Williams
Bega 4964 ceiling / wall luminaires Bega 6402 LED downlights Bega 7099 K3 / 8671 / 7066 K3 inground luminaires Bega 2249A recessed LED wall luminaires Bega 7507 LED floor lights Bega 3371 LED wall luminaires Bega 7853 K3 LED Pole luminaires Bega 7740 / 895 outdoor LED bollards DAL Cool Ambience X100 downlights using Xicato Artist Davey Lighting 8122 wall mounted luminaires Delta Light Ultra C pendant luminaires ERCO LED gallery spotlights and emergency gallery lighting ERCO 3 circuit track Eutrac 3 circuit track Existalite emergency lighting Fagerhult Diva II LED linear luminaires Lightgraphix LD153 LED buried uplights Lightgraphix LD20 LED lighting strips louis poulsen AJ table lamps Mike Stoane Lighting bespoke LED wall scoop recessed stair luminaires Modular Lighting Nude Par 30 downlights Whitecroft Lighting Stiletto LED twin battens Whitecroft Lighting Glide luminaires XAL Mino 60 surface mounted fixtures Zumtobel Panos / Panos Infinity downlights Zumtobel Onlite Puresign / Comsign 150 emergency lighting Zumtobel Scuba luminaires Zumtobel Aero II suspended luminaires Zumtobel ZE battens
PROJECT / BRITANNIA CRUISE SHIP, UK
all at sea MBLD has teamed up with interior designers Richmond International to provide P&O's largest cruise liner to date with a seamless flow of scene-setting lighting installations. Laura Mackay, Associate, MBLD walks us through the process start to finish. The Britannia P&O cruise liner began its journey in mid-2011 when the MBLD team joined interior designers Richmond International to change the face of cruise ship design. P&0 presented a brief which challenged us to develop a completely fresh and contemporary approach, which would, at the date of launching in March 2015, be introduced on Britainâ€™s largest cruise ship. As well as a new aesthetic, energy consumption was at the top of P&Oâ€™s priorities. With this in mind, the use of LEDs to reduce energy connsumption compared with traditionally used halogen sources was, from the outset, a goal which we worked hard to achieve, given the added issues of vibration and unstable power when using LEDs on a ship. From the outset, we were required to meet targets for each of the public areas, in terms of loading and dimming circuits. Based on experiences from other ships' use of halogen downlights, we felt confident it could reduce the ships loading. By turning the ship into a fully LED lit scheme the energy consumption was reduced to a third or less of its normal running requirements. This, along with our approach to luxury hospitality lighting - whereby lighting is selective and sensitive to each area - has seen significant improvements to the energy demand on the ship. While ship specification and stringent spaceby-space requirements provided benefits in some aspects, it took away from others in terms of the limited number of circuits allowed within each space. This meant that we had to work hard to achieve the balance of lighting within each space; a task that proved challenging in areas such as large scale restaurants or zones that consisted of mixed use spaces, yet shared limited circuitry.
Working closely with the lighting manufacturers, we selected products and LED chips that ensured consistency in the quality of light and colour temperatures across the range of 130 lighting products installed. Public area lighting was supplied by Ensto Italia and Cabins by iVela, Italian manufacturers that have had many years experience working with the Italian shipyard Fincantieri. The aim was to develop a range of products that would allow the least amount of variations for difficulties faced in maintaining lighting whilst at sea and provide the best design pallet to cover all aspects of the wide range of spaces across the ship. Catering for 3,600 passengers, across fifteen passenger decks, the 1,082ft ships consists of thirteen bars, thirteen restaurants and cafes, a spa, theatre, TV studio, dance hall, specialist cookery school and pool decks. At the heart of it all is the atrium - comprised of celebrity bars, delis and the focal lighting installation called the Starburst - the concept of Richmond International, developed by Jona Hoad Design. The Starburst, made up of 300 illuminated shards and 200 hand finished triangular facets, creates a spectacular centrepiece that elegantly explodes and drops seven metres from the ceiling, floating above the lower deck. Working together with Jona Hoad Design, we developed a lighting narrative that created a dynamic and adaptable lighting sculpture. The piece is programmed with eight lighting scenes that utilise the 580 individual 2W LEDs within each of the acrylic shards over 72 DMX channels and eighteen Lumenbeam RGBW floodlights focused onto the Starburst. The welcoming scene is of gently pulsing shards combined
with floodlighting of red, white and blue, creating a ceremonious Union Jack like arrival onto the Britannia. The day-to-day scene works with the ship's clock, displaying a warm golden colour in the morning through to a darker moody aubergine colour in the evening, with an on-the-hour light explosion, when the shards chase up the Starburst and sparkle across the ceiling. With the Starburst providing a statement attraction, the lighting within the rest of the three-storey high space was carefully balanced to provide the ground floor seating area with a vibrant and comfortable setting. The surrounding levels include four individual bars across two floors, a retail floor and another central feature at a spiral staircase with individually lit acrylic balustrade rods. Other striking areas include Olly Smith's The Glasshouse on deck seven, sparkling with four glass chandeliers and backlit bar counter. Lighting played an important role in continuing the experience through transitional spaces. Scene-setting between night club venue to signature restaurant, retail units and spa required the balance of light which one would expect. The Lime Light Lounge - where entertainers such as Jaki Graham and Kiki Dee performed in a laidback jazz club atmosphere features a central lighting feature providing an adaptable and attractive detail within the otherwise low key lighting. The 150 programmable LEDs, with four different coloured handmade amber glass diffusers linked to a DMX system, were set to slowly ripple across the ceiling during dining followed by a more dynamic effect during the late evening setting. All of which links back to the entertainment AMX control system to adapt to the flexible performance space. The rest of the lighting is muted
Pics: Courtesy of P&O
The Starburst - the concept of Richmond International, developed by Jona Hoad Design - is made up of 300 illuminated shards and 200 hand-finished triangular facets, creating a spectacular centrepiece to the ship's atrium.
PROJECT / BRITANNIA CRUISE SHIP, UK
PROJECT / BRITANNIA CRUISE SHIP, UK
Top and bottom left The Limelight Club is punctuated by pendants supplied by the shipyard, fitted with an Osram Parathom Classic B dimmable LED lamp. Bottom centre The Studio is purpose-lit by Ensto Linear LED Channels, recessed adjustable LED downlights and side emitting flexible IP LED lighting strips. Bottom right The ship's open-deck Sunset Bar located on Deck 17 uses Ensto recessed fixed LED IP downlights and flexible IP LED lighting strips to give a fresh beach bar feel.
with selective gimbal downlighting to tables, highlights from golden pendants and pin spots to provide sparkle from the feature wall glass beading details creating an opulent and atmospheric dining and entertainment space. At the other end of the scale, a large theatre, one of P&Os largest and advanced venues to date, features full video wall mapping. With a contemporary take on traditional theatre design, specially developed adjustable high power LED downlights ranging from wide to narrow beams were integrated within ceiling trough details, splaying out in a radial arrangement across the ceiling rafts to
provide the house lighting. On the other hand, wall panelling details lended themselves to a linear framing detail completed with uplighting to a central copper panel, creating the perfect low level ambiance for show settings. Special areas for the cruise liner include the Open Decks and the new James Martin cookery school. The Open Decks were considered as a place for entertainment lighting to take control during the hours of darkness. We were briefed to develop this, working in harmony with the entertainment lighting to create an extra special night time venue. Lighting control for the first time was seen as a vital part of this area
although limitations were to be considered within the ship specification. With this in mind, we set about selectively integrating feature lighting within architectural elements, such as the pool edge, planters and large scale pylons which house entertainment speakers and moving head projectors. The scenes set for the different areas include: a brighter and radiant surrounding for the terrace pool, more intimate and relaxing setting for the serenity pool and bar and a golden and vivid lighting scheme to highlight the entire perimeter of the lido pool. One of our lighting designers, Arianna Ghezzi, commented: â€œOur intention was to
Bottom The Oasis Spa provides guests with a tranquil retreat, lit by Ensto linear striplights, silicone-cased LED strips and underwater LED spotlights. The Market CafĂŠ located in the Atrium is illuminated by a functional, clean light provided by Ensto recessed single gimbal LED downlights and LED strips.
bring a Miami Beach pool party feeling to the Britannia poolside, creating a glamorous experience for the guests, supporting with our different lighting settings the various events the entertainment has scheduled.â€? The cookery school, which was to be offered as a working professional kitchen for small classes of people learning from chefs, had the function of a private dining space open to the kitchen added. Lighting within the kitchen area had to meet lighting requirements of a working kitchen whilst forming the backdrop when not in use for the dining area, with the head chef table set as a part of theatre for the onlooking diners.
After four intensive years the day came for the MBLD team - Laura Mackay and Arianna Ghezzi, along with support from Rebecca Hines, Rob Honeywill and two Helvar technicians - to prepare for the final commissioning. After spending one week in the shipyard and one week at sea from Monfalcone to Southampton the ship was launched by Her Royal Highness the Queen at a grand ceremony in Southampton dock where the Britannia was successfully named in full glory of red, white and blue, christened with Wiston Estate English Sparking wine specially selected for the occasion. www.mbld.co.uk
Project Details Brittania Cruise Ship, UK Client: Carnival UK, P&O Cruises Interior Design: Richmond International Lighting Design: MBLD Starburst Design: Jona Hoad Design & Production
lighting specified Ensto - architectural lighting across the ship Lumenpulse Lumenbeam RGBW - atrium chandelier Osram and Megaman dimmable LED lamps - FF&E items Delta Light Monopol Series Jona Hoad Design - The Starbust: custom-designed Control: Helvar
project / Inderlok Hotel, Dehradun, Uttarakhand
LAMBENT LANDSCAPES Carving a dramatic vertical garden and injecting a torrent of light in the interiors, Spall Associates revives the Inderlok Hotel to create a space reminiscent of the lost open landscape.
