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THE MAGAZINE FOR DESIGNERS WITH LIGHT

#09 2016 `5 0 0


Front Cover Falling Into Place (an abstract visual by mondo*arc india) “…embracing our universal desire to create order out of chaos...” #WeAllFitTogether While the message speaks to the simple nature of how the game is played, it also emphasizes the common bond Tetris creates among its community of players, regardless of age, background, or culture. Description Courtesy: www.tetris.com


WORKPLACE ENVIRONMENTS

RSP DESIGN CONSULTANTS • OCULUS LIGHT STUDIO • KNS ARCHITECTS COLLABORATIVE ARCHITECTURE • EDIFICE CONSULTANTS • M MOSER ASSOCIATES BOHLIN CYWINSKI + BANKS / RAMOS ARCHITECTURAL LIGHTING DESIGN • MORPHOGENESIS ULTRACONFIDENTIEL • DSP DESIGN ASSOCIATES • MINISTRY OF NEW • DIG ARCHITECTS

DESIGNED FOR THE DESIGNER

DDIR ARCHITECTURE STUDIO • sanjay puri architects • MUSE LAB DESIGN ENGINE hive studio • GENSLER • DSP DESIGN ASSOCIATES • MATHEW & GHOSH ARCHITECTS

EZZAT BAROUDI • STUDIO SYMBIOSIS • URBAN STUDIO • LIGHT & BEYOND • SIMON BERRY NARGIZA • CHRISTO & JEAN CLAUDE • SHAILAN PARKER • TILLOTSON DESIGN ASSOCIATES


7 million sq. ft. 10 years experience inspiring workspaces


LIGHT a tool for spatial articulation and the creation of perceptual dimensions

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Call us for end to end lighting solutions and a curated Lighting Tour at our experience centres in Delhi and Mumbai Tour Timings: 6 pm to 9 pm (except Sundays). T Delhi: +91 11 26809378/79 T Mumbai: +91 22 26612501/02 E info@visavislights.com W www.visavisindia.com


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[jul/aug]

42 Cisco Campus, Bengaluru

details 010 Editorial Comment Editor’s Note. 012 Contributors Professionals that contributed to the issue. 014 Eye Opener White Circle, by raster-noton. 016 Drawing Board Our preview of proposed projects. 020 Spotlight A selection of projects with a wow factor from around the world. 022 Briefing Margaretha Stenmark speaks about sustainability at Lights in Alingsüs. 024 Snapshot Light & Beyond, Kolkata. 026 Folio Gensler 030 Interview Simon Berry talks about the emotive effects of light in space as he recounts his experiences through the years.

In Issue #08, we mistakenly credited Rat[LAB] as part of the cover titles (pg. 03); it should have been Rat[LAB] Interiors. We apologize for the error.

PROJECTS 042 Cisco Campus, Bengaluru RSP Design Consultants develop a selfsustained campus dotted with LEED certified buildings for the international IT giant. 054 Steelcase Worklife Centre, Gurugram M Moser Associates designs a showcase that allows the client to display their products, while setting stage for collaborative work. 060 Google Office, Orange County, California The energetic staff of the iconic search engine collaborate with Oculus Light Studio to create interactive installations. 066 Bearys Global Research Triangle, Bengaluru Collaborative Architecture transforms the lobby with a bespoke lighting system. 068 Amalgamation of Styles, Mumbai Folding contemporary styles with given heritage, KNS Architects revamps the office for a new generation of leadership. 074 Harley Davidson Corporate Office, Gurugram Morphogenesis interplays local context with branding references for a fascinating office.

PROJECTS 078 Technology Centre, Pune Edifice Consultants redesign a staid office to inject a spark of brightness. 084 Ministry of New, Mumbai Working with an abundance of daylight, the co-working space comes alive in a plethora of styles and spectrum of fresh colours.

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124 Close Encounter

PROJECTS 088 Square Inc., San Francisco, USA Bohlin Cywinski Jackson and Banks/ Ramos Architectural Lighting Design work together to inject natural light into the new headquarters. 094 Liquid Campaign, Gurugram Ultraconfidentiel reinterprets office design as an open construction site. 096 Pegasystems, Hyderabad In a riot of graphics and colour, DSP Design Associates celebrate the local context that the corporate office sits within. 102 Karma Management, Mumbai DIG Architects instill a sense of ‘lightness’ in what used to be a darkened industrial shed. Designed for the Designer 106 DDIR Architecture Studio 108 Sanjay Puri Architects 110 Mathew and Ghosh Architects 112 Hive Studio 114 Gensler 116 DSP Design Associates 118 Muse Lab Design Engine 120 Workplace Lighting Ezzat Baroudi elucidates on the principle aspects of good office lighting design.

ART & DESIGN 124 Outsiders: Energy Is Inside, Oakville, Canada NARGIZA creates a performance using light. 126 Flatland, New York, USA Nitemind creates a musical installation of 2D and 3D LED sculptures. 128 musson+retallick Neil Musson and Jono Retallick share a desire to see artistic stories woven into architecture and public spaces. 132 The Floating Piers, Lake Iseo, Italy Christo and Jeanne-Claude create a monumental installation of fabric walkways floating over an Italian lake. 136 Kavadsa, New Delhi Shailan Parker photographs mundane objects in a fascinating light. 142 IALD India Light Workshops Workshop #03 - School of Architecture and Planning, Anna University, Chennai.

TECHNOLOGY 144 Lighting Design Awards, San Diego, USA 33rd IALD International Lighting Design Awards 150 Case Studies A selection of innovative lighting projects Precision Lighting (pg.152) 154 Bench Test David Morgan discusses the current situation, development and future application of LG Display’s OLED panels. 156 Comment Geoff Archenhold talks us through the digital lighting revolution. 158 Red Dot Awards Winners of the ‘Lighting and Lamps Category’. 162 Event Calendar Your global show and conference guide.

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* 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] All work and no play makes Jack a dull boy. It also makes Jill unproductive, it makes John inefficient, it makes you anxious and it makes me fatigued. All work and no play, is actually quite boring, I say! A new wave that seems to be taking offices around the world by storm is hinged on the words ‘collaboration’ and ‘interaction’. Workspaces are shedding their ashen armors for vivid tincture, and impassive manners for fervent expression. Injecting the ambience with a muchdesired vigor, they are dotting their physical with coveted rigor. Reclusive workstations stacked in tedious rows are being displaced to make space for more inviting and interactive opportunities. Bullpen arrangements, huddle spaces and break out corners are finding their way into the conundrum of factory-like floors. Some are going the extra mile by providing recreation zones, gaming areas and relaxation pods. This issue illustrates a changing work culture and how light becomes an essential pigment on the palette that is used to paint its environment. Natural or intended, light is being woven into the fabric of spatial design across multinational corporations, independent enterprises and even boutique holdings - be it the expansive Cisco campus in Bengaluru, or the modest Steelcase WorkLife Centre in Gurugram, the vibrant framework for Pegasystems, or the subtle reflection of context at the Google office, the monochromaticity of Karma Management, or the bright freshness of Ministry of New. Design practices such as RSP Design Consultants, KNS Architects, Edifice Consultants, DIG Architects, DSP Design Associates, Morphogenesis, M Moser Associates, Collaborative Architecture, Ultraconfidentiel and Oculus Light Studio demonstrate an expert hand at recreating the office as an invigorating and enthralling space, outfitting a more interactive and dynamic atmosphere that encourages not only efficiency and productivity, but also a happier workplace. Human-centric design that facilitates flexible working options is being offered no more as a bonus, but is engrained as a given. Working from a cubicle, meeting room, lounge, café or even the great outdoors is encouraged. It is not about designing for departments, it is about addressing behaviours. Catering to the built environment as much as its people, there seems to be an indomitable shift in the responsibility towards a sustainable ecology. Aspiring for the greatest LEED ratings and the highest standards of certification, designers today are proving a deliberated intention in their work. While designers design for the world, it is seldom that they get the opportunity to create for themselves. We speak with architects across the country about what went into conceiving their own studios. We are happy to share with you the creative worlds of Dominic Dube, Sanjay Puri, Mathew and Ghosh, DSP Design Associates, Gensler, Muse Lab and Hive Studio. While collaboration trumps singular accolades and interaction overtakes independent submission, we welcome the change with our blinds up and guards down. Mrinalini Ghadiok

Editorial

Editor, mondo*arc india Mrinalini Ghadiok mrinalini@stir.lighting Editor, mondo*arc UK Paul James p.james@mondiale.co.uk

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[contributors]

SHAILAN PARKER A versatile photographer, Shailan Parker has over 36 years of experience in a broad spectrum of photography disciplines. His ability to design and craft visuals around the client’s brief and communicate visual narratives of products, food, fashion, lifestyles, industries, and architecture sets him apart. Based out of New Delhi, he is a partner at ‘PhotoDesign’. An alumnus of the NID, Ahmedabad, Parker trained in Visual Communication. As a designer, he brings to photography a keen understanding of design concepts, graphics and digital technology. He is also an educator and mentor, and has contributed extensively as a guest faculty at various design institutes like NID, NIFT, IIT, IICD, Pearl Academy etc. In this issue: Parker showcases works from a recent collection in which he experiments with the subtlety of light.

SOUMYA PARKER Soumya Parker is a communication designer who graduated from the National Institute of Fashion Technology (NIFT) in 2011 with a Bachelor’s degree in Fashion Communication. She has since been working as a freelance professional on varied projects. Parker has recently moved into the field of content development. Having always had a love for research and writing, she decided to let the latent desire to be a writer fuel a career change. She currently works as a Design Content Writer with a design studio in Delhi. In this issue: Parker describes photographer Shailan Parker’s journey through light, as he captures mundane objects to illustrate their brilliance through his lens.

EZZAT BAROUDI Baroudi has a bachelor’s degree in Engineering with 15 years of experience in lighting design. After working extensively with leading consultants and making significant contributions to the lighting aspects of major projects in the Middle East, in 2008 he joined ERCO as a lighting designer and now is the Technical Manager at ERCO’s Middle East Office. Baroudi has participated in various lighting conferences in the ME; he also conducts regular lighting seminars across the Middle East and India. He has conducted several lectures and trainings about architectural lighting in different universities for interior design and architecture students. Baroudi, is known for his skills in lighting calculation and rendering software In this issue: Baroudi examines and explains the fundamental principles of lighting design for a workplace environment.

DEVYANI JAYAKAR Jayakar has been Consulting Editor of Inside Outside magazine for over six years and contributes regularly to several publications. An abiding fascination with the complex nuances of language, culminated in a Master’s degree in English Literature and a postgraduate diploma in Communications Media. Convinced that there is nothing more addictive than luxury, an unrepentantly indulgent taste for all the finer things in life leads her to write on a variety of lifestyle topics, including interiors, design, architecture and art. In this issue: Jayakar elucidates the poignant role of illuminated aesthetics by KNS Architects, unusual forms by DIG Architects, amalgamation of cultural contexts by DSP Design Consultants, and an open environment in the Ministry of New.


SCALED TO NEW TECHNOLOGY

Like the sticks of the famous Mikado game, the luminous modular elements of SHANGHAI can be designed in endless shapes and compositions, allowing the lighting designer to work threedimensionally into the space. The innovative invisible electric/mechanical fixing system allows the interconnection of the luminous modular elements in a simple and safe way. www.aldabra.it Via Europa, 12 20863 - Concorezzo (MB) - Italy T +39 (0) 39 69 08 061 F +39 (0) 39 69 08 659 E aldabra@aldabra.it


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eye opener White Circle, Berlin, Germany Earlier this year, the artistic platform raster-noton presented White Circle - an acoustic, architectonic space, designed as an audio-visual installation, on the occasion of its 20th anniversary in conjunction with the ZKM Center for Art and Media Karlsruhe. Four of the label’s artists were invited to develop an exclusive audio-visual composition: alva noto, byetone, Frank Bretschneider and Kangding Ray. Each composition presented an independent, self-contained concept of the artist in question. All works were multi-channel compositions - a music which aims to make acoustical space and visual stimulus directly tangible. Throughout 2016/2017, White Circle can be heard and seen at different places in the world. In April, the installation visisted Halle Am Berghain in Berlin. www.raster-noton.net Pic: Béla Bender


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

Visuals: Studio Symbiosis

PATTERN IN MOTION Studio Symbiosis Architects, Light Vision India Conceived as the office of national daily, Punjab Kesari, the building takes prominent place at the corner of a busy Noida intersection. Given the nature of the site and its accompanying height restrictions, the imposing cuboidal structure is envisioned to be caving in to form an impressive atrium in the centre. Defined rays of sunlight pour through the patterned skylight into the urban lobby, painting its shadowy impressions on the floor, just as a sculptural staircase sinuates through the atrium taking centre stage. Fitted with illuminated stretched fabric on the underside of the spiral staircase, the lobby

is rendered in a seamless condition of light, complimented by radiant curved streaks in the floor that reflect a sense of motion, blurring the interface between the outside and in. The perforated jali enfolds the monolithic built form, facilitating a controlled infiltration of natural light inside. Computational design and parametric iterations determine the design of the façade and the ratio of open to close perforations. The skin is optimized to ensure that every workstation receives 500 lux of lighting in order to avoid the use of artificial illumination on a typical day. The

openings on multiple sides of the façade respond considerably to daylight and thus a variable opacity is achieved in the design. A 600mm wide catwalk separates the inner and outer shells of the building, used for easy installation and maintenance of the lighting system. The fixtures are deliberately calculated in conjunction with prevalent internal illumination, to allow for a seamless light condition on the façade. Light is the dominant factor in the design of the building imbibed in the formal as well as façade treatment. www.studio-symbiosis.com


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ANGLED PERFORATIONS Urban Studio The 50,000 sq. ft. multistoried corporate building is located in the dense commercial hub of Bandra Kurla Complex in Mumbai. In a landscape saturated with glass and steel behemoths, Urban Studio endeavors to create a responsible building that speaks directly to its program. The glass box is sheathed with a tropical skin crafted meticulously to let natural light penetrate into each level. The quality and nature of daylight alters through the day at each floor. Differentially perforated bronze anodised aluminium plates are angled to create a seamless mesh of varying porosity, which composes the skin of the building. Not only do the sizes of perforations vary, but each disc unit is also angled differently to combat intense solar radiation, typical of Mumbai’s hot climate. Assorted degrees of opacity and transparency generate a rhythmically responsive facade that is both reflective and responsive, suffusing the interiors with optimum daylight and a fascinating interplay of shadow. Fitted with LED pixels, the multitude of aluminium disks constitute a media façade, which when lit at night can adopt the function of signage or reflect advertisements for the corporations held within. Glowing as a prominent beacon, the building promises to create an urban landmark in its busy district. www.urbanstudioindia.com

Visuals: Urban Studio


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[drawing board]

Pic: Courtesy of Manuelle Gautrand Architecture

DESIGN CONSORTIUM Manuelle Gautrand Architecture, DesignInc and Lacoste+Stevenson are the winning architecture group of the international competition for the construction of the Parramatta Square’s Landmark civic and community building in Parramatta, Australia. This international design award was launched by the Parramatta City Council, whose ambition was: “We want this development to be unique and spectacular – a building that will be recognised around the world and help to put Parramatta on the map.” A cutting-edge glass construction, featuring a wave-shaped facade of crystalline blocks has been selected as the winning design for Parramatta Square’s landmark civic and community building. The eye-catching design encapsulates and extends above the historic Town Hall with a cantilevered structure providing a platform

for the Council Chambers. Core to the building design is a stack of transparent glass that gradually rises to the north-east with a large LED screen for the public art projections, developed in-house at Manuelle Gautrand. Built into the entire lower levels of the southern façade will be an LED screen for multimedia projections, which will be able to display images such as public art and event programs. The upper levels of the southern façade will also be able to be used for projections of public art. In announcing its decision the jury said: “The winning scheme is an exemplary architectural masterpiece that delivers a 21st century solution within Parramatta City Council’s modern smart-city metropolis.” The building will accommodate various spaces including a library, a Smart City Command Center, community meeting rooms, a community technology hub, an

Innovation space, a visitor experience centre, Council chambers, Council customer services, Councilor offices, and common facilities. The AUD$50m project will cover sixstoreys with a gross floor area (GFA) of approximately 12,000sqm. The ‘5 Parramatta Square’ building will take place in the heart of the city, within the important Parramatta Square Urban Development, a AUD$2bn (€1.5bn) project. The concept designs will undergo detailed analysis before a Development Application is lodged, which is expected to be by the end of 2016. The designs will be placed on public exhibition as part of the Development Application process and the building is expected to be delivered in 2020. www.manuelle-gautrand.com www.designinc.com.au www.l-s.com.au


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

Pics: Courtesy of Aphidoidea

California DReamin’ Commissioned by Goldenvoice for Coachella Valley Music and Art Festival as an honouring tribute to time and colour, Chrono Chromatic is a monumental temporary art sculpture from multi-disciplinary design, architecture, and art collective Aphidoidea that celebrates the festival’s broad spectrum of music and artists, as they engrave their moment in time.

Ranging in size and 72 different colours, these pillars were arranged in two tangent circles, intertwining at the centre to create a coloured tunnel effect. The gateway draws in spectators and lets one explore, dance and interact with the piece and its vibrant colours as they are animated. On the opposite side of the tunnel, the semi-circle’s centres create a cradling embrace effect for lounging. The

shape of each pillar is consistently changing size and proportions as they merge on the centre, creating an illusion of harmonic motion. These playful shapes are illuminated at night with programmable LED RGB lights integrated in the sculpture. The lighting is animated and marks the time every hour, on the hour, with unique lighting sequencing. www.aphidoidea.com


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to the moon and back MOON is an interactive sculpture from Montreal-based studio Iregular made of light and analogue synthesizers. Users can control the moonlight, floating in a window, by touching the space outside the window. Along with the lighting, the audio is generated by a Dave Smith Tetra, four-voice analogue synth. “We wanted to create a very intimate, immersive piece and I found the light tunnel with smoke gave this experience,’’ explained Daniel Iregui, Creative Director – Founder, Iregular. “We’ve been using the frame shape a lot, because it outlines the interaction zone without textual instructions. We’ve spent a lot of time experimenting with this aspect and MOON was an idea we wanted to try it on.’’ There are four different light patterns and sound voices that are selected randomly, but also allow four people to use it at the same time. www.iregular.io Pics: Courtesy of Iregular


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[briefing] Margaretha Stenmark Lights in Alingsås festival started in 1999 when students from HDK, Jönköping University and Gothenburg University gathered in Alingsås to experiment with different lighting designs for public buildings. Continuing to grow year on year, the 2016 theme is ‘The Enlightenment’ concentrating on sustainability and environmental issues, as Workshop Manager Margaretha Stenmark explained.

For those not familiar with Lights in Alingsås, what is it all about? It is an event divided in two parts; a workshop and an exhibition. The workshop is an educational part, to let students of lighting and architecture from all over the world learn more about architectural lighting in public spaces. All seven light-installations are built by these students led by experienced lighting-designers within a week. The workshop ends with a magnificent opening ceremony and the exhibition is open to the public for five weeks, with lots of activities around it. This year’s theme focuses on sustainability – what will this involve? We will focus on the seventeen sustainable goals compiled by UN 2015. All installations will illustrate one or some of the goals and we hope that we can enlighten visitors as to what is happening in the world and hopefully they will be inspired to do their small part to make it better. Are you able to disclose which lighting designers will be involved? Yes! We have Chiara Carucci from Italy; Carissa Brockway and Debra Gilmore from the US; Erik Hagström from Sweden; Ignacio Valero from Spain; Jytte Basler from Germany; Sabine De Schutter from Belgium; and Tad Trylski from the UK. And how did they react to this year’s theme? All the designers were very happy about the theme, it´s very current, but it’s also very hard to illustrate through illumination. The only thing I can say is, that it will be different to previous years and maybe the results will be different to observers in some cases. Lights in Alingsås is working towards an environmental diploma as well. How is this helping to shape the event? The event has to fulfil the basic regulations related to the environment and show that it is working with environmental issues. This influences the whole

preparatory process, how we act during the workshop and the exhibition. For instance we have to consider everything that we buy, take care of what our sponsors standpoint is in this matter, transportation for all participants, waste sorting and so on. In an intensive week before Lights in Alingsås opens to the public, the light trail is created by the international lighting designers, working with more than 60 students from all corners of the world. During the week the students will also have the chance to attend a lecture on sustainability and the environment with extra focus on global sustainability. The speakers will be Fredrik Bergman and Fredrik Wizemann (Sustainability Controllers at Alingsås Energy and responsible for ensuring that the festival receives its environmental diploma). How important is it to educate on sustainability in terms of lighting design? Lighting design involves a lot of respect towards sustainability, energy consumption, production of equipment, and also to consider equality and security when planning. Hopefully we can give the students some tools and new knowledge that they can use in their future work, which will contribute to achieve the three big issues over the coming fifteen years – to eradicate extreme poverty, to reduce the inequalities and injustices in the world and to solve the climate crisis... Lights in Alingsås festival runs from 30 September to 6 November, 2016. www.lightsinalingsas.se


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[snapshot] Light & Beyond goes by the belief that ‘good lighting design should illuminate a space simply by enhancing it, and not dominating the architecture’. With offices in India, Europe and the US, they work at a global scale to create unique light and sound experiences across project types. Co-founder and Chief Design Officer, Tejas Doshi was recently accredited as India’s first and Asia’s second Certified Lighting Designer (CLD). Agarwal Residence Kolkata The residence, designed with a distinct architectural and visual aesthetic demanded a careful consideration of the lighting scheme. While the general ambient illumination is achieved through Regent channels, areas of interest are highlighted using focused light. The intensive collection of artworks is accentuated with downlights, as is the wall that is dedicated to medals from the World War. The dining area, taking centre stage is celebrated with the Flos Sky Garden pendant that delicately hovers above the deep wooden table. Other decorative elements are peppered across the space drawing the eye to detailed corners, while the passageway is washed in a uniform glow emanated from recessed luminaires that run along the ceiling edge. The lighting is fully controlled through a Crestron system integrated in an iPad, while Lutron has been used to create varying scene settings. Pics: Rahul Mall

Pics: Tejas Doshi

Mehta Residence Kolkata The main focus in this project was the lighting scheme for the verdant landscape of the contemporary home. With intent to create an intimate yet welcoming ambience, the light is concentrated on the lower levels of greenery using 7W projectors. The sprawling Champa tree is uplit to accentuate its presence and

generate verticality at one end of the garden, while the pergola structure on the other side is fitted with customized 4-inch magnetic fixtures in 4W that highlight the suspended planters, and cast tarns of gentle light on the passageway. The water body is fitted with underwater LED luminaires that makes the pool glow

from within, creating an ethereal ambience. A 12V DC supply with drivers placed in the basement is used throughout this area to provide for a safe environment for the children, as well as easy maintenance of the fully dimmable lighting system.


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Kajaria Residence Kolkata The 6,500 sq. ft. residence designed by ADnD was rendered in a dark colour palette. As desired by the client, each room was treated in a distinct manner, highlighting focal areas through pools of light and adding to the cozy ambience by incorporating meticulously selected decorative fixtures. Special features such as a large surface covered in brass plates within the powder room was illuminated using a bespoke system. Backlighting the panels with customised LED luminaires allowed for the metallic plates to shine in absolute brilliance, without direct view of the diodes, as well as easy serviceability. They were programmed with motion sensors for convenient use and facilitating efficiency. Commended with the IES Awards of Merit, 2016, the residence sees innovation in lighting systems to create a welcoming yet stylish home.

Pics: Tejas Doshi

Kessaku Experience Centre Bengaluru

Pics: Tejas Doshi, Shamanth Patil, Palladium Constructions

The ultra luxurious Experience Centre and Show Apartment conceptualised by Wrap Studio demanded a seamless integration of its lighting into the design intent. Having been given a predetermined lighting scheme, the test lay in emulating it with an exacting precision within 30 days, to make it in time for the launch, and working with a palette of products that was available in the Indian market. While the lighting followed a set path, various scenes were created to cater to changing conditions. The ‘Welcome’ scene maintains controlled ambient levels working with a series of Laser Blade wall washers and specific downlights recessed in the ceiling. The ‘AV’ scene enables the comfortable viewing of videos, wherein a gentle focus is generated on the models, lit with narrow beam downlights while the bench is underlit. The ‘all on’ scene allows for all the fixtures to be switched on for easy viewing and maintenance purposes. These scenes were carefully animated addressing accurate CRI and CCT values, and controlled using Crestron systems.

Light & Beyond • Principals: Tejas Doshi (Founder and Chief Design Officer), Yogeshvari Doshi (Co-Founder and CEO), Kateryna Rozit (Design Associate), Elena Chichuk (Design Associate) • Studios: Kolkata, India; Vienna, Austria; Kiev, Ukraine; Richmond, USA • Established: 2009 • Employees: 16 • Current Projects: Novotel, Kolkata; residences and offices, Gujarat; projects for the Government of India; restaurants, bars, villas, Austria; boutique hotels, residences, amusement park, Middle East. www.lightandbeyond.com


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[folio] Our regular feature highlighting the works of a design practice. This issue, we present Gensler.

“For us, design is the means. The starting points are goals, strategies and expectations, but it transcends them to create a new and better reality. Design is transformative.” Gensler is a global architecture, design, and planning firm with 46 locations and more than 5,000 professionals networked across Asia, Europe, Australia, the Middle East and the Americas. Founded in 1965, the firm serves more than 3,500 active clients: large and small, private and public, for-profit and nonprofit, in virtually every industry. Gensler designers strive to make the places people live, work and play more inspiring, more resilient and more

impactful. Helping them grow, sustain and transform, Gensler endeavors to work towards embracing their future. Gensler started operations in India with selective work in 2006. Establishing a joint venture with another design practice in 2008, the work continued under the banner of ‘Studio-I’. Dissolving that in 2012, Gensler set up an individual office and continued its design practice.


