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Front Cover LO ST IN SPACE

ISP LAMP by Ilia Sergeevich Potemine for DCW éditions This is not just a lamp. It is light itself. Look at the future: it’s there in your hand. No more bulbs. Certainly no switches. Mechanics, machined, electrical contacts, LEDs. Like a piece of kryptonite-light you remove with your bare hands from its brass sheath, before revolving it a full 360° and then encapsulating it once again when it is no longer needed. Lighting. Extinguishing. The simplest of movements and a science fiction dream becomes a palpable reality. Another lamp. Yes. But this one is like no other that has come before. Designed in conscious opposition to the standard artefacts of our time. Photograph + Text: Courtesy of DCW éditions |


a Review of euroluce 2017 sourabh gupta + mridu sahai

colour me red!

Les Bains - La Salle À Manger Restaurant, Paris, France RDAi + Ph. A Concepteurs Lumière & Design

fit to be there

Concept 1 Gym, Vadodara, Gujarat dipen gada and associates + wolves creata

OLD, NEW, BOrrowed, BLUE Elbphilharmonie, Hamburg, Germany Ulrike Brandi

MY WORK IS AN ACT OF SPACE interview with Amardeep Behl

ethereal designs • Architecture Brio • Rakesh Thakore • ZZ Architects Arvind Vivek and Associates • KNS Architects • MOAD Architects + Lighting Spaces Ivan Black • Atelier d’architecture Chaix & Morel et associés + Herve Audibert realities:united • Lighting Design International • Tokujin Yoshioka neolight + Light+Design Associates • David Trubridge Design

evoking emotions through light

Venerated Designers • Renowned Brands • Authentic Designs.




028 Shefali Balwani and Robert Verrijt

details 010 Editorial Comment Editor’s Note. 012 Contributors Professionals that contributed to the issue. 014 Tribute Remembering Martand Singh. 016 Eye Opener Tokujin Yoshioka x LG : S.F_Senses of the Future Milan, Italy. 018 Focal Point JW Marriott Hotel, Kolkata, India. 020 Drawing Board Our preview of proposed projects. 024 Spotlight Exciting projects from around the world. 026 Snapshot Ethereal Designs, Mumbai + New Delhi. 028 Folio Architecture Brio. 032 Interview Amardeep Behl talks to Mrinalini Ghadiok about his tryst with design and designing exhibitions by creating experiences through spaces and volumes, brought to life with dynamic light. 040 Interview Helen Fletcher finds out why Ivan Black credits much of the design of his range of kinetic lighting sculptures, Nebula to the tranquil Welsh countryside.

PROJECTS 044 Les Bains - La Salle À Manger Restaurant, Paris, France RDAI gives a new lease of life to a 19thcentury bathhouse, revamping it into a lustrous luxury restaurant. 050 Soft Bank Energy Office, Delhi Arvind Vivek and Associates deliver a meaningful design scheme inspired by Zen philosophy and its prescribes of simplicity. 056 Théâtre de Sénart, Grand Paris Sud, Évry, France Atelier d’architecture Chaix & Morel et associés collaborate with lighting designer Herve Audibert to create a dynamic façade. 064 Concept 1 Gym, Vadodara, Gujarat Dipen Gada delivers a compelling design for an unconventional fitness centre.


PROJECTS 070 Elbphilharmonie, Hamburg, Germany Ulrike Brandi’s lighting scheme celebrates a marriage between the old brick block architecture of Kaispeicher A and the new. 078 Sunset Walk, Milton Keynes, UK Lighting Design International blends architectural and decorative lighting to evoke a scintillating scheme at the mall. 082 Penthouse, Mumbai, Maharashtra A duplex penthouse is fitted with a pool and dressed to impress in a high-end, contemporary aesthetic by ZZ Architects. 088 Dubai Opera, Dubai, UAE neolight and Light + Design Associates render the Dubai Opera building in a flexible and versatile lighting scheme.