Pics: Mohit Dang
Dehradun is the capital city of Uttarakhand, set deep within the depths of the picturesque Doon valley. In the thick of the city littered with colonial monuments, lies the Inderlok Hotel. The 25-year-old building was pleading for a refashion, when Spall Associates were asked to reinterpret the hotel’s environment, lending it a new lease of life. Responding to the larger context, and the fact that the hotel was devoid of much green space, the design team re-imagined the hotel atrium as an extended courtyard garden, borrowing design aesthetics from the natural landscape around them. The garden began to manifest into physical elements that were reflected in varying scales, the property fence, gate, building façade, furniture and even room keys. The courtyard garden became the focal point of the hotel interiors, rising skywards to form a spectacular backdrop. Met with lambent skylights cut in the ceiling coffer slab, the 30 feet tall garden seems to literally grow towards the light. The large 5’X5’ coffer grid measuring 15’x20’ in the ceiling is punctured and covered with insulated clear glass to welcome an abundance of natural light in the space. As the sun trudges along its path trough the day, the atrium witnesses a dynamic change in hues, from morning purples, to a bright sunny afternoon, giving way to burnt ambers at dusk. Light squares attached to the inner perimeter of the skylights imitate the natural illumination and aid in a smooth transition from day to night. The encircling corridors are spotted with circular 4000K T5 LED lights that add to the general lighting of the atrium space. Following the idea of an organic aesthetic, these lights are placed along a curve instead
project / Inderlok Hotel, Dehradun, Uttarakhand
of a straight line. The architect, Rahul Spall illustrates how the free spirited design percolates into other elements as well. “The three upper levels have lobbies overlooking the courtyard, where the oriental garden flows through the thematic artwork on the corridor walls. The random flooring pattern in carpet tiles also schematically corresponds to the altitude levels, changing from orange on the first, to green on the second and sky blue on the third level. A glass railing provides the transparent interface between the corridors and the courtyard.” The lighting scheme in the atrium is automated and can be controlled to create numerous settings. These accommodate
various moods and ambiences that cater to differing functions and requirements in the space. While the atrium glows in the radiance of daylight, the hotel façade comes to life at night. The building is wrapped in metal cladding that once again echoes the natural elements of the interior aesthetic. Through in-depth study, innovation in computational design and digital fabrication, various iterations were devised over a span of six months to develop an artistic language to be used on the façade. Sophisticated software and technology was used to generate algorithms based on which the patterns were mapped on the metal panels.
After a series of mock-ups on site, the graphic vocabulary was determined and established across the open canvas of the building. The metal panels were strategically perforated to draw the landscape on the face of the structure. “Every metal panel’s uniquely routed pattern was placed schematically to form a composition of grass, butterflies and sky. These shapes were formed by image colour sample based algorithms, providing an accurate diameter to the circle based on the colour value,” explains Spall. While in the day, the metal panel’s subtle index of reflection traces the colours of the sky, changing
from hues of cyan to orange from dawn to dusk; at night, lit from within, the façade breathes a refreshing light into the designed landscape. “The back-lit panels are forced to illuminate the circular cuts and light up the facade against the shadow. The colour temperature of the light was carefully selected in a contrasting colour tone of the metal panels, to achieve the desired warm and subtle look.” In addition to backlighting the graphic, the edges of the building are accentuated to define the contrasting straight lines. LED strips in 3000K mounted upside down on the interior of the metal coping, cast a warm glow that grazes the surface. Thus,
construing the solidity of the construct of the building in juxtaposition to the fluidity of the graphic language. The glowing walls establish a sense of regality and presence to the hotel. The Inderlok Hotel has once again regained its prominence in the city, standing proud as a designed destination. The lighting scheme offers an interesting play of innovation and technology that seamlessly combines with the mislaid need for an organic outreach. Thus, the building transforms from a reflection of the sky in the day to a lambent landscape painted across a metallic canvas at night. www.spallassociates.com
PROJECT DETAILS Inderlok Hotel, Dehradun, Uttarakhand, India Client: Mohit Dang and Monisha Datta Design Team: Spall Associates (Rahul Spall, Harbans Spall, Tapasya Samal, Rakesh Ranjan, Biplab Deka, Abha Jangra, Hari Singh)
LIGHTING SPECIFIED Vizion Lighting: Trimless recessed downlights Splash Carbon Reductions: Linear LED lights Design Worx: Bespoke Accent Light Objects
project / MELBOURNE SCHOOL OF DESIGN, AUSTRALIA
Dean Phillips Exhausted LED surface-mounted downlights are positioned inside custom made polished aluminium tubes to conceal the luminaire, sprinklers and emergency lights, revealing the textures of the hanging studio's timber.
Pic: Peter Bennetts
the design of design In reflection of the space itself, Electrolight has developed a lighting scheme that is both fully-integrated and aesthetically pleasing for the students of Melbourne's school of design. Completed in 2014, Melbourne School of Design is the new home to the University of Melbourneâ€™s Faculty of Architecture, Building and Planning. Described as a pedagogical building, it is setting new standards in education. John Wardle Architects and Boston based architectural firm NADAAA designed the building after winning an international design competition conducted by the university. Electrolight was commissioned to work alongside these two notable firms in designing the specialist lighting scheme to many of the buildingâ€™s common spaces, including the atrium. The atrium is the heart of the building, cutting over four levels with a beautiful faceted timber ceiling, allowing natural light to flood the space below. The entire building is designed as an education tool, with its exposed structures and materials giving an insight into the fabrication and construction techniques used. Custom designed spider pendants from Dean Phillips sit harmoniously in the space, providing functional illumination to the atrium through clusters of cone pendants. The design of these luminaires incorporates
simple, repeated elements and multiple LED light sources to create a comfortable working environment. One of the architectural feature elements of the atrium is the hanging studio, which is suspended from the ceiling and hovers over the main floor. This element provides a sense of scale and intimacy to the work area below. Lighting has been integrated into the fin detailing of the studio base, which reveals the materials and textures of the timber whilst providing functional illumination. This has been achieved through the use of Dean Phillips Exhausted LED surface-mounted downlights, positioned inside custom made polished aluminium tubes to conceal the luminaire, sprinklers and emergency lights. The design of the vertical circulation allows the stairs to float within the atrium, supporting the architectural aspirations of a space supportive of the flow of creative ideas. The ambitious scissor stair connect the four levels from the atrium up, allowing students and staff to meander through the building. Internal timber cladding and cleverly integrated lighting details created by Electrolight, made up of
project / MELBOURNE SCHOOL OF DESIGN, AUSTRALIA
Pic: Peter Bennetts
Pic: John Gollings
Top Custom designed spider pendants from Dean Phillips sit harmoniously in the space, providing functional illumination to the atrium through clusters of cone pendants. Left custom lighting details by Electrolight, incoporating a satinice diffuser and VueLite LED strip, illuminate the atrium's scissor staircase.
a satinice diffuser and VueLite LED strip, that appear to escape from between the timber joins, provide a warm and intimate path of travel. The lighting design was based on achieving appropriate light levels throughout and not overlighting. Efficient LED light fittings were specified to achieve this, resulting in the school of design achieving a 6-star Green Star rating by the Green Building Council of Australia and the first education building to be awarded 10 Green Star innovation credits. Before taking on this project, Electrolight had a well-established, 10-year long relationship with JWA. “We are fortunate to have worked on interesting projects, however this was a great project with a great architect,’’ said Jess Perry, Director at Electrolight.
Given the nature of the project, to be involved in the creation of the school of design was always going to be a challenge as lots of people in the design industry would feel the need to offer their opinions, good and bad, adding an extra level of pressure. As with all projects, lighting is a vital element in defining the space. Perry explained: “it needs to be carefully designed and integrated into the fabric of the space.’’ This ensured a seamless partnership between the architecture and lighting. Within this partnership with the architecture, the lighting scheme looked to encourage a creative environment and extend the learning experience found amongst the school's students.
Pic: John Gollings
When asked about the main challenges faced during this project, Perry responded: “The atrium void was one of the main challenges. We designed various lighting schemes before the design team selected the custom pendant approach.’’ In order to achieve a balance between lighting the project in an efficient way and making the space inviting for students, Electrolight made sure that light distribution within the space was even and well thought out. Perry continued: “The balancing of light distribution within a space basically sums up what we do as lighting designers. The architectural design by JWA provided us with many opportunities and combined with the various task requirements, the challenge wasn't to work out what
Pic: Peter Bennetts
to illuminate but rather what not to illuminate.’’ When asked about the selection of particular fittings, Perry explained: “The process that we use is to consider (a) light effects and how to achieve them i.e. light output, beam distribution, colour temperature etc. (b) quality (c) budget and (d) ongoing support.’’ With this in mind, LED light sources were selected, ensuring optimal energy saving measures were implemented in the school. The LED lighting to non specialist spaces was undertaken by electrical engineers Aurecon. Electrolight's integrated lighting scheme for the atrium ensures a seamless partnership with the architecture, providing the space with a striking and functional illumination. www.electrolight.com
Project Details Melbourne School of Design, Melbourne, Australia Client: University of Melbourne - Faculty of Architecture, Building and Planning, Melbourne, Australia Architects: John Wardle Architects & NADAAA Lighting Design: Electrolight Electrical Engineers: Aurecon Group
lighting specified Dean Phillips Exhausted LED surface-mounted downlights Dean Phillips Cone Pendant suspended downlights VueLite recessed LED strips
project / LWL museum for art and culture, M端nster, Germany
Pics: Marcus Ebener
back to the future LWL Museum's re-opening revealed a new addition to the 20th Century building with a rennovated lighting scheme by Licht Kunst Licht that guides visitors through a millennium of art and culture.