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Pics: Jasper Sanidad

FACEBOOK Menlo Park, California, USA Facebook moved its headquarters from Palo Alto to a 1 million sq. ft. office space in the suburbs, bringing lessons from diverse urban environments to what had been an isolated suburban office park. The ornately landscaped English Garden was converted into a vibrant urban street, while the design rode on the deconstructed look of plywood ceiling elements, concrete floors, and shop lighting. The spirit of making things permeates the organisation’s culture, and the campus was designed for its inhabitants to take ownership over their environment. Employees are encouraged to add their own personality to their space through artwork, installations, and the ability to simply reconfigure their area. An in-depth investigation into a new model of the high-performance workplace for Facebook’s engineers supported a successful implementation of new space types, allowing for unprecedented teamfocused collaboration within and between engineering groups. This campus is built on the premise that innovation is not driven by the amount of collaboration, but rather by the quality of collaboration.


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KIC CORPORATE AVENUE Shanghai, China

Pic: Blackstation

The 1 million sq.m. mixed-use project is composed of 3 Grade-A Platinum LEED certified buildings, containing technology, retail, and hospitality spaces. Flanked by 14 universities, 65 research institutes and served by transit lines, the development welcomes the neighborhood and the extended city. It embodies the vision for a workplace of the future, with functions like focus areas, idea-exchange, public event, and leisure spaces creating a flexible and mobile environment. A centrally located public square generates a sense of community. The transparent box-shaped buildings come aglow at night with an interesting mix of façade and internal lighting, punctuated with architectural elements such as the external stairwell lit in coloured light. Sustainability is a top priority with high performance standards for energy, waste, materials, and water. Shading devices and photovoltaic panels that respond to the sun’s position maximize light gain and reduce direct solar impact. LED fixtures and control systems result in lower energy use and an efficient lighting environment.

Pic: Nacasa & Partners

GLUMAC OFFICE Shanghai, China In the heart of Shanghai, the 6,450 sq.ft. office space is a retrofit of a 100-year-old Rockefeller mansion. Gensler worked to overcome many challenges specific to the project’s location: poor air quality, fractured regulatory landscape, un-regulated building materials, and different time zone and cultural communication. Despite these challenges, the design and construction was completed within

9 months. The project targets LBC completion in 2016 with net-zero energy, net-zero water and carbon, and with occupant health and biophilic beauty at the center of its design. The design entails notable features such as reduction in water usage through systematic harvesting and recycling, reduction in energy usage through sustainable methods such as radiant

heating and cooling mechanisms, incorporation of photovoltaic technology and much more. Moreover, applying specialized task-ambient lighting fixtures with multiple sensor enables them to achieve 2.5 W/m2 light power density. The office has achieved zero carbon footprint by offsetting 100% of the embedded carbon in the project.


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Pics: Madhu Gopal Rao

INTUIT RESEARCH AND DEVELOPMENT CENTER Bengaluru, Karnataka The LEED Platinum certified state-ofthe-art engineering centre caters to the belief that their employees are central to the company’s integrity and success. The environment fosters this corporate culture yet reflects the regional differences of the employees it serves. The Intuit Brand is interwoven through materials, textures and layered technology with local textiles and fabrics to connect the Indian employees with the global brand. The infrastructure emphasizes equality in innovation by providing cabin-less floor plates, and encourages employee interaction by bookending certain floors with amenities such as cafÊs, a coffee bar, fitness centre, gaming area, tech-bar, innovation hub and conferencing zones. While centrally located collaboration hubs are prevalent on each floor, they still accommodate private neighborhoods for individual and focused work. An abundance of daylight is reflected through the light coloured interiors to render the space bright, refreshing and welcoming. www.gensler.com


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Pic: Illuminate


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FEELING THE LIGHT

Looking beyond lux levels and the ‘hows’ of light engineering, Simon Berry talks to Mrinalini Ghadiok about the ‘whys’ of lighting design, its effects across spatial environments and the invigorating future of lighting in India.

Surrounded by ‘lighting guys’, I stood at a table smack in the middle of the display hall that was buried deep under the massive hotel that hosted the PLD-C 2015 in Rome. I was waiting to be introduced to Simon Berry, a prominent name in the lighting world, and a small misunderstanding lodged between us. Fatigued from a long flight, innumerable meetings and accents that were hard to decipher, I was expecting the worst. Instead, I was pleasantly surprised by a tall frame, soft smile and jovial personality, that resolved the ‘issue’ in half a sentence. That was my first interaction with Simon Berry, Partner at Illuminate Lighting Design, and a charming person who could put anyone at ease. So when I suggested ‘an interview for the magazine’, I was met with the expected enthusiasm and ease as I had witnessed months ago. What was not expected though was the fascinating story of a young student in England, who worked through his electrical engineering studies to gain

the experience and know-how of lighting, that eventually led him to establish and partner one of the most successful design consultancies today. Berry’s journey in architectural lighting began in 1996 when he joined Isometrix in London. Working on prestigious projects such as the St. Martins Lane Hotel originally designed by Philippe Starck and recently renovated by Tim Andreas, the Sanderson Hotel, and retail outlets the likes of Versace and equally infamous Selfridges, he found himself facing new phenomena. While engineering had drilled the idea of making things happen, architectural lighting steered him towards the creation of space and experience. He learnt how to craft light in space, generate ambiences and moods, and talk concepts to clients. While the engineer in him was intrigued with the colour changing lighting scheme at St Martins Lane, achieved using filters and dichroic lamps, the designer in him began to awaken and question how far you could take such effects and how

they altered the visual perception while encouraging interaction. He wondered, “… what architectural lighting can achieve if integrated completely into the space…” In a span of two years, Berry was Senior Designer at Into Lighting Ltd., where he continued to work on boutique retail projects and large shopping outlets, some of which would be household names within the retail industry. The new title resulted in added responsibility and increased client engagement. With a large gamut of work under his belt, Berry went on to initiate Indigo Light Planning with fellow designer Paul Traynor, which later came to be known as Light Bureau. They concentrated on office space illumination, giving special care to circulation and public zones. “This period of time opened up a different set of challenges to test our creativity and understanding of the purpose of light. I had the opportunity to meet and collaborate with a lot of interesting people and even contributed to the office design of iconic firms such as British Petroleum


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and Gensler.” In 2002, a new opportunity took Berry to Ireland where he established Chimera Lighting Design, adding more to his portfolio of hospitality projects; of which stood out Kelly’s Resort Hotel, where he worked on the Sea Spa, winning a high commendation in the Lighting Design Awards, and the refurbishment of Tides restaurant. Having worked for over 7 years in the bitter Irish cold, the even more bitter recession paved the way for Berry to hop onto a plane heading East to warmer winds. Touching down in Singapore, Berry partnered with HBA to found Illuminate Lighting Design. “HBA heard about us at the Lighting Design Awards, where the conversation began. They were establishing their presence in East Asia and it was an opportunity to be with them, instead of beside them, to explore new things together. And it made sense to be there to do that.” While London life was hectic and fast paced, Ireland offered long games of golf on the weekend. Asia was all but a surprise. Having never worked in this part of the world, Berry knew not what to expect – a different mentality, a different procedure of operating, a different approach. “My first trip to China was quite the experience – of translations and getting the point across to the client. During one of my presentations, I had a translator stand beside me. I soon began to talk about concepts and ideas. After a while, I looked at her to find a worried expression stare back at me. Hoping I hadn’t said too much, all I could do was wish that she could express to the client what I had meant, all the while feeling a bit sorry for her.” Working in China since has been an eye opener for Berry, “While one has to get accustomed to the substitution of products, they also have to ensure that they hold the client’s hand through the process and insist on being a part of the procedure to make selections.” There is a distinct approach to the multifarious projects at hand. While office lighting used to be about levels of illumination on the desk, it now caters more distinctly to function. On the other hand, designing for hospitality entails an

Pin-an, Shanghai Pic: Limelight Studio

Pin-an, Shanghai Pic: Limelight Studio

Kebab Khan, Chandigarh Pic: Atul Pratap Chauhan


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Trump Hotel, Mumbai Pics: Harshan Thomson

intrinsic response to the demand of the space, allowing for layers of hierarchy and theatrics in creating moods. Outlining his passion for this domain, Berry asks, “What should light create in a space? How can light be integrated in the space? How flexible should it even be?” Albeit his interest in illuminating the histrionics of hospitality, his approach to any project begins with identifying what the client needs and how that space should respond. The Indigo Hotel in Shanghai, one of the first projects with HBA, offered a refreshing ambience from the minute one arrived at the porch. Moving away from grand stone porticoes, the entrance was sheeted with coffers that were illuminated in colour changing hues to match with the vividly crisp architecture. The Grand Hyatt in Shenyang on the other hand was rendered in a diametrically opposite palette, keeping the atmosphere calm, mellow and delicate. Here, indirect illumination and discreet fixtures were purposeful to achieve a balance between

spatial volumes and the right mood. In 2010, Illuminate bagged its first project in India – Kebab Khan, a fine dining restaurant in Chandigarh that claims a unique ethereal environment. Delicately balancing between light and dark, the space was designed in a dramatic yet subtle play of light. Concealed linear lights formed exaggerated strokes on the ceiling, while the almost invisible downlights created pools of deep intimacy on the tables below. Working on what was then called the Kempinski Hotel near Delhi, Illuminate envisioned a comprehensive lighting scheme that welcomed daylight into the space and experimented with intended light to create an intriguing play of light and shadow. Drawing geometries on the façade and pinning focal points in the interiors, the designers created a plethora of moments of intrigue and enchantment that guided the visitor around the property. While Berry conceptualised and coordinated these projects from Singapore, he realised the inherent need for a local office in the country. Inaugurating their Indian quarters

in New Delhi nearly three years later, they have since been involved with diverse works across the country, including hospitality projects like the Double Tree Hilton in Ahmedabad, Crowne Plaza and Marriott in Delhi, residential works for Lodha, Jindal, Trump Towers and Altamount, and various corporate offices. “With local contacts, it helps to establish good relations on site.” “We approach each project in a unique manner – trying to understand who the people are, what their needs are, what the prevalent benchmarks are and how one can ensure that the local context is still relevant. We aim to push forward and raise the level of our work. We don’t want to do what has already been done!” This very approach to their work has led Illuminate to win numerous accolades over time. The most recent being two shortlists at the Lighting Design Awards 2016 – for Raffles Hotel in Istanbul and the Nuo Hotel in Beijing. The latter incorporates an LED mesh in the entrance lobby that hosts a digitized video projection, changing each day of the


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“We do what we love doing – creating drama, working with ambient and accent lighting, and shadows alike. Light is not about light levels, it is about feeling.”

NUO Hotel, Beijing Pics: Kylie Hood

week to address a different local context. “When something is different from the norm, that is what being creative is all about,” says Berry. On the other hand, he continues, “lighting design is not only about being creative, but also about problem-solving.” Referring to the challenges in India, he defines the stark changes in the industry within the past decade. “Clients are becoming more clued in about what they want and what we can achieve. While earlier, every proposal would be met with a nod, today the situation is more challenging. Clients push us - they have seen things, they are better traveled, they simply know more.” Berry observes the marked change in the availability of skilled labour, which at one point used to be scarce. Now the workforce is more prepared for the task at hand, and therefore the finishing and quality is improved, directly translating to better lighting. Citing the new Mumbai airport as a classic example of good built quality and execution of lighting, he questions why these standards can not be delivered on other works. Reflecting on a villa project he is currently working on in Mumbai, Berry is hopeful of

the process. “We listen to what the client wants and then respond accordingly, to create the story through light.” While they work towards higher levels of quality, they also need to educate the client base to move away from their limited understanding of light as a lux-level and instead, “look at lighting design as that emotional tug you get when you walk into a space.” I can’t help but argue that intended lighting design is perhaps more of a luxury, accessible only to those who can afford it, rather than a common necessity. “Well, I guess anything that carries a price is considered a luxury…but technology is changing that.” Berry continues to explain that lighting design as an industry responds to the demands of the market; and jokingly he adds, “Maybe we should have walk-in clinics!” Not a bad idea I think. While Europe is almost over-saturated with lighting consultancy practices, the paltry number of studios in India are probably overworked. “India got on the train a little bit later, but since they jumped on, they started getting international consultants, they started in a good way, seeking advice. Whether they


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Grand Hyatt, Shenyang Pics: Limelight Studio

adopted them or not is something to see in the projects, but I don’t think they are that far behind.” Berry too chose to invest Illuminate in India, for he says that it is a huge emerging market with great potential. “It doesn’t make sense not to be here, it would be silly not to be here! Every country has its own challenges; but to be a part of India, you have to be in India. You need to know what is available in the Indian market and respond to the client with complete knowledge.” Reflecting back on the Mumbai residence, Berry articulates on local contexts and differing needs. “Our philosophy with this project was unique – playing with layers of visibility and transparencies. In India, privacy is most coveted, and an opportunity to create privacy is always welcome. We used screens to encourage transparency yet cater to private moments, integrated into the architecture of the space.” On the other hand, the Trump Tower in Mumbai required a completely different outlook. It was a fast paced project, demanding and precise. They were staging a show unit that will be the bedrock of quality that potential customers come to expect from the Trump brand. For this project, no details were too small and no efforts were spared to meet the operators’ and customers’ expectations. Berry tells us about how each project presents its own parameters and limitations. The Shangri-La Resorts at Hambantota, Sri Lanka was a prestigious development to illuminate, but came with restrictions. This did not deter them from designing a stunning scheme, maximising the budget to achieve the best possible. Of course it is advantageous to get involved in the design process as early in the day as possible. Illuminate prefers to catch the line typically at the stage when the interior designer / architect / landscape architect are visualising the space through 3d renders and finalising finishes. Often they are offered a seat at the table a tad late, but Berry holds no qualms. His optimism points towards a changing mentality. “You have a voice, and you want to be heard. I believe it will change over time.” While the tide reverses on itself, people


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Zazen, Chandigarh Pics: Atul Pratap Chauhan

“You have a voice, and you want to be heard. I believe it will change over time.” get more aware and acknowledge the importance of lighting in the design process, he advocates the need to emphasise what light can deliver in a space. “It may sound strange considering my background in engineering, but I think we need to move away from the engineering side of lighting, and dwell more into the heartfelt, soulful side of lighting. We need to question, what does lighting mean to you? What do we want from lighting?” “We seem to have gotten a little sidetracked with the rapid advent of technology and the LED aspect of lighting design. LEDs came in way too early, and with many issues.” Earlier, ideas would be derived from thinking about the space, what kind of light one wants there and how to achieve it. That would be followed with what kind of lamp it would take to do the same. “Today, somehow we have become unlinked, and many clients start the process by declaring that they want to use only LEDs. It may or may not

be the best option for the time or space or application, but it becomes a prerequisite.” The discussion about disparity in LED products across the spectrum leads us to the very possibility that it may soon be outdated by newer technology. It is not blind faith that one can carry, but use it as a tool to build on the design. Lighting design after all is only one of the many tools of design. “Perhaps light can be considered as a wand that one waves around space to create what one wants; but the best way to achieve anything is to share it, get everyone involved and take the best from them. So maybe the wand needs to be a sharing device with the audience.” The magic of light seems to be valid only if the perceiver allows him/herself to become a part of it. What then can we expect from the future? “I don’t think location is going to be as critical in the long run, as long as you can respond to a local venture. You have to bear in mind


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Highlights Projects that you would like to change: ‘Change’ almost sounds like there was something wrong; I think there are many projects that require modernising, bringing into 2016 if you like. Any of the projects I did back in the 1990’s would fall into this category. Projects that you admire: Mumbai Airport - International Terminal Projects that you dislike: Any project where light is exposed and expressionless. Unfortunately there are too many to list. Lighting hero: Thomas Edison - without him… Dan Flavin and James Turrell - their use of colour, space and layering, creating visual depth and interest is spellbinding. Notable projects by Illuminate Lighting Design: The Shangri-La Resorts at Hambantota, Sri Lanka Raffles Hotel, Istanbul, Turkey Hotel Indigo, Shanghai, China Trump Showflat, Mumbai

Raffles, Istanbul Eric Laignel

Hotel Indigo, Shanghai Pic: Limelight Studio

Memorable projects: Kebab Khan, Chandigarh Zazen, Chandigarh, Kempinski Hotel (now Leela Ambience Hotel and Convention Centre), Shahdara, Delhi Courtyard Marriott Hotel, Raipur Lodha Clariant Showflat and Sales Gallery, Mumbai Current projects: Kodhipparu Island Resort, Maldives The MGM Hotel, Macau World One Towers, Mumbai Radisson Blu Hotel, Faridabad Marriott Hotel, Kathmandu The Opus Hotel and Apartments, Dubai The Hardrock Hotel, Dubai Awards: ·· 2016 Darc Awards Interior High Budget Shortlist: Nuo Hotel, Beijing, China ·· 2016 Lighting Design Awards Shortlist: Nuo Hotel, Beijing, China ·· 2016 Lighting Design Awards Shortlist: Raffles Hotel, Istanbul Turkey ·· 2016 Asia Hotel Design Awards Winner: The Ritz-Carlton, Macau ·· 2016 Hospitality Design Awards Winner: Nuo Spa Beijing, China ·· 2014 Gold Key Award Winner: Grand Hyatt Shenyang, China ·· 2014 HD Awards Winner: Grand Hyatt Spa Shenyang, China

“Great things are going to happen in India, and I would love to be a part of it.”

that you always have to respond to the local market and local representation goes a long way.” While Berry loves being in Asia and does not imagine moving elsewhere, his plans for Illuminate are diverse and exciting. He hopes to build a stronger and more diverse portfolio for the lighting design practice, increasing project types and looking at new potential markets. They respond to what the market demands of them, and as of now, there is much demand in tow, especially in India. “Great things are going to happen in India, and I would love to be a part of it.” www.illuminateld.com


15 SEPT EMBE R 2016 / LOND ON

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project / Square Inc. Headquarters, San Francisco, CA


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WORKPLACE ENVIRONMENTS We devote endless hours to being hunched over paperwork, computer screens or our chosen medium of livelihood. The average adult is said to spend at least a third of his/her 24-hour-day working or in workrelated activities. Many put in much more time than that too. The workplace thus becomes our second home, spending more awake-hours there than anywhere else. A growing acknowledgment of the workplace playing a critical role in our lives has led to a distinguished design approach in this realm. Today, design of the office space is trending towards a changing dynamic of the workforce and its mindset. These environments address the physiological as well as the psychological sensitivities of their inhabitants, encouraging not only efficiency but also a motivated proficiency of work.

While some organisations address an unyielding structure of hierarchy that is representative of maturity and stability, others cater to an open culture of interaction and collaboration. While some prefer the seriousness of a monotone palette, others break into motley of colours. The design language is evolving to create a balance between ergonomics, visual comfort, as well as a sense of individual and community identity. And light is increasingly becoming the chosen tool to articulate this design and its altering subtleties. The following are projects which illustrate that it is not enough to offer a desk and chair, but presenting an environment that is stimulating, energizing and invigorating can transform the mundane task to an exhilarating experience.


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project / Cisco Campus, BENGALURU

Pic: Sharath Mohan


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A DECADE OF TRANSFORMATION With an era of transformative technology under their belt, and a decade of honing their infrastructure, Cisco adds another building to its compelling campus. Charting an intriguing journey of adaptation and progression, translated into an immersive ecosystem by RSP Design Consultants, Mrinalini Ghadiok unravels the story of accommodating dynamic human resources, and creating an enveloping environment.


project / Cisco Campus, BENGALURU

MLCP-1

B-12

RECEPTION BLOCK

CL UB HOUSE

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B-11

“Our physical is not forcing people to do something that they don’t want to, it is actually modeled after the way our occupants are behaving, and how they are doing their work. The key to that is to have a tremendous selection of space types to accommodate a diverse span of functions, set of cultures and ultimately generations in the workplace.” - Dave Wagner, VP of Global Workplace Resources, Cisco

B-14 B-13

B-16

B-15

B-17 B-18 B-21 B-19 B-20

MLCP-2


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Building #16 Pic: Manoj Masand

Once nicknamed the Garden City for its lush expanses, pockets of verdant thicket and peppered with over 200 water holes, Bangalore today stands as a changed city. The southern beauty is now referred to by her former name, Bengaluru; is known as the Silicon Valley of India, and is inhabited by more than 200 software companies. The city, which was popular with students for its many renowned educational institutes, is now overcome with young professionals aspiring for work and life in the IT sector or waging to evolve their start-ups into successful businesses. Bangalore, or better so Bengaluru has given way to the Pensioner’s Paradise to become the fastest growing cosmopolitan city in Asia. There is no surprise then that when the celebrated American IT enterprise, Cisco was seeking to establish a presence in the East in 2005, they set foot within the largest conglomeration of engineers in India. The San Jose based company that worked out of 7 million square feet of office space, desired to move nearer to the source of business, and develop a globalisation centre. Driven by the sheer availability of talent, Cisco emerged in Bengaluru to found its Eastern Headquarters. Prasad HR, Director of Work Place Resources India at Cisco defines the thought behind the company’s arrival in India - “Globalisation for us means going down closer to where the clients are, where the actual business is. Instead of making

Building #11, Clubhouse & Amphitheatre Pic: Gopal HK

products and selling them in a market, we wanted to go into the market to understand the kind of products that were required, and accordingly innovate ideas, and design and build the products and systems to meet those requirements of a particular user in his/her own territory.” Cisco found a partner in the recognised Bengaluru developer, Prestige, who offered them a large tract of land in Cessna Business Park, on which a state-of-the-art campus could be built. Enfolding into their team RSP Design Consultants, Cisco began to outline its future vision in what was to eventually become a mini city. Projecting

at their growth over the next ten years, the masterplan for the approximately 45-acre site located in Marathahalli was meticulously developed by RSP, keeping in mind the ambition to create a selfsufficient estate. The masterplan accommodated a total of eleven buildings, two multi-level car parks and a hotel, of which Phase 1 of construction would address two office blocks, one clubhouse and one multilevel car park. Although developed and constructed by Prestige, the campus conformed to all requirements and adhered to all guidelines laid out by Cisco for


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project / Cisco Campus, BENGALURU

Cisco Main Entrance Pic: RSP Design Consultants

Pic: Patrick Bingham Hall

infrastructure that would be most efficient for their functioning. RSP was entrusted with the task of not only generating the overall site layout, but also designing the variegated structures on campus. Arunjot Singh Bhalla, Managing Director of RSP, who spearheaded the Cisco project then, describes an interesting conversation that outlined the design brief and Cisco’s strong emphasis on functional efficiency – “Give us simple boxes, they said. And when I asked, what kind of ‘boxes’; they said, ok, give us elegant boxes.” That was the genesis of the building language on campus – essentially rectilinear glass structures that represented maximized efficiency, in form, function and evolution. Thus emerged a cohesive environment for a Research and Development facility with interconnected buildings that fostered both formal and informal interaction, crafted

a series of interstitial spaces for passive and active recreation, and fashioned the landscape to acclimate with the built environment. Praveen Vasudeva, Center of Excellence Real Estate, tells us about how the campus was fastidiously developed to be able to meet the ever changing business over a span of the next 5- 10 years, and also ensure that Cisco is able to attract and retain talent. “The entire journey from site selection, to the design of the campus was very meticulously planned, not just to build but also to sustain the campus.” Reinforcing the need to sustain and maintain the campus over time, Rajagopal, Center of Excellence - Facility Management, says, “Technology integration was essential for all building systems to ensure an ease of operation and be able to predict maintenance through run hours rather than

traditional means of maintaining buildings.” Occupying the northwestern corner of the elongated site were the first pair of office buildings, while the multi-level car park was housed on the northeastern corner, and the clubhouse curved between them. The buildings were connected with an expansive basement that ran under a large portion of the structures, as well as sky-bridges that facilitated movement at a higher level. Movement was a driving parameter in the overall layout of the site – movement of vehicles on the peripheral paths, movement of pedestrians through the campus between buildings, and the movement of staff from one building to another through connecting walkways. Another prominent factor that determined the design was flexibility. RSP had to cater to Prestige as the owner of the land and its structures, while at the same time address


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“As per our philosophy we typically design outside in and inside out. When we design the interiors for a corporate, we do so keeping in mind their DNA. However, the inside also effects and modulates the outside of the building, such as the structure, skin etc.” - Arunjot Singh Bhalla, Managing Director, RSP

the concerns of Cisco as the tenant who would be occupying the buildings. Bhalla says, “As per our philosophy of doing things, we typically design outside in and inside out. When we design the interiors for a corporate, we do so keeping in mind their DNA. However, the inside also effects and modulates the outside of the building, such as the structure, skin etc.” Extensive research and study went in to determine the parameters of the built requirements. Workshops were held to assess and evaluate the functioning of Cisco’s systems and understand the client, as well as educate them about the prevalent and available resources with which the campus was to be developed. As a global forerunner in the IT sector, it was but obvious that the campus would be a magnet for the most current and upcoming technology.