PROJECTS 096 Office Ideas, Mumbai, Maharashtra KNS Architects use light to dramatise the angular geometry of the showroom showcasing each chair as an objet d’art. 100 C3A, Córdoba, Spain Whilst maintaining its solid appearance, realities:united converts the building façade into a striking light and media display. 106 SPARK - Children’s Activity Center and Gym, Chennai, Tamil Nadu MOAD Architects along with Lighting Spaces achieve a spatial symphony using colours, lights and aesthetic tools.

ART & DESIGN 112 Redwoods Nightlights, New Zealand David Trubridge Design constructs a magical new night-time attraction with custom made lighting on a gigantic scale. 118 Outdoor Decor Decorative outdoor lighting at its best. 128 SPADE Lecture Series Spade organises a lecture series and traveling exhibition, Tracing Narratives on Indian Landscape Design. 130 IALD India Light Workshops Workshop #01 2017 - Chandigarh College of Architecture, Chandigarh.

ART & DESIGN 132 IALD India Light Workshops Workshop #02 2017 - Asian School of Architecture & Design Innovation, Kochi. 134 Euroluce 2017 - Review Sourabh Gupta, Mridu Sahai visit Euroluce and shortlist some of the newest innovations witnessed there. 144 Euroluce 2017 - On Show A pick of some of the most ingenious stands that caught our eye this year. 148 Euroluce 2017 - A Selection A selection of products that stood out from the crowd for their design and innovation, presenting something fresh and new.

TECHNOLOGY 158 Case Studies Erco (pg.158), Prolicht (pg.160) 162 Event Calendar Your global show and conference guide. 166 mondo*moment Robert Petersen, Photographer/Film Maker/ Web Developer.

134 Euroluce 2017 - A Review

In Issue #13, in the article, ‘Lighting the Path Ahead’ (pg. 154), we mistakenly mismatched lighting products and their brands. We clarify that VarioLED Flex ECO and VarioLED HYDRALUX from Led Linear, and Ipro, Linealuce, Trick and Waterapp from iGuzzini were used in the project. We apologize for the error.

* 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] This is the first issue in our third year running, and how better to set off on the next leg of our journey than to talk about the transformation of thought into reality. In this issue, we discuss innovation, ingenuity, and originality – in product, space and volume. When an airline pilot is described as believing, ‘the sky is his playground, the sun a revolutionary star and that he has only dropped in on this earth for the time it takes for a quick layover… to design the extraordinary lights that are in complete contrast with what the mainstream is doing,’ we sit up and take note. And what we notice is that Ilia Sergeevich Potemine hails from the rare breed that pushes itself to break all conventions and create something extraordinary. While Potemine lays claim to the ISP Lamp by DCW éditions (on the cover), there are also others who showcased the most exquisite products and collections at the recently held Euroluce 2017 as part of Salone Del Mobile in Milan. Special correspondents of mondo*arc india, Sourabh Gupta and Mridu Sahai of studio archohm visited Euroluce and came back with much more than sore feet. In an exclusive feature, they share with us their experience, and also a list of some incredible products, collections and installations that caught their eye. What grabbed our attention was the number of designers who minimised their palette to basic geometries, stretching, bending, curving, and extruding them to present spectacular objects. Davide Groppi paid homage to the singular streak of light in Infinito, while Formafantasma transformed it into a circle in Wirering, and Michael Anastassiades created a chain link in Arrangements, both for Flos. Artemide’s Yanzi reinterpreted the circle into a glowing sphere, and Tokujin Yoshioka flattened the lambent ball into rectilinear panels of OLEDs to make chairs. This is just a glimpse of Salone Del Mobile this year, which once again proved to be a marvellous exhibit of Food, Fashion, Furniture and Fair! The conspicuous geometric principals of form are seen curiously reflected in space as well. The SPARK - Children’s Activity Centre and Gym in Chennai provides an intriguing canvas for Dan Flavin-inspired Anusha Muthusubramaniam to invoke the linearity of simple T5 tubes to create an artistic expression of light and myriad colours within a highly restrained budget. Tethered to stringent cost allocations and an unusual context, Dipen Gada resorts to an agile design scheme offset by an astute use of what is called ‘Madder Red’ to energise the Concept 1 Gym in Vadodara, while RDAI embraces a palette doused in scarlet for the restoration of a 19th century bathhouse, Les Bains – La Salle à Manger in Paris. Light brings chromaticity alive in these projects, but interestingly, for designer Amardeep Behl, light literally amounts to the breath in his space. A candid conversation with Behl about choreographing invigorating experiences and cautiously transgressing abstraction into reality melts into artist Ivan Black’s Nebula - kinetic light sculptures that are detached from the current realm, only to reminisce the matters of distant celestial bodies. This issue is an infusion of all things engaging – form, colour, idea as well as their collective product, and of course much more. We are happy to start on a vibrant note and look forward to a year filled with exciting adventures across the globe - PLDC in Paris, and World Architecture Festival in Berlin, to name just a few. So don’t forget to subscribe and also stand a chance to join us in Berlin (read, win a free Festival Pass for WAF 2017)! Mrinalini Ghadiok