Extended by Staab Architekten through a new construction connected with the existing building from 1908, the LWL Museum for Art and Culture in M端nster, re-opened in September 2014 - now displaying its collection in 51 exhibition spaces - is flanked by a library, auditorium, access
and relaxation zones, as well as a bookshop and restaurant. The carefully structured lighting concept by Licht Kunst Licht (LKL) offers flexible exhibition illumination, while orchestrating the architecture. Light is integrated into the architecture and new visions of an interconnection between the
museum and its neighbourhood open up from within. Regardless of the perspective - inside or out - openness and clarity undeniably prevail in this building, with the lighting concept underlining these qualities. Consequently, LKL opted for a stringent integration of all light sources, with the light
effect at the focus of the design. Entering through the new extension, visitors are welcomed by a three-storey foyer spanned by a glazed skylight and a membrane ceiling below - creating an interesting play of light and shadow that shapes the space. In order not to encumber the ceiling surface's visual effect, the foyer illumination has been fully integrated into hidden wall recesses throughout. For the adjacent courtyard, ERCO downlights have been integrated into the vertical faĂ§ade surfaces, illuminating the patio and orchestrating the sculptures and objects on display. The light sources remain concealed as visitors pass the staircase connecting the foyer and exhibition spaces
on the second and third floor. Nevertheless, the sculptural character of the staircase is emphasised by light emanating from the linear ceiling recess â€“ appearing as a dark groove from below. Moving through to the new exhibition spaces, a unique lighting solution has been specifically developed. A ceiling integrated artificial lighting frame creates a calm ceiling impression and provides flexible light. The light frame creates a particularly homogenous illumination of the wall surfaces, achieved through a precise arrangement of dimmable fluorescent lamps behind the translucent membrane. Artificial light frames and projectors work
to form a versatile duet in the exhibition space. Following the groove between the lighting frame and the central ceiling area is an ERCO track, which allows for the flexible adaptation of Gallery LED cc spotlights from Eigenart Leuchten. Moving up through the building, artificial and natural light is carefully matched through the use of five skylight spaces. Large, centred daylight ceilings allow the dynamics of natural light into the interior space, but in order to avoid the detrimental effects of direct sunlight, a laminated glass sandwich has been fitted with a micro-prismatic layer. The amount of light can be further reduced through a roller blind, while another
project / LWL museum for art and culture, MĂźnster, Germany
layer allows for a complete blackout, and a translucent membrane ceiling facing the interior acts as an additional filter. In order to achieve artificial light identical to that of the other exhibition areas, a combination of the aforementioned light frame and trackmounted spotlights has been implemented. The luminous flux emitted by the ceiling integrated light frames is automatically dimmed by a daylight harvest control, with the data required for this provided by a daylight sensor on the museum roof. Moving through to the historical building, a filagree lighting profile has been implemented so the visual disruption of the listed arcade space is not interrupted. In spite of its small cross section the profile accommodates three lighting functions - fluorescent lamps for the indirect component precisely illuminate the vaults above the transverse arches while the profileâ€™s lower section contains LED miniature projectors. For the central staircase, decorative pendant luminaires are suspended from vault apexes, while the uppermost floor of the staircase has been fitted with additional
direct illumination by ERCO Quintessence downlights. The library has abundant daylight intake through the patio, but the high mobile library shelves require good vertical illumination of the book spines. Two Selux pendant luminaires have been suspended, while vertical displays are highlighted by flush recessed downlights. For the ground floor access areas and recreational zones, flush ceiling recessed downlights have been implemented to create directional light as well as a calm light atmosphere, while for the auditorium flush recessed ERCO LED and HIT downlights create resonant light and dimmable LED luminaires create an atmospheric ambience. Moving outside, wall recesses in the new building’s façade have been fitted with wall washers in order to illuminate the facing historical building homogenously and softly. The public square on the new building’s opposite side is orchestrated by various lighting elements, along with recessed orientation Bega step lights. The focal point of the museum’s exterior façade illumination however, is Otto Piene’s refurbished light sculpture Silberne Frequenz, integrated carefully into the exterior lighting concept. With the museum’s cultural artifacts reflected in the building’s historical architecture, LWL Museum is a wellorchestrated hub of anthropological significance. LKL’s detailed lighting scheme intuitively guides visitors through 1,000 years of Western art and culture in this defining reconstruction. www.lichtkunstlicht.com
Project Details LWL Museum, Münster, Germany Client: Landschaftsverband Westfalen Lippe, Munster Architect: Staab Architekten Lighting Design: Licht Kunst Licht Project Manager: Martina Weiss Exhibition Design: Space4 Scenographic Exhibition Lighting: LDE Belzner Holmes
lighting specified New Construction Atrium & Patio: ERCO adjustable downlights Bookshop: Xal showcase lighting & ERCO downlights Galleries: Eigenart Leuchten Gallery LED cc track-mounted spotlights Library: Selux pendant luminaires & ERCO adjustable downlights Restaurant: Flos downlights, Graypants & Filumen pendant luminaires, Proled LED light strips ERCO tracks Rentex luminous & daylight ceilings Exterior: Bega step lighting & Meyer gobo projectors Historical Building Arcades Arcade corridors: Zumtobel Supersystem pendant luminaires Staircase illumination: Mawa Humboldt Uni pendant luminaires & ERCO Quintessence downlights
project / Gedee Car Museum, Coimbatore, Tamil Nadu
DRIVING THROUGH TIME A visual feat in exhibition lighting, the new Gedee Car Museum in Coimbatore houses a significant collection of vintage cars that are immortalized in a striking illumination scheme by lighting designer, Amardeep M Dugar.
Pics: Rajesh Menon
The Gedee Car Museum in Coimbatore recently opened in honour of Gopalswamy Doraiswamy Naidu, GD Naidu (1893-1974), often titled the Edison of India, with invention and science being only few of his many versatile talents. He played a vital role in the various developments of Coimbatore within industry and infrastructure, and contributed in fields such as automobile and mechanical engineering. His life-long curiosity in automobiles has manifested into an impressive collection of vintage cars from all over the world, which one is now fortunate to encounter at the Gedee Museum. Boasting a rare collection, the museum holds almost every significant development in the automobile industry on display. Naidu’s son and Chairman of the museum’s trust, Gopal describes the museum’s main objective as, “Highlight the technological progress from the birth of the
car, the various innovations and inventions which happened over a period of time, and the people behind it.â€? Amardeep M Dugar, founder of Lighting Research and Design was appointed to spearhead the lighting design for this space, which accentuates and frames the historic artifacts in a manner that creates an intriguing visual experience for the visitor. The museum sits over 20,000 sq.ft in a basement which used to be a parking lot; thus explaining the lack of any natural light. Having to rely completely on artificial illuminance, the lighting strategy was segmented into three significant parts - display lighting, gallery lighting and special-effect lighting. With over 70 cars and potential future additions, energy efficient, LED based track lighting was chosen as the ideal system for the exhibits, since it offers greater flexibility in highlighting the displays while providing
ample scope for new additions. Further LED technology was used for accentuation and added visual drama of the vintage environment at specific points, allowing for generous optical control. A combination of ERCO, selected for its lighting quality, lumen output, and the innate flexibility offered by their interchangeable lenses, along with Prolicht, and Abby light fixtures were shortlisted and utilized in the overall lighting system. One first enters the architecturally raw and industrial space through a driveway that is flanked by the display of an illustrated evolution of automobiles in posters. These are lit using flood optics which provide uniform illuminance to the area for visitor mobility, and Abby Bro 10W spotlights that apply focused light on the posters for viewing. The walkway leads to an AV room designated for historical video shows. This entire AV room is washed in a warm-white
light that creates a nostalgic sentiment through its uniform colour. Leading into the main gallery of the museum, which holds five alternating bays of display space, one sees an impressive collection of cars arranged chronologically - from a replica of the first automobile in the world, to modern racing cars. Accompanying these are posters explaining the historical significance of each vehicle in the evolution of the automobile industry. Dedicated passage walkways allow visitors to wander through these spaces at ease. Surface-mounted 4000K Prolicht C.S.I 10.3W cylindrical downlights with spot optics provide a uniform wash that fills the walkways, also entering the display areas. This light facilitates visitor movement without being excessively bright. The light levels here are maintained low to refrain from interfering with other adjoining displays and special lighting for exhibits, while also creating a sense of drama by
project / Gedee Car Museum, Coimbatore, Tamil Nadu
generating a contrast between lighter and darker zones. Entering the individual car display spaces, one becomes aware of the impressive specificity of lighting. The light fixtures applied for each car is dependant on the specific size of the vehicle; wherein either spot or flood optics are used for small cars, a combination of spot and flood optics for medium cars, and oval flood optics with spot and flood optics for large cars. Further, the colour temperature of the lights are based on the pigment colour of the car paint, ranging all the way from warm to cooler toned pigments. 2700K or 3000K
fixtures are used for pigments with warmer tones and 4000K used for cooler tones. The colour temperature for neutral pigment tones such as black or white is based on their time period, using 2700K or 3000K for cars from an older time period and 4000K for cars from a more recent time period. ERCO Opton 12W interchangeable spot, flood, and oval flood optics, and Prolicht Nitro 10.3W spotlights with flood optics are used to achieve these lighting feats. In addition, special effect lighting is applied to those automobiles, which are historically more significant, being treated here as â€˜highlightâ€™ cars. This lighting is
achieved through a general flood light wash, which is further complimented by ERCO Pollux 2W track spotlights with narrow spot optics highlighting select areas such as the bumpers, hood, seats or wheels. Track spotlights and flood optics light the historical posters accompanying the cars, while ERCO Pollux 6W framing projectors are used to illuminate essential sections within the poster content. Immense consideration and research has been applied to the lighting of each individual automobile, with careful reference to its historical significance, colour tone, size, and character. Limiting
the lamp source to LED technology, gave the designers a much desired Lighting Power Density (LPD) of 0.15W/ft2, which was an impressive achievement. The lighting scheme clearly creates an artful visual vocabulary for the viewer, allowing light to facilitate an experiential journey all the way from the basic form of the automobile to its historical impact. Attention to detail and perceptual comfort gives the museum an experiential edge. As a tribute to GD Naiduâ€™s dream, the museumâ€™s illumination design allows visitors to enter into the beauty of automobiles through the protracted span of time. www.lighting-rnd.in
PROJECT DETAILS Gedee Car Museum, Coimbatore, Tamil Nadu, India Client: GD Naidu Charities Graphic Design of Certain Posters: VIA Media Lighting Design: Amardeep M. Dugar, Lighting Research & Design, Chennai Luminaire supply and installation support: Architectural Lighting Concepts, Chennai; Gojis Lifestyle, Coimbatore
LIGHTING SPECIFIED Abby: Bro 10W LED Track spotlights ERCO: Opton 12W LED Track spotlights ERCO: Pollux 6W LED Track framing projectors ERCO: Pollux 2W LED Track spotlights Prolicht: C.S.I 10.3W LED Surface downlights Prolicht: Nitro 10.3W LED Track spotlights
ART & DESIGN / ALMA MATER
Mother Earth Enzo Catellani's custom-made gilded discs use LED light sources to shower Yuval Avital's multi-media installation, Alma Mater in an ethereal golden mist.