VC Gopalratnam, Senior VP and Chief Information Officer at Cisco tells us, “Cisco IT is the largest customer of Cisco globally. We are the first users of anything that we develop, and because we are practitioners, we really get the opportunity to implement whatever the company develops. Not only implement, but also implement to scale, and globally. We have the unique opportunity and perspective to really critique what we bring to the market, before we actually take it to the outside world.” Manifesting Cisco’s latest products in their realm, Buildings #11 and #12 inaugurated the campus in 2006, followed by buildings #13 and #14, each covering approximately 250,000 sq. ft. of area. Buildings #15 and #16 followed suit, of course offering higher specifications, more sophisticated operating systems, and an area close to a time and a

half of the previous structures at 330,000 sq. ft. each. “It was during that time when India was abuzz with the phenomenon of green architecture, and projects sought the highest LEED ratings. Building #14, and subsequently #15 and #16 that brought on Phase 2 of the campus, aimed for nothing less than a Platinum rating by LEED. In order to qualify, they had to implement multifarious rigorous codes, which included advance Building Management Systems, as well as highly sophisticated Lighting Management Systems. On certification, it was at that time considered as one of the highest Platinum LEED ID+C projects globally,” says Abdul Khan, Centre of Excellence for Projects. Cisco then was also initiating a new concept, called Connected Real Estate, wherein all the building’s systems could communicate


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project / Cisco Campus, BENGALURU

Pic: RSP Design Consultants

with one another, and converge onto a common platform. Working with LEED facilitators, RSP labored to evolve a structure to qualify for the rating, one of the focus areas of which was lighting. The team led by Gopal Rao, Principal Advisor, Engineering at RSP concentrated on engineering services including Lighting Power Density, or how much power was used for lighting one square-foot of area. While Building #11 had recorded 1.5W/ sq. ft., there was growing interest to use more efficient lamps sources, luminaires, as well as control gears. More efficient lighting sources such as LEDs were making inroads in the country, but with a trailing wind of short lifespans, and a high failure rate. Playing it safe, Cisco agreed to their use, but limited LED lighting to non-critical areas such as corridors and services, and experimented with the latest T5 technology in the workstations. Collaborating with leading companies such as Lutron and Schneider, Cisco and RSP worked together to establish the most energy efficient and cost effective lighting management systems that could give substantial energy savings by incorporating dimming, daylight and occupation sensors and other extensive controls. An important aspect of this process became the acquisition of data that could then be

integrated into the Building Management System for augmented proficiency. The next building, #17 that was constructed, saw higher energy consumption, predominantly due to the large number of extremely dense labs, in which the power requirement was substantial. Building #18 on the other hand housed more workspaces, and therefore was lighter in power consumption. The working culture in Cisco had been evolving through the years. When the R&D centre was initially set up, people were usually anchored to their desks, working from personalized workstations. Certain businesses were clubbed together and formed ‘neighbourhoods’, which occupied consolidated areas within the buildings. However, with passing time, the work environment witnessed much change, which was demanded by the people working there. Uma Vinay Kumar, Lead Work Place Manager at Cisco explains – “There were significant changes between the earlier and later buildings on campus. These changes were incorporated into the building design because workspace and the way people relate to workspace changed over a period of time. With a growing emphasis on collaboration, and an increasing number of millennials joining the workforce, the workspace had to evolve to cater to a

multi-generational staff, making it more relevant and useful for them.” Cisco’s workforce spans over four generations and it was imperative for the campus to address the needs and concerns of them all. While some employees may have found comfort in enclosed and personalize workstations, more and more were tending towards a collaborative environment, conducive to interaction and flexibility in their working. This gave rise to a new approach to designing the buildings. Although flexibility was addressed as a principal starting from Building #11, which incorporated raised flooring that facilitated easy transformation of furniture layout changes; as new infrastructure came up, the systems became more sophisticated and convenient. Building #18 contains large open floor plates that are held together with a central core consisting of services and vertical circulation. Contrary to visual belief, the 6’ x 6’ grid housing innumerable workstations allows for convenient change in the furniture layouts. While entire neighbourhoods can change to bullpen arrangements if required, individual employees can also personalize their workspace by altering and adjusting their own furniture. The periphery is kept accessible for easy


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“Globalisation means going down closer to where the clients are, where the actual business is.” - Prasad HR, Director of Work Place Resources India, Cisco

Building #14 Garden Pic: RSP Design Consultants

Building #15 Music Louge Pic: Manoj Masand

Building #17 Galaxy Lounge Pic: Manoj Masand

circulation as natural light coming through the glazed façade inundates the partitionless halls. The external sun shading devices that can be seen in Buildings #11 and #12 are conspicuously missing here. Although precisely specified low-e, high quality glass cuts glare, individually operated blinds give full control in the hands of the employees, who often cherish the streaming sun. Supplemented with up-down LED pendant fixtures, the working area is rendered in a cool white uniform light that induces efficiency. Sensors fitted at periodic intervals across the ceiling help determine levels of illumination in the space, which are then controlled by BMS for increased conservation of energy. A time based switching off of lights also allows for certain overriding features that can be used to conveniently extend the settings directly by inhabiting employees. Each work area has its own open ‘stand up scrum’ space that accommodates quick discussions in large groups. Smaller and more intimate meetings are possible in the Audio Privacy Rooms, Meeting Rooms and Quiet Rooms, which can be used for video conferencing, focused collaborative activities and even individual down times. With a 2’ x 2’ ceiling grid, flat LED panels incorporated within the geometry fill the volume in equal light. These independent rooms can be reserved in advance through an advanced technological system prevalent across the campus. Employees can tap their access card at any of the multiple ‘Tour Stops’ located in each building and sign up to use the facilities. Connecting to the Cisco system enables them to choose their work areas, or ‘touch-down’ according to their agendas for the day. They can plan their meetings, or customize facilities to their preferences through the online network, facilitating a


“The Creativity Zones had a particular character to them; no one was the same as another. Plus there was a lot of involvement with the user groups in terms of what functions would go into the space. So, people began to move.” - Fancy George, Director of Interiors, RSP

Building #18 Green House Pic: Manoj Masand

Building #18 Channapatna Toy Shop Pic: Manoj Masand

greater flexibility in choosing their work environment as per need and desire. The requirement for a flexible work environment resulted in a new typology of space – the ‘Creativity Zones’. These were designated areas each with a different function, sprinkled across the later buildings. Since each zone was rendered with a specific purpose and aesthetic, offering varied ambiences, it facilitated the movement of people away from their work desks and around the campus. “By the time Buildings #15 and #16 were getting built, there was a need to encourage greater collaboration among

the employees, not only between floors but also across buildings and the entire campus. So a new typology of space called the ‘Creativity Zone’ was formed.  The Creativity Zones had a unique character to each one of them; no one was the same as another. Plus there was a big effort to involve user groups in terms of what functions would go into these spaces. Soon the employees began to ‘move’ and explore their own campus,” says Fancy George, Director of Interiors at RSP. With their evident acceptance, the Creativity Zones were made more recurrent and exciting, catering to passive functions

like discussions or more active ones like recreation; themed as the Den, Music Lounge, Box Office, English Garden, Stadium, Park and even the Galaxy Lounge. Some of the most frequented ones in Building #18 are the Channapatna Toy Shop, Courtyard and Greenhouse. The ‘Channapatna Toy Shop’ is a sudden break away from the staid interiors of the workspace into a vibrant riot of colours. Taking inspiration from the nearby craft hub of Channapatna, it is peppered with giant ‘toys’ bought from the source itself. The vivid colours come alive in a bright wash of light from ceiling recessed downlights that accentuate the


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Building #18 E-Café Pic: Manoj Masand

Building #18 E-Café Pic: Manoj Masand

Building #18 The Factory Floor Pic: Manoj Masand

lacquered forms, while creating a lively and playful mood. The ‘Greenhouse’ on the other hand plays on an abundance of daylight that floods the verdant space. Replete with a series of vertical planters, a glass enclosure that houses large plants and picnic benches, as well as old-school wire pendants with exposed-lamps, a fresh outdoor-like environment is created in the space. Juxtaposed against these organic elements, a series of triangulated pendants are suspended at the entrance to celebrate the seating. The lighting scheme became an important aspect for creating variegated ambiences

in these spaces. Well entrenched in the thematic setting of each, some zones such as the Factory Workshop hang industrial looking steel pendants from a ceiling truss to cast pools of light over gaming tables, while the Galaxy Lounge plays with a vibrant range of concealed coloured light to give an ethereal feel. While Creativity Zones encourage employees to choose their preferred setting of work, other amenities such as recreation areas, healthcare and daycare facilities, as well as fully functional eateries cater to the varying needs of the staff. A popular cafeteria located between

Buildings #17 and #18 offers a range of different cuisines. The enormous space enclosed with floor to ceiling glass on one side, and dotted with dramatically oversized red drop pendent lights doubles as a collection area for big gatherings. Similar assemblies wherein a sizeable audience needs to be seated are held in the Event Centre, which is equipped with large screen projections, video streaming of live events, as well as presentations and talks. The ceiling is studded with rows of light projectors that can be individually programmed and controlled for a plethora of events and functions.


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project / Cisco Campus, BENGALURU

Building #17 Kulture Café Pic: Manoj Masand

A completely self-sustained campus that presents to its staff a space for personal work and recreation, as well as welcomes their families into its realm for social activities and occasions, is pleasantly witness to a high happiness quotient. They staff is found working as much as playing, and seems to enjoy the space they are in. Nagesh Ramamurthy, Director of Project Management at CBRE, who has been handling the Cisco project for over two years talks about his personal experience “I look forward to coming to work everyday. I spend a lot of time on the campus, and it is not all because of work. There is something that keeps me here. People have to live here to work here, and there is everything that you could possibly need. The space is live-able.” While there are those who spend endless hours on campus, involved with varied activities, there are others who spend more time traveling. It is said that at any point, only 75% of the total staff is on campus. A flexible collaborative space that allows and conditions their staff to work from different spaces and under different scenarios ends up not only providing for them, but also

saving on precious real estate. Everyone, from members of the senior leadership to interns, researchers to marketers to engineers, they all choose where and how they work. “We are in an environment where we need to respond to the market much faster, work and co-work with an ecosystem consisting of partners, startups as well as customers. While the new collaborative work environment is great and there is increased interaction and high energy levels, it is still a business imperative and not something that we are doing just because it feels good. I have spent almost four months in Building #18, and I have never felt the loss of an office space. I am actually enjoying every moment of it,” says Amit Phadnis, Senior VP Engineering and India Site Leader for Cisco. Dave Wagner, VP of Global Workplace Resources for Cisco gives us a different but equally important perspective - “Our physical is not forcing people to do something that they don’t want to do, our physical is actually modeled after the way our occupants are behaving, and how they are doing their work. The key to that is to have a tremendous opportunity of selection

of space types so that people can have open collaborations, energetic areas of scrum, and agile or quiet spaces to focus and work. That is the only way to we can truly accommodate such a diverse span of functions on the same campus and such a diverse set of cultures and ultimately generations in the workplace.” Wagner’s global portfolio demands much travel of him, resulting in pending jetlag and odd hours of work. When he visits Bengaluru, besides meeting executives in conference rooms and touring the campus, he finds his way to the many Creativity Zones where he can play a game of pool or even catch a short snooze to rejuvenate. With a mischievous grin he jokingly says, “I have probably taken more naps in the nap pods and massage chairs than other people.” The Cisco campus in Bengaluru has garnered a reputation for offering the best and being at par with the one in San Jose. The only thing that could slow its growth is perhaps its external infrastructure. Although located on a major arterial road, the commute for such a large number of people that are concentrated on that acreage is getting very difficult. It took us almost


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Building #16 Relaxation Lounge Pic: RSP Design Consultants

Building #16 Pic: Manoj Masand

the same amount of time from the RSP office in Ashok Nagar to the Cisco campus in Marathahalli, what would not be more than a 12 km distance, as it did to fly from Delhi to Bengaluru. Once there, we were courteously greeted, escorted past security into Building #11, politely offered visitor badges and taken straight to a meeting room. We sat around a table that was spotless, had a meeting that was precise, and were promptly handed over to the next set of people who facilitated a patient yet extensive tour around the campus that lasted another few hours. Meticulous and accurate is how I would describe our first interaction with Cisco, its staff and campus. It is how I would label the space and it’s functioning. And I would really choose the exact same words to define the process behind coordinating this story. Cisco seems to translate a meticulous structure into an accurate experience of its products, services, systems as well as built environment. I wonder, what would it feel like to be one of the 10,000 or so people on that campus – would I just be a small fish in a big pond? But what if the big pond had everything that I could possibly need?! www.rspindia.net

PROJECT DETAILS Cisco Campus, Bengaluru Client: Cisco Systems (India) Private Limited Building, Master Planning, MEP, Landscape Design, Interior Design: RSP Design Consultants (India) Pvt Ltd Project Team: Arunjot Singh Bhalla, Fancy George, Gopal Rao, Gurkiran Sanga, Meenakshi Sharma Lighting Design: Gopal Rao, RSP Design Consultants; Light Vision India (for Building #17) Acoustic Design: MMG Acoustical Consultants AV Design: RST Technologies Holdings Pte. Ltd.  Signage and Graphic Design: M P Hariharan, Rezonant Design Services Pvt Ltd

TECHNICAL SPECIFICATIONS

Building #15 English Garden Pic: Manoj Masand

Crestron, Deltalight, Elstead, ERCO, Fabbian, Foscarini, Lightecture Velvet, Lutron, Phillips-Selecon, Tom Dixon, Wipro, Zumtobel


Pic: Vitus Lau / M Moser

EXPLORING ENGAGEMENT International furniture giant, Steelcase sets the bar for collaborative office settings,as M Moser Associates design a white canvas to illustrate their philosophy of engagement, as well as showcase their vibrant collection.


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When the client is a creative engine driven by innovation, the architect is a leading design practice that has carved its name in the global community, and the lighting consultant is an expert in the highly specialized field, one can not and should not expect anything less than a meticulously envisioned space, tactfully detailed and strategically rendered. Such is the case of the swanking new WorkLife Centre for Steelcase in Gurugram, designed by M Moser Associates and illuminated by vis a vis. Michael Held, Director of Design for Steelcase describes WorkLife Centres as, “not mere showrooms, nor are they just offices. They are spaces for customers to experience our brand as well as for our

employees to live the brand. We aspire to create distinct interior elements that make tension in scale, form, and surface, but maintain a coherent logic.� Thus, it is a functioning corporate office, but is as importantly a showcase of the multitude of furniture by Steelcase. Playing the dual role, it becomes imperative for the space to be designed in a manner that caters to the employees that inhabit it on a daily basis, and do justice to the experience offered to visiting clients and customers. Steelcase hosts many such WorkLife environments world over, mostly located in premium localities within luxurious buildings that carry at least a LEED Gold compliance. Moreover, having established

multifarious such centres, the company has benchmarked certain parameters to work within that outline the overall look and feel of the space. Having recently completed a WorkLife centre in Mumbai, which was designed by the in-house team, working on the Gurugram centre with M Moser was a different experience. For the architect, the challenge lay in conforming to a larger global view of the brand, yet reflecting back to a local context. Responding to the rigid guidelines of a work and display environment that focuses on showcasing the furniture, M Moser experimented with a staid palette and stirring accents. Albeit decorous at first


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project / Steelcase WorkLife Centre, GURUGRAM

Pic: Kapill Kamra

Pic: Kapill Kamra

glance, this simplicity was borne of a complex journey of ideation. The long, linear volume went through multiple iterations of vibrant pigments before being bathed in the predominant monochromatic hues of white. The blanched canvas was the perfect backdrop for the vivacious furniture to be displayed. “In this project, furniture was the king,” exclaims Subhashish Mandal of M Moser. “We had to create a setting that would respond to the extremely controlled environment, so we used architectural features to create accents in the otherwise austere space, and subtly introduce Indian elements.” While polished white Satvario marble

drapes across the office, a tessellated pattern reminiscent of a jali can be seen incorporated in various forms. The design was derived from an in-depth analysis and evolution, and pointedly translated to varying elements such as carpets, wall graphics, cut outs in the glass film, as well as physical partitions. “It became a larger aesthetic of the graphic language, resulting in a minimal, simplistic and contemporary pattern,” says Mandal. Perforated screens are placed intermittently before the large glazed edge that flanks one length of the office volume. After rigorous time lapse studies, the density and intensity of these jalis were determined to facilitate

desired light effects in the space. While roll-down blinds soften direct daylight from the open façade, the partitions create fascinating patterns across the floor, cutting the influx of direct light and adding a layer to the designed intent. “I particularly like the interplay of daylight and shadows that the Jalis produce. It is wonderful to see the light and shadows wander across the floor and furniture throughout the day,” exclaims Held. The workstations, bathed in natural light require little assistance from added light sources. An array of tracks that run across the width of the hall are fitted with ERCO Optec Floodlights that are aimed to create


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“The international aesthetics and an in depth understanding of Steelcase gets interpreted in an interesting Indian way.” - Subhashish Mandal, M Moser

Pic: Vitus Lau / M Moser

focus on points of interest – worktops, table surfaces and huddle settings of furniture. Each of these luminaires can be fitted with varying lenses to control their beam output – wide flood, oval flood, spot beam, and even wall wash. Thus, achieving desired effects on the furniture settings as well as additional accentuation on individual pieces that are required to be highlighted, creating a hierarchy in visual perception. Given that the WorkLife is required to showcase rotating collections of their furniture, vis a vis kept the lighting scheme flexible to adapt to changing settings. The meeting rooms on the other hand are illuminated with Uniline TRT from Deltalight, that are linear asymmetric


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project / Steelcase WorkLife Centre, GURUGRAM

Pic: Vitus Lau / M Moser

Pic: Vitus Lau / M Moser


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“The new WorkLife centre in Gurugram is a truly unique showcase of Steelcase’s furniture in a manner that attributes and contributes to the development of collaborative spaces.” - Praveen Rawal, Country Manager, Steelcase

profiles recessed in the ceiling and strategically directed towards the speakers, away from the large TV screens. This ensures vertical illumination of their faces minimizing shadows, and facilitates an environment conducive to video conferencing. Even the Phone Booth and Mediascape rooms follow similar principals, wherein light is directed onto the people and away from the cameras. The rotund Supernova by Deltalight sits in perfect reflection of the table beneath, tilted to accurately illuminate participating personnel. “In spaces with lots of screens and tele-presence like in our Teamstudio, it was important to make people look good on camera, without dark shadows under their eyes, and allow them to easily collaborate with remote locations,” adds Held. The far end of the office that accommodates the accounts section is but ignored. Acknowledged as an equally important part of the organisation, their workstations are lit with Optec Floodlights from ERCO with oval distribution mounted on tracks. The pantry on the other hand caters to a more casual and laid-back environment, accepting of four Boxy downlights from Deltalight fixed to the ceiling to give ambient light, and a striking Toldbod 155 Suspension from Louis Poulsen

that casts a warm glow in the volume. As the day dims, the lighting effects become more dramatic. The uniformity in light gives way to accents and highlights. While the architectural lighting takes care of the general ambience, the mood is set with a series of decorative lamps that are prudently placed to draw the eye. A Kundalini Treis hunches over a table setting celebrating a break out space, while a sumptuous red chair seated near the entrance corner is attended to by the delicate Bolshoi Theatre pendant form Lasvit. The deliberate juxtaposition of contemporary furniture with a stylized fixture that reflects flavours of the native land is what gives this particular WorkLife Centre another layer of warmth, an air of romance, but most particularly, a distinct edge. “We worked for a long time to get the minimal aesthetics right,” says Mandal about the interiors. “Even the textured grey carpet was a methodical and measured decision, wanting to inject the neutral shell with levels of interest. This can also be seen in the selected colour and surface of the accent walls. The open office remains nebulous, and ready for recurrent change.” www.mmoser.com www.visavisindia.com

PROJECT DETAILS Steelcase WorkLife Centre, Gurugram Client: Steelcase Architect: M Moser Associates Project Team: Subhashish Mandal, Vijay Iyer, Supratim Sengupta, Neha Bhalla, Sukhpreet Singh Lighting Design: vis a vis

LIGHTING SPECIFIED Aldabra: Zen Asymmetric, 16W Deltalight: UNI TRT Profile ERCO: Optec Flood Light, 12W ERCO: Compact Downlight, 8W Oval Flood ERCO: Compact Lens Wallwasher, 8W ERCO: Optec Lens Wallwasher, 12W Fagerhult: Open Box, 56W Up-Down Kundalini: Treis Suspension, 12W Lasvit: Bolshoi Theatre Suspension, 18W Louis Poulsen: Toldbod 155 Suspension Philips: Cirrus Lighting Supplier: vis a vis India Pvt. Ltd.


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project / Google Office, Orange County, California, USA

Pics: Eric Laignel / Rapt Studio

INNOVATIVE PLAYGROUND Rapt Studio worked closely with Oculus Light Studio to create the Google office in Orange County, which is less of a corporate office and more of a playing field for innovation and interaction; a universal nod to local context. ‘Google’ went from being a noun to a verb, from a regular search engine to the provider of answers to all of life’s questions, from a garage to multinational workspaces dotted across the globe. Google evolved over time­, but at the core of it all, Google held on to its fresh ethos and adventurous culture. Today, even though Google employs thousands of workers, the design for each office location is reflective of the local culture in a unique way, while still keeping true to their anterior roots. This can be seen in the Irvine Campus as well, where Orange County’s relaxed beach vibe is clearly injected within the office space.

San Francisco-based Rapt Studio created the 91,000 sq. ft. office, and describes it as, “filled with design that nods to the local culture with everything from beach cruisers in the lobby to a lifeguard tower on the roof deck.” Working with Rapt, Oculus Light Studio conceptualised a lighting scheme that not only reflected the larger design intent, but also applied Google’s expertise to create an integrated and interactive environment. Spread over four levels, the office is connected by a steel staircase wrapped in perforated acrylic that serves as the centerpiece of the entire building. Fitted

with an LED strip custom-detailed into the stair shell, the light is controlled by motion sensors and data inputs designed by the company’s engineers. The tracking system collects data based on usage of the stair and distance climbed, following which the metrics are broadcasted on monitors in lounges and public areas, catering to the competitive nature of the staff. As the glowing stairwell traverses across multi levels, various amenities and microkitchens find space around it. Large open workspaces are located on each floor. Based on mock-ups and studies conducted in Google’s existing offices, Oculus developed


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a lighting plan to achieve merely 200 lux to address a young demographic working primarily on computer and tablet screens. Many factors needed to be considered in the open office lighting. Explaining the design, Archit Jain, principal at Oculus says, “While it was important to provide adequate light on the work plane below, it was equally important to reduce contrast by lighting the walls and open-to-structure ceilings. Low energy use was mandated and a LEED Platinum rating was required. The cost was also a considerable concern. With all these parameters in mind, a costeffective, luminous, single lamp fluorescent T5 pendant was utilized, and suspended in a way that it was outside the visual field when working at the desks.â€? Using only 0.4watts/sq. ft. of energy, this was about 60% lower than standard office lighting power density. Visible and glowing light sources also helped create a perceptibly brighter interior, balancing the vivid Southern Californian sunlight outside. While most Google offices maintain 4100K colour temperature in their work areas, Oculus was able to convince the client here to use warmer tones of 3000K in the cafĂŠ and amenity areas for a warmer and more inviting ambience. Varying decorative luminaires are also peppered through the space, while still providing functional light,


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and therefore reducing energy use. Each floor also houses a break out space, with varying environments. One floor contains a sports zone, complete with bright turf flooring and vibrant multi-hued tiles representing a heat map of the area, which crawls up the wall and folds onto the ceiling. Strategically placed niches hold round multiples by Lightolier that mimic sports lighting. On another level, a more restrained colour palette encompasses a lounge setting. Framed posters in a multitude of sizes jacket an entire wall, once again wrapping onto the ceiling. Some frames cleverly integrate LED lighting within, resulting in illuminated squares spread throughout the surface. A cluster of Flos pendants hangs above the couches, giving a distinctive character and sense of scale.


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employees happy and productive at work. We wanted to take the same measures in designing a perfect workspace for their Irvine, CA, location.” www.raptstudio.com www.oculuslightstudio.com

PROJECT DETAILS Google Office, Orange County, California, USA Client: Google Architect: RAPT Studios Project Team: Sarah Devine, David Galullo, Mike Dubitsky, Michael Maciocia, Matt Azen, Sam Gray Lighting Consultant: Oculus Light Studio Project Team: Archit Jain, Scott Hatton, Jennifer Doran Project Manager: Ross Project Management

LIGHTING SPECIFIED

On Google’s request, an integrated energy management system, Enlighted, was used throughout the spaces. Every luminaire is fitted with its own daylight, occupancy and temperature sensor that allows that particular fixture to respond directly to the micro-climate underneath. When only certain parts of the offices are occupied, those areas are illuminated to the intensity dictated by the daylight sensors, while the rest of the spaces are lit just to 20% intensity. Data is collected by the system and sent to Google’s headquarters, for analysis of space utilization and energy use. The project’s lighting energy use betters

California’s energy code by 35%, achieving LEED Platinum rating. “The lighting design is successful in creating an optimum, informal work environment and signature spaces that are all extremely energy efficient,” says Jain. The architects and lighting consultants together have created a remarkable playing field for the Googlers of Orange County, enhancing their work environment by providing opportunities to collaborate and integrate their expertise into the surrounding built environment. Rapt Studio sums up Google’s company culture aptly: “Google pulls every stop to make their

Axis: Beam 3, Recessed and Suspended Axis: Beam 4, Suspended Axis: Beam 6, Recessed and Suspended Axis: Air, Surface-mounted Bartco: MiT8 Fluorescent Strip BuzziSpace: Buzzishade Pendant Diesel: Fork Piccola Pendant Flos: Ktribe pendant Foscarini: Glas Sospensione Foscarini: Tress Pendant Foscarini: Uto Pendant Gotham: LAF Recessed Downlight, 12” Hi-Lite: Telescopic Chandelier iGuzzini: Laser Blade Lightolier: Spot LED Recessed Multiple Lumascape: LS9403LED Vedita Ingrade Steplight Pathway: 6SQLED Recessed Downlight Roll & Hill: Superordinate Antler Chandelier Tivoli: High Output RGB Indoor Tivotape Tokistar: Exhibitor Festoon Zero: Fisherman Pendant Zero: Bottle Pendant Lighting Control System: Enlighted


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project / Reflected Topography, BGRT, Bengaluru

Pic: Lalita Tharani + Manish Gala

Facing Page Reflected Ceiling Plan Drawing: Collaborative Architecture


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Under the canopy Collaborative Architecture has transformed the lobby space of Bearys Global Research Triangle with a custom made and intelligently designed waffle slab lighting system. The brief was to design a multi-functional public space that could include a variety of areas and a place where intimate and private meetings could take place. Collaborative Architecture approached this, by setting a benchmark for public space design through its innovation and sustainability agenda. The lobby is dominated by a central column, which supports the waffle slab system that spans 32m x 32m, with a height of 9m. The front facing sides have structural glazing, while the sides on the back are stacked with services and toilets. The lobby functions nearly eighteen hours a day and is equipped with a BMS using Dali ballasts for daylight harvesting. The expansive glazing on two sides allows daylight during any season, meaning the system uses minimal energy during the day. The central column acts as the axis for spatial orientation. From this, the lighting design plays the lead role in the overall architectural identity, and the project succeeds in effortlessly merging the lighting design and architectural space into a unified whole. The project is unique in that sense, making the architectural

lighting the raison d'ĂŞtre and the identity, not just in stylistic terms, but in terms of tectonic manipulation of the neutral space. The seating cluster, specially designed for the project, triggers social interactions and creates an undulating topography of contoured volume at eye level, complementing the pattern on the ceiling. The strip light highlights the bottom of the sofa clusters and creates a dynamic pattern that is an integral part of the overall design. The waffle slab system, one of the earliest design decisions and most dominant part, is left exposed to highlight the structural clarity of the space. The pattern of the waffle system acted as a springboard for the design of the customised lighting, which resulted in a highly dynamic space reflecting the geometry of the structural system. The architectural lighting has been conceived as foliage which stems from the central column that anchors the spatial disposition in the vast lobby. The column has been clad with Corian panels, with special details to provide access for maintenance and service. The cantilevered meeting rooms are

added to the existing mezzanine slab to accommodate private meeting rooms. The lobby has five such private meeting rooms, with four located at the mezzanine level as added cantilevered units, projecting into the atrium space. LED light sources have been used for the project. The customised fabric lights have 1200mm long LED tubes, the passage spaces have 600mm and 1200mm LED panel lights and 5W LED spots, and the waffle has 600mm x 600mm LED panel lights to supplement the customised lighting and create a pattern in the waffle, which complements the configuration of the fabric lights. The project succeeds in its sustainability agenda with a Platinum LEED Certification. www.collaborativearchitecture.com

PROJECT DETAILS Reflected Topography, BGRT, Bengaluru Client: Bearys Group Architect: Lalita Tharani, Mujib Ahmed Interior Design: Muneeb A P, India Lighting Suppliers: GE, Trilux


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project / Amalgamation of Styles, Mumbai

CHANGING THE GUARD When business premises are revamped in keeping with the aesthetic preferences of a new generation, while continuing to respect the past, the design does a juggling act of sorts as it accommodates sometimes contradictory imagery. KNS Architects tell Devyani Jayakar about this complex journey.