Editor, mondo*arc india Mrinalini Ghadiok


Editor, mondo*arc UK Paul James Editorial Consultant Devyani Jayakar


Art Director Vrinda Bhageria Sr. Designer Kewal Singh

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Directors Hardeep Gupta Amit Gupta Curator Samta Nadeem


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Celebrating 10 Years 2008-2017





RAKESH THAKORE Director of Abraham & Thakore, Rakesh Thakore was born in Delhi and grew up in Tanzania. He went on to study in Scindia School, Gwalior, before joining NID. Before beginning in 1992 with label Abraham & Thakore, he did a lot of interesting work for the Festivals of India. Thakore is a handloom expert; working with weaves, and deriving innovative structures and techniques to create interesting fabrics. His forte is the design and development of sophisticated hand woven fabrics for scarves, saris and clothing, some of which have been included in major textile exhibitions at The Metropolitan Museum of Art in New York, the Victoria and Albert Museum in London, the Musee des Arts Decoratifs in Paris, and the National Museum of Hokkaido. In this issue: Thakore recants the inspiring journey of design maverick Martand Singh, laden with explorations and learning, and reminisces the friendship of a fine mentor.

SOURABH GUPTA Graduating from CEPT University in architecture, TU Delft in urban design, and propelled by a compulsive need to travel, explore and design, Gupta founded studio archohm in 2000. Working on variegated design typologies, he has forayed into design education and research, establishing the Design Village. Gupta has also initiated various activities such as archoforum - platform for cross cultural workshops, archotour annual expeditions to global design destinations, and archometer - their newsletter. He is constantly seeking directions in contemporary Indian architecture with global insight, and strives for cross-cultural dialogues to collaborate with relevant international architecture and design firms for selected projects. Believing in living ‘life through design’, Gupta is an avid reader and a discerning ‘wanderer’ on a perpetual design expedition. In this issue: Gupta visits Euroluce at Salone Del Mobile, Milan as a special correspondent of mondo*arc india. Together with Mridu Sahai, he reiews the fair.

MRIDU SAHAI Mridu Sahai is an interdisciplinary designer from NIFT New Delhi, with a Masters degree in Fashion from the University for the Creative Arts, UK. Her interests are driven by cross cultural interactions, architecture, product design, travel and writing. Sahai has coauthored the book, Architecture and Attitude, contributed to various design magazines and has been the editor of Studio Archohm’s in-house newsletter called the Archohmeter. She has also been instrumental in setting the Design Village. Author of numerous papers and articles, her research interests include speculating various faculties from the realm of art, architecture and design by drawing comparisons, finding resemblances, questioning differences and excavating relationships between roles and associations of entities. In this issue: Sahai visits Euroluce at Salone Del Mobile, Milan as a special correspondent of mondo*arc india. Together with Sourabh Gupta, she reiews the fair.