Pic: Paolo Chinazzi
This summer, Cattedrale della Fabbrica del Vapore in Milan hosted a truly unique arts event: Yuval Avital's new multimedia creation entitled Alma Mater, in dialogue with a yet-unreleased version of Michelangelo Pistoletto's Il Terzo Paradiso and a lighting installation by Enzo Catellani. Catellani has designed a site-specific sky of 42 ultra-light discs that slowly oscillate, covered in gold leaf and lit by micro-LEDs of 1W. Catellani called it: "A wave of light",
that envelops the visitor and accompanies them along an intense journey. Dedicated to the female figure, Alma Mater explores the mater-familias-cumMother-Earth image at the heart of all natural balance. This 1,200sq m allegorical, part-painting part-performance installation combines the extraordinary with synergy of creative excellence. Catellani's gilded discs vary in size and are positioned at different heights, bringing the
exhibition to life with enchanted reflections generated by tiny sources of LED lighting. At once enchanting and mystical, its warm, all-enveloping effect resembles a tenuous golden mist. With diametres varying between 80 and 170cm, the discs hang suspended above the graphics in Michelangelo Pistoletto's Terzo Paradiso - a re-visitation of the symbol of infinity made out of rough Lombardy soil, and an image of the maternal womb within
Pic: R. Sanzone
Catellani's gilded discs hover above an amalgamation of artistry, textiles and photography, using LED light sources to shower the visceral display in a soft golden mist.
Pic: R. Sanzone
which nature and artifice - the two circles to the side - meet and co-exist. The evocative trait d'union between the two images comes from Yuval Avital’s powerful soundtrack, made up of grandmotherly voices from all over the world intertwined with the sounds of nature and cast forth through a forest of 140 stone and terracotta loudspeakers. Fairy stories, lullabies, traditional chants, whispers and prayers mingle with seismic tremors,
Pic: Paolo Chinazzi
volcanic rumbles, sounds from the deep and watery gurgles. Impressions, both visceral and of a softer nature, are video-projected into ethereal apparitions, sometimes recalling the lighttreading movements of such legendary étoiles of the Teatro Alla Scala in Milan, sometimes evoking the lace makers of Cantù labouring over their snowy threads. Maga Global Arts partnered with the Municipality of Milan, Fabbrica del Vapore,
Cittadellarte - Fondazione Pistoletto and Architettura Sonora to create Alma Mater a catalyst for other events such as Dialoghi, a series of evening events featuring Acvital's own choice of international performers and artists. Sponsored by Expo 2015 and Regione Lombardia, Alma Mater was part of the programme of events hosted by Expo in Città. www.almamater.info
art & design / Vibhor Sogani
BURNISHED ORES Designer, artist and sculptor of light, Vibhor Sogani assembles a collection that is best described by Mrinalini Ghadiok as a reflection of the celestial, reverberation of the intangible and exemplification of the existential, through textures, tectonics and techniques.
Pics: Shailan Parker
A delicately poised cube comes crashing onto the floor Fragmenting into shiny crumbs of a million balls or so Cube Dimensions: 6’ x 6’ x 14’ (ht.)
2000 mirror finished SS spheres are suspended with barely visible wires in accurate precision from the ceiling, to form a cube that so tenderly yet vigorously seems
to be crashing onto the floor, shattering into innumerous rounded splinters. LED sources concealed within the form create a tizzy of light as it reflects off the multiple tiny spheres, giving the cube a mercurial
aura that entices the observer to explore the ‘mille-feuille’ or million layers of the precariously dangling fixins.
Looking skywards into a crystal studded night Imploring recognition of forms that shine bright Orion Dimensions: 6â€™ (dia.) x 4â€™ (ht.)
Inspired by the plethora of interstellar formations that we often seek in the darkness of the night, the installation is amassed
in an attempt to formalize the impetuous recognition of proverbial articulation. Literally connecting the dots to claim elucidation, we often surpass the explanation
of its provenance. An assemblage of over 7000 crystals that condense into a central pivot creates an illusion of light and darkness akin to the night sky.
art & design / Vibhor Sogani
Sterling sheets of texture drift gently downwards Borne of ethereal provocation, light encounters Cascade Dimensions: 9â€™ (dia.) x 9â€™ (ht.)
As a beam of light descends from an apogee in the sky, an enigmatic cluster of SS chains emerges from the molten radiance precipitating a semblance of
lustrous reflections. Segments of circular planes of exquisitely textured metal nimbly float around the illuminated column of metal strings, catching the light on their tenuously undulating surface. The myriad-
lit planes cast a compendium of enchanting reflections, keeping the cryptic source of light concealed.
As the strings slip through our fingers, and we are no longer tied The balloons rise upwards, into the interminable sky Infinity Dimensions: 7â€™ (dia.) x 4â€™ (ht.)
In a playful contrast of ideas and forms, the installation questions the fundamental understanding of bounds and illusions. Stainless steel balloons seem to dexterously
drift into oblivion, caught mid-flight by a metallic disc. Colour changing LEDs ring the floating blimps, their multitude of reflections creating a sense of inestimable depths of the sky above.
art & design / LONDON DESIGN FESTIVAL
industry inverted As a part of this year's London Design Festival, design consultancy SEAM has provided atmosphere to Alex Chinneck's A Bullet from a Shooting Star, illuminating its evening silhouette with Osram Traxon fittings.
Pic: Tara Mandahar/Greenwich Peninsula
Fifteen tons of steel, 35-metres tall, 120 tons of concrete: Alex Chinneck's A Bullet from a Shooting Star is an up-turned electrical pylon in the industrial landscape of Greenwich peninsula, London.The expression of this year's London Design Festival Landmark Project (sponsored by the area's developer Knight Dragon) creates a crisp silhouette against the sky, casting a sharp web of shadows on the ground. At night, against the jumbled backdrop of Canary Wharf and the Millennium Dome, London-based design consultancy SEAM created a lighting proposal that allowed the pylon to create its own contrast. “The sculpture drew us to themes of celestial bodies, the works of Nicola Tesla, lighting and electricity, inspiring our design concepts for illumination of the sculpture.’’ said Marci Song, Director of SEAM. Utilising Osram Traxon fittings, light is
Pic: Chris Tubbs
Pic: Tara Mandahar/Greenwich Peninsula
directed upward through the lattice-like structure by seven Traxon Technologies Washer Allegro luminaires, controlled by the e:cue Butler XT2 control engine. As the interior framework catches the light, it gains volume and the external framework becomes a silhouette against its internally illuminated structural members. Nicki Smith, Business Development Manager, International Projects at Osram said, “We are delighted to have worked with such a renowned artist as part of the London Design Festival. A Bullet from a Shooting Star is an eye-catching project for those visiting and living in the area.” Emory Smith, Director of SEAM explained: “Our challenge for the lighting design was clear: to enhance the sculpture's presence at night, but we also asked if there was another quality that we could bring out with lighting, one that might not be visible
during the day.’’ Additionally, the dynamic DMX lighting controls provided brightness and colour, bringing subtle theatrical elements to the sculpture, complementing the artist's conceptual story. The ten minute progressive sequence reveals the lines of the sculpture's silhouette by gradually filling it with white light before it plumes with deep oranges and fades into the night sky. The colour is reminiscent of molten steel, recalling how the sculpture was forged as well as a nod to the site's industrial history. “The colour choice and sequence came to the team quite easily when we were on site. What was challenging was getting the timing right - how long will people linger, when does animation of light become too much about itself, how can we leave space for the sculpture to just be a silhouette? In the end, the proposal was subtle and restrained. You catch glimpses of the artwork at different moments and there's a narrative, but the lighting is still second to the audacity of the piece,’’ said Smith. A collaborative tour de force, Alex Chinneck was pleased with the relationship with SEAM, admitting to the project’s ambitious nature. “It was a complex industrial process – welding, drilling, bolting, more welding, sawing. The end result is whimsical and playful. There’s typically an illusion at play in my work, but the path to that result is one of brute industry.” www.seam-design.com www.alexchinneck.com
Tabanlıoğu Architects' Melkan Gürsel and Arik Levy have collaborated to create Transition; Warm/Wet - a two-room installation exploring the interaction between our planet's elements.
Pics: Mark Cocksedge
Unveiled at the London Design Festival 2015, Transition; Warm/Wet is a two-room installation at Somerset House co-designed by Arik Levy and Tabanlıoğlu Architects. The installation incorporates water, light and movement to create two different environments, each composed to trigger an emotion. The result takes inspiration from the interaction between the particles and elements that form our planet, with an emphasis on light and water. Integrating mediums of light and solid, dry and wet, and warm and cold, it spreads across two adjoined spaces: the ‘warm light room’ and the ‘cool wet room’. People moving through from one room to the other connect the two contrasting environments. In the cool wet room, raised above the floor, the Solid Pool by Tabanlıoğlu
Architects integrates movement through two kinetic metal plates that undulate in a choreographed sequence. The surfaces are covered in water, yet despite their movements, the glittering droplets remain still. The innate tendency of liquid particles to unite is challenged, to create a fascinating performance. In this way the reflective sculpture explores the nature of tension, attraction and intervention through a basic element water. In the warm light room, the FractalCloudWarm is an extension of Arik Levy’s Fractal projects, a series of light sculptures formed of 960 micro LED strips, representing no beginning and end. Hyper intense light turns into a warm tangible material that one can walk into,
just like walking into the sun. The radical characteristics of it and the presence of the wires, power units and connections, give it the existence of transformation from the industrial, tactile world into a weaving of colours, textures, material and its active part of the light sculpture. The juxtaposition of FractalCloudWarm to Solid Pool creates a new reality: warm meets wet, Earth meets sky. Created by Melkan Gürsel, Partner at Tabanlıoğlu Architects and instigator of the project, and Arik Levy, a long-standing friend of the practice, Transition; Warm/ Wet is an interdisciplinary collaboration between architecture and art. www.tabanlioglu.com www.ariklevy.fr
art & design / ¡DARK!