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Pics: Alan Abraham

A colonial building in south Mumbai would not seem to be the best space in which to execute a contemporary design. Redolent of the past, the walls themselves have been mute witnesses to decades of comings and goings. So when Shresth Kashyap of KNS Architects was told by his client that there would be a change of guard in the family business – which the design of the new office premises had to reflect – there were several factors to bear in mind. ‘The values and heritage of the company had to be considered. Yet, the client wanted a bold, futuristic design,” says Kashyap. So within the aforementioned remnant of the

colonial era, colonades, arches et al KNS Architects proceeded to gut the space, all of five levels. The colonial look of the structure was restored, with wooden louvers added in the façade design to enhance the fenestration. “Since the building was sandwiched between other structures, sky lights and voids were introduced in various areas to bring in nature, daylight and a better visual connect. Keeping the external skin intact, the internal structure was broken down to create a work environment that was stimulating and inspiring to work in, and where interaction and collaboration were valued,” says Kashyap.

A cut out in the first floor slab was created for a double height entrance space. This not only flushed in ample day light but also created a sense of arrival for visitors. All over the 14,000 sq. ft. space, the design has been integrated with customised art. In the conference room, works by Paresh Maity hold centre stage. A void in the staircase shaft is partially filled with an interconnecting art form which enhances the visual connect within floors. In the entrance lobby itself, a double height installation displays a collage of metals, conveying the nature of business carried out by the client. A backlit map of the world is a reminder of


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project / Amalgamation of Styles, Mumbai

their global presence. A tall window, arched at the top, serves as a reminder of the provenance of the structure. As the sun’s rays slant through its panes in the late afternoon, it casts a charming old world image on the wall across. Juxtaposed with two contemporary chairs, the sinuous lines of the furniture echo the curved pattern of the fanlight, subtly recalling the unlikely marriage of the exterior with the interior. The natural light in several areas is supported by an arsenal of lighting fixtures and solutions from some of the best brands in the world. Banishing any notions of darkness, fixtures have been chosen both as style statements as well as functional, out-of-sight luminaires. Linear fittings and spot lights have been consciously integrated with decorative fixtures to create options in the quality and intensity of light available. The many spots and coves provide layers of lighting. In some areas, the ceiling has a distinctly industrial look, with exposed pipes and ducts at odds with the colonial shell of the structure. “This is part of the exercise of integrating the old with the new,” says Kashyap. Inspite of the voids which have been incorporated, spaces which didn’t exist


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earlier have been created. Four levels including the ground floor and a terrace are the result of the extensive retrofit. An open-to-sky courtyard ushers in the elements. Trees are uplit, with casual seating providing an opportunity to bask under the patch of open sky. “Light, breeze, and even rain enters this space,” says Kashyap. Populated by three athletic male figures rising up from the ‘ground’, the installation by Arzan Khambatta is heavy with metaphor, symbolising growth. The first figure, only visible waist upwards, is in wood. The second, still knee-deep in the ground, is in iron. The last one, exultantly breaking free of all shackles in a gravity-defying leap, is made of steel. The allusions to the nature of business carried out by the clients are not far-fetched or obscure. The imagery establishes obvious, easily comprehensible connections. While doing so, the aesthetic is never lost sight of, making for a dramatic, sculpturesque display which denotes the mission of the company: emerging, stabilising and reaching for the sky. A light-bulb moment was to use glass to envelop the shaft of the elevator which has been painted blue, the mechanics of the innards appearing like a mobile art installation. The ascent and descent of the lift transitorily hides it from view, creating a now-you-see-it-now-you-don’t effect. Elsewhere, art on the walls is highlighted a battery of downlights, drawing the eye to different focal points dispersed through the spaces. With the windows overlooking a busy road, a complex web of visual interest has been woven within the four walls themselves.


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project / Amalgamation of Styles, Mumbai

“Our entire concept was based on an amalgamation of heritage with the modern,” ­- Shresht Kashyap, KNS

The terrace functions like an extended floor and has a retractable roof. “An additional floor was a requirement which was made as a glass enclosure, so that it does not interfere with the overall essence of the existing architecture,” says Kashyap. In the ‘glass box’ on this level, the onyx floor lights up in the evenings. “The clients do a great deal of entertaining. The subtle glow of the dark onyx creates a lounge-like ambience, making this their favourite space after office hours,” he adds. While light floods in during the day, the relationship is inversed at night, with the box glowing like a beacon in the dark. “What you see is a stark contrast between the outside and the inside,” says Kashyap, describing the project, which was recently commended with the Icon of Space Award 2016 in Singapore. Nothing prepares you for the complexity of the design within, for the array of materials or the slick finishes. Veined marbles and patterned veneers rub shoulders with bursts of colour, energising the space. “Our entire concept was based on an amalgamation of heritage with the modern,” says Kashyap. www.knsarchitects.com


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PROJECT DETAILS Amalgamation of Styles, Mumbai Client: a prominent Indian enterprise partnership Architect: KNS Architects Pvt. Ltd. (Shresht Kashyap, Neemesh Shah, Kanhai Gandhi) Project Team: Shresht Kashyap, Kedar Dandekar, Darshi Mehta, Trupti Rawool

LIGHTING SPECIFIED Abby Lighting: Canalazzo 240 P Abby Lighting: iBlock Abby Lighting: iKapp / mini Abby Lighting: Bling ACDC: Blade ACDC: Magna ACDC: Artemis A Plus: If Adjustable Artemide: Doride FILIX: Line Flos: AIM Flos: Circle of light Flos: G-O Flos: The Running Magnet iGuzzini: Laser Blade MU 94, 96 iGuzzini: Laser blade Wall Washer iGuzzini: MJ60 High Contrast Module L 1510 Mizar: 6305-47-Joke Cromo OTY Light: POP 05 OTY Light: POP ARC Prolicht: Maxline Roche Bobois: Accastillage Simes: Microloft ceiling Tobias Grau: Falling leaf XAL: Timo 80 free


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project / Harley Davidson Corporate Office, Gurugram

A CONTEXTUAL RIDE Morphogenesis designs the corporate office for brawny biker brand, Harley Davidson, in a meticulous balance of virility, adventure, celebration and innovation. Harley Davidson rode into the Indian market with much fanfare, reinforcing its robust presence in the country. The brand’s corporate office thus commanded a similar perception, of an individual identity that would become a part of the greater whole. Finding abode in the financial and industrial hub of Gurugram, Harley Davidson’s flagship office was conceptualised by Sonali Rastogi and the design team of Morphogenesis. “The preliminary objective was to create an indigenous space using traditional materials to customise and personalise the office in a way that it blends into the Indian context.

The workplace was intended to be more than just an office. It was envisioned to provide for multiple space utilisation for various activities such as events, workshops, and parties. A training centre for the maintenance of Harley Davidson bikes was also included, to integrate the adventurous ethic with the working environment. In order to create an interactive working atmosphere, the office space was conceived to be single, unified and significant, with compact enclosures that would open up and transform into gathering areas.” The Harley Davidson brand is of course the

predominant feature that welcomes one into the office. The eye is immediately drawn to the backlit wall studded with custom painted fuel tanks that form the backdrop for the reception. Framed with a custom-made perforated MDF screen inspired by the Harley Davidson shield on one end and the emblematic logo on the other, the reception table becomes the center of all attention as it blazes in bright luminance. A precise L shaped niche in the ceiling houses a series of trackmounted downlights that are aimed to create focus on the reception and emanate


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Pics: Amit Pasricha


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project / Harley Davidson Corporate Office, Gurugram

an ambient radiance in the volume. LED strips concealed in the cove running along the opposite edge of the ceiling wash the compelling graphic wall that literally spells out the brand’s ethos. Moving into the office, one encounters a large sweeping space, embraced on one edge with large windows and segregated within by long rows of workstations. The square punctuations in the wall facilitate an influx of daylight, which is softened by the easily roll-down of blinds. The linearity of the physical design is truncated by

transversal strips of light that cut across the ceiling. Recessed fixtures with frosted cover plates bathe the blanched workstations in a soft overhead glow. Maintaining lighting levels at 250-300 lux, the focus remains on the tabletops, while the peripheral walls come alive in vibrant images of iconic bikes located across the country. Darkened wood, cement board partitions and textured granite complement the formulated orange, black and grey colour palette of the brand, to give a consistent and contemporary character to the workspace.

Moving deeper within, a series of bikes are displayed in a larger open area, used mostly as a service zone for the mean-machines, and necessitating brightness levels up to 500 lux. The workshop doubles up as a showcase during events, wherein the lights are dimmed to carefully accentuate the display. The adjoining pantry is rendered in varying tones and consistencies of metallic grey, and light levels range between 100-200 lux, keeping the mood somber and casual, and easily transformable from a functional zone into a space for events and parties.


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PANTRY

WORKSPACE

WORKSHOP

RECEPTION

While directional spotlights recessed in the ceiling give soft accents in the space and form pools of illumination on the polished granite floor, concealed LED strips graze the textured tiles from behind the cabinets. A series of gleaming chrome finished pendant fixtures are suspended over the elongated table, reflecting the hardy yet polished personality of the brand. “Most of the detailing in design, both minute and large, has been inspired from motorcycles and biking.” So much so that the handles for the toilet doors are the

actual handles of bikes, rear view mirrors are used for signage, and the perforated jalis are derived from the abstraction of the Harley Davidson shield. These screens are used to segregate the multiplicity of the office spaces while maintaining visual connections where privacy is not a concern. “Overall, the office sets the atmosphere of a contemporary workplace that is unique in design and inimitable in expression while symbolizing the advent of innovation in corporate offices in India.” www.morphogenesis.org

PROJECT DETAILS Harley Davidson Corporate Office, Gurugram Client: Harley Davidson India Architect: Morphogenesis Project Team: Sonali Rastogi, Neelu Dhar, Vijay Dahiya and Abhigyan Neogi Lighting Supplier: Art Light Illuminations Pvt. Ltd


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project / technology centre, pune

Pics: Prashant Bhat

ENERGISING INSIPID LANDSCAPES Edifice Consultants re-imagine a restrained technology centre as a sweeping, spirited space, fresh in its outlook and design value, sprinkled with colour, and suffused with energy.


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While young businesses, emerging corporates and budding startups institute newfangled rules for office functioning, established conglomerates are beginning to acknowledge the benefits of open layouts, collaborative efforts and flexible amenities that allow for a richer and more cherished work culture. A global giant in the Oil and Gas exploratory field approached Edifice Consultants to

design a new office space for them in Pune. The client’s brief called for, “the facility to be ‘wow’, one that would break away from their close office culture to a more collaborative environment.” The architects took the 90,000 sq. ft. premises spread over two floors to their drawing board, and conceived of a design inspired by the colours and distinguishing elements of different countries on each level.

Level 3 is a derivative of Central American hues and its distinctively warm design vocabulary. Edifice describes it as, “a resort like feel with natural surroundings. A blue and beige carpet simulates the sea and the sand, with a hazy merging of the two colors, emulating a shoreline.” The pattern of the carpet reflects on the ceiling as circulation paths are defined in a dropped level, painted in warm tones and studded


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project / technology centre, pune

Third Floor

with series of downlights that cast a gentle glow. Crowned by collaborative spaces, the even ceiling gets split into accurate niches, almost pergola-like, to house spotlights that are focused on the casual furniture settings below. Sheathed in earthy oranges and burnt browns, the comfortable seating welcomes groups of peers to interact and work in a relaxed environment. The formalized workstations on the other

hand are bleached of chromaticity. Rows of sleek white desks embrace the multitude of black chairs that are offset by the blue carpet. The ceiling is punctured with linear strips of recessed luminaires in 6000 K colour temperature. Rendered in a smooth white finish, the large horizontal surface above with the clean desks beneath reflects the light within the functional space, making it brighter, whiter and uniformly lit.

A similar design language is followed in Level 4, where the open workspaces contain predominantly white furniture, caped in a white ceiling and illuminated in a brighter light. This scheme gracefully compliments the overall palette that is driven by the aesthetics of the Greek island of Santorini - neat stacks of whitened building blocks held against the deep cerulean sea, with bursts of vibrant colours in flowering shrubs


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Fourth Floor

dotting the serene canvas. Translating the Mediterranean palette to the office, the colour scheme is flattered with sinuous forms in the design language that mimic the movement of swelling waters. Here, the circulation is highlighted in a curvaceous ribbon of blue across the floor, reflected on the ceiling in a spine of aluminum slats. Fitted with strategically placed downlights, the passages are kept

relatively dim, punctuated with vivid beacons of different colours. Marked with dropped caps that are painted in perky hues and lit from within, the various ‘pods’ can be seen from across the floor. The soft, casual furniture placed within each pod welcomes its guests in a monochromatic tone of colour – yellow, orange, pink or green. The other side of the floor plate houses the cafeteria – a large open volume with

a definite style of its own. The more intimate and cozy environment is achieved through the extensive use of black and white, and varying shades and textures of wood. The wooden floor and ceiling sandwich the dense space, which is lightened by the use of white furniture, a splash of orange paint and large downlights recessed in the ceiling. Modules of the hexagonal pattern are removed, only to be


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project / technology centre, pune

The client’s brief called for, “the facility to be ‘wow’, one that would break away from their close office culture to a more collaborative environment.”

fitted with the luminaires that form pools of light over the table settings. The recreation area tucked neatly at one end of the third floor has a distinct flavor to it. The exposed ceiling with exaggerated HVAC ducts, coloured grids, and surface mounted downlights reflect an industrial and casual look. One edge of the elongated room is lined with stepped seating and is illuminated with ceiling recessed spotlights overhead, while the other edge is dotted with colourful poufs that add to the lenient ambience. Graphic walls in a plethora of colours, and multifarious leisure activities give this space a much-deserved popularity.


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Daylight played a critical role in the larger design scheme for both the floors. In an attempt to maximize natural light and encourage deeper infiltration, the working areas are kept open and free of tall partitions. Enclosed cabins, meeting rooms and services are huddled close to the building cores and are bound by glass partitions for visual connections. Easily controlled roller blinds are provided to cut unwanted glare, yet allow a diffused glow within the space. Edifice delivers an unusual design for a Technology Centre, moving away from closecabined workstations and a typically dreary or scathingly sterile design language, to a stimulating and energetic ecosystem that facilitates interaction and encourages an interface between the employees, their leadership and the built environment. It is now up to the client to declare if the infrastructure is truly ‘wow’. www.edifice.co.in

PROJECT DETAILS Technology Centre, Pune Client: An international company in the Oil and Gas sector Architect: Edifice Consultants Pvt. Ltd. Project Team: Prashant Sawant, Gomati Balachandran, Mahesh Hirpara, Dakshayani Sheth, Prasad Mayekar

LIGHTING SPECIFIED Lance: TechZ LED, recessed linear, 38W Lance: Rhea Round, surface downlight, 15W Lance: Mirella, recessed, 15W Lance: Thera Round, recessed Lance: Eva T5, 18W Lance: LED Strips Lance: Clarius onfo pendant, 40W Lance: Linear Box pendant, 38W Lance: Aureola suspension, 50W Lighting Supplier: Lance


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project / ministry of new, mumbai

Pics: Neville Sukha


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SOMETHING OLD… SOMETHING NEW… Much like many homes in tropical countries, Ministry of New depends solely on natural light during the day. Marlies Bloemendaal and Natascha Chadha, owners as well as curators of this new hub for start-ups, talk to Devyani Jayakar about their design for this space. How blessed can any office be? In a space drenched with natural light throughout the day, courtesy its atrium, artificial light is used only after sunset. Built around this core, the rooms which make up Ministry of New cover an ample 8,000 sq. ft. The architectural language includes iron columns, teakwood roof beams and a broad corridor which has diffused light streaming in through the atrium, functioning in the tried and tested method of traditional structures which look inwards. With the bounty of free light, most of the light fittings are decorative, chosen for the style statement they make. Overlooking the trees outside, large windows wrap all around the space, so there is 360° light. Located on the third floor, the office also has super high ceilings. Creative conception, vision, decision making and styling was purely by Bloemendaal, with help from Shonan Trehan of LAB, who did all the technical design and execution. Creating a balance between work and socialising, Marlies Bloemendaal and Natascha Chadha, both Dutch nationals, have put together a flexible space, suitable for multiple people. Individual pockets which function independently, are nevertheless part of a whole. This is a

design-inspired collaborative workspace for independent professionals and small teams looking to be part of an international community – a new hub for start-ups, or even anchoring a TV show and hosting small events. “Our members include creative freelancers, coaches, consultants, startups, expatriates, NRIs, digital nomads, small teams, and corporate teams,” says Bloemendaal. Set in a creative environment, the studio offers desk space with all the latest IT needs. Ministry of New is at once welcoming, professional, collaborative, creative and relaxed. Due to the women’s backgrounds, the space has an international feel, while still respecting the heritage of local Bombay. Recently renovated, Kitab Mahal is the 100 year old brick building in which Ministry of New is housed. Respecting the history of the building, the duo have retained the old doors and shutters. The space is as basic and flexible as possible. “None of the furniture is fixed. We can move things around and play with the spaces,” says Bloemendaal. Since the building used to house the offices of a number of book wholesalers, only a few of which remain, Bloemendaal and Chadha decided to weave this thought

through their design. At the reception itself, a display of open books under the counter is an eye-catching portent of things to come. Standing on their spines, cheek by jowl, they create a meaningful installation. Further inside, columns alongside the atrium sport multiple old clocks. “They are meant to show the time in different places,” says Bloemendaal. “Places like Honolulu and Timbuktu, which recall relaxation and dreaming.” “Artist Lekha Washington of Ajji is a friend. When she asked how she could be of help, I told her to ‘send me the moon’.” Of course, the private joke was that Bloemendaal as well as Washington were in on the pun. The latter, known for her delight in creating what she calls ‘odd products’, had designed a limited edition chair called ‘The Moon Dot’, which she promptly sent over. “A big round chair fixed to the wall, it is now a favourite spot for selfies,” Bloemendaal laughs. An eye-catching, serendipitously conceived art installation which doubles as lighting are the book lights. Bloemendaal readily confesses to being inspired by a picture on Pinterest. Multiple electrical cords of different lengths suspended from the ceiling terminate in inverted half-open


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project / ministry of new, mumbai

books, inside which are snuggled light bulbs. Carrying forward the imagery of books, a happy connection is made between books and light on the physical level, extended forward to knowledge and learning on the metaphorical one. “I wanted to bring the books back to Kitab Mahal, so it could be part of the building again. The slanting roof works perfectly for this. We had to source hardcover books with linen covers, but for some reason, the most easily available ones which fit the physical requirement were Bibles…we didn’t use those, though,” recalls Bloemendaal.

Each of the rooms, which vary in size, has been given a name. The 2,200 sq. ft. Gallery, which accommodates about 40 people, is the main workspace. It is filled with large communal tables, office chairs and a daybed. There are four separate offices or team rooms, playfully dubbed The Park, The Hill, The Bay and The Beach, that can each house a maximum of eight people. The Chapel, with a high ceiling and low seating is a smaller brainstorm salon, which can be rented by the hour. For people who work alone and work best in silence, there is The Barn, which has 12 individual desks. There are three meeting rooms

that can be rented on an hourly basis even by non-members. The board room has an arresting chandelier by Washington and also offers a TV, a projector and conferencing facilities. The Library has an old green chandelier from Chor Bazaar. Shelving for the books is derived from the idea of a library ladder, with loose planks serving as shelves. A sort of ‘living room’, it is stocked with books and board games and a natural wood swing. “The Light room has multi-coloured paper lights by a Dutch designer Pepe Heycoop of Tiny Miracles, beautifully handcrafted by Indian women. They are


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stitched together, not stuck, and come in a flat packaging, great for gifting,” says Bloemendaal. “Farzin Adenwalla of Bombay Atelier collaborated with us to create the Crow Chair that sits in the library and also designed the Sufi light in the Chapel room. There is a collection of Gunjan Gupta of Studio Wrap’s Gadda Daybed and Gadda Day Chairs, a hand painted mural in the café by Deborah di Fiori of Modest Genius Design and antique Jaipur rugs. There is work by photographer Fabien Charuau and other artists represented by Chatterjee and Lal,” says Bloemendaal. “Quite a bit of the art is in your face, but with the restful blues and greens used elsewhere, there is a balance.” Catering to the growing number of freelancers and start-ups who need a place to nest in initially, Bloemendaal calls this space “Ministry of New, your professional oasis.” www.ministryofnew.in


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project / Square Inc. Headquarters, San Francisco, USA

IT’S HIP TO BE SQUARE Square Inc.’s new headquarters in San Francisco began as a vast blank canvas. With help from architects Bohlin Cywinski Jackson and Banks/Ramos Architectural Lighting Design, a community feel and maximum daylight exposure was achieved.


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Top The elegant boulevard is lined with floating cabana retreats. Bottom The floating lobby ceiling is emphasised by T5-fluorescent cove lights.

Square Inc. started with the simple idea that every business should have access to the same tools that larger businesses do. A mobile payments company, Square Inc. is dedicated to adding new, innovative ways to simplify and streamline the world of commerce through its Square Register product. For its new headquarters on Market St., San Francisco, the idea was simple; despite covering 175,000 sq. ft. and spanning the length of an entire city block, the space needed to feel hospitable yet consider company growth and expansion. Architects Bohlin Cywinski Jackson were asked to create an office interior that echoes the company’s core values of modern and functional design. Lighting designed by Claudio Ramos, Hiram Banks, Erin Sudderth and Matthew Landl of Banks|Ramos Architectural Lighting Design works to determine way finding and helps to define communities within the expansive space, while providing the feeling of daylight throughout the floor plate. It was imperative to the client that all of


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project / Square Inc. Headquarters, San Francisco, USA

Diagram: Daylight penetrates halfway throughout open-offices, uniformly triggering daylight sensors. Daylight harvesting reduces electric lighting consumption down to 65% in open-office areas when daylight is at its brightest.

the design team comply with LEED Gold level certification requirements. With this in mind, only high efficacy lighting sources were specified, ensuring a sustainable design that minimised energy and maintenance costs. Starting in the welcome lobby and reception area, line voltage track lighting featuring current-limiters is seamlessly integrated into the stretched acousticalfabric ceiling. Amerlux Lighting’s Hornet LED 15W adjustable accents highlight the space while quietly providing task lighting at the reception desk; and custom detailed T5-flourescent cove-lights emphasise the architecture’s floating ceiling. Adjacent to the reception and lobby is an expansive lounge area featuring Vibia Vol decorative pendants to provide human scale to the large lounge area. Moving through to the main office space, which consumes more than 100,000 sq. ft. (large enough to cover two football fields), stringent California energy-codes and the desire to be green resulted in a lighting power density (LPD) of 0.64 W/SF. Daylight penetrates halfway throughout open-offices, uniformly triggering daylight sensors, while daylight harvesting reduces electric lighting consumption down to 65% in the open-office areas when the daylight is at its brightest. Asymmetrical distribution of linear fluorescent Peerless Lightedge indirect pendants are mounted adjacent to structural beams in the main office; the high-efficiency goals led to two 28W T5lamps also being specified in cross-section - bi-level switched for daylight control. The shelf-like fixtures are 24 ft. on-centre, and disappear into the expansive office spaces. As well as this, two T5-flourescent asymmetrical uplights adjacent to the structural beams are bi-level switched and controlled by photo-sensors to regulate the power consumption during the daytime. As you move down the building, custom designed 12 ft. LED linear, suspended, Vode Lighting pendants - spaced 10 ft. apart,


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Top Vol decorative pendants are featured in the lounge area. Bottom Team rooms are emphasised with Pinnacle Lighting.

on-centre with dimmable 3500K LEDs march down the 500 ft. building axis, defining the boulevard with elegant cadence. These linear suspended pendants use low-output LEDs to reduce unnecessary brightness and glare, while limiting the power density. Fixtures are spaced and dimmed to provide adequate and uniform light levels along the entire boulevard. Floating cabanas, wrapped in fabric panels with linear LED slot detailing from Aion’s 8024 LED Series line the boulevard creating a softly illuminated retreat for employees. The central boulevard also works to link open office areas with break out spaces, such as the coffee place. Daylight flows through the windows in the space, transitioning into even illumination deep within the building footprint thanks to the indirect pendants, asymmetrically distributed in each openoffice bay.