MEGHNA MEHTA An architect by education and journalist by passion, Meghna Mehta chose to pursue a cross-road between the two. After her post-graduation from CEPT University and working with many architectural firms, she forayed into architectural journalism. Mehta was a sub-editor at Indian Architect and Builder magazine, and as part of the team heading editorial and the 361 Degree Conference for over 2 years, she curated the publication and on-stage session of the ‘Critical Review’ initiative. Mehta currently provides content to various publications and is contributing to a book on architectural education. In this issue: Mehta explores the nuances of light and colour as artistic expression in the making of a children’s activity centre in Chennai.

Crown Towers, Perth, Australia Partner: Form and Light Pty. Ltd; Think Lighting Photo: George Apostolidis

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Pic: Courtesy of Nina Singh

MARTAND SINGH 10 February 1947 – 25 April 2017


MAPU A TRIBUTE A design maven himself, Rakesh Thakore pens a heartfelt tribute to his mentor and friend, Martand Singh, who over 50 years proved himself as nothing short of a cardinal authority on textiles, a maverick of design, an expert curator, and a connoisseur of exceptional aesthetics and values. How does one start talking about Martand Singh, fondly called Mapu by his family and friends. He was an inspiration not just to me but to a whole generation of textile and fashion students and professionals. His ability to spot talent in someone was followed by constant support and encouragement, and his passion mentored the growth of new ideas and concepts. Mapu’s earliest foray into the world of design was a boutique called PsycheDelhi that he co-founded with a couple of friends at the Oberoi hotel, in the swinging 60’s. This was a time when the Beatles had discovered India, and the hippie trail ended here. His early design experiments captured the times and resulted in exuberant peacock feather and mirrored capes. His fascination and love for textiles led him to the Calico Museum in Ahmedabad in his early professional years where he created a magnificent collection of extraordinary and beautiful textiles for the Sarabhai Foundation. He assembled a vast collection from villages and towns all over India, from the archives and the personal collections of many individuals who he charmed into giving their collections to the museum. Indeed, as word spread, people began to bring their old textile treasures to him. Each acquisition came with a story and a rich history. It was a constant search for the perfect textile, the finest example to represent the epitome of a traditional craft. In his next phase, he worked on the Festivals of India which were international expositions of the Indian culture organised by the Government of India. His mentor, Mrs. Pupul Jayakar, encouraged him to travel the length and the breadth of the country to develop textiles in every Indian village. The first exhibition, The Master Weavers of India, held in London, demonstrated the Indian craftspersons’ ability to produce printed/painted and woven textiles of the highest quality using the same manufacturing techniques of the last 100 years. Following this, several exhibitions on textiles then travelled to Paris, New York, Milan, Moscow, Tokyo and Beijing showing the world the incredible mastery of the Indian printer and weaver, and giving them both work and a rightful pride that they were upholding a great tradition. The Weavers Service Centres were also revitalised at this time, becoming laboratories of ideas where many contemporary artists worked, dreaming and weaving great new creations. The definitive exhibition on The Costumes of Royal India held at

Pic: David Abraham

…not realising that he would have to go through fumigation on arrival at the airport, Mapu’s splendid peacock cape that he was wearing lost its exuberance and collapsed in a heap of wet feathers.