¡DARK! Compiled of past installations and site-specific exhibits, ¡DARK! explores the physical and metaphorical power of light in the face of darkness. ¡DARK!, exhibition taking place at the Centre for International Light Art in Unna, Germany, will run until Spring next year. Alongside Dark II – the co-exhibition interprets light and dark on a more metaphorical level and looks to explore the concept of darkness and the creation of
surfaces of light. The dark rooms at the centre envelop guests, allowing the installations by Anthony McCall, Diana Ramaekers, Regine Schumann and Vera Rohm to become discernible only after a short period of acclimatisation. www.lichtkunst-unna.de Pic: Anthony McCall Courtesy Galerie Thomas Zander, Köln / Sean Kelly Gallery, New York / Galerie Sprüth Magers, Berlin, London
Diana Ramaekers: Sensing the Light (2015) Dutch artist Diana Ramaekers has created a new, site-specific installation for the exhibition. As with McCall’s, movement has a role in her installations through the use of two large mirrors. An artificial haze makes the light choreography become visible and the combination of three moving heads, LED spotlights, DMX control and moving mirrors creates a large light sculpture; with the light structures changing depending on the visitors’ positions in the room. The materialised light slowly makes its way across the room, along walls, floor and ceiling, occasionally grazing visitors, implying a tangible, physical body that is almost intrusive. Ramaekers' work suggests that light doesn’t just have a poetic but also a forceful, destructive character.
Pic: Diana Ramaekers
Anthony McCall: Meeting You Halfway II (2009) Since the early 1970s, UK-born artist McCall has been known for his individual light installations called ‘solid light’ movies. The technique involves animated black and white lines, projected into a room filled with artificial haze to articulate twodimensional drawings as seemingly tangible, sculptural shapes. Projected horizontally across a room onto a wall or – in the case of his latest work – from ceiling to floor, they envelop the viewer in a single, slowly moving cone of light. Meeting You Halfway II combines and divides different configurations of two ellipses. McCall explained: “In three-dimensional space this creates a complex sculptural shape in a state of slow, continuous change.” At the same time it appears movie-like, continually changing and evolving as the viewer explores it.
Regine Schumann: Jump! (2012 | 2014) Jump! consists of artwork Connect, Back to Back and additional artistic elements such as dance and language. Connect, Back to Back contrasts the other, exclusively black and white installations of the exhibition with its multi-coloured, playful aura. It is an installation made of wavelike acrylic glass. Kept in phosphorescent blue and fuschia red colours, the installation meanders across the exhibition room, inviting the visitors to take a relaxed walk through its space, offering new perspectives and confronting with a new experience of colour. Blacklight exentuates the acrylic glass, allowing the objects to draw lines across the room, becoming graphic elements. Architecture is the foundation to Schumann’s works and the idea that space demands and commands all her deliberations concerning colour, shape, light and staging.
Pic: Maurice Cox
Pic: Flo Fetzer
Vera Rohm: Night is Earth’s Shadow (2005-Present) Since 2005, German artist Vera Rohm has created 66 cubes in 66 languages with the linguistic starting point of the cubes, a sentence from German scientist Johann Leonhard Frisch. With his wording ‘Night is Earth’s Shadow’, Frisch enforces a radical change of perspective in a concise and clear form: away from the countless different atmospheres of night, which vary depending on subjectivity, cultural, temporal, or geographical circumstances, into a cosmic approach of the phenomenon of night. In a variety of languages, ranging from German and French to Greek, Hebrew and Thai, artist Rohm causes the sentence to become detached from the sides of black painted aluminium cubes with an edge length of 75cm. Each language has its own cube; the sentences, shaped by laser, are lit from inside the aluminium cubes behind white matt glass. This way, the visitors face different cubes with each language shining in its own unique letter type. Around 20 text cubes are being shown in the museum’s central exhibition space, better known as the ‘columned cellar’, creating a forest of cubes. In the room’s darkness, lightened shadows will throw glowing rays.
art & design / chase the dark
AROUND THE WORLD IN 1400 TWEETS For its third year running and for the first time in the country, IALD Chase the Dark 2015 impressively drew over 300 participants from India. In New Delhi, we Chase(d) the Dark with mondo*arc india.
All images have been harvested from the IALD initiative from various countries and #ialdchasedark
As the sun set westward across the globe, 30 cities came alive on 01 October 2015 with mesmerizing light works to commemorate the third IALD Chase the Dark event. This yearâ€™s concept was simple: Using the flashlight function of your smartphone, create a unique light effect on any surface, or transform the phone itself into a lighting fixture. Using another phone, capture the effect in an image, and share it on social media. The event saw much success as a plethora of installations were created, photographed
and posted online from across the globe. More than 500 images were shared and over 1,400 tweets were sent, resulting in 2 million or more impressions on social media timelines worldwide. India came in strong with close to 300 participants posting creative captures from cities including Bangalore, Chandigarh, Chennai, Hyderabad, Kochi, Kolkata, Mumbai, and New Delhi. As the official partner for IALD Chase the Dark, mondo*arc india hosted the event in New Delhi, bringing together over to 30 participants
from various walks of life - architects, interior designers, lighting designers, set designers, artists, photographers and students, who came together to experiment with, have fun with and learn from light. Divided into diverse groups and mentored by senior lighting designers and architects, the participants explored light as a phenomenon, a design tool and a painting medium through various props and accessories. Experimenting with paints, markers, colour filters, CDs, household objects, fiber optics and other textural
Pic: Anusha Muthusubramanian, Jithin Jayanath and Gowtham Raj, Chennai
Pic: Litelab Consultancy Pvt Ltd, Chennai
Pic: Gowtham Raj, Gojis, Chennai
Pic: mondo*arc india, New Delhi
Pic: mondo*arc india, New Delhi
Pic: mondo*arc india, New Delhi
Pic: Vinishree Solanki, Ahmedabad
Pic: Sree Hari Charan - Mitrra Media
All images have been sourced from the IALD Chase the Dark event that was hosted by various organisations at venues across India.
and tectonic material, the teams created fascinating compositions of light, shadows, illusions and lighting effects across the venue. A large projection with live streaming of the global event through TweetWall, beginning in Japan and spanning through to the US, allowed the crowd to track installations that were assembled across the participating countries, while sharing their own creations online. The event was celebrated with a social networking evening, giving an opportunity for the participants to discuss their explorations with their peers. Commemorating 2015 as the International Year of Light, Chase the Dark was the ideal platform to promote light and its awareness in the country. mondo*arc india and STIR were proud partners of the event hosted at the vis-a vis Experience Centre in New Delhi and sponsored internationally by acdc. www.iald.org
TECHNOLOGY & EVENTS / CASE STUDY
painting with precision Highlighting his hyper-realist techniques, Matthew Penn has selected the latest LED spotlight technology from ERCO to further bring his oil portraits to life.
Pic: Courtesy of Matthew Penn Art photo: Giles Toller
Pic: Courtesy of ERCO GmbH photo: Frieder Blickle
Pic: Courtesy of ERCO GmbH photo: Frieder Blickle
The sculptural effect of the hyperrealistic artwork of 27-year-old British artist Matthew Penn is the pinnacle of the Chiaroscuro style, which naturally works with dramatic contrasts between light and dark, helped by the precision accentuation delivered by ERCO spotlights. Penn is now proud that some of his exhibits are being showcased at the ERCO showroom in London, in an exhibition called Illuminating Characters. In striking similarity to the works of Caravaggio, Rembrandt and Titian, subjects in Penn’s focus seem to jump off the canvas in extremely directional light projected onto a dark background. In this style, light finds a new, dramatic role, and with an expert use of strong contrasts between
darkness and light, the personalities and the body language of the characters are emphasised giving the spatial depth of the artwork even more power. Penn regards light holistically and as an integral component of all his artwork. This does not only apply to the technique in its own right, but also to his creative process. The portraits’ hypnotic qualities are only revealed with the right lighting systems in place. Not only does Penn use ERCO lighting in his studio, but he also equips every piece of his artwork with ERCO spotlights – these, in turn, emphasise the Chiaroscuro effect thanks to their precise accentuation. The goal is simple – collectors should be able to enjoy the artwork with exactly defined illumination, and in this way, the artist can
be sure that the full power of his work can be enjoyed. The exhibition space in which Illuminating Characters will take place is a temporary black cubicle room. ERCO Pollux spotlights will be used, either with 2W narrow spot distribution or as a 6W contour spotlight, which will be ideal for the illumination of the three extremely large paintings. “I use the Pollux lights because they allow me to sculpt the light on the painting with more control and a refined definition,” reported Penn. He uses ERCO lighting tools to deliver very targeted accent lighting onto specific details, lending further depth, and beyond that, true emotion. In order to achieve this goal, ultimate precision of the photometric technology is key to avoid spill light on
Pic: Courtesy of ERCO GmbH photo: Frieder Blickle
Pic: Courtesy of Matthew Penn Art photo: Giles Toller
unwanted areas of the artwork. A further very important theme was the selection of colour temperature. The artist selected Pollux luminaires in warm white, with 3,000K, in order to emphasise faces, skin, hair and even wrinkles. For example, Penn’s Portrait of an Unknown Man in Oil is brought to life using ERCO spotlight systems, which he tailored precisely to his painting to enhance its production and the display of his art. The Unknown man’s skin shows delicate nuances in colour – tiny wrinkles, pores, each hair, silvery stubbles stand out from darker parts of the face in almost threedimensional reality. More precise, it seems, than a photo, the whole image appears to be emerging from the deep black of the background.