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project / Square Inc. Headquarters, San Francisco, USA

Square Inc.’s headquarters also feature transparent glass cube team rooms that are emphasised with staggered TF-fluorescent lensed linear light from Pinnacle Lighting. Additionally, small aperture 19W LED recessed accent lights from Tech Lighting work to increase light levels, while providing additional layers and control / scene options. The team rooms are also equipped with occupancy sensors for energy savings and adhere to Title 24 Californian energy compliance standards. Artwork is featured throughout and is illuminated with linear LED pendants from Litelab. The pendants, which are also used to illuminate company signage, continue seamlessly through floating wood ceiling slats that double up to conceal suspended lighting tracks. Featured in the tracks are adjustable LED retrofit MR16 7W lamps from Litelab’s Jewelers Collection, focused so that they illuminate the art and signage appropriately. As you move upstairs, an employee dining space can be found – doubling up as a space for weekly meetings, with layers of lighting providing flexibility for the task at hand. Pinnacle Lighting Edge Series fluorescent pendents feature, along with recessed T5


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Top Upstairs, in the employee dining space and servery a floating wood ceiling is featured. Layers of light provide flexibility for the servery. Bottom artwork and company signage is lit with linear LED pendants from Litelab.

linear fluorescent cove lights to provide an internal glow to the space. In the wooden banquet spaces, linear LED uplights and a recessed 19W Tech Lighting LED downlight at each table bring detail to the space. Servicing the dining room is a full commercial kitchen and servery. The space is illuminated with 12 ft. linear fluorescent Pinnacle Lighting pendants and continuous tracks using 16W, warm-white 3000K LED track heads detailed within the floating wood ceiling. Recessed high output 33W lensed, square aperture, LED downlights from USAI Lighting provide required light levels for food service. Overall, the energy efficient building system and sustainable operations make Square Inc.’s headquarters one of the most environmentally friendly office spaces in the US. www.bcj.com www.banksramos.com

PROJECT DETAILS Square Inc. Headquarters, San Francisco, USA Architect: Bohlin Cywinski Jackson Lighting Design: Banks | Ramos Architectural Lighting Design

LIGHTING SPECIFIED Aion LED 8024 Series linear striplights Aion LED 4024 Series linear striplights Amerlux Lighting Hornet High Power LED track heads Artemide Tagora 80 Suspension pendants Birchwood Ashley linear fluorescent cove lights Delray Lighting ST4 Series linear T5 pendants Focal Point Infinite 3 recessed linear slot lights Ledalite Shine recessed T5 lights Ledalite Chopstick indirect fluorescent wall mounts Ledalite Chopstick linear pendants Lightolier Lytespan Alcyon Series LED track heads Lightolier Alcyon Mini Cylinder track heads Lightolier Basic Lytespan tracks Litelab Museum Collection LED track heads Litelab BusRun Busway linear pendant tracks Litelab BusRun recess mounted tracks Litelab Jewelers Collection track heads with LED MR16 lamps Mark Lighting BiFocal Series flouorescent slots Peerless Lightedge linear fluorescents Pinnacle Lighting Edge 2A Series wall T5 linear slots Pinnacle Lighting Edge 4A recessed linear slot lights Pinnacle Lighting Edge E4SA Series recessed slot lights Pinnacle Lighting Edge EX4S Series linear T5 pendants Pinnacle Lighting Edge EX2 lineaer fluorescent pendants Prudential Snap linear pendant mount striplights Tech Lighting Element recessed LED downlights USAI Lighting BeveLED 2.0 recessed square LED downlights Vibia Lighting Vol decorative pendants Vode Lighting Race Rail LED linear suspended fixtures Vode Lighting Double Box linear LED up /downlights Vode Lighting Wing Rail System fluorescent lights


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project / Liquid Campaign Office, Gurugram

A CONSTRUCTIVE PROCESS Architectural studio Ultraconfidentiel gets ultra chic; delivers a construction site for an office, for the daring advertising agency, Liquid Campaign.

Pics: Amaury Watine

When the German advertising agency, Liquid Campaign, known for their work with iconic brands such as Lufthansa and BMW, decided to set shop in India, they chose an office on the 14th Floor of a Cyber City building in Gurugam. Overlooking the ongoing metro construction, they turned to the architects team of Ultraconfidentiel to design their office concept just like that! The project brief was this: “You see what is going on down there, we want that inside our office.” With a low budget but high standards in tow Ultraconfidentiel took flight to sourcing a multitude of construction material. Metal slotted sections were transformed into legs of tables, fixed with castors and topped with sheets of extra clear toughened glass to make workstations. Wooden pallet boxes were stacked and strapped to compose of

partitions and shelving. Circular concrete slabs were piled to build coffee tables. And petrol drums clustered together marked casual breakout spaces. With floor to ceiling glazing on one end of the elongated office, the volume is inundated with daylight. Celebrating the natural source and taking advantage of expansive Gurugram vistas, a casual lounge area claims its space near the large windows. The other corner is occupied by a sizeable glass box that encloses a meeting room. This is interestingly intersected by a smaller glass box tilted ever so slightly towards the façade housing the senior leadership. Transparent partitions facilitate a deeper penetration of daylight into the space, reducing the requirement for complex illumination systems. The lighting scheme follows a simple grid

on the ceiling, drawn out in black metallic cable trays that carry in them all the electrical wiring. Wherever required, a wire is pulled through the tray to provide for a workstation below. The rudimentary set up allows for absolute flexibility. These troughs are further studded with a series of locally sourced downlights. Meant for recessed applications, the fixtures are installed against the metal tray in reflection of ‘work-in-progress’, reinforcing the ‘construction site’ theme of the office. While the downlights provide ample ambient light in the open office, each workstation holds a table lamp that caters to the individual preferences of the staff. Sprinkled across the office, one finds peculiar miniature gas cylinders painted white or black matte, fitted with a lamp that precariously pokes out of the top.


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“We would not have able to do this with anyone else. It was possible only because the client was a creative devil himself from an advertising agency.” These customized lamps were derived from the ingenuity of local vegetable vendors that use them to illuminate goods on their carts. Originally made to be run on gas, the bespoke version in the office houses an LED fixture. Ultraconfidentiel confesses to having enjoyed the project and being given the opportunity to dig deeper into their caves of creativity. “We would not have able to do this with anyone else. It was possible only because the client was a creative devil himself from an advertising agency.” www.ultraconfidentiel.com

PROJECT DETAILS Liquid Campaign Office, Gurugram Client: Liquid Campaign Architect: Ultraconfidentiel Project Team: Amaury Watine, Simon Gasquet


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project / Pegasystems Worldwide Corporate Office, Hyderabad

HOW MANY WAYS…? Celebrating the city of Hyderabad in all its incarnations, the design of DSP Design Associates for the Pegasystems office is a riot of graphics and colour. Laying out the history of the city within the walls of this office for software development has been an intensely detailed exercise, as Devyani Jayakar finds out.

Pics: Prashant Bhat and Mani Iyer

“How do I love thee? Let me count the ways.” DSP Design Associates appear to have taken a cue from Elizabeth Barrett Browning’s memorable lines. In how many ways can the city of Hyderabad be visually recalled? Evidently, many. The office of Pegasystems Worldwide India Pvt. Ltd. explores all the imagery associated with the city, historical and contemporary – with everything in between as well. The brief called for some fun to be mixed in with the hard work that is accomplished there. “We want people to be able to come and have fun and create great software. That is the fundamental thing,” said Suman Reddy, MD, Pega India. In the

sedate business of creating software programmes, the design of this space is everything one would not expect. The 170,000 sq. ft. facility spread over three floors enables the large colour palette to saturate the spaces with abandon. Each floor plate is 56,000 sq. ft., making the spaces rather expansive. Going all out, throwing in the colour and the bold patterns, this is an unapologetic example of how the incompatible can be put together. “The reception showcases the global image of Pegasystems,” says Geetika Jain of DSP Design Associates. “The flavour of Hyderabad and its local culture has been tied in to the history of Pegasystems through graphics.”

In the waiting lounge, local monuments such as Charminar, Jama Masjid, and Falaknuma Palace are easily recognisable in their graphic representations on the red wall. The dark striated ceiling is dotted with strategically placed downlights that fill the volume with ambient illumination, while decorative pendants celebrate variegated seating arrangements. Wall washers highlight the wall, while multiple other decorative pendants with metallic jalis hang from the ceiling. “The design of the jalis was derived from the motifs in historical monuments,” says Jain. “The quintessential ‘chirag’, ‘jhaal’ and ‘fanoos’ of Royal Nizami architecture are redesigned


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to arrive at their modern interpretations, to fit in the contemporary office interiors.” Close to the reception is the HR holding area, where hiring sessions are conducted. A high table makes it convenient for applicants to fill up forms, the customised pendant lights above bearing motifs derived from Kalamkari. (An ancient Indian art, Kalamkari includes both, printing and painting. Masulipatnam, one of the regions in which it is practiced, is close to Hyderabad.) A semi-circular sofa faces a TV which runs informational videos about the company. The Kalamkari imagery is repeated in a large “Tree of Life” motif on the wall of a

Collaboration Hub. The Work Café recalls Laad Bazaar, a very old market popular for bangles, in operation since the time of the Qutb Shahis and the Nizams. An installation of bangles, beads and laces replicates the riotously colourful wares for sale on the streets of the market. Colourful suspended lights hang from the black ceiling, their pattern derived from the jalis of Mughal monuments. The Cafeteria has large swathes of green and orange in the seating. A few booths recall diners in a hotel, while the ubiquitous suspended lights bear Kalamkari motifs. Cove lights echo the footprint of the serving counters, making their location identifiable

even from a distance. The ceiling is a combination of baffle and grid, mirroring the seating and walkways below, while the tiles on the floors are customised to include a typical Indo-Islamic mosaic. A long yellow wall on one side has graphics representing famous monuments – but this time the geographical location has been expanded to cover all of India. “This wall often forms the backdrop for video-conferencing with international clients, or other branches of Pegasystems. Since the café seats 500 people, it is also the ideal place for ‘all hands meetings,’ or for the MD to address the staff. The furniture used in this space is all movable and stackable, which allows it


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project / Pegasystems Worldwide Corporate Office, Hyderabad

to double as the ‘town hall’ meeting room for the entire team,” says Jain. “We have been careful to see that the lights for the yellow backdrop don’t affect the speaker. Yet, the graphics are visible and recognisable on the screen during vide0conferencing.” The Games Room has imagery of games from rural India, although tables for pool and table tennis occupy the floor. An installation of wooden spinning tops forms the Pegasystems logo on one wall, apparent only on closer scrutiny. Kabaddi, the contact sport which originated in ancient India is also recalled. A message on the wall which reads “Keep your feet on the ground,” is not only one of the rules of this game, but doubles as an inspirational quote for the staff, even as it reinforces the team spirit. Now, to the actual work spaces. “A typical Pega project’s team works in a group of 10 or 12 people. This number has been a thumb rule in designing the layout and ensuring optimum utilisation of the space,” says Jain. The cabins are functional, with recessed lights and a bright pop of colour on the rear wall. A frosted paisley motif on the glass of the cabins runs through the


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office. Linear LED lights form the spine of the workstations, providing a uniform, diffused glow without any glare or sharp shadows. The workstation screens can be slid and removed for quick cross table collaborations. “To get optimal daylight benefits, the layout and spacing of the open office is carefully

designed to harvest maximum natural light. White blinds are provided at all the windows to prevent any harsh glare and can be adjusted according to the sunlight incident on the glazing. This allows the user to optimise the sunlight infiltration into the office space. Daylight sensors along the periphery of the glazing controls the

artificial light intensity, based on day light,” says Jain. Echoing the path of the walkways, down lights studded in the gypsum ceiling give a sense of direction. Meeting rooms get their names from gemstones, also associated with Hyderabad. Signage denoting ‘Ruby’, ‘Diamond’ and ‘Sapphire’ seems perfectly


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project / Pegasystems Worldwide Corporate Office, Hyderabad

“The design undercurrent of the facility is inspired from the rich account of the Nizami era and culture. Traditional arts, local culture, kalamkari motifs, images and icons of Indian and Hyderabadi architecture weave the concept together.� - Geetika Jain, DSP


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at home. “One meeting room is unavoidably sandwiched between work stations, so we had to pay special attention to the acoustics, ensuring that sound doesn’t carry and cause a disturbance. A partial visual barrier aids in minimising distraction,” says Jain. “The client wanted a vibrant space which truly reflected Hyderabad. People here are very comfortable with the use of colour,” says Jain. “The design undercurrent of the facility is inspired from the rich account of the Nizami era and culture. Traditional arts, local culture, kalamkari motifs, images and icons of Indian and Hyderabadi architecture weave the concept together,” says Jain. Whether it is Golconda Fort or

Chowmahalla Palace, all have found a place in this office. A meticulous exercise has been undertaken in exhausting all the associations with Hyderabad and then representing them in many ways. Graphics of Indian fabrics, kites, red brick cladding – all add up to an old street charm reminiscent of the alleys of Hyderabad. Through repetition, a theme has been established, registering in the design details such as Kalamkari or monuments, found in various places in the design. If it is true that design should have a strong connection to its physical location, reminders of the city which this office is situated in, are abundant. www.dspdesign.co.in

PROJECT DETAILS Pegasystems Worldwide Corporate Office, Hyderabad Client: Pegasystems Worldwide India Pvt. Ltd. Architect: DSP Design Associates Pvt. Ltd. Project Team: Geetika Jain, Payal Sandhu Khurana, Basanthi Kori Project Management: Cushman and Wakefield, Riya Varghese & Team

LIGHTING SPECIFIED WIPRO: LED light systems Beyond: Bespoke Hyderabadi pendant lights


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project / Karma Management, Mumbai

Pics: Sebastian Zachariah + Ira Gosalia


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A BOX WITHIN A BOX Having to create an office in an industrial shed with almost no natural light, DIG Architects have broken the rules in their unconventional layout of the internal spaces. Devyani Jayakar examines the quality of light in this “design intense� space.


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project / Karma Management, Mumbai

An old industrial shed. Almost no natural light. No possibility of creating windows. Several beams running across the ceiling. So this site had cavernous proportions, accompanied by the amount of light one would expect in a cave. Are these enough problems already? But the client wanted an office in this space, for his business of management consultancy, read compliance, audits and managing pay rolls. Moreover, the space had to be design savvy since there were to be many clients from overseas, who would be appreciative of good design. The only advantage on this side of the fence was that the frontage on the ground floor had a considerable presence, since it was visible from the street. We know that light has an undisputed effect on people and spaces, affecting their mood and productivity, amongst other things. What would any architect do to fulfill the first requirement of bringing light into a space such as this? Locate the most important areas at the front, where there was a vestige of natural light and relegate everything else to the rear, using the crutch of artificial light? What Advait Potnis of DIG Architects did, was to turn expected solutions on their head. “We created a ‘box within a box.’ Since the space was so challenging, we had to resort to unconventional ideas.

We placed a 1.5 m corridor on the outer edge of the space for circulation, with all the work areas within being accessed from this corridor,” he says. Enforcing a circumambulatory approach, the inner spaces are revealed gradually. Even the reception is approached after negotiating a bend. The corridor terminates in a staircase which leads to the 2,200 sq. ft. back office at the mezzanine level, housing a series of single height cabins and meeting rooms. Not flooding the space with illumination in an attempt to compensate for the absence of natural light has created a visually comfortable space. Very few lighting products have been used, with the quality of the illumination being calm and diffused. Absent of any unpleasant glare, the space exemplifies the connection between design and lighting. Customising light fixtures in-house which were appropriate for the interior, has resulted in perfect solutions which are heavy on form, even as they ably perform their function. Since the client was a friend, Potnis was able to use design interventions which he otherwise would have been hesitant to implement. In fact, most visitors who are not aware of the nature of the business carried out here, would hazard a guess that this is the office of an architect. Why? The answer lies in excruciatingly clean lines and

a parsimonious colour palette comprising grey and white. This is not a busy, cluttered space. Everything is pared down, taking away as much as possible, in the best architectural tradition. Another element is the sophisticated use of diagonals, without ever crossing the line into excess, although the idea is pretty much carried through into various areas. Diagonals can be quite tricky, especially if used merely as an academic exercise or a gimmick. Lines which are infamous for creating energy and movement, are used here with a fine restraint, yet with the repetition of a leitmotif. This has resulted in a space which is sculpturesque in its impact, yet never restless. “It all works at an abstract level,” says Potnis modestly. The aforementioned ‘inner box’ has no natural light at all. A large customised light near the double height ceiling in the 1,700 sq. ft. front office has been designed by Potnis. Covered in Barrisol fabric, it impersonates a skylight, making a strong statement in the space. Without being yellow, it succeeds in being inviting. Its sharp diagonal lines, descending onto the wall, are echoed by the corrugated cement sheet that forms a backdrop for the sofa, its periphery glowing with concealed strip LEDs. The corrugated sheets appear in multiple places on the walls, some of them close


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to the ceiling. Adding interest with their rippled surface, they also create an illusion of the illumination at their periphery coming from the “outside.” The diagonals continue subtly onto the armrests of the sofa, the piping in its upholstery repeating the geometry. An award-winning ceiling pendant by DIG Architects carries the imagery forward, its lines reinforcing the concept of diagonals. A “triangular” window in front of the reception desk adheres to the vision, while name plates outside cabins follow the same lines, subtly supporting and completing the complex visual display. Beams, the most common problem in any design, have received short shrift here. Without much ado, they have been left in plain sight, even accentuated by being painted a dark grey to contrast with the white used on the walls and ceiling. “They appear every four metres throughout the shed and trying to conceal them by creating a false ceiling would have ruined the proportions of the space,” says Potnis. “There is a relationship between the plan and the height. We have worked very closely with the geometry of the space and used the double height effectively.” As old as time and often taken for granted, daylight is conspicuous by its absence in this space. A view of the outside, or the changing shadows which the sun casts throughout the day always brings an awareness of the passage of time. Sacrificing this, Potnis has provided as close a substitute as possible. While there is no beating free light, daylight has been simulated as much as possible without any reference to time or season. The closed nature of the space is disguised with finesse – while incorporating a drama which is ever present, adding its slick cachet to the design. DIG Architects have delivered a “design intense” space with a sophisticated aesthetic. www.digarch.net

PROJECT DETAILS Karma Management, Mumbai Architects: DIG Architects Project Team: Advait Potnis, Amit Khanolkar, Karina Shetty, Chiraag Punjabi.

LIGHTING SPECIFIED Flos USO COVE Unicer


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project / ARCHITECT'S STUDIOS / DDIR ARCHITECTURE STUDIO, Bengaluru

DESIGNED FOR THE DESIGNER Architects are known to create for the world, but what happens when they get down to creating the world for themselves.

Pics: Tara Mcmanus, Sunain Dalwani, Dominic Dube

DDIR ARCHITECTURE STUDIO

“In the pursuit of daily existence and harmony for the quality

location Bengaluru

of our lives and those we create for others; visions for

PRINCIPAL designers Dominic Dube, Inge Rieck, Prakash M Rao

possibilities swarm the architect in his days and night…some

Number of employees 10

intentional, some stumbled upon through a force beyond our

total area 3,700 sq. ft.

knowledge. Call it intuition. Call it a channel that one opens

dominant material palette white painted walls, concrete table painted in white Duco, ply ceiling, Mangalore tiled roof.

up, anything.” - Dominic Dube

Favourite Spot The studio workspace.


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1

2

4 3

4

1. Work Studio 3. Pantry

2. Conference Room 4. Terrace

Dube stumbled upon the unoccupied structure of this apartment building and knew at once that it had, “the potential for something more than its intentional of creation.” Spread Across 2.5 levels, he divided the space in a ratio 3:2:1 | Office : Terrace + garden: Personal room + kitchenette. “It can accommodate 4 persons without looking empty and 10 without being stuffy.” The large double height sloped roof contains the studio, the lower part is meant for workstations, while the mezzanine becomes a workshop. The printing, stock room and other services are neatly tucked away from the main space. The whitened volume welcomes natural light through a few large windows on the lower floor and a series of smaller linear skylights punctured in the sloping roof. The deliberately controlled sizes of the openings allow only desirable amounts of ventilation and light, ensuring there is no glare. Large white plastered wall surfaces and a duco painted concrete table slab assist in reflecting the light to give a uniformly lit interiors. After dark, an array of LED up and down wall washers on peripheral walls give ample light within the volume. Dube shares the space with his colleagues, which he feels helps creates a sense of camaraderie and trust in the workplace, sharing the same energies and having free discussions and conversations. “The office is a spiritual place where we work in a quiet, reflective, meditative spirit with the involvement of the team and cohesive energies. The lighting design reflects this. It is quaint and merges into the space by staying simple in its form and multi-functional in nature. The LED technology serves us best; we don’t need to replace them for years.” www.ddirarchitecture.com


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project / ARCHITECT'S STUDIOS / SANJAY PURI ARCHITECTS, Mumbai

SANJAY PURI ARCHITECTS Location Mumbai PRINCIPAL designer Sanjay Puri Number of employees 72 total area 6,000 sq. ft. Dominant Material Palette A neutral palette including exposed concrete walls, polished concrete floor, raw sound insulation boards and cement boards; with elements of color and graphics that punctuate the natural material compositions. Favourite spot in the space My workspace on the 2nd floor, which enjoys an uninterrupted view of large trees.

Pics: Vinesh Gandhi

“Every part of this office has a different composition of material, form and configuration, lending each a different identity. The threestorey studio explores spatial relationships creating continuity across levels, with sculptural elements allowing for a unique feel to each space within.�


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A forty-year-old factory shed went through a total transformation to create a threestorey studio. Stripping the external walls, small windows were replaced by floor to ceiling glass overlooking impressively large trees and suffusing the interiors with daylight. Expansive cutouts were introduced in the existing floor plate to visually connect the different levels and encourage a continuity of space. This was further reinforced with a cluster of wooden mullions that rises from the entrance, folds onto the ceiling finding its way upwards to sheath the conference room, and further undulates along internal surfaces to finally embrace a large trapezoidal window on the third level. The striated lengths of wood not only extend one’s view, but also create a sense of verticality in the volume. The neutral material palette of exposed concrete, polished wood and raw boards is offset by vibrant colours and graphics across the office. While peripheral areas enjoy ample daylight brought in through variegated openings in the shell, interior spaces are illuminated with a mix of architectural and decorative fixtures that provide ambient light to the space, and accentuate focal points. Ceiling recessed downlights are used along circulation paths, whereas wall washers and spotlights highlight artworks. The functional studio space on the first floor contains suspended wooden trays that incorporate indirect lighting fixtures, while the second floor has a series of suspended task lights that enable comfortable working. Meeting and conference rooms house stylized elements, such as the custom made rectangular glass installation comprising of PVC pipes in varying diameters sandwiched between 2 glass panels, suspended from the ceiling for an added sense of spectacle. www.sanjaypuriarchitects.com


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project / ARCHITECT'S STUDIOS / MATHEW AND GHOSH ARCHITECTS, Bengaluru

MATHEW AND GHOSH ARCHITECTS location Bengaluru PRINCIPAL designerS Nisha Mathew Ghosh, Soumitro Ghosh Number of employees 10 total area 1500 sq. ft. dominant material palette Form finished concrete, white painted structural metal, plastered and white painted masonry walls, smooth grey cement flooring, white painted gypsum false ceiling. Favourite Spot My transparent cabin at the head of the studio is a place for personal time at work as well as discussions with consultants and clients. The middle of the studio is where I work and discuss with my team.

Pics: Courtesy Mathew & Ghosh Architects

“Natural light is the most mood enhancing way of embellishing a space for psychological comfort.”


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The tubular structure sitting atop the architect couple’s house is a sculptural form, bleached of all colour. The robust construction in exposed concrete, and structural metal is juxtaposed against white plastered masonry walls and smooth grey cement floors. Natural light has been more of an obsession than a function for Ghosh, who makes the most of it in smart and sensitive ways for aesthetic and physical structuring of space. “Natural light is the most mood enhancing way of embellishing a space for psychological comfort,” he says. The elongated work space is inundated with daylight, as it sits below a long slit in the metal clad roof sheeting. The volume is capped on one end with large windows that are screened with bamboo blinds filtering a uniform glow into the space. The other end that houses Ghosh’ cabin, is enclosed behind a glass partition that allows uninterrupted views to the rear wall, grazed delicately with another narrow skylight. Strategically placed windows allow the protracted workspace to be lit in interesting pools of natural light through the day. Cloudy days and cool evenings are illuminated rather coarsely, with bare compact fluorescent tubes that reinforce the rawness of the studio, which is seen as, “a laboratory of work and production with clarity of thought and action. And hence the directness of the artificial part of the lighting.” www.mathewghosh.com


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project / ARCHITECT'S STUDIOS / HIVE STUDIO, Gurugram

HIVE STUDIO location Gurugram PRINCIPAL designerS Vikrant Sharma, Gaurav Dewan Number of employees 08 LIGHTING DESIGN Design Matrix total area 1,200 sq. ft. dominant material palette Textured brick wall, natural timbers, white lacquer glass, concrete floor. Favourite Spot My workstation.