the Metropolitan Museum of New New York in collaboration with Diana Vreeland was yet another project. This brought together two exceptional and creative individuals, which resulted in a glittering show of opulence and the highest level of Indian craftsmanship. Mapu later worked on conceptualising INTACH, the Indian National Trust for Art and Cultural Heritage, founding an institution that was created to spearhead heritage awareness. This eventually grew into an organisation that covered the country bringing in committed professionals from various fields and disciplines including design, architecture, and art who began to change attitudes towards the preservation of heritage and stem the flow of neglect and loss that negatively affected our monuments and heritage properties. On a personal front, I have so many memories to cherish. Mapu was the great storyteller, a talent he had inherited from his elegant mother Sita Devi of Kapurthala, who regaled us with fascinating tales punctuated with loud chuckles of laughter. His eagerness to travel to new destinations kept him moving constantly. Always enquiring and questioning, he was eager to learn and explore. He wanted to visit every museum in the world, searching out the most extraordinary textiles and objects. And when in Delhi, his love for food took him from lunch at the Andhra Bhavan to 360 at the Oberoi hotel, from a spicy vegetarian thali to a smoked salmon. Perspiring from a highly spiced meal shared with good friends, he would use his angavastram to wipe the sweat off his forehead. Mapu was also a generous and thoughtful host. He hosted lavish tea parties at his beautiful home in Mussoorie for family and friends, and his home was constantly filled with house guests who were attended to meticulously by his well-trained staff. From pots of tea served on elegantly lined trays, to beds turned down at nightfall with a thoughtful chocolate cookie on the pillow, every guest was made to feel like the most important person in the household. After withdrawing from public life, Mapu continued his time in the hills of Mussoorie reading and learning about gems and jewels, which became his new acquired passion. Mapu’s presence lives on, for me, in the beauty I see and dream of. He had no boundaries for his love, and he never spoke ill of anyone. He is greatly missed but he lives on in incalculable ways, in our hearts, indeed in the very threads of the warp and weft of the lives he touched.



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




focal point JW MARRIOTT HOTEL KOLKATA, INDIA The new JW Marriott Hotel in India is adorned with light fixtures produced by Czech company Sans Souci. So as to become part of the first hotel of the world-renowned chain in Kolkata and the surrounding region, they had to travel over eight thousand kilometres. This is the distance you would have to cross to the NovĂ˝ Bor region in northern Bohemia, where the light fixtures had been produced in their entirety. The hotel has opted for natural elegance produced by the gentle shades of white and natural brown. The same style is honoured by the light fixtures in all the public spaces, which are modern and visually simple, yet very impressive. As soon as you enter the hotel lobby, your attention is caught by a crystal braid spanning 21-metres and weighting 650kg. It is made up of 40 metal rings of different sizes which are equipped with LED strips and interlaced with cut pendants. An incredible 8,000 cut prisms were needed to produce the rings.




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

Pic: Courtesy Jenny Sabin Studio

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

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

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



[drawing board]

Illustrations: MIR kommunikasjon/Kleihues + Schuwerk/Statsbygg

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

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

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



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

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

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

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

Material expressions When light blends together with an essential and innovative design, a unique sense of elegance arises with a strong emotional impact. Simple shapes and primitive geometries characterize the range “Tailored” by Matteo Thun, from the creative collaboration between Simes and the prestigious italian architect and designer. A perfect balance between sustainable and diverse material expressions: the range was developed using a combination of wood teak that conveys a warm effect and the minimalist lines of aluminium, new finishes specifically dedicated to improve the quality of the lighting performance. Natural elegance and lighting poetry that dress with charm the environments with an unmistakable style.

“Tailored” by Matteo Thun

Thun Video interview



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



[snapshot] Ethereal Designs is a noted lighting design practice with one principal being an engineer, the other an architect, and a team made up from varied backgrounds. Thus they perceive design from both, technical and spatial parameters. Over 15 years they have built a diverse portfolio that ranges from airports, stadia, temples and mosques, to residential, commercial, retail, museums, and even heritage sites.