Pic: Courtesy of ERCO GmbH photo: Frieder Blickle
Pic: Courtesy of Matthew Penn Art photo: Giles Toller
Artistic lighting within the paintings is highlighted in neutral white, at 4,000 K, creating a life-like effect. Penn explained: “This way of sculpting and manipulating the light on the painting enhances it to complete the piece. The combination of lighting and finished hyper-realistic painting takes the work into a darker atmosphere where the viewer is transported and immersed within the portrait – a way of lighting not just to display the art but to enhance it and become part of the art itself.” The new Pollux LED compact spotlight selected is versatile, featuring a compact, cylindrical light head made of cast aluminium. This carries the patented LED Spherolit technology already found in ranges such as Light Board or Optec. To offer scope
for design, this lens technology enables free and flexible creation of light distribution patterns, ranging from spot through to wide flood with a single luminaire. The framing attachment produces a crisp focused beam that can be adjusted to suit the format of images and objects in the room or on the walls – for a striking, three-dimensional presentation of image motifs. Illuminating Characters represents a new collaboration between the artist himself and ERCO, highlighting the significance of light in Penn’s creations. The exhibition is designed to be mobile, starting at the ERCO showroom in London and moving on to the showroom in Paris in November 2015. Further locations will be announced for 2016. www.erco.com
TECHNOLOGY & EVENTS / CASE STUDY
WHEELS IN MOTION Megaman’s latest LED lighting technology has been installed throughout the new BMW dealership in Sabah, Malaysia, delivering an enticing, low cost and low emission retail space. The new 53,500sq.ft BMW dealership in Sabah, Malaysia, has been fitted with the latest in LED lighting technology from Megaman throughout, delivering drama and customer impact while minimising energy costs and CO2 emissions. Located in Lido, Jalan Penampang, the FM Autohaus owned showroom is the first in the state to be an authorised dealer of the company’s BMW, Mini and BMW Motorrad brands. Designed by Daniel Koh, Principal at Arkitek Daniel Koh, the dealership includes a showroom that has eight display areas, two service receptions - including a rooftop lounge - six repair bays and two diagnostic bays, as well as a BMW Premium Selection section for pre-owned vehicles. Spread over four floors, the remit for the showroom was for it to reflect the quality of the BMW brand whilst guaranteeing long-term energy efficiencies. To achieve
both the required levels of drama and significant energy and cost savings, Koh chose to replace the proposed 150W metal halide lamps in the project with Megaman AR111 and PAR38 LED lamps. Known for powerful, directional beams, the Megaman lamps were combined, in a range of beam angles, to draw prospective customers’ eyes towards the cars and signage throughout the showrooms. In addition, the lamps were used to create a welcoming environment in the dealership’s rooftop lounge, bring drama to the colourful fins on the showroom’s exterior façade and bring focused lighting to the customer reception areas. A range of Megaman LED lamps were used throughout the BMW dealership, including Megaman PAR38 20W 25° 2,800K, and Megaman AR111 15W 2,800K and 4,000K LED lamps in 8°, 24° and 45° beam angles. With the reduction of energy consumption
one of the key requirements within the lighting brief, Megaman’s LED AR111 and PAR38 reflector equivalents were the ideal choice for the downlight, surface mounted and track mounted fittings; delivering in terms of performance and cost. Due to their unique axial geometry and the patented Thermal Conductive Highway (TCH) technology of Megaman’s lamps, precise light direction was possible, minimising glare throughout, whilst maximising impact for showroom visitors. Syed Faiz, Dealer Principal and Chief Executive Officer of FM Autohaus, concluded: “The new FM Autohaus facility is now well placed to deliver total satisfaction and provide customers in Sabah with the outstanding premium ownership experience they deserve. It is equal to any BMW Group 4S facility anywhere in the world.” www.megamanlighting.com
CORE STABILITY Providing a new level of luxury and control to the fitness experience, Core Collective in South Kensington, London is the first gym in the UK to be automated with Crestron technology.
Pics: Courtesy of Core Collective
The newly opened Core Collective in South Kensington, London has become the first gym in the UK to be automated with Crestron technology, allowing for sleeker workouts. Born from the vision of Jason de Savary, Core Collective incorporates a complete AV, lighting, heating, cooling and security system from Crestron, all installed by London-based automation specialist, Knektd. Within the reception, Knektd created a Crestron X-Panel for ultimate control of all zones, including the AV, heating and cooling, lighting and CCTV. The spinning room is kitted out with rows of circular luminaires that pulsate and change with the tempo of the music, controlled by an intuitive Crestron TSW-750 touch screen or the instructor’s smartphone. Knektd worked very closely with the lighting designer, Alex Stileman of Stileman Lighting, and together programmed 45-minute lighting sequences to match the spinning class, with pre-programmed buttons on the
trainer’s Crestron keypad to provide easy switches. In addition, the touch screens and switches are pre-programmed to allow for personalised graphical user interfaces (GUI) and engraving, in keeping with the Core Collective branding. The Crestron system also allows for sleeker transition between classes as set up is as simple as pressing a button on the touch screen and hitting play on the instructors chosen music source. “We have used Crestron for many of our residential projects in the past, but this was the first time we have utilised it for a commercial space,” said Shaun Wilson, Director of Knektd. As an added security feature, the fire alarm triggers the shutdown of all the air conditioning and air-handling units in the building, and the Crestron mutes the music and turns on all the lights to 100%, enabling a quick and easy evacuation if needed. Jason de Savary, Owner of Core Collective, commented: “The Crestron system has
given a new level of luxury to the fitness experience. We pride ourselves on offering the very best service to our clients and the automation has certainly helped us to achieve this.’’ The Crestron lighting panels and control gear used in the automation of Core Collective gym includes: DIN-PANEL-CUSTOM Pre-assembled DIN enclosure including wiring and installation, DIN-AP3 DIN Rail 3-Series Automation Processor, DIN-HUB DIN Rail Cresnet Distribution Hub, DIN-PWS50 DIN Rail 50 Watt Cresnet Power Supply, DIN-1DIMU4 DIN Rail Universal Dimmer, DIN-8SW8 DIN Rail High-Voltage Switch, DIN-4DIMFLV4 DIN Rail 0-10V Fluorescent Dimmer and CGDMX-512BI - Interface DMX512, Bi-Directional. By adding automation to the workout experience, you can enhance the momentum of a workout session with intensity building lighting and sound. www.crestron.eu
TECHNOLOGY & EVENTS / comment
Technology expert Dr Geoff Archenhold was recently a speaker at the LED Professional Symposium and Expo in Bregenz, Austria. Luckily for us, he hung around to find out what the future holds for the lighting industry in the next five years.
What’s next for lighting? The last five years have shown the lighting industry changed by the potential of LEDs. With that being said, it will be the next five that see fundamental shifts. mondo*arc asked me to visit the LED Professional Symposium and Expo (LpS) in Bregenz, Austria to find out which new technologies will impact the industry in the near future. The event began with the concept of design meets technology, with Rogier van der Heide discussing the second wave of lighting innovation – lighting beyond illumination. Over three days, parallel sessions from academia and industry, covered three topics areas: light quality; connectivity, security, reliability and lifetime; and standardisation and light measurement. In terms of light quality, the three main topics of discussion were: 1. Human Centric Lighting (HCL): The non-visual effect of light on humans has gathered pace since the discovery of the third-receptor, known as the intrinsic photosensitive retinal ganglion cells (ipRGC) in the eye, providing evidence that light is capable of suppressing the hormone melatonin (attributed to good sleep patterns). A presentation by Zumtobel detailed the outcome of the ATKearney report for the potential of HCL within Europe, quantifying the benefits. At full market penetration, the macro simulations state that HCL effects can benefit up to a value of €12.8Bn in 2020 through improved productivity and healthier staff. The key challenge is to now understand the full impact of the ipRGC cells. The CIE has published a technical report (CIE TC3-46), identifying the challenges of understanding how the third cell affects the central nervous system. Several laboratory studies have shown HCL to impact health and wellbeing but reasons why are still not fully understood. However, I think the lighting industry will drive technical change with the ability to offer quality HCL for many applications.
2. Dynamic White and tuning CCT: The main discussion within this topic area was how HCL requires lighting to change both the CCT throughout the day as well as the relative intensities of the fixtures concurrently, posing a challenge for control solutions. An area leading the way is chronobiological adapted lighting, used by airlines to improve sleep on planes and promote greater alertness on arrival. A study by the Fraunhofer institute, Germany showed that bright blue light does two things. Firstly, it stimulates the stress hormone cortisol, creating alertness and secondly it suppresses melatonin. With HCL, as fixtures are dimmed and dynamically tuned in CCT, the human eye will detect colour changes and visible colour shifts when the CCT moves above or below the blackbody curve. Therefore, when colour tuning the CCT, the fixture should remain above or below but not exactly on the blackbody curve due to measurement errors. Light Cube and the University of Padova highlighted that, in order to implement HCL correctly, a complete lighting solution is needed, including: a control unit, simple human interface, control protocol and networking means, LED driver, multi-wavelength light sources and luminance, presence and other detectors. A straightforward HCL system would contain two white light sources, covering the extreme CCT requirements (warm white at 2,700K and cool white at 5,700K) as they are a broadband source of light, easier to design and control. The main issue is that there are some clever (expensive) solutions appearing on the market with little evidence to prove whether such complicated solutions outweigh more straightforward approaches. Having HCL in my office, I can say that it improves the workplace compared to standard non-HCL based fixtures but I don’t know if I will see a substantial health benefit from a two-channel to three+ channels of HCL.
3. LED flicker: After years of discussing the health implications that the LED lighting industry has been inflicting by deploying systems that exhibit low frequency output current ripple, LpS discussed issues and possible solutions. Interestingly, flickerfree drivers were significantly discussed yet everyone also stated they used PWM to dim lights even if it was below 30%. Unfortunately, my definition of flicker-free lighting is: light amplitude output of a fixture shouldn’t deviate more than 25% at any forward current. I hear a great deal about the 100Hz flicker but in reality we should take note of studies that state operating LED flicker frequencies in the 1000 to 3000 Hz is the minimum. Also, many years ago a DIN standard stated: fluorescent lamps using electronic ballasts should be at least 30,000 Hz frequency, so I don’t see why the LED industry can’t deliver in advance of this at no extra cost. A start-up company, SwitchTech, from Sweden discussed the use of software to control LEDs in real-time and is definitely the way to go, providing the cost premium isn’t significantly high. Overall, flicker is on the agenda and that’s great for the industry moving forward. An unaddressed area was how the lighting controls sector is falling behind the innovation cycle. I see advances in LED driving, colour control within fixtures, colour science understanding, thermal management and LED packaging but control systems still seem to be clunky, difficult to install, maintain and change, and struggle with new concepts such as HCL. Perhaps that will be the industry focus in 2016. www.led-professional-symposium.com Geoff Archenhold is an active investor in LED driver and fixture manufacturers and a lighting energy consultant. The views expressed in this article are those of the author and do not necessarily represent the views of mondo*arc. You can contact him on: firstname.lastname@example.org
Professor of Building Daylight Modelling John Mardaljevic of Loughborough University recently spoke at the CIBSE Technical Symposium. Here’s his take on the importance of natural daylight in schools for pupils’ academic achievement, health and wellbeing.