Pics: S. Thiru

“The fixtures are an integral part of the architecture of the space rather than additions to the ceiling. The 8 meter suspended worktop was the heart of the space and the lighting had to become a part of its design rather than just a tool to highlight it.” - Vikrant Sharma, Hive Studio “The artificial lighting is minimal – a singular design element, that remains off for most part of the day. And because it is not required to come on during the day, it is designed such that it is a feature even when switched off.” - Nivedita Sehrawat, Design Matrix


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Envisioned as an open culture studio that breaks hierarchical norms, the long rectangular volume was split in two parts – the entrance and meeting space cordoned by a glass partition from the main work area. The studio, albeit visibly accessible, maintains its sanctity by controlled admission of staff. The large open area is composed of three prominent features a linear work top suspended from the ceiling, the reference and utility wall, and the creative wall, which houses prints of work done by Hive. “Natural light was imagined as an integral part of the architecture, where it permeates through the linearity of the space, and objects and users arranged along it,” says Sharma. The large glazed opening at the end of the studio is intentionally kept void of blinds or curtains, using film in graphic patterns on the glass to cut excess light. Worktables placed transversal to the window ensure there is no glare on computer screens; instead the volume is filled with a diffused north light that reflects off the whitened walls and lightened floor. Supplementing the ample natural light is a series of Plumen lamps suspended above the table. “The fixtures are an integral part of the architecture of the space rather than additions to the ceiling. The 8 meter suspended worktop was the heart of the space and the lighting had to become a part of its design rather than just a tool to highlight it,” adds Sharma. Lighting consultants, Design Matrix who conceptualised the illumination scheme for the studio say, “The studio enjoys a unique location advantage. The office frontage affords large glazing extending from one end to the other. With a luxurious glazing-width to office-depth ratio of 1:5, it provides ample reflected north light into the workspace. The artificial lighting therefore is minimal – a singular design element, that remains off for most part of the day. And because it is not required to come on during the day, it is designed such that it is a feature even when switched off.” www.designmatrix.in


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project / ARCHITECT'S STUDIOS / GENSLER, Bengaluru

GENSLER Location Bengaluru PRINCIPAL designerS Smita Gupta (Principal / Director of India Operations), Sanjay Gulati (Office Director), Penny Lewis (WorkFlex Studio Director), Jayanth Gopal (Technical Director) Number of employees 80 total area 10,000 sq. ft. Dominant Material Palette Concrete, glass, steel. Favourite spot in the space The entry lobby space on the 2nd floor and collaboration space behind the mini conference rooms on the 4th floor.

Pic: Madhu Gopal Rao

“What should the India location of the world’s largest design firm be? The answer is an authentic, collaborative workspace that encourages talented designers to celebrate art, design, and architecture while embracing the local community it serves.”


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Pic: Madhu Gopal Rao

Pic: Madhu Gopal Rao

Pic: Rupesh Kumar K

Pic: Madhu Gopal Rao

Built three years apart, as the design team conceptualised both phases of Gensler’s own office in Bengaluru, they posed the question, “What should the India location of the world’s largest design firm be?” Located in the heart of the city, the Gensler office occupies the second and fourth floors of a corner building with sweeping views of large trees in lush parks, as well as skyline views of retail and commercial developments that are popping up along the buzzing metro line. Upon entering the space, one is welcomed by a lone Indian oil lamp suspended in the reception lobby, a symbolic source of light and life in Indian tradition. Positioned strategically to be the first visible object one sees, it is a profound yet subtle homage to the local context. Floor-to-ceiling glass windows bathe the space in daylight, while natural concrete floors and painted concrete and metal ceilings allow authentic and everyday building materials to be celebrated. A rather restrained aesthetic provides a blank slate for further design inspirations, while vibrant pops of colour are used strategically as brand beacons. A red ceiling accented with a three-dimensional logo establishes its presence both within the office as well as from the streetscape below. On both office levels, informal discussion tables placed under a series of decorative pendant lights are provided to encourage dynamic interaction and collaboration. Concrete worktables on casters in open areas serve double-duty, providing for quick changes between vendor meetings, sample and finish material reviews, and in-house training sessions. Spotlights mounted on tracks line the periphery of expansive pin-up boards on both floors, which allow for easy adjustment of lighting for both design work in progress, as well as rotational exhibits showcasing artwork from the local community. www.gensler.com


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project / ARCHITECT'S STUDIOS / DSP DESIGN ASSOCIATES PVT. LTD., Mumbai

DSP DESIGN ASSOCIATES PVT. LTD. location Mumbai PRINCIPAL designers Yatin Patel, Mehul Shah, Bimal Desai Number of employees 80 total area 5,500 sq. ft. dominant material palette Giallo Realle granite, Travertine marble, suede finish natural fibre wallpapers, wooden flooring Favourite Spot The lounge.

Pics: Sebastian Zachariah

“Ambient lighting control in the executive lounge can change the environment from that of a serious business discussion to a cricket theatre for the entire DSP Mumbai team – lending the space versatility.”


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The design brief for the office given by the principal architects and partners of DSP to their in-house design architect, Poonam Kulshreshtha was to, “make the office space elegant, spacious, functional and minimalist. Accommodating the growing strength of the team, the space needs to be fit for a firm with a rapidly growing footprint in the industry.� The single level office is designed in a manner that one section houses an open plan workspace, while the other comprises of enclosed cabins and rooms. Glazed northern, eastern and southern facades offer a striking vista of the Mumbai skyline and Nehru Planetarium gardens, while enveloping the volume in an abundance of natural light through the day. Given that most of the staff work extensively on computers, individually operated blinds allow for them to control the influx of light and determine a level of comfort needed for long hours of screen work. The studio is supplemented with a series of ceiling recessed LED panels fitted with sensors that control light levels as per daylight penetration, which ensure a smooth transition between day and night. The services and meeting rooms located in the centre of the floor plate form a visual separation in the spatial planning. With a considerable collection of art on display, the pieces require deliberate care, yet the space demands a flexibility in its use. Thus, while ceiling recessed downlights provide ambient illumination, strategically placed decorative lamps create interesting focal points. The Directors' offices, meeting rooms and executive lounge are studded with a thoughtful selection of designed luminaires that compliment the stylish interiors. On the other hand, the reception area draws people into the space by highlighting the highly textured granite wall, grazed from spotlights above. www.dspdesign.co.in


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project / ARCHITECT'S STUDIOS / MUSE LAB DESIGN ENGINE, Mumbai

MUSE LAB DESIGN ENGINE location Mumbai PRINCIPAL designerS Huzefa Rangwala, Jasem Pirani Number of employees 06 total area 320 sq. ft. dominant material palette Birch ply with a matte waterbased PU polish, white sandstone texture on walls, MS panels on the faรงade. Favourite spot in the space By the entrance and stairway, where the reflected light and shadow patterns play out through the day.

Pics: Sameer Tawde


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“The quality of light, shadow and reflections experienced within are surrealistic. Every now and then there is an element of surprise and amazement with the kind of patterns that we observe. This ambient light helps us stay inspired and fuels our thought process.”

The compact design studio is located on the ground floor of a fairly busy industrial estate, which demanded a considered thought to safety concerns. This was resolved in a fun approach by replacing the traditional jali with MS panels. The sheets were perforated with openings of varying types; punched, hinged and pivoted. Strategically placed, the openings filter the afternoon light and create a fascinating play of light and shadow within. “Light plays the role of the fourth dimension within this space. The way the natural light is choreographed and articulated by the means of the façade, it creates an everchanging visual performance through the day. Also the light reflections shift through the summer and winter days across the floor and the walls. Any vehicular movement outside further reflects light within the space and allows reflected light and shadow patterns to ebb and flow within.” Inside, the volume is split into two - four workstations, a discussion table and pantry on the ground level, and another four workstations on the mezzanine. Tables made of birch ply tops and old Burma teak legs are complimented by cabinets and a book / material library made in the same material and employing a similar design language. While each workspace is fitted with an individually controlled LED task light, the ambient illumination is achieved through the controlled influx of daylight from the façade. “The facade here plays the mediator and helps choreograph the light.” The perforated jali was the perfect answer to cutting glare, providing privacy, as well as restraining natural light in the space. www.muselab.in


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analysis - office lighting

LIGHT FOR WORK Ezzat Baroudi, a recognised professional with extensive experience in lighting design elucidates on the fundamental principles of office lighting. With expert skills in lighting calculations and rendering softwares, Baroudi demonstrates multifarious settings and analyses their effect in the space. Most office workers spend a lot of their time in offices; if we exclude sleeping hours, perhaps they spend more time in their offices than their homes. Good lighting design for the work area should help create a good and healthy environment for office workers, not only regarding visual aspects such as the amount of light and visual comfort, but also including visual attraction in the space would help create a friendly environment for the workers. International standards help designers and planners with recommendations to achieve minimum levels of visual performance and visual comfort within the work environment. However, it should be noted that an attractive design is not necessarily achieved by only fulfilling these important requirements. This article addresses the EN 12464-1:2011 which covers the requirements of lighting for offices. It also includes an investigation carried out by the German Institute for Applied Lighting technology, DIAL, about the best lighting scenes for offices. EN 12464-1: “The Lighting of Workplaces� This European standard is about the quality aspects of lighting workstations and their direct environment. It also has tables with lighting requirements in accordance with the type of work and the visual task. 1. Working Plane The height of a working plane in an office area is considered to be 0.75m - 0.8 from the floor level, which is the standard height of a table.

2. Task Area The task defines the size of the working plane for calculations inside a space and could have one of the following situations: A. If the location of the workstation is not known during the design stage then the whole room will be taken as a task area. The wall zone of 0.5m could be ignored if the workstation is not placed near wall. The wall zone will not be taken into consideration for the average value of Lux or uniformity.

A

B. If the location of the workstation is not known during the design stage and there is a possibility to place the work station near the wall then the whole room will be taken as a task area. C. If the location of the workstation is known then the task area is above the desk, typically 1.8m x 1.8m (the blue area in the diagram), the minimum dimensions of an office desk are 1.6m x 0.8m. The surrounding area is an area around the task area with a distance of 0.5m from all sides (the purple area in the diagram). The background area is the area of the other space and should be at least 3.0m wide.

B

C

Interior type, task or activity

Em (lx)

UGRL

Uo

Ra

Filing, copying etc.

300

19

0.4

80

Writing, typing, reading, data processing

500

19

0.6

80

Technical drawing

750

16

0.7

80

CAD work stations

500

19

0.6

80

Conference and meeting rooms

500

19

0.6

80

Reception desk

300

22

0.6

80

Archives

200

25

0.4

80

Lighting requirements for office area The table above has the regiments of different office spaces where: E m is the Minimum Illuminance in lux UGR L is maximum limit for Unified Glare Rating Uo is the uniformity of lighting (Emin / Eaverage) Ra is the minimum color rendering of the lamp The requirement of E m (minimum illuminance value In lux) can be taken from the table.


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Example of office area where the requirement is 500 lux for data processing: 500 Lux for the Task Area 300 Lux for the Surrounding area 100 Lux for the Background area The Uo for the task area should be 0.6, which means that the minimum value should not be less than 60% of the average value. Example - if the achieved average value is 520 Lux, then the minimum should not be less than 312 Lux. The UGR is an approximate model that expresses the chance of direct glare by a luminaire; the higher the figure, the greater the chance of glare. Example - an office area where the requirement of the UGR limit is 19 then value should not exceed 19; it could be lower or equal 19. Luminaire Luminance The standard sets new values for the maximum luminance of luminaires as shown in the below table 2:

surfaces and the illuminance on them. To avoid gloom, raise adaptation levels and enhance visual comfort, room surfaces should be bright. Wall washing is a good technique to ensure bight walls and achieve visual comfort.

Table 4 of EN 12464-1 gives the limits of the average luminaire luminance at elevation angles of 65° and above from the downward vertical, and radially around the luminaires. For work stations where display screens which are vertical or inclined, up to 15° tilt angles are used.

Vertical Surfaces, Vertical Task Area Shelving systems and cabinets need to be regarded as vertical task areas if visual tasks need to be performed there over an extended period of time (e.g. ticket-issuing or bookkeeping). The vertical task area reference surface starts at 0.5m above floor level and, in the case of an office shelving system, ends 2.0m above floor level.

Nowadays most if not all computer screens have high luminance so we can neglect the right column and use the left one, where in Case A, the luminaire luminance has to be less than 3000 cd/m2 at elevation angles of 65° of the luminaire.

Illuminance For Walls And Ceilings One new requirement in EN 12464-1 is balanced luminance distribution. This is achieved by taking account of the luminance of all surfaces, which is determined by the reflectance of the

Modeling And Cylindrical Illuminance Ēz Modeling is a good yardstick for 3D perception of persons and objects in a room. It expresses the balance between diffused and directional light, and is determined by the ratio of cylindrical illuminance to horizontal illuminance at a given point (normally 1.2m above floor level). As a rough guide, a value between 0.30 and 0.60 is an indicator of good modeling: faces and bodies are not too dramatically shaded or sharply illuminated, nor are they cast in a flat, dull light.

TABLE 1 Screen high state luminance

High luminance screen L > 200 cd·m-2

Medium luminance screen L ≤ 200 cd·m-2

Case A (positive polarity and normal requirements concerning color and details of the shown information, as used in office, education, etc.)

≤ 3 000 cd·m-2

≤ 1 500 cd·m-2

Case B (negative polarity and/or higher requirements concerning color and details of the shown information, as used for CAD color inspection, etc.)

≤ 1 500 cd·m-2

≤ 1 000 cd·m-2


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analysis - office lighting

The Effect of Different Lighting scenes in Office Lighting DIAL research The German Institute for Applied Lighting, DIAL carried out a research on ‘The Effect of Different Lighting Sciences in Office Lighting’. This investigation had 20 different scenes with a combination of ambient and accent lighting, as follows:

Accent lighting For the above 5 ambient lighting scenes an accent lighting scene was added. The four scenes added to the above 5 ambient lighting scenes: 1. No accent lighting at all. 2. Accent lighting on the table. 3. Accent lighting on the wall. 4. Accent lighting on the table and wall. The combination of the ambient and accent lighting scenes give a total of 20 scenes. Example - Scene 19 has ambient light achieved by of direct downlight and indirect wall-washing, with accent lighting on table and wall. The purpose of the investigation is to find out what the best lighting scene is for each one of the following criteria 1. Brightness 2. Attractiveness 3. Activation 4. Well-being

Types of ambient lighting A. Direct ambient lighting by downlighting. B. Direct/indirect lighting by suspended luminaire. C. Indirect lighting only D. Direct ambient lighting and wall-washing E. Indirect lighting by wall-washing

1

A

B

C

D

E

2

3

4

Color and Number Rating For colors: Green has the highest rating while red is the worst In numbers, 1 is the highest and 5 is the worst. Brightness For brightness, the best scene was ambient wall-wash and accent (1.93). The worst scene for brightness is only direct lighting, which is usually the most common scene you can find in an office! Attractiveness The most attractive scene was with value (2.09) - Ambient lighting (direct lighting + wall-washing), and accent on table and wall. The worst is the indirect lighting (3.81). Activation The best scenes to keep people active are two options with value of (2.32). Indirect lighting with accent lighting on table and wall, or ambient lighting (direct lighting + wall-washing) and accent on table and wall. The worst is indirect lighting. Well-being The best scene for well-being has a value of (2.23), which is ambient lighting (direct lighting + wall-washing) and accent on table and wall. The worst is indirect lighting.


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Conclusions While the results are self-explanatory, there are some important highlight 1. The most common office lighting I have experienced in many offices is direct lighting. Engineers love it! Despite the fact that direct lighting is the most cost effective and the best for energy efficiency, it is the worst for brightness perception, and the second worst for the rest of the scenes (attractiveness, activation and wellbeing). 2. Indirect lighting is the worst in 3 scenes (attractiveness, activation and well-being)! In my career I have met many interior designers and architects who think that cove lighting and hidden lighting are the best lighting! Just because we don’t see the source of light, it doesn’t make lighting more attractive! We don’t like a cloudy

atmosphere, instead we prefer a sunny day, in spite of the glare we get from the sun. With indirect lighting, we produce a shadow-less effect similar to the cloudy atmosphere! Whereas when accent lighting is added to indirect lighting, the result is dramatically changed. Adding accent lighting on the table and wall changed the indirect lighting from the worst scene for attractiveness, to be second best! Adding accent lighting on table and wall changed the indirect lighting from the worst scene for activation, to the best! Adding accent lighting on table and wall changed the indirect lighting from the worst scene for well-being, to the third level! 3. Many engineers ask for very high uniformity in all rooms! Uniformity is required only in a task area,

and adding accent lighting will change the uniformity a lot, and create a high contrast. If we want to take the best scene in DIAL results we find that ambient lighting (direct lighting + wall-washing) and accent lighting on the table and wall, is close to the best in brightness and the best in the rest of the criteria (attractiveness, activation and well-being), which makes it a very good guideline for designing an office. Of course there can’t be one rule or scene for every office every time, and there are many other factors, but it could be a good idea to consider adding wall wash and accent lighting to improve the office lighting in general. www.ezzatbaroudi.wordpress.com www.dial.de


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art & design / OUTSIDERS: ENERGY IS INSIDE, oakville, Canada

Pics: Maksim Zinchuk

CLOSE ENCOUNTER With the hunt for renewable energy being an ongoing issue, Canada-based lighting designer NARGIZA has created a performance piece that uses light, aliens and the power of colour to stress the importance of energy.


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Designed by Canada-based NARGIZA, lighting performance OUTSIDERS: ENERGY IS INSIDE was staged in Oakville, Ontario, Canada in May 2016 at three locations: Lake Ontario, Lions Valley Park and a tunnel under a highway. As we all know, one of the most urgent issues of the present day is the search for alternative energy sources that are capable of sustaining safe life on Earth. Humans have discovered, and are currently using, various existing energy sources. On the

whole, these are mineral resources from our planet as well as the power of the wind, sun and water. This performance embodies NARGIZA's imagination of how and what kind of energy inhabitants of other planets and galaxies might use to survive - how could they possibly look? How could they communicate? What powers their movement, growth, lighting, food supply etc.? NARGIZA chose the colour red to portray the essence and to visualise energy. That is why

the 'aliens' in the performance are turned red - maybe suggesting that they came from Mars as red is often associated with the planet. People often say that red is the most vibrant colour as it symbolises passionate love, power, fire and dynamics. According to the Chinese, red brings good luck, happiness and splendour. For the Native Americans it incarnates life and action. The two visiting 'aliens' draw a parallel to some sort of abstract generalisation of these beliefs. It’s as if they came to share their knowledge, experience and achievements in using various energy sources. To represent this idea visually, NARGIZA decided to make the aliens full of light. Thus reinforcing the main point that the energy is found inside of us and it is the foundation of our livelihood. The materials used in the alien's costumes include: 116 LED modules IP-SF, 5,000 red medium size zip-ties and wire (supplied by GVA Lighting). www.nargiza.net


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art & design / FLATLAND, NEW YORK, USA

ONE-STOP SHOP After temporarily hijacking the identity of Wallplay Shop in New York, USA, light art collective Nitemind created FLATLAND - an immersive installation of 2D and 3D LED sculptures coupled with live musical performances.

Pic: Joey Perugini

Pic: Erez Avissar

During April 2016, light art collective Nitemind presented FLATLAND - an evolving light installation and concept shop - at Wallplay 118 Orchard St. New York, USA, exploring the interplay of dimension and light. Showcasing minimal lighting pieces (2D and 3D LED sculptures), an immersive installation was open upstairs for the opening and closing nights only. Coupled with live musical performances, these events were scattered throughout the week it was open. Along with FLATLAND, Nitemind creates

mesmeric visual experiences of motion, light, and colour. It is a group of artists using technology and physical space to create immersive and interactive installations. Its work uses light as a medium, including laser beams, video-mapped LED and software art in combination with ephemeral sculpture and site-specific installations. Nitemind has been instrumental in the development of exhibitions at the Palais de Tokyo, Metropolitan Museum of Art, MOMA, Johannes Vogt Gallery,

Pic: Joey Perugini

Pic: Erez Avissar

Red Bull Music Academy, and many others. With thanks to artist and interactive programer Michael Potvin; artist, designer and lead fabricator Joey Perugini; creative producer and music supervisor Brian Sweeny; Shadrack Lindo for graphic design and Will Rahilly for video animation, FLATLAND was an awe-inspiring display of how dimension and light can interact to create a truly exciting event. www.nitemind.tumblr.com www.wallplay.com


7 www.pld-c.com

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

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

PLDC is a brand of the


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ART & DESIGN / musson+retallick

THE VIKING AND THE VICTORIAN With works that often incorporate an interactive use of light, sound or movement, musson+retallick's collaborative approach breeds ideas that use art as a driving force in the way we design public spaces.

musson+retallick produce large scale artwork for architectural and exterior spaces. The studio is a collaboration between artists Neil Musson and Jono Retallick who share a desire to see artistic stories woven into architecture and public spaces to enhance a sense of belonging. Their innovative installations often incorporate an interactive use of light, sound or movement to change perception of space. “We knew each other back in college days but lost touch for eighteen years after graduating,’’ Musson explains. “When we got back in touch, the work we were producing had similar themes and, despite our obvious differences, we found each other's company very agreeable.”

The duo are indeed different in character and were dubbed ‘The Viking and The Victorian’ while giving a CPD lecture at Jestico and Whiles. They cite their common interest as being the exploration of themes relating to journeys through time, emotion and landscape. The work of musson+retallick is often collaborative and never repetitive, which Jono attributes to the dialogue between client and artist: “We are interested in notions of ownership and, while steering a project, we enjoy opening elements of it for debate and consider the client and the manufacturers part of our creative team”. The studio has a wealth of experience producing artwork for both public and

private sectors, including commissions for airports, hospitals, schools, galleries, hotels and events such as the 2012 Olympics. Community and shared experiences are central themes behind the artworks and several projects have resulted in the significant rebranding of the spaces in which they exist. Retallick explains that the studio has a keen interest in the interplay between art and design: “There is an importance in creating something which answers a brief and serves a purpose whilst also having strong artistic integrity and an evolving narrative.” The Beacons series of artworks re-evaluates the notion of the gallery by creating


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Top Neil Musson, Jono Retallick This Spread 'COLONIES' - Nizza park in Frankfurt was host to 25,000 viewers of this installation addressing issues of immigration and tribes. Two colonies at different developmental stages exist within sight of each other but their relationship is intentionally unclear. The viewer is invited to move amongst the lit elements, leading to discussions about the nature of the colony. The forms in one colony radiate colour-changing light from their patterned surface while the second colony, consisting of suspended cocoons, respond with slow breathing light sequences. This project is part of musson+retallick's wider collaboration with Applelec.


Top Left Suspended in a freeze frame moment above the entrance foyer to 100% Design, London, 'Collider' mimics the movement of a flock of birds. The project was a collaboration with Applelec and begun a series of installations using their light sheet product. Top Right 'Now You See Me' was commissioned for the new City of Coventry Health Centre. The soft coloured lighting is sequenced to scroll slowly down the building with occasional bursts of colour. The theme references Coventry's industrial heritage, taking inspiration from the famous production lines. A painted surface behind the lighting reacts with projected colour to create an unpredictable sequence of colour changes.

temporary neon fire beacons whereby the audience arrive out of curiosity rather than invitation. As dusk turns to night, visitors at the site of the beacon can see less of the landscape whilst the artwork becomes clearer to those looking from a distance. Currently awaiting installation is a vast sculptural light installation for KAIA, the new airport in Jeddah, which will fill the departure lounge. The piece contrasts shapes abstracted from the movement of birds wings with the forms of gently

drifting clouds. This installation defines the desire of musson+retallick to see their creations interwoven into the architecture of a space. Musson describes this synergy as: “The difference between art as an afterthought and art as a driving force in the way we design public spaces”. He concludes: “We are always happy to have conversations with specifiers, interior designers and architects to explore new and diverse ways of working.” www.mussonretallick.com

Above 'Transformation' - a neon installation created for Galeria Thomas Flechel in Mexico City. A crack in the gallery floor has been translated into a 3D line piercing the gallery space. This line responds to the character of the Mexican people and to fissures in the pavements of a city which is constantly sinking into the lakebed on which it is built. Left The Beacon series reinstates historic fire beacons using a portable neon kit. Each installation is an event which consists of a trek to a high point from which warning signals were once sent across an expansive landscape. A map is being drawn that will collect all of the locations and memories of events.


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art & design / THE FLOATING PIERs, LAKE ISEO, ITALY

Pics: Wolfgang Volz


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THE FLOATING PIERS While the tangerine walkway shimmers in the Italian summer sun, at night the 3km stretch comes alive as a jewel encrusted aisle. Outdoor lights placed in an alternating pattern not only facilitate a visitation to the artwork after dark, they reflect as a precise strand of gems in the clear lake waters. Artists Christo and Jeanne-Claude present yet another stunning experience in this monumental work.