Pics: Finer Edge

MOTI BUNGALOW Pune, Maharashtra Overlooking a park and offering grand landscaped vistas, the architects at Finer Edge chose to open up the residence not only to look outwards but also spill inside. The double height volume of the living room is embraced on one end with floor to ceiling glazing that softens the threshold between interior and exterior, and at the same time infuses the space with natural light. As night draws, concealed LED strips in the ceiling wash the curved peripheral walls to give a calming ambience, while a striking installation of illuminated steel

globes cascades into the centre of the volume. On the upper levels too, deep balconies draw abundant natural light into the rooms during the day, and the nights are dressed with a gentle ambient glow and a splattering of table and floor lamps. The lighting scheme follows a simple principle of accentuating selective vertical surfaces to emanate a certain degree of uniform illumination, while the mood is set by lighting the horizontal planes at lower levels through decorative fittings.


Pic: Shapoorji Pallonji Co. Ltd.

Ethereal Designs worked closely with the architectural team from Arcop Associates to create an immersive, interactive and emotional experience through the museum. This was achieved by using numerous automated effects, wherein lighting was made to intuitively respond to the movement of visitors. Employing a complex network of sensors for audio and lighting effects, the designers managed to maintain low levels of ambient illumination, accentuating points of focus and highlighting areas that were directly

being engaged with. There was minimal light given to circulation zones, depending largely on reflected luminance from the specifically lit exhibits. The space itself guides one around the museum, complemented by multimedia galleries that use intriguing 3D mapping and projection techniques. The lighting scheme enables the experience to be seamless, transitioning effortlessly between lit and unlit environments to deliver what has been described as an ‘overwhelming experience’.


NEEL RESTAURANT & TOTE BANQUETS Mumbai, Maharashtra Albeit an homage to the rich cuisine of old Nawabi families from Lucknow, Hyderabad and Kashmir, the very contemporary design of Neel was conceived by Sameep Padora and his team at sP+a. They worked with innumerable steel sections that were clustered to form metallic trees rising from the earth, their branches forming dense foliage as the rods spanned across the ceiling. Ethereal Designs came in to add

another dimension to the surreal setting, fitting the base of certain trees with uplights to create myriad shadow patterns above. They were careful to avoid seating areas and glare from these floor-recessed luminaires that could perhaps bother diners. However, the main exercise in the project remained the shortlisting of products and defining their peculiar requirements. Within the foliage were peppered tiny 3W

spotlights, specially customised so as to be clamped onto the steel ‘branches’, their wires pulled from the base of the trees and through its vertical members. These spotlights played the crucial role of casting focused light onto the tables and service stations below, all the while alluding to ‘fireflies nestled in the topiary’.

Pics: Raju Shukla, sP+a

THE SUMMIT BUSINESS BAY, OMKAR Mumbai, Maharashtra The main building lobby called for something special and fantastic, and its concept architect and interior designer Rushikesh H veered towards steel. However, the biggest challenge facing the design team was unsightly visual distortions of the spectacular architectural steel elements by light. Thus emerged the crucial role of Ethereal Designs, who worked in close collaboration with the architects to deliver an ambience that exuded sophistication as well as an artistic expression. The lighting scheme defined a uniform ambient illumination from ceiling recessed downlights, complemented by

concealed LED strips in coves encircling the columns. Similar coves further embraced the ‘dripping’ luminous forms, composed of stretched fabric housing a combination of diffused downlights and LED strips. An interwoven steel wall on one end was highlighted in blue with LED fixtures embedded in each indentation, while a backlit onyx panel sat pristinely on the other. The lighting was thus broken into smaller proportions to create points of focus and a sense of visual hierarchy, all achieved through an interesting play of material and illumination.

Pic: Rushikesh H

Ethereal Designs • PRINCIPALS: Vilas Prabhu, Jaspreet Chandhok • STUDIOS: Mumbai, New Delhi • ESTABLISHED: 2002 • EMPLOYEES: 4 • CURRENT PROJECTS: National Salt Satyagraha Museum, Surat; IRDA Head Office, Hyderabad; Marriott Hotels, Indore, Amritsar, Mahabaleshwar, Trivandrum; Phoenix Market City Mall, Mumbai; Botanika Residential Complex by Koncept Ambience, Hyderabad; Alta Monte & VGS Ananta Residential Projects by Omkar, Mumbai.