the dean of daylight The launch of the Priority Schools Building Programme heralded a new era in daylighting design. It is the first major application of climate-based daylight modelling (CBDM) and the first significant change to building daylighting design since the Daylight Factor was introduced over half a century earlier. Its inclusion in the PSBP is set to have a major impact on the design of building façades and the inclusion of light-admitting features such as atriums and light-shelves. Natural daylight is the best source of illumination for schools. There is a growing body of evidence to suggest that classrooms with good daylighting can result in improved academic achievements and that it may even impact on pupils’ long term health and wellbeing. Daylight can also save energy by ensuring artificial light is only used when absolutely necessary. Predicting daylight levels at the design stage of a scheme is vital to ensuring an effective, efficient lighting scheme while avoiding problems of glare and overheating from excessive solar gains, which can result in blinds being drawn and lights turned on. The conventional method of establishing daylight performance is the Daylight Factor that takes no account of the fact that daylight varies with location and time. By contrast, CBDM makes use of actual weather data, usually on an hour-by-hour basis over a year. Its inclusion in the PSBP will enable both diffused and direct daylight to be analysed and used effectively, minimising the need for artificial lighting. The PSBP was launched in 2011 as a successor to the Building Schools for the Future programme. In May 2012, under Phase 1 of the programme, it awarded funding to rebuild or refurbish 260 schools. This year it named another 277 schools that would receive a share of £2bn of funding to refurbish or rebuild their accommodation in the second phase of the programme. Under the PSBP, the UK Education Funding Agency has made funding dependant on a design’s compliance with a facilities output specification (FOS). The FOS covers all aspects of a school’s design including the building’s form,
structure, fabric, materials and energy use. It also covers environmental criteria, which includes a mandatory requirement that school designs meet targets for useful amounts of daylight based on CBDM. Because CBDM is based on annual weather data it more accurately simulates the real world and provides far greater detail about light distribution and its intensity. This enables a building to be designed to maximise the use of sunlight and daylight through the development of different lighting solutions for the different orientations. Using daylight and sunlight effectively will change the focus on how daylight is introduced into schools, because daylight is often admitted from the side of a room it needs to bounce off the walls and ceiling in order to illuminate the horizontal plane. Under CBDM, light-shelves are proven to be beneficial by helping bounce light to the rear of a room while cutting glare close to the window (under Daylight Factor modelling light-shelves appear as obstructions). Similarly, devices such as light pipes and roof-lights or building elements such as light-wells and atriums can all be shown to be beneficial under CBDM. Daylight levels under the PSPB are based on achieving a metric called Useful Daylight
What is the Daylight Factor? The daylight factor is the ratio of internal illuminance to the external horizontal illuminance expressed as a percentage. One of the major a drawbacks of a Daylight Factorbased approach is that it is based on the Commission Internationale de l’Eclairagre’s (CIE) standard overcast sky, which has a zenith brightness three times that of the horizon. Critically, there is no variation in brightness with compass orientation and there is no illumination from the sun so, for a given scene, a north-facing classroom in St Petersburg will have the same solution as a south-facing classroom in Miami.
Illuminance (UDI). The UDI metric was adopted by the EFA on the recommendation of its consulting engineers; it is based on occupant responses to what are acceptable minimum and maximum daylight levels. The UDI should ensure there will always be a usable level of daylight without necessarily needing to pull down blinds. The FOS requires the space-averaged UDI value to be in the range 100 to 3000 lux during the period 8:30am to 4pm for 80% of the occupied time. The UDI value currently adopted by the EFA is a compromise, selected to work reasonably well for various orientations. There are concerns, however, that the target values chosen by the EFA are not sufficiently onerous so that a contractor may decide to cut costs by adopting standardised designs across all classrooms. If the UDI were more onerous it would force different window detailing on different elevations and push designs to be multi-aspect by articulating the façade. CBDM evaluation reveals that daylight performance has a significant dependency on window orientation and that, if nothing else, the north-facing façade should be different to the south. With this in mind, perhaps a solution is for contractors to develop two or three different classroom façade/glazing configurations without incurring excessive overhead costs. However, even at its current value, the UDI may actually result in changes to façade design with some schools being designed and built with smaller windows than would have been the case with Daylight Factors. This is not necessarily a bad thing, particularly when it comes to preventing overheating. More importantly, it should be remembered that there is no daylight benefit to having larger windows if the classrooms are used with the blinds down and lights on. Note: This article is a synopsis of a paper presented by Mardaljevic on CBDM at the recent CIBSE Technical Symposium. ww.cibse.org
TECHNOLOGY / BENCH TEST
David Morgan reviews Osramâ€™s Lightify Pro wireless lighting control system, offering a wide-ranging system for medium size projects and is already being well received by the lighting design community.
take control of your surroundings For a lighting company that celebrated its centenary in 2006, Osram shows that being well over 100 years old is no impediment to successfully incorporating new technology into its lighting control systems. One of the most active areas of the lighting market in recent years has been the introduction of wireless lighting control systems. In this area it seems that innovation in the consumer market has been the starting point that then leads on to more sophisticated commercial systems. Philips was an early entrant in the consumer market with its well-received Hue range: a smartphone app controlled lighting system. Osram has taken a slightly different approach and introduced its Lightify system in two versions. Lightify Home for the consumer market, with up to 50 lighting points, was introduced last year and Lightify Pro for medium size commercial projects, with up to 100 lighting points, has just been launched for commercial applications. The number of lighting points controlled by Lightify Pro can be increased up to 800 by using DALI luminaires via the Lightify DALI interface that can communicate with standard DALI drivers. Lightify Pro fits in between simple consumer applications and the larger commercial and architectural projects where other more complex Osram systems would be more suitable. The underlying operating system for the
Lightify system is ZigBee, a low power and low cost wireless data transmission system specifically developed for small packets of data. While its low power consumption limits transmission distances to 10–100 metres line-of-sight, ZigBee devices can transmit data over long distances by passing data through a mesh network of intermediate devices to reach more distant ones. The obvious applications for Lightify Pro are in heritage and retrofit projects where wireless communication eliminates the need to add wiring for digital LED dimming, thus speeding up project installation and reducing costs. However, comments on applications for the system from lighting designers suggest that it may not be the panacea it at first appears to be. Iain Carlile at DPA, said: “Wireless dimming is great for refurbishment but for new construction projects, it may not be much of an advantage since mains wiring has to be installed in any case and the current additional cost of using wireless control may not be justifiable.” The Lightify system incorporates a wide variety of elements including ZigBee enabled retrofit LED lamps, LED luminaires, interfaces to DALI drivers, switches and sensors. The range of ZigBee enabled LED lamps includes single colour, dynamic white and full RGBW types. Other brands of ZigBee enabled lamps can also be controlled
by the system. At the moment, most of the Lightify Pro luminaires are for office and commercial lighting applications with a limited range of simpler luminaires for the Lightify Home range. The Lightify Pro DSE / SSE interface to DALI drivers includes inputs for connection to sensors and can dim or switch up to eight DALI luminaires individually. The Lightify Pro Gateway unit is the heart of the system and provides the link between the luminaires and DALI interfaces and WiFi systems. The system can be integrated with larger IT systems or run independently. A real-time clock can also be integrated into the system to automatically control lighting scenes. Commissioning, which in the past has been an expensive and sometimes fraught process, should be much simpler using Lightify Pro and can be done by the lighting designer, end user or contractor. Layout drawings of the project can be loaded into the free commissioning app loaded onto a tablet and luminaires are then grouped in a simple drag and drop process onto the layout graphic. Sensors and switches can also be integrated into the scheme in the same way. There are predefined lighting schemes for offices, corridors and staircases to speed up the commissioning process. In-depth control of Lightify Pro is via a smartphone or tablet with a free app but push button wall switches, sensors and a clock can be used for simple and automatic
running. The Lightify Pro control app allows access and control of all the preconfigured settings and scenes. Dimming of individual and groups of luminaires can also be controlled. One of the appealing features of Lightify Pro system is that it generates a QR code that can be read by a smartphone or tablet. In a hotel room, for example, pre-set room lighting scenes could be accessed via the guest’s smartphone by downloading the control app and scanning a QR code thus giving the guest complete control of their room lighting. Lightify Pro offers a wide-ranging system for medium size projects and has already been well received by the lighting design community particularly for refurbishment projects. It will be interesting to see how quickly this type of wireless system replaces hard wired dimming systems as the costs fall. www.osram.com
David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: email@example.com Web: www.dmadesign.co.uk Tel: +44 ( 0) 20 8340 4009 © David Morgan Associates 2015
TECHNOLOGY & EVENTS / LIGHTING CONTROL PRODUCTS
In control A selection of the latest lighting control and dimming products in the industry.