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art & design / THE FLOATING PIERs, LAKE ISEO, ITALY

Pics: Wolfgang Volz

Over 1,200,000 people visited Christo and Jeanne-Claude’s The Floating Piers during its 16 days from June 18 through July 3, 2016. The temporary work of art featured fabric-covered piers 3 kilometers in length, constructed across the water of Italy’s Lake Iseo, and continued along 2.5 kilometers of pedestrian streets in Sulzano and Peschiera Maraglio. “Each project is a slice of our lives and something that I will never forget,” said Christo. “Jeanne- Claude and I first conceived The Floating Piers in 1970. I later

found Lake Iseo to be the most inspiring location to realize this project. The Lake’s water, the landscape, and the communities around it have all been part of The Floating Piers. An important part of this project is the temporary part, it has a nomadic quality—this is why after 16 days it is gone.” On average over 72,000 people a day from around the world experienced The Floating Piers and explored the hosting communities around Lake Iseo, which offered food and drinks, and places for hikes where visitors could take in different


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The Floating Piers included • 220,000 high-density polyethylene cubes and pins, manufactured by four different companies in Northern Italy, used to create a modular floating dock system on Lake Iseo. The cubes will be re-granulated onsite and the material will be re-used in the plastics industry. • 100,000 square meters of nylon fabric and 80,000 square meters of felt, from three companies in Germany, to cover 3 kilometers over the piers on water and 2.5 kilometers of pedestrian streets. The yellowdahlia fabric as well as the felt underlay will be re3 manufactured and used in the production of new fabric products. The fabric may also be ground into filler and used in products such as carpet underlayment. • 200 concrete dead-weight anchors, weighing 5.5 tons each, specifically designed for the project. The anchors, used under water to hold the piers in place, will all be carefully removed from the lake bed and milled/shredded for filler and industrial re-use.

vantage points of the piers. “The Floating Piers has been a great success, despite any doubt,” said Giuseppe Faccanoni, President of Lake Basin Authority, “but the most interesting thing is that it provided new perspectives for inhabitants around the lake. It allowed us to rediscover our surroundings and the value of the lake’s inner beauty, which can sometimes be underestimated.” Over 1,000 people were employed by The Floating Piers. All project workers are paid, there are no volunteers, including

manufacturers, engineers, building contractors, divers, pier monitors, lifeguards, boat captains, and security personnel. The majority of the monitors, which provided round-the-clock coverage on the piers, were local Italian residents from the Lombardy region. “We had people from all over the world come to work with us just because they wanted to be a part of this work of art,” said Izabella Tzenkova, Operations Coordinator. “Many stayed longer than expected and found it hard to say goodbye.”

“A part of the project that visitors never saw is the unique and incredible anchoring system beneath the piers designed by Rosen Jeliazkov,” said Christo. “Rosen and his team have been with us since the start of this project, helping us to realize this very technical and essential aspect of The Floating Piers. I want to thank everyone who worked on The Floating Piers—we could not have done it without so many experts and specialists.” www.thefloatingpiers.com www.christojeanneclaude.net


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art & design / KAVADSA, NEW DELHI

KAVADSA A JOURNEY WITH LIGHT Soumya Parker reviews ‘Kavadsa’ - photographer Shailan Parker’s exhibit of art photographs, a striking collection of black and white images that encapsulates his journey with light. Light is every photographer’s elusive muse; they spend decades chasing it, admiring it, embracing it, but more importantly they take the time to ‘know’ it. Familiarizing themselves with its every nuance, endeavoring to create magic with it, for photography is after all the art of painting with light. ‘Kavadsa’, photographer Shailan Parker’s solo show chronicles his journey with light. The beautiful collection of images is testament to the years he has spent honing his craft and chasing his ‘muse’. ‘Kavadsa’ is the Marathi word for ‘the light that enters a room through the chinks in a tiled roof’; an apt title for a series of images where light is as much the subject as the objects in the frame. Although Parker wields light like a paintbrush to bring out the textures and details in objects, it is not merely a tool used to create ‘a photograph’ - it is what makes ‘the photograph’. He begins with what he likes to refer to as a black, blank canvas on which he starts to build the image layer by layer; engaging in a dialogue with the object in the frame, in order to tell a story. Parker began working on ‘Kavadsa’ almost four years ago; creating a repository of images that he felt best relayed his vision. Seemingly inconspicuous objects house infinite beauty within them. Captured in black and white, the photographs allow

the viewer to see what the photographer sees, view the world as he does. Identifying the objects become secondary to simply letting yourself be drawn into the frame and allowing it to engulf you. As humans we experience the world in different ways. More often than not we simply glide past without truly immersing ourselves in it. Our eyes skim over the details; we look but don’t truly see, which is what makes these images fascinating. They make you stop and take stock of exactly how much you are missing out on. A gnarled, dried flower captured in abstraction, can change the way you look at the world. Held at the Visual Arts Gallery of the India Habitat Centre in New Delhi, the photographer describes the exhibit as, “… a sensory exploration of the natural, an attempt to synthesize the rational with the temporal resulting in conscious, abstract imagery. Predominantly the images are an expression of ‘forms’ occurring in nature, macro details of texture, curves and shapes, creating abstract graphic images, through the juxtaposition of light.” The exhibition space was carefully designed to support the photographs and create an experience for the viewer. Thus, it was divided into three distinct areas. It began with ‘The Gallery Zone’, where shrouded in darkness, the images stood out in stark contrast to the inky blackness; the

textures so real that they almost make you want to reach out and touch. ‘The Experiential Zone’ emulated the concept of ‘Kavadsa’ through a spatial play of image projections and prints, where the audience was encouraged to experience light. Images of gossamer leaves printed on sheer fabrics invited the viewer to walk through and experience the tactile nature of the images. The zone also had photographs projected on multiple screens of shimmering fabrics - lending it an ethereal, almost magical feel. ‘The Projection Zone’ showcased Parker’s work in industrial, architectural, advertising, fashion, food, product, travel, social and other forms of photography. With over three thousand images the quantum of work was overwhelming. ‘Kavadsa’ was not a static display of art photographs. There was movement conceived by the power of light and a magical experience was created for the audience to savour. It takes great skill and tenacity to be able to create work of such caliber. It is no small task to generate such visually arresting imagery; ‘Kavadsa’ is a culmination of over four decades of experience and four years of dedicated work. Every image in the collection is a tribute to the time the photographer spent mastering his craft. www.shailanparker.com


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art & design / KAVADSA, NEW DELHI

The sinuous curves of a clam’s shell light up from within, ensconcing security… It’s textured curves defined with the gentle lapping of the waves - the salty spray a distant taste...


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Only a part is revealed to the eye - the mind completes the rest‌ The dynamism of the curve is enclosed within the confines of the frame‌ The black above - an absence of light or the depth of the ocean?


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art & design / KAVADSA, NEW DELHI

A limpid pool of light falls onto… Leaves curving inwards as if shying away from the light… Scimitar curves intersect, their edges glinting light sharp swords… Curved ribs or a series of mountains in the mist? A journey the eye traverses but the mind discounts…


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art & design / IAld india light workshops

IALD India Light WorkshopS A series of lighting workshops by the Indian Chapter of IALD in partnership with mondo*arc india.

WORKSHOP #3 DATES

24th–26th March 2016

LOCATION

Chennai / INDIA

THEME

“The Essence of Light”

PARTNERING INSTITUTION

School of Architecture & Planning, Anna University, Chennai

CITY COORDINATORS

Anusha Muthusubramanian (Lighting Spaces) & Jithin Jayanath (Gojis)

SPONSORS

Architectural Lighting Concepts (ALC), Cosmo Lights, Gojis Lifestyle, Studio Plus Consultancy & Marketing Services, Versalite Hi-Tech Lighting

Pics: Amardeep M. Dugar

CHIAROSCURO

DESIGNED DARKNESS

Team – 1

Team – 2

Sponsors Gojis & Studio Plus Area West façade and Main access route

Sponsors Versalite Area Entrance Façade and Canopy


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The IALD India Light Workshops Series has been designed for encouraging architecture students to think, play, experiment and tune their design capabilities using light. The third workshop at SAP Anna University, like the previous two workshops turned out to be a success as well. While it may be a bit premature to draw conclusions about their ‘success mantra,’ it is important to note that the enthusiasm levels and creative brilliance of the students were the driving force behind their success, irrespective of the location or partnering institution. And not to forget the singleminded dedication demonstrated by our sponsors and design volunteers acted as the appropriate catalyst. Light can be such an intangible medium that however good the design might be on paper or a computer screen, it is impossible to assess light’s actual affects and effects until and unless it is mocked-up at site. What really has been great about these workshops is the opportunities provided to students for hands-on experience with luminaires akin to realistic in situ scenarios. - Dr. Amardeep M. Dugar

EMPHASIS & DE-EMPHASIS

Students of architecture were mentored in the use of light as a conceptual, artistic, and expressive tool for reinventing a spatial experience as well as painting a visual story. The goal was to help them achieve a different artistic and visual experience by 'thinking-outside-the-box'. After having allotted different sites within the campus, each team had to arrive at a thoughtthrough lighting concept that added visual, architectural and artistic value to their respective sites. The teams then explored various qualities of light such as shadows, reflections, projections, silhouettes, textures, colours and saturation using the available tools. The only limitation in arriving at their desired lighting design solution was that their imagination was restricted to the capabilities of the given luminaires. Nevertheless, each group enthusiastically weaved completely different and rich visual experiences. I had never imagined that mentoring could be such an inspiring and rewarding experience for us lighting designers, who are trained and qualified in the field. - Anusha Muthusubramanian

next WORKSHOP | 07 – 09 OCT SCHOOL OF PLANNING AND ARCHITECTURE NEW DELHI Day-1 FRIDAY Lecture Interactive walking tour Site recce Day-2 Saturday Team formation Site allocation Concept development Concept mock-up Installation Presentation Day-3 Sunday Site clean up CALL FOR PARTICIPATION For details, contact: Email: amdugar@lighting-rnd.in Phone: +91-9445549567 Web: www.facebook.com/theIALD

EMPHASIS & DE-EMPHASIS

Team – 3.1

Team – 3.2

Sponsors ALC & Cosmo Lights Area Interior courtyards and Recycle shed

SponsorS ALC & Cosmo Lights Area Interior courtyards and Recycle shed


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TECHNOLOGY / iald awards

reach for the stars The 33rd IALD International Lighting Design Awards were held at the fascinating San Diego Air and Space Museum on 27 April during LFI. In all, seventeen projects from eight countries were honoured.

radiance award

project: Lincoln Square Synagogue, New York, NY USA lighting design: Tillotson Design Associates, USA Tillotson Design Associates received the Radiance Award for the first time; the award was accepted in person by Ellen Sears for the Lincoln Square Synagogue in New York, NY USA. Five undulating glass ribbons, representing the five books of an open Torah scroll, form the east façade of the Lincoln Square Synagogue and welcome visitors to this striking house of worship in the heart of Manhattan. Linear LEDs integrated into the top and bottome xtrusion of each glass facet illuminate the interlayer of sheer, bronze-coloured, woven and pleated fabric, as well as the white translucent dot frit pattern on the interior lite. This increases privacy for worshippers inside while allowing a slightly obscured view to the beauty of the interior. At the base, a white acrylic diffuser protects the LEDs, while wiring for the 500+ fixtures runs horizontally through the narrow extrusions to 50 drivers located in accessible ceilings to the north and south of the façade. “This project shows clear evidence of a tight collaboration between all design consultants,” one judge commented. “The lighting significantly contributes to an uplifting, poetic, inspiring experience of space, and boasts fantastic fixture integration throughout.” In the sanctuary, the light on the translucent frit, fabric interlayer, and glass mullions forms a backdrop for the Ark. 613 recessed LED downlights in the gentle convex ceiling make reference to the 613 commandments in the Torah, and create a star-like atmosphere that suggests the desert sky.


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excellence awards project: Artron Wall, Shenzhen City, China lighting design: Originator Lighting Design Consultants, China The Artron book wall is found inside a Chinese art centre owned by a printing company. Visitors descend a massive staircase and arrive at the wall itself, which houses more than 50,000 art books. The enclosing space is 50m wide, with a towering 30m ceiling – in approaching this black box with no natural daylight, the lighting designer’s aim was to soften the space and shorten the distance between art and human. A clear glass panel protects the books, but posed a unique challenge in applying light well. To avoid glare, the team from Originator utilised projectors to light the books from inside the glass panel and help visitors view them clearly. “Light the task,” one judge commented, “and everything else will take care of itself.” While the book wall is the main focus of the space, the sculptural staircase makes its own impression. The staircase is covered by a layer of greenish blue aluminum mesh on both the bottom and one side, while the opposite side is clear glass. Coloured reflections form the mesh strike the glass of the book wall and add mystery to the space – and the clear glass handrail allows visitors to see through to the wall as they approach. Since the main light source comes from the wall itself, the designers were able to leave a clean ceiling, with just a few downlights. Lighting for the walking path is integrated into the handrail system at two layers: sources are found both above the handrail and concealed within.

project: CEPSA Flag Station in Adanero, Spain lighting design: AUREOLIGHTING, spain Spanish petrol company CEPSA provided the lighting designer with four outsize goals: simplicity, elegance, sustainability, and future-focus. To show simplicity, the team chose just one product model and applied it in the two brand colours, red and white. These sources are high power output LED, and are connected to a sophisticated control system. Red linear luminaires highlight the balloons of the canopy; white linear downlights provide general illumination to the car park; and white oval recessed linear diffused luminaires provide task lighting for the pumps area at night. “This project illustrates an excellent use of colour, which is indeed a rare thing,” one judge wrote. “It stands for a ‘clean’ concept with two separate levels: the canopy and the ground. The coloured lighting adds a stunning appearance to the upper, while the white lighting facilitates the commercial use at the ground level.”

merit awards project: Aman, Tokyo, japan lighting design: Lighting Planners Associates, japan The lighting of Aman Tokyo, set atop a skyscraper in the middle of the city, takes Japanese-style design seriously. The team of designers from Lighting Planners Associates embrace the shifting, delicate balance of natural and artificial light in the space with a design that gives careful consideration to brightness and colour temperature, as well as seasonal and daily changes. “Dark finishes, linear lighting and backlit elements provide a result in keeping with the Japanese theme and the luxurious setting,” praised one judge. “The design succeeds in achieving a fine balance.” “Clean, well-integrated lighting establishes links to Japanese tradition,” another judge wrote. “A consistent approach towards daylight strengthens the project’s sense of place.”


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TECHNOLOGY / iald awards

merit awards project: Australian War Memorial, Canberra, Australia lighting design: Steensen Varming, Australia Positioned just across from the nation’s Parliament House, the Australian War Memorial is enhanced by a powerful lighting scheme that strikes a balance between subtle and commemorative lighting languages, exhibits respect for the building’s narrative, and dramatically highlights the memorial’s position as one of the world’s great national monuments. Based on a holistic masterplan, the scheme emphasises the building’s sculptural form through light and shade with a commanding hierarchy comprehensible from all sides. The team’s design choices reinforce the importance of the building’s memorial hall, while embracing building features and statues as visual anchors. “This is quiet, respectful, focused lighting, with just enough to aid visibility after dark,” said one judge.

project: FARMUS Kijimadaira, nagano, JAPAN lighting design: Toh Design, japan FARMUS Kijimadaira is the renovation of an old factory building into an all-in-one operation centre including production, processing, distribution and services for locally grown produce. Inside the hall, no fixtures are mounted on the 7.4m-high marche hall ceiling, a signature look the designers wanted to preserve. Instead, downward-facing spotlights are mounted 3.5m high on structural columns, while uplights expose the post-and-beam ceiling. Their modest light creates a soft ambiance, highlighting each structure and emphasising the elaborate old ceiling. “This is a wonderful solution – a great example of innovative lighting integration on a modest budget in a rural area,” said one judge.

project: Fulton Center, new york city, ny, USA lighting design: arup, usa Light and daylight played a critical role in re-envisioning this downtown transit hub serving 300,000 daily commuters. By studying the solar geometry of the site, the team from Arup determined the influence of surrounding buildings on daylight access, informing the location and design of a 50ft diameter skylight oculus. The skylight tilts gently towards the south, allowing more direct sunlight to enter and reflect into the space below. Under overcast conditions, diffuse daylight is filtered inward, illuminating the space year round and allowing electric lighting to be dimmed or turned off. During summer months, direct sunlight penetrates two levels below ground, delighting passengers on subway platforms. “This project displays truly beautiful engineering and mesmerising geometry,” wrote one judge. project: Kirikkale Merkez Nur Mosque, Kirkkale, Turkey lighting design: Zeve, turkey Inspired by late Ottoman architecture, the mosque consists of a main dome, four secondary domes, five entrance domes, and four three-balcony minarets. Colour temperatures were selected in order to create fine gradations between these complex surfaces from the bottom up. The main dome was lit in 4,000K, while the entrance domes and carrier columns were given 3,000K, and spots and washes of 2,700K add a mystic appearance and lend contrast at various points throughout the structure, creating shadows and sparkles on the crescents. “The application of ‘just enough’ light to the exterior and good use of warm and cool sources complements the character of the façade elements,” praised one judge.


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merit awards project: ‘Minna no Mori’ Media Cosmos, Gifu, Japan lighting design: Lighting Planners Associates, japan The main feature of this two story multi-use facility is an open-floor, open-shelf reading room with large, suspended, umbrella-shaped globes that gently divide the space, incorporate daylight, and circulate air. The lighting design concept from Lighting Planners Associates aimed to create the illusion of being in a forest, connecting the visitor to nature through the lighting environment, while reducing primary consumption of energy by 50%. “This innovative approach to bringing daylight into the interior space allows for a tight integration of lighting with the architecture and interior design, and creates a great symbiosis of light and form,” one judge praised.

project: NBCUniversal Lobb, New York, NY USA,lighting design: Cooley Monato Studio, USA The NBCUniversal Lobby and Mezzanine Restoration captures the essence of the original 1930s art deco design while renewing the space with contemporary technology. Because the building is a historical listing, the designers were exempt from code compliance, but still delivered a lighting power density of 0.6W/sf for the architectural features, half of the ASHRAE 90.1-2007 allowance for a lobby space. A new custom chandelier of bronze concentric rings is the focal point of the mezzanine. The chandelier’s uplight and perimeter wall lighting create a feeling of lift despite low ceilings and dark finishes. “The detailing of the main light feature and the illuminated coffers together with the general lighting restores the space’s interior to its previous glory,” one judge wrote. project: Østbanehallen, oslo, norway lighting design: ÅF Lighting, sweden Østbanehallen, located in an 1880s building in central Oslo, is a natural meeting place, located at the end of Oslo’s main shopping street. At the end of the indoor hall, a colourful wall of light piles up in three dimensions: 71 overlapping transparent LED panels form a first-of-its-kind pixel wall. The panels can be individually controlled, allowing colour and intensity to be carefully tuned. Østbanehallen’s original design featured an open east-facing façade allowing morning light to fill the giant room. This was the basic idea behind the pixel wall’s design - sunrise and the blue hour are once again welcomed into Østbanehallen. “What an interesting and novel approach to the ‘media façade’ genre,” one judge wrote. “We loved its considered and selective use of colour.” project: Park Hyatt Sanya Sunny Bay Resort, Sanya, China lighting design: The Flaming Beacon, australia The glowing main building of the Park Hyatt in Sanya, China is best viewed at dusk. About a hectare of backlit U-glass on the façade utilises signage-style light-points, dimmed over several hundred channels, to allow graduated brightness, maintain presence on the skyline, and create glamorous resort contrasts. The project’s plethora of ponds were purposefully leveraged for dramatic lit reflections. Despite many detailing changes during the lengthy design process, the designers were able to achieve the originally intended ambiance for the huge reception space. “The façade of this hotel building looks like the sunlight is reflected off the cladding panels during sunset,” one judge described. “The interior is much more subdued, allowing for relaxation and appreciation for the interior design.”


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TECHNOLOGY / iald awards

merit awards project: Sake, Double Bay, Australia lighting design: Electrolight, Australia Sake’s lush interiors balance comfort with contemporary details and precise illumination, while classic materials mesh with modern styling and a subtle Japanese influence. The raw monolithic materials chosen by the client screamed for brushstrokes of light to bring them to life. These combined elements allowed Electrolight to develop a lighting approach that captured the essence of the space, giving guests a dining experience to match the fine cuisine. “The lighting scheme for this bar and restaurant is in keeping with the Japanese theme, revealing the elements of the space only partially,” one judge observed. “The areas of focus are highlighted with concealed lighting, but only subtly. The downlights carefully illuminate the bar table and the light beams never seem to spill out of the architectural details.”

project: Heisei Chishinkan Wing Kyoto National Museum, JAPAN lighting design: Iwai Lumimedia Design, japan The Kyoto National Museum and Heisei Chishinkan Wing are east of Kyoto Station and across from the famous Sanjusangendo Temple, and display various national treasures of the province. The façade of the museum shines like a lamp with a paper shade; designers hoped to create a new nighttime landmark for Kyoto by the light of the latest LED. “The careful application of indirect illumination concealed into the architecture creates a pleasant space to experience and provides transparency from the exterior,” wrote one judge. The grand lobby of the space is covered with a glass curtain wall that shines from the interior like a paper- covered lantern. The designers wanted this luminousness to extend to the Jurassic stone wall, highlighting the richness of the material. project: The Ritz-Carlton, Kyoto, Japan lighting design: WORKTECHT Corporation, japan Kyoto, an international tourist city defined by its beauty, history and tradition, has its own lighting culture. The lighting design of the new Ritz-Carlton Kyoto, provided by WORKTECHT, was conceived as “the common light”, in response to the city’s sustainable beauties. In the atrium, the main staircase is inspired by origami. The lighting expressed the beauty of the shadow of the lattice and kept the illuminance at the same time by lighting up the lattices one by one. Just inside the main entrance, a wall featuring a traditional Japanese pattern, ‘seven treasures’ gives guests a dramatic surprise upon arriving. “This is another Japanese project where the lighting is thoughtful and attuned to the culture and tradition of the locality,” another judge wrote. “The scheme realizes the main elements of the brief the client must have given: luxury and subdued elegance.” project: Tokyu Harvest Club, Kyoto, Japan lighting design: Iris Associates, japan The Tokyu Harvest Club is located in a mountainous area of historical Kyoto city. The architecture and interior design feature traditional Japanese details, but also infuse modern Japan and current trends. The lighting designed by Iris Associates is similarly refined, blending grace and tranquility with the interiors. The wood ceiling illuminated by buried LED lights welcomes visitors to the entrance lobby. The central art object of the space is lit by fiber optic illumination like scattered stars, and floodlighting of the custommade super narrow spotlight focuses only on the object. “This lighting is playful, quiet, dramatic and concealed all at once,” one judge wrote.

special citation: Wall of Dreams, Valby, denmark by Ramboll Lighting, denmark


mondomoment #08 - When the sun shines over Archcult’16, Photographed by Vineel Patnan, Student, NIT Tiruchirappalli

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Aria Gold and Aria Transparent by Zaha Hadid


Clizia Fumè by Adriano Rachele

EVOLVING PASSION FOR DESIGN MEETS SUSTAINABLE LIGHTING INNOVATION Slamp has exhibited an ever-evolving passion for artisanal virtue, expertly paired with industrial excellence for over twenty years. The company has led Italy’s lighting design sector without abandoning their Italian, hand-made culture since 1994. “Today, it is the one of the most representative brand-names in the field of decorative lighting design, bringing exclusive objects that are within economic reach of everyone”; Roberto Ziliani, CEO. Despite their continuing growth and precious collaborations with internationally known Architects and Artists, Slamp has remained true to its founding principles of quality craftsmanship, continuing to pay close attention to the innovation and sustainability of their materials and products. The internal R&D department constantly works to adapt evolving LED technology to the sensual, narrative shapes achieved by using their patented techno-polymer materials, like Opalflex© and Lentiflex©. Slamp is no stranger to extraordinary partnerships, having worked with the likes of Mendini, Fuksas and Zaha Hadid, whose “Aria Gold” was released this past April. Their recent collection, designed by avant-garde theatre producer Robert Wilson, confirms their innovative ability to work outside their past and current design canon, capturing not only the essence of the designer’s vision, but of their long-standing trademark, which never ceases to amaze.

La Lollo by Lorenza Bozzoli


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ENCHANTING EVOLUTION Precision Lighting's Pico and Minimo families play a part in an enchanting lighting scheme from Studio ZNA at The Natural History Museum's new Human Evolution gallery in London. London's Natural History Museum’s latest permanent gallery - Human Evolution has been illuminated by Precision’s Pico and Minimo families, forming part of an enchanting scheme by lighting design practice Studio ZNA. Opened in December 2015, the gallery traces the evolutionary journey of the hominins, from the first upright primate ancestors through to modern humans. Studio ZNA, who have previously lit a number of galleries at the museum, including the acclaimed Coral Reef exhibition, were enlisted to light some of the museum’s most intriguing exhibits. For the lighting of a series of five skulls and matching facial reconstructions of the homo genus, ten miniature recessed luminaires from Precision's Minimo family were specified, marking one of the first installations of this new range. The Minimo Eye luminaires, featuring 95CRI LEDs, cast tight spots over the skulls and reconstructions, capturing the unique and defining features in each head. Given that the precise location of each skull wasn't known by ZNA before commissioning, the Minimo Eye’s flexibility after installation was a crucial benefit. With a choice of three tool-less interchangeable optics, full 360°

rotation through the pan, and a maximum tilt of 30°, the Minimo Eye has been designed for versatility. The glare control of the Minimo family also proved useful for ZNA, as the Minimo Eye could be installed adjacent to the main thoroughfare of the exhibition, yet avoid intrusive glare for visitors thanks to its large glare-cut off angle. Pico S1 luminaires were installed with custom stem lengths to provide a steep incident light to illuminate further specimens throughout the exhibition. The custom length and flexibility of the LED spotlight allowed a precise beam angle, avoiding reflection and ensuring excellent vertical illuminance, revealing the features of each fossil. The Pico S1 fittings were finished in brushed aluminum that reveals the machining process in which all Precision products are manufactured, as well as the quality of the 6063-T6 grade material that both Pico and Minimo are machined from. This unique aerospace-grade aluminum has excellent thermal performance, allowing the LEDs in Precision’s portfolio to run cooler and more efficiently. Numerous Pico Surface spotlights were used to illuminate larger display cases, including

the most scientifically accurate life-size Neanderthal and early homo sapiens models displayed publicly. The Surface variants of Pico provide the same options of interchangeable optics, and lockable pan and tilt as the stem-mounted variants, whilst also having the added advantage of their minimal footprint, which adds to the understated appeal. This unobtrusive aesthetic is underpinned in the lighting of the ‘Cheddar Man’, a Mesolithic skeleton found at Somerset’s Cheddar Gorge. The 7,500 year old remains are laid flat at the new exhibition, with Pico Surface mounted in a vertical position unobtrusively at the feet of the Cheddar Man, casting balanced light across Britain’s oldest complete human skeleton. The complete scheme from ZNA represents a demonstration of the sympathy required in lighting the relics of our shared ancestry. The lighting scenario treats these unique fossils with dignity, yet reveals the crucial steps in the evolution of humanity so that visitors to the gallery learn from the exhibition, thanks to the discreet appearance and excellent performance found in both of the Precision ranges. www.precisionlighting.co.uk www.studiozna.com


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154

TECHNOLOGY / BENCH TEST

Following an impressive array of product designs at Light + Building earlier this year, David Morgan discusses the current situation, development and future application of LG Display’s OLED panels.