[folio] Our regular feature highlighting some of the best works of a premier design practice. This issue, we present Architecture Brio.

Architecture BRIO is a Mumbai-based architecture and interior design practice that bases its work on the principals of aesthetics, technological and environmentally friendly innovativeness. Their focus lies in creating contextually appropriate solutions within an increasingly changing world. Established in 2006, principal architects Shefali Balwani and Robert Verrijt have led their team to numerous international and Indian awards, upholding the belief that there is a need to promote rapid, widespread acceptance of sustainable solutions, that solutions should not only solve but also resonate the complex problems out which they arise in the first place, and that architecture should remain a backdrop to life rather than taking centre stage.

“BRIO, much like the name, is about buildings that give energy both literally and metaphorically and therefore inspire and make people happy.”

Pic: Jignesh Jhaveri


Pics: Sebastian Zachariah

HOUSE ON A STREAM Alibaug, Maharashtra Set amidst orchards, the sprawling house is built around a seasonal stream. While one part stands in the near distance, a pergola protects the path that leads to the main pavilion. The shallow pool shimmers in a dappled light that pierces through the foliage overhead. The large dining area slides open its walls to carelessly let the outside flow in. The double height kitchen, the heart of the house stands in a sacred attendance, grazed gently by the diffused light that seeps through an angled skylight. Crowned by a series of naked lamps precariously suspended above the counter, the space demands a stoic reverence. Windows hold themselves ajar as the interior effortlessly spills onto decks and balconies. On the other hand, walls separate themselves from the building to create mysterious pockets of intimate spaces. A beam of light casts itself on the bare concrete of the bathroom, caressing its surface through the day as the sun moves across the sky. The house can only be described as a choreography of mystical moments, enchanting interactions and curious connections.



CASA BRIO Mumbai, Maharashtra Open on three sides and overlooking a park, the relatively small footprint of the architects’ house demanded to be opened and suffused with natural light. Thus, every attempt was made to keep the outer walls transparent, providing large windows and sliding panels to dissolve the boundary between inside and out. With columns restricted to the peripheries, the architect duo practised a free reign on the design, adhering only to the strict rule of creating a clutter-free, efficient space with ample storage neatly tucked away from sight. The result is a volume that appears much larger, doused in warm daylight; its white interiors sliced meticulously with the precise edges of highly polished concrete and exposed oak wood, occasionally stained in a vibrant yellow. At night, the space continues to exude a freshness, brought alive in a mellow hue from the carefully selected lamps, as seen over the kitchen counter, at the corner of the living room, above the outdoor dining table, and even in the perfectly framed niche of the powder room.

Pics: Jignesh Jhaveri

RIPARIAN HOUSE Karjat, Maharashtra Wedged into the landscape, the top of the hill flows onto the roof of the rectilinear volume that peeks over the lake. The ceiling and floor slabs appear to be held apart merely by a ribbon of glass, veiled by a meagre screen of bamboo. The dissolved boundaries between the interior and exterior offer unceasing views into the valley, while the enclosed volumes are flushed with natural light, the vertical bamboo members directing a fascinating play of light and shadow. The austere purity of the concrete structure and translucent enclosure is contrasted with its ornamental interiors. Reminiscent of the client’s personality, the house finds itself adorned in an eclectic mix of colours, textures, patterns and prints. A bold checkered floor gives way to staid wooden decking, glossy teal tiles are offset by elegant timber cabinetry, and ornate lamps suspended above the dining table are accompanied by naked filament bulbs in the bathroom. The polished redeems the bare and the vibrant relieves the dare in this quaint box-like structure that glows like a lantern against the hilly terrain.