connecDIM Tridonic LIGHTDRIVE Aura Traxon & e:cue Easy Ansorg Easy lighting control system permits easy and wireless lighting control for salesrooms. By means of Bluetooth technology, LED luminaires from Ansorg can be easily controlled and individually regulated via a tablet. Easy provides the retailer with the opportunity to adapt lighting directly and creatively to changed merchandising and by means of lighting scenes to create attractive experience values. With an additional calendar function, lighting design can be scheduled according to date and time, and can be shared between other tablets. www.ansorg.com
The e:cue LIGHTDRIVE Aura is an easy to use wall-mounted standalone controller for DMX512 controlled monochrome, dynamic white, RGB and RGB-W fixtures. It features keys and a jog wheel with colour LEDs for intuitive selection of colours and adjustment of intensity and speed which makes it an accessible user terminal for small to mid-sized projects in a variety of retail and hospitality applications. For this purpose, LIGHTDRIVE Aura is designed with a glass front and features dry contact inputs and outputs as well as an Ethernet port. www.traxontechnologies.com
Remote Device Management Lumenpulse Luminair 3 Synthe FX A professional-grade lighting control app that offers simultaneous, wireless control over Art-Net, sACN, and Smart lighting systems. Powerful new features have been added to the awardwinning app for iOS, including built-in scheduling functionality, Geofence triggers, a Dynamic FX Engine, and remote for Apple Watch. Designers and creative professionals can utilise a wide array of intuitive design tools, as well as create and manage schedules that run directly from iPad and iPhone devices. www.luminairapp.com
Remote Device Management (DMX/ RDM) is an enhancement of DMX, allowing full bi-directional control and communication for simple, convenient commissioning. With DMX/RDM, luminaires can communicate important information, such as their address, status, temperature and predicted lifetime expectancy. They can also be discovered, updated or re-commissioned at any time. By giving luminaires a voice, RDM simplifies the maintenance of your lighting system, isolating and identifying potential issues and problem devices. www.lumenpulse.com
connecDIM is Tridonicâ€™s new platform for intelligent lighting control. The connecDIM Gateway is the heart of the system; this hardware offers data acquisition and the conversion of control commands from TCP/IP to DALI. This means that wireless lighting management will be possible from any iOS or Android smart device. The gateway operates both with the tried and tested DALI standards and with IT technologies. Existing and newly installed DALI systems can be easily connected with the connecDIM cloud. www.tridonic.com
Light Control System Casambi The Casambi all-wireless Light Control System is designed to be practical and simple to use. Easy to install into luminaires or existing wall switches, the compact unit supports highvoltage 85-240V or 1-10V / DALI LED drivers to intelligently manage any number of lights. No new wiring or additional controllers are required. Casambi supports motion sensors, wall switches and timers for switching, dimming, dynamic white and RGB, and is also compatible with smartphones/tablets. www.casambi.com
LED Player V.1.5.1 Chromateq The new release for Windows and Mac OS offers additional features, including a new firmware for LPSA-SLIM, as pictured, that can automatically repeat a scenario every week, month and year. Scenes can stop automatically at a specific time and date; memory content can be read and loaded in the software. It also has four additional master/slave modes and merges DMX signal. LED Player includes many new powerful options like Studio DMX to quickly create and simulate complete outdoor and indoor 3D environments in real time. www.chromateq.com
LED Dimmer PRO Series Dalcnet
XIM Xicato Based on Xicato Corrected Cold Phosphor technology, XIM LED modules offer the colour rendering, flicker-free dimming and light quality required for the most demanding applications. Instead of a dedicated LED driver, XIM uses a 48V low voltage power supply, making it future-proof. With an onboard microprocessor XIM modules enable intelligent lighting with deep dimming to 0.1% with DALI and 1% with 1-10V. Dual-stage thermal protection ensures lifelong safe and reliable operation. www.xicato.com
Ultra-cool Touchpanel Delmatic With its clean, contemporary design, optically-bonded screen and highresolution graphics, Delmatic’s latest Touchpanel delivers the ultimate touch screen experience. Precisionengineered from aluminium and glass, the Ultra-cool Touchpanel can control a single room, a whole apartment or an entire building. Vibrant, animated graphics provide powerful and intuitive control of services including lighting, blinds, shades and temperature, including a built-in thermostat, as well as a comprehensive dashboard and monitoring functions. www.delmatic.com
The LED Dimmer PRO can have four independent channels or RGB+W. It has been studied for professional applications and is available with different commands: DMX/RDM, DALI, MODBUS protocols. All versions have analogic command such as a pushbutton, 0-10V, and potentiometre. Its supply voltage is from 12 to 48V DC, with an output current of up to 20A. With its extended range of working temperature (-40°C +60°C), it is perfect for harsh environment applications. The dimmer is also available in constant voltage or inconstant current. www.dalcnet.com
Premium Series Electron Premium Series of multifunctional custom made power controllers is now available with new power units with Trailing Edge dimmers for LED lamps, CFLs and electronic transformers for Trailing Edge dimming. Premium Series is available from six channels up to 48 channels. There is a possibility to have different power units that control different types of loads in the same Premium. Thus, one Premium can have Trailing edge dimmers, Leading edge dimmers, HF fluorescent controllers (1/10V) and relay switches, in the same enclosure. www.electron.gr
EyeNut, a monitoring and management system for indoor lighting, allows facilities and lighting managers to control their own lighting wirelessly through a computer, tablet or smartphone. Easy to retrofit to existing lights, or install alongside a new LED lighting system for maximum savings, EyeNut provides significant energy and cost savings. The simple to install solution, suitable for retailers, commercial premises and public buildings, has been installed at a number of high-profile locations. www.harvardeng.com
TECHNOLOGY & EVENTS / LIGHTING CONTROL PRODUCTS
MESO 50 ROAL Electronics The new MESO 50 LED Drivers Series features the Multi-unit wireless programmability. This technology offers measurable benefits by enabling simultaneous feature set programming of multiple devices without the need to turn on the unit, or to remove the product from its packaging. in its compact size (105x73x27mm), MESO has worldwide AC input voltage range (120/230/277 VAC) or optional DC power input. The product also features multiple dimming options; adjustable dimming and optional independent unit kit, with five years warranty. www.roallivingenergy.com
Warm Dimming LED Downlight Lucifer Lighting The soft warm-dimming downlights feature LED modules developed exclusively for Lucifer Lighting Company. The unique LED source maintains a stable colour performance down to very low light levels while preserving a 2SDCM colour consistency with 90+ CRI throughout the dimming range. It maintains Ra>90 and R9>80 down to 1% with colour temperatures ranging from 3,150K to 1,880K, fostering a sense of intimacy without washed out colours. These features are available in all Lucifer Lighting downlight families. www.luciferlighting.com
RDM-SF-2CH StrongLED RDM-SF-2CH is a field proven DMX/ RDM decoder/PWM driver developed specifically for LED luminaires. It has two programmable output channels each capable of >10A and 256 or 2048 greyscale levels for stable, flickerfree and smooth DMX colour changing effect. The product also features RDM detection and feedback functions for ID, temperature, voltage and current on each channel. It is opto-coupled on all ports to prevent static and RF interferences, with an automatic addressing function. www.strongled.net
visDIM Dali Sub-Controller KKDC The visDIM control series is complemented by the addition of the visDIM Dali sub controller. With a high PWM frequency of 1100Hz, this fully addressable unit helps to overcome dimming complications faced by designers. Reduced stroboscopic effect, smooth dimming, reduced parasitic capacitance and longer wiring distances are a few of the many advantages to using the unit. The visDIM control series are now also UL registered components. www.kkdc.lighting
LiveLink TRILUX LiveLink makes light management an accessible technology for all applications. The system offers optimally matched hardware components and intelligent, intuitivelyoperated software tools. Luminaires and sensors are grouped according to the application and pre-equipped with the correct parametres. The LiveLink commissioning app, with graphic user interface, guides users step-by-step through the installation process and commissioning. The intuitive programme makes use of well-known touch screen commands such as tapping, wiping and drag-and-drop. LiveLink also saves energy by responding to daylight levels, ensuring artificial light only is used to achieve brightness levels. www.trilux.com
Ingenium Blu Megaman Ingenium Blu is a series of LED lamps which uses Bluetooth technology to connect to and control lighting fixtures in homes and commercial spaces. With Ingenium Bluâ€™s integrated Bluetooth technology all the benefits of smart lighting can be enjoyed with instant and easy set-up. Suitable for small areas with up to ten-metres of coverage, the value-added functions include turning on/off the lights, dimming, programmed scene setting, grouping of lamps for easier control, and pre-set of time. www.megamanlighting.com
Tel 44 ( 0 ) 208 348 9003 Web www.radiantlights.co.uk email firstname.lastname@example.org
Bridge number 5, Amsterdam Lighting design by lichtontwerpers Amsterdam light festival 2014
3D LED Flex 40 IP65 - Modular, 3D flexible LED linear lighting system. Lensed version with anti-glare snoots, custom colour paint finish and custom height brackets.
Mondo August 2015 half page.indd 1
Fibre Fables ....................................... 31 Foscarini .......................................... 176 Loco Design .................................... 175
Lucifer .................................................. 7 Modular................................................ 9 Oluce.................................................. 77
Northern Light Fair February 9-13, 2016 Stockholm, Sweden www.stockholmfurniturelightfair.se
Design Lighting January 13-15, 2016 Tokyo, Japan www.light-expo.jp
ISE 2016, February 9-12, 2016 Amsterdam, Netherlands www.iseurope.org
Surface Design Show February 9-11, 2016 London, UK www.surfacedesignshow.com
Architect@Work January 27-28, 2016 London, UK www.architect-at-work.co.uk
LEDEXPO Benelux January 27-28, 2016 Brabanthallen Den Bosch, Netherlands www.ledexpo.nl
Maison Et Objet January 22-26, 2016 Paris, France www.maison-object.com
Lighting Japan January 13-15, 2016 Tokyo, Japan www.lightingjapan.jp
Elcoma January 11-13, 2016 Bengaluru, India www.elcomaindia.com
LED Summit 2015 December 04 2015 New Delhi, India www.led-expo-newdelhi.in.messefrankfurt.com
Design Miami December 2-6, 2015 Miami, USA www.designmiami.com
Iidex Canada 2015, December 2-3 Toronto, Canada www.iidexcanada.com
Radiant ............................................ 169 Serenity ............................................ 169 Tisva .................................................. 11
Light & Building March 13-18, 2016 Frankfurt, Germany www.light-building.messefrankfurt.com
Design Shanghai March 9-12, 2016 Shanghai, China www.designshowshanghai.com
Maison Et Objet Asia March 8-11, 2016 Singapore www.maison-object.com
Ecobuild 2016 March 8-10, 2016 London, UK www.ecobuild.co.uk
Strategies in Light March 1-3, 2016 Las Vegas, USA www.strategiesinlight.com
Stockholm Furniture & Light Fair February 9-13, 2016 Stockholm, Sweden www.stockholmfurniturelightfair.se
vis a vis ............................................. 4-5 Waldmann ......................................... 13 Wibre ................................................. 15
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Clerkenwell Design Week May 24-26, 2016 London, UK www.clerkenwelldesignweek.com
INALIGHT Indonesia May 18-20, 2016 Jakarta, Indonesia www.inalight-exhibition.net
ICFF May 14-17, 2016 New York, USA www.icff.com
Maison Et Object Americas May 10-13, 2016 Miami, USA www.maison-object.com
Lightfair international April 24-25, 2016 San Diego, USA www.lightfair.com
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A definitive moment in a design process that exemplifies the interaction of light and space, captured in time.
The use of natural light and architecture works together at the Hotel Camino Real by Ricardo Legoretta. Bold colors and reflective surfaces steer you up a stairway, down a corridor, or around a corner. With a glass of fine tequila in hand, I noticed the room had turned an even richer shade of blue. The sun had come through the clouds and created this incredible effect.
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more than lamps pure emotions Allegro, design: Atelier O誰
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