FLEXIBLE DESIGN

In the six years since I last reviewed OLEDs it is surprising how little has really changed in terms of applications or usage for this technology in general lighting. In 2010 the general feeling was that OLED was an interesting novelty technology looking for a suitable application. Presentations from leading lighting designers at industry events showed stills from Kubrick’s film 2001: A Space Odyssey of illuminated floors and ceilings as an ideal OLED application, while other designers showed exactly the same images as being the kind of application to avoid at all costs. Ingo Maurer, Philippe Starck and many other design superstars were recruited to develop interesting luminaires based on OLED. Apparently Philippe Starck found the quality of light from OLED panels to be boring and the technology incomprehensible. The general conclusion was that the light quality from OLED panels was very flat, fog like and not very exciting but if it could be produced cheaply enough then it might stand a chance in the office lighting market. While most of the early manufacturers of OLED materials for lighting applications,

including Philips, have now withdrawn from the market, given up making panels and shut down or sold off their pilot production facilities, the Korean based LG corporation have gone in the reverse direction and are still putting considerable effort into development and persuading us to use their products. LG Display took over the OLED development from its sister company LG Chem in 2015, and are currently marketing a variety of shapes and sizes of rigid and flexible panels for lighting applications. LG Display is the world’s largest LCD panel maker and produces display components and systems for TVs, mobile phones and other digital devices. At one point Philips was a major investor in the company but has now sold its shares. The most impressive applications for curved OLEDs to date are in big screen curved TVs including the LG 3D 4k Ultra HD 65”. This application is definitely a very good use of flexible OLED sheet and I assume this generates the investment required for products to be used in lighting applications. Back in the world of lighting, the most

interesting novelties shown on the LG Display booth at Light + Building in Frankfurt this March were the flexible OLED sheets. At the moment the two sizes available are 200mm x 50mm and 406mm x 50mm but prototypes of an impressive 320mm x 320mm flexible sheet were also presented. The rigid panels are remarkably thin at less than one-mm and the flexible sheet is even thinner at only 0.41mm. Both types give a completely flat and even light output with high CRI of over 90. The surface brightness of the panels is not uncomfortable to view directly so secondary optics or glare control accessories are not required, thus increasing system efficiency. There is no UV in the output and blue levels are much lower than most standard LEDs and similar to those in sunlight. The panels run at a cool 35°C and do not require additional heat sinking. The efficiency and life of the LG OLED panels has increased significantly compared to the products on offer in 2010. Efficiency, in the range from 50lm/W for the flexible sheet up to 65lm/W for the rigid panels,


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LG Display’s flexible OLED panels open up new design possibilities. Without the need for heat sinking or developing diffuser optics presents significant advantage for the future. The various shapes, sizes and bendable material allow this product to be used in commercial, architectural and decorative lighting, with such applications as upmarket office lighting systems or backlighting in high-end interior projects where space is limited.

compare quite well with other LED panel solutions based on side lit or back lit diffusing optics. Lifetime of 30,000 to 40,000 hours to L70 is not as high as other LED technology but is much higher than previous generations of OLEDs. The obvious applications for OLED fall into a number of areas including: commercial, architectural and decorative lighting. Ceiling panels for office and commercial lighting is still potentially the largest market for OLED if the size of the panels can be increased to fit a 600mm x 600mm grid system and the efficiency and life expectancy can be further increased. The minimal OLED panel thickness could be an advantage over conventional LED panel designs, possibly allowing ceiling void depths to be reduced but, after allowing for the size of driver and electrical connection components, the thinness of the OLED is probably not the determining factor in the overall luminaire height. To capture a significant share of this market, the OLED panels will need to be cost competitive with conventional LED panels, which have been widely used over

recent years. Unfortunately for OLED manufacturers, the more basic types of LED panel have now become a low cost commodity item so the opportunity in that market has probably disappeared. Using the flexible sheet to develop upmarket office lighting systems with greater design appeal, including curved recessed office lighting modules or soft shaped linear office lighting systems giving a greater volumetric lighting effect, might be a possible strategy to gain sales in this market. There may also be an opportunity to use the flexible sheet material for backlighting materials in high end interior projects where space is very limited. Although lighting designer Graham Rollins of LDI pointed out the sparkle given by flexible LED sheet, incorporating individual LEDs can add attractive sparkle when backlighting decorative glass materials whereas the OLED panel would give a flatter lit effect. Beyond these potential larger volume commercial and project applications, there is also a wide variety of uses in high end decorative and custom luminaire designs

where the various shapes and sizes of flat LG panels and the curved sheet material opens up new design possibilities. Not having to worry about heat sinking or developing diffuser optics for luminaires produced in low volumes will be a significant advantage. The reference OLED designs that LG showed at Light + Building earlier this year, including pendants and task lights, went some way towards demonstrating the potential of their technology and it will be interesting to see if, after a number of false dawns, the time is now right for OLEDs to be adopted in both niche and larger lighting applications. www.lgdisplay.com David Morgan runs David Morgan Associates, a London-based international design consultancy specializing in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk Tel: +44 ( 0) 20 8340 4009 Š David Morgan Associates 2016


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TECHNOLOGY / COMMENT

The transition from traditional light to LED is continuing to dominate the architectural lighting industry. Dr Geoff Archenhold talks us through the digital lighting revolution, the benefits, the problems and everything inbetween.

DIGITAL LIGHTING REVOLUTION Will Digital Lighting PaE? One of the big issues rocking the lighting industry is the transition from traditional light to LED. Traditional routes to market are under significant price pressures as the barriers to markets have been reduced. The traditional players have already started to divest lighting assets, with the most recent being Royal Philips which has released 25% equity in Philips Lighting’s IPO to raise €750m to spend on healthcare activities instead. The advantage of being the world’s largest independent lighting company will enable Philips Lighting to significantly rationalise its cost base and look to jettison unprofitable areas in a timely fashion. This is similar to Osram when it was carved out of Siemens, which has sold whole divisions and created a new strategy but took several years to transition and no doubt Philips will follow a similar course of disruption. The problem is that the second wave of

technology change has hit the sector and this time it’s a much bigger tsunami, with the potential to make even larger market disruptions that could see companies such as Osram and Philips completely acquired within the next five to seven years. This new Digital Lighting transition will require: • New technology development more suited to smaller and more nimble businesses. • Different skill sets for deployment. • Network designers, engineers and technicians. • Security consultants and advisers. • Different lighting installers. • Data analytic engineers. • Marketing teams utilising the new lighting associated assets. • Understanding that new routes to market will occur through different sectors such as IT and Value Added Resellers.

So the question is: will new Digital Lighting technologies PaE? (PaE relates to Power and Ethernet Systems, which combines LED fixture power and Ethernet digital connectivity. Digital Ceiling Concepts Cisco is currently undergoing a technical revolution by connecting more devices, people, and processes to drive new user experiences and better business outcomes. The digital ceiling concept converges multiple building networks lighting, heating and cooling, IP video, IoT sensors, and much more - through a secure and intelligent network platform. Such systems help unlock new experiences and efficiencies whilst lowering building operating costs over typical 50 year lifetimes. Through digitisation it’s possible to put high-resolution sensor data into huge databases that can be analysed using Neural

A simple way of comparing traditional lighting and PaE installations is shown in Figures 1a (left) - Traditional installation Vs 1b (right) - Power and Ethernet installation. In order to operate PoE++ systems it is advised buildings are future proofed and equipped with Cat6A cabling as this enables easily up to 100W of power whist reducing cable power losses.


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Networks and AI to gain a deeper insight into the building and its environment. Digital Ceilings utilise IP to connect disparate building networks, systems and services through converging services to enable: • Lower-cost, more efficient building and tenant services: the Digital Ceiling lowers the cost of building system installation, operation, and management through unified communications and centralised control of global facilities. • Transformative new experiences: different building systems can now easily and securely work together. • New business insights: by combining connected building endpoints with sensors, organisations gain deeper insights into how employees, customers, and guests are using indoor spaces. The fundamental difference is that the disruption takes place around standard IT based systems that are already installed throughout modern buildings. Therefore, there is no need to invent new protocols, wiring systems and solutions to overcome old lighting systems and utilise what is already installed throughout the building. Here lies the issue for the lighting industry - it doesn’t know anything about IP addresses, RJ45’s, PoE, Network configuration or Network Security. What are Power and Ethernet Systems? The majority of Power and Ethernet Systems for lighting would consist of a centralised LED power system that provides DC currents passed to light fixtures or sensors held in the digital ceiling. There are two ways of achieving a PaES: 1. Power over Ethernet: Allows both power and control signals to be transmitted along the same RJ45 cable to an intelligent light containing an electronic LED and control interface. 2. Non-PoE solutions: Power to LED fixtures is provided from centralised LED driver units which may include the ability to use sensors with RJ45 or other connecting systems. PoE systems are commonly used today within buildings to support telephone and security CCTV systems where devices have low power requirements. There are two reasons why PoE isn’t being deployed in lighting installations: 1. No ratified standard for high power (>25W) devices. 2. Current high power systems are hugely expensive (>£200 per light). PoE systems have a significant cost implication as the only high power (>25W) systems available are proprietary, which limits high volume deployments. The good

news is that new PoE standards are shortly to be ratified to allow LED fixtures of up to 96W to connect to standard IP networks which should drastically cut PoE hardware costs moving forward. It is expected that PoE++ known formally as 802.3bt (types 3 and 4) will be ratified by the first quarter of 2017 with compliant systems available on the market by the end of 2017 with prices of PoE++ devices predicted to rapidly fall to less than 25% of today’s costs. Non-PoE solutions In contrast to PoE a much lower cost solution is providing Ethernet connectivity to a centralised LED driver which then provides DC power to remote fixtures or sensors. Such solutions offer the same benefits as PoE without the cost of expensive PoE end points (similar to LED drivers). The advantages of PaE solutions There are significant advantages of Power and Ethernet solutions above and beyond the digital ceiling concept, covering all sorts of installation phase savings and maintenance phase savings. Creating new User Experiences and Lighting Services With an IP backbone linking multiple building systems in a smart, connected architecture, future lighting systems will enable highly customisable indoor environments and personalised employee workspaces that improve safety, comfort, productivity and business deliverables. New services can be offered by Digital Lighting Solutions including: • Optimise employee workspaces: Many organisations are using ‘hot-desking’ or ‘hoteling’ to create reserved work spaces. Employees can customise light and room temperature in their reserved spaces. • Create comfortable environments automatically: Indoor spaces could dynamically adapt heating and cooling systems based on real-time occupancy. • Get people to destinations faster: Digital solutions can be integrated with digital signage and wayfinding applications that automatically connect with employees’ and visitors’ personal devices. • Create human-centric environments: One can control lighting intensity, colour, temperature, and other factors in every space to adapt to the needs of occupants. • Power new retail experiences: Lighting powered by the network can be used to feature special promotions and sale items; guide customers to specific items with light;

closely approximate natural light to show truer colours and reduce returns; measure store traffic patterns, better understand customer and staff behavior, and optimise sales with light-fixture sensors. PaE helps optimise business operations PaE systems and digital lighting creates business value beyond pure lighting by utilising built-in sensors and harnessing big data analytics to drive better business outcomes: • Improved building use: With in-depth analytics it is possible to gain visibility into real-world usage of spaces to better manage, plan, and optimise a building’s use. • Improve physical security: Integrate physical security applications, video surveillance, and security controls that use presence sensors. • Boost business results with analytics: Collect light, sensor, and usage data of the environment to optimise traffic flow in retail stores, track and optimise sales, and identify premium locations for featured products and services. With the ability of being based on standard Ethernet solutions, PaE systems allow scalable lighting systems to many tens of thousands of devices making them uniquely positioned compared to RF based solutions limited to hundreds of devices at most. Conclusions The digital lighting revolution is upon us and I strongly believe that Ethernet based solutions will prevail as the prominent future lighting technology platform moving forward. With the soon to be ratified PoE++ standard set to reduce PaE system prices over the next three years, the lighting market will enter a new evolutionary phase. New lighting players will be created such as IT network security and configuration consultants yet traditional lighting fixture manufacturers will suffer as they find they cannot add any value in the new supply chain, resulting in a significant shakeout of players. The leaders in lighting may be companies such as Google, Facebook, Cisco, Microsoft or Apple moving forward – Watch out Philips and Osram! 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. g.archenhold@mondiale.co.uk


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TECHNOLOGY / awards

RED DOT WINNERS Manufacturers and designers entered a record number of approximately 5,200 innovations in the Red Dot Award: Product Design 2016. With 1,304 products awarded a ‘Red Dot’, here’s a selection from the ‘Lighting and Lamps Category’. Manufacturers and designers entered a record number of around 5,200 innovations in the Red Dot Award: Product Design 2016. The jury was also bigger than before, with 41 experts coming together to assess each object live and on site over a period of several days. The jury awarded a total of 1,304 products, with 79 entries bestowed with the honour of the top award - the ‘Red Dot: Best of the Best’; 107 won an Honourable Mention. Out of the 57 countries that put themselves forward, the ‘Honourable Mention’ went to projects with a well-executed aspect of design work. According to the rules of Red Dot, only freelance designers, design professors and specialised journalists are appointed to the

jury – not designers employed at companies potentially participating. The degree of innovation, formal quality, functionality, and ecological compatibility are some of the criteria used to reach a decision. The Red Dot Design Museum Essen exhibits the award-winning products from 4 July, and the Red Dot Design Yearbook 2016/2017 also presents the award-winning products. All of the products and their makers are also featured in the online presentation and on the Red Dot 21 global design platform as well as in the Red Dot App. Other winners include: MIPOW SMART BULB BTL201, PLAYBULB POOL by Shenzhen Baojia Battetry Tech CO.; Runner by Speedy Young Development; Fiamma by iGuzzini; CHOICE

by Tobias Grau; LED DESK LIGHT STROKE 2 by Bsize Inc; Ray by Inarchi; M-Kopa Solar by M-Kopa Solar Kenya; Hue Bridge v2, LED BR Downlight Range, LED Lamp Ar111, LED Lamp Candle, LED Lamp Modern Classic by Philips; Mega, Mega Square, Gonia by RZBLeuchten; Minilook wood bollard, Ghost by Simes; Opus by apure; Mini Hatter by TONS Lightology; Alluxia by Lextar; Linno Crystal 2.0 by Linno; Oculus by Herrmann Systems; SIMBULB CLASSIC by SIM Lighting Design Company; SLIMLINE 01,02 by Linus Bopp; Rail Spot LINK, Plate by Paulmann Licht; PRANA+ by ESYLUX; Tube Series by Corvi; CSYS Task Light by Dyson. www.red-dot.org

Lunexo LED Trilux SUPERSYSTEM II Zumtobel Flexibility and a minimalist design language characterise the SUPERSYSTEM LED lighting system from Zumtobel. The product family has been expanded with the launch of the second generation. The latest LED technology facilitates a high degree of miniaturisation and excellent light quality. The result is a modular system on a low voltage track base for a wide variety of different tasks in the fields of retail, museums and galleries, hotels and restaurants, conference rooms and residential. The luminaire is available with a choice of three spotlight sizes, a framing spotlight for accent lighting, a linear luminaire for horizontal requirements and a wall washer for homogenous vertical illumination. www.zumtobel.com

The light of the surface-mounted or suspended direct/indirect Lunexo LED can be tailored to individual office requirements and needs of employees. The clean cut design, with its edge lit optical solution, draws the eye but doesn’t dominate a room. The integrated LiveLink light management system and the possibility of automatic, sensor-controlled operation optimises both light and energy consumption. For maximum flexibility, the light colour, intensity and indirect light component can also be separately controlled. www.trilux.com

SylCone Feilo Sylvania SylCone combines contemporary aesthetics and technology with vintage style. The hand-blown glass lamp is available in three designs and incorporates the latest LED filament technology to provide an efficient light source that replicates the warm glow of incandescent lighting with a 2,000K colour temperature. Available with a copper, black, nickel or brass pendant to suit a variety of installations, the flexible base can move up or down the cord and will fit the majority of E27 base types. Designed to conceal the dimmable electronics, the surfacemounted and table lamp versions are also available with a lumen efficacy of 104lm/w and lifetime of 15,000 hours. www.feilosylvania.com


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2nights Linea Light

Linea Glamox Luxo Glamox Luxo freestanding luminaire Linea has been awarded with the Red Dot, the international distinction for high design quality. Linea is an elegant freestanding luminaire for office environments. It has a lean yet strong, rounded pole and stylish aluminium lamp head with a height of no more than 25mm. The slim head is made possible by Linea’s use of modern LED technology, which takes very little space while providing light of exceptional quality. www.glamox.com/uk

Entirely aluminium, the 2nights wall light has a 4W powerLED circuit, featuring CRI90 and three MacAdam steps for excellent colour reproduction. This is integrated into a directional element with a warm white emission, the ideal light for reading. The same element, at right angles, conveys the emission upwards through an opening which can be fitted with interchangeable decorative filters. The product is available in combinations: white-white, black-black, whitecopper, and black-gold, with further customisation possible using patterned, neutral matt or coloured filters. www.linealight.com

Solvan Flow LED Trilux

Cloud Guardian Unibrite Technology

Architects, designers and end-users are given maximum flexibility with the Solvan Flow LED. Accents are set by a single suspended luminaire or seamless continuous lines can also be created with ease. Further diversity is provided thanks to flexible mounting methods, various lumen levels and different optical systems. Compatibility with light management systems makes the intelligent all-rounder the ideal start for connectivity. Ideal for office or education applications. www.trilux.com

Smart Lighting using IOT is changing the lighting industry, calling on LED illumination to be connected to the cloud. Cloud Guardian, with a patented technology inside, utilises the Snell Law theory and merges the mechanism of light refraction and reflection. It redirects the light path using an optical lens and changes light shapes through different lens curves. It clears the space on the top of the lamp to provide an ideal location for BLE signal, free from obstruction. www.unibrite-tech.com

FLEX Luctra Available in orange, black, white and aluminium finishes, FLEX can operate as a table or wall lamp. Its angled design supports itself against a wall or the side of a table by using a heightadjustable rubberised protective sleeve. FLEX’s integrated lithium-ion battery is capable of powering the lamp for up to ten hours, delivering portable human centric lighting. The biologically effective light is able to replicate daylight, with its cold white and warm white LEDS that produce an illuminance of up to 1,000 lux, and between 2,700K and 6,500K. FLEX’s lamp head can be rotated 180° to provide direct or indirect lighting. With a height of 136cm, the cordless workplace lamp weighs just 2kg, allowing for easy relocation. www.luctra.eu

SUPERSYSTEM Outdoor Zumtobel Zumtobel has used the development of the SUPERSYSTEM outdoor LED luminaire to offer a new approach to the task-specific illumination of roads, squares, streets and façades. Targeted space-defining illumination of outdoor areas is now possible thanks to modules featuring a series of beam patterns based on the SUPERSYSTEM range for interior lighting. A key aspect of the product family is adaptability. Interchangeable components can be combined as required thanks to the highly compatible modular system and a consistent design language. www.zumtobel.com


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TECHNOLOGY / awards

Flat Series Corvi

Drum Arkoslight Drum, designed by Arkoslight’s Head of Design, Rubén Saldaña, is a large dimension downlight, for surface or suspended mounting, offering major luminous flux and apt to be unhooked from the ceiling as you wish. Drum is dimmable, to adapt the light volume to the specific needs of each application. Formally, its design is expressed in a circular strip, slightly arched towards the centre, and a minimum bezel. The luminaire boasts an excellent light diffusion in the entire illuminated surface and a seductive effect of natural light clarity. www.arkoslight.com

74 R/Q LED Trilux The new 74 R/Q LED, with its softly formed body and indirect light component, features an elegant appearance and creates a pleasant ambience. The luminaire is available in round (74R) or square (74Q) versions as well as Active (WW) and RGBW variants. Designing with either surface-mounted or suspended luminaires, alongside a raft of frame accessory options provides further flexibility. Combining with a light management system increases the level of energy efficiency and opens up the potential of delivering Human Centric Lighting. www.trilux.com

Profile Fluxwerx Profile is a linear LED pendant luminaire with hollow aperture design, delivering longitudinal clarity and transparency through the fixture. Using vertically oriented optics, without horizontal lenses or diffusers, it has complete absence of glare. Profile is available in direct and direct/indirect versions, as well as vertical surface illumination (VSI) and symmetric and asymmetric distributions. Manufactured in four and eight-foot nominal sections, it can be installed individually or in continuous runs. Its agnostic drivers can be integrated with any sensor, lighting control or building energy management system. www.fluxwerx.com

The Flat series manifests itself in a square and round form. One of the thinnest recessed luminaire, its minimalist tone achieves beautiful aesthetics. These products boast great functionality, with up to 150lm/w, an inbuilt driver, dimmability across the range and power features packed within 30mm of product height. This luminaire series argues the redunancy of the metal heatsink, and seamless design engineering. With a UGR value of below nineteen, Flat series is easy on the eye and glare is controlled. www.corvi.com

ACANEO Waldmann CAELA Zumtobel The new CAELA LED luminaire family from Zumtobel and GRAFT Architects meets the demands that can be placed on a decorative task luminaire. A slim design and two different kinds of light distribution define this LED luminaire range. Alongside the standard symmetrical light distribution, a square version of the wall-mounted luminaire features an asymmetrical distribution that has been optimised to meet the lighting requirements in corridors and staircases. CAELA appears slim and elegant as a wall-mounted, ceilingmounted or pendant luminaire, adding a decorative touch in offices, restaurants and in residential areas. www.zumtobel.com

ACANEO is a long-life LED spotlight that permits efficient illumination of factory halls up to 30-metres high. With advanced LED technology, a light yield of up to 140lm/W and life cycle of more than 60,000 hours (L80B10), it offers impressive energy and economic efficiency, with optimised lighting technology for well-distributed lowglare hall illumination. The downlight works reliably in dusty, humid and oily air and can be used in temperatures of more than 50º Celsius. www.waldmann.com


Tel 44 ( 0 ) 208 348 9003 Web www.radiantlights.co.uk email david@radiantlights.co.uk

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.

Design by

Mondo August 2015 half page.indd 1

04/08/2015 17:50:05


event calendar


LED China 19-22 September Shanghai, China www.ledchina-sh.com

LpS 20-22 September Bregenz, Austria www.led-professional-symposium.com

FOAID - Festival of Architecture & Interior Design 23-24 September Mumbai, India www.foaidindia.in

ALAN 2016 26-28 September Cluj-Napoca, Romania www.artificiallightatnight.org

North Modern 18-20 August Copenhagen, Denmark www.northmodern.com

Formex 24-27 August Älvsjö, Sweden www.formex.se

Shanghai International Lighting Fair 31 August - 2 September Shanghai, China www.light-messefrankfurt.com.cn

Maison et Objet 2-6 September Paris, France www.maison-objet.com

Aldabra............................................... 13 Arraystorm.......................................... 23 darc awards................................... 38-39 Emeride............................................ 153

GM Modular......................................... 9 Lasvit..................................................... 7 Loco.................................................. 131 PLD-C............................................... 127

London Design Festival 17-25 September London, UK www.londondesignfestival.com

IDSA Intl’ Conference 2016 17-20 August Detroit, USA www.idsa.org

ADVERTISER’S INDEX

darc night 15 September London, UK www.darcawards.com

Melbourne Indesign 12-13 August Melbourne, Australia www.indesigntheevent.com

Radiant............................................. 161 Serenity............................................. 161 Simes................................................ 167 Slamp................................................ 168

Codega Prize 7 October Venice, Italy www.premiocodega.it

Illuminotronica 6-8 October Padua, Italy www.illuminotronica.it

Light India 5-7 October New Delhi, India www.light-india.in.messefrankfurt.com

ICFF Miami 5-6 October Miami, USA www.icffmiami.com

LED + Light Asia 28-30 September Singapore www.ledlightasia.com

The Big 5 Contruct 28-30 September Mumbai, India www.thebig5construct.com

Versalite.............................................. 11 vis a vis.............................................. 4-5 Wipro.................................................. 19

write to us at: mondoarc@stir.lighting

For Media Partnership

Index 13-16 October Mumbai, India www.ubmindexfairs.com

IALD Enlighten Americas 13-15 October Puerto Vallarta, Jalisco, México www.iald.org

Light Symposium 12-14 October Wismar, Germany www.lightsymposium.de

Rethink the Night! 10-14 October Kea Island, Greece www.rethinkthenight.com

Frieze London 6-9 October London, UK www.frieze.com


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SELECT


A definitive moment in a design process that exemplifies the interaction of light and space, captured in time.

“A shaft of sunlight pierces through to the subterranean Teerthkund at the Isha Ashram, Coimbatore, lighting up the ‘linga’ that stands in the middle. With the skylight on the east and west side, it made sense to revisit the place several times and watch the play of light.” Amit Pasricha, Photographer www.panoramas.in


Material expressions

Ghost Lighting void

by

The light blade comes from the concrete. When it’s off, it disappears. No artifice, just a cut in the concrete with brutal and magic inspiration. Actually a technical prodigy, directly casted into the concrete, the product of a sophisticated and invisible genius to fuse architecture and light in a natural way.

Marc Sadler

Product guide video

SIMES S.p.A. Via G. Pastore, 2/4 - 25040 Corte Franca (BS) ITALY - Ph. (+39) 030 9860440 - www.simes.com Girish Bhardwaj - Country Manager INDIA - Ph. (+91) 9650447740 - girish.bhardwaj@simes.com


mondo*arc india issue#09 Jul/Aug2016  
mondo*arc india issue#09 Jul/Aug2016  
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