Pics: Ariel Huber


Pics: Sebastian Zachariah

VILLA DONNI Mumbai, Maharashtra Having enjoyed lived in bungalows, the clients desired for their 51st-floor apartment to exude a similar feeling, of large spaces, a cosy ambience, classical proportions, and a modern aesthetic. Architecture Brio transformed the bare shell, devoid of any sense of discovery, into a series of volumes that created intimate enclosures and crafted intrigue. The natural light that once inundated the space was blocked and instead carefully framed to infuse a gentle warmth, as seen in the double-height living room. The library was enclosed in deep-niched bookshelves to emulate a sheltered den, and even the glazed periphery of the kitchen was fitted with cabinets to reduce the influx of daylight. The master bedroom that once boasted of uninterrupted vistas of the city was dressed in the symmetric modesty of two large windows on either side of a solid wall. With an exquisite collection of art and an envious assortment of artefacts, be it sculptures, furniture or even decorative table lamps and suspended pendants, this soaring apartment is perhaps the closest one can get to a villa in the clouds.



Pic: Vibhu Galhotra


MY WORK IS AN ACT OF SPACE Trained as an Exhibition Designer, Amardeep Behl is that and a whole lot more than meets the eye. Mrinalini Ghadiok gets a glimpse of the fantastical experiences that he crafts in a confluence of space, volume, and storytelling, injected deftly with an enigmatic breath of light.

What made you venture into the world of design? It was a confusing time for me after school. I could not figure out what exactly I wanted to do. I was not the most talented in drawing, though I did doodle a bit, and I was definitely aligned towards the arts. I was thoughtful, introspective and unhappy! I got to know about architecture and CEPT University (Centre for Environmental Planning and Technology), which seemed rather appealing. So I began to prepare for its entrance exam. I enrolled myself in the drawing course at Triveni Kala Kendra and found that very exciting – to sit and draw objects. There, I befriended another student who was preparing for NID (National Institute of Design). I saw the entrance forms and they looked really exciting. So I decided to apply to NID as well. I took both tests and fared quite well. The CEPT results were declared first; I was selected, so I joined. You joined CEPT to study architecture, but you graduated from NID having done design? The NID results were declared later, and I had made the cut there too. That is when a big conflict began brewing in my head. Everyone at CEPT tried to convince me to stay, talking about the greatness of

architecture, and that is when I was introduced to the term – Architecture Is The Mother Of All Design. Everyone I knew at NID said that architecture at CEPT was a great option. Not one person advised me to switch. So I decided to join NID. Was that a rebellion without a cause? NID was intriguing. It seemed to be very open and had so much to offer – be it a course in short film or graphics. It was a small institute with 150 students, but the most beautiful campus with a great sense of aesthetics. NID was special; the energy there was special. I could not rid myself of the sense that I got when I went to that campus. I liked it very much. That is how I got into NID and forayed into the world of design. Although you trained in design, you never lost that delicate thread that had pulled you towards architecture. How did you manage to stay connected? In the short time that I was in CEPT, I had made many friends. We had survived ragging together and established a keen bond. I could never shake off the initial impression of CEPT, or of architecture. On the other hand, NID was a very open-

ended educational system. After the initial year and a half of a foundation course, we were asked to choose our specialisations. My faculty and peers pressed me to join the Product Design course, while I was keen to pursue Short Films. They were also instituting the new Department of Environment Design. Although they never managed to start Experimental Architecture as part of this, they did offer Exhibition Design, which I then opted for. How would you describe your work and its methodology? What I have learnt is to visually communicate through an exhibition. What I have nurtured in my head is to be able to do spatial narratives. Space has always been a part of my activity, and the deep interest in architecture has always helped deal with that. So I say that I have always been a designer that works with space. I don’t think there is any other way. We don’t see space, we experience space through the elements that are put in it. The experience of space is in volumes. We experience space vis a vis our human structure – our height, body, the span of our arms, speed of our walk, how much we can see, smell or touch. The human being is the



core element around which space becomes an experience through volume. And this is what I bring to my work - be it exhibitions in Pragati Maidan, Auto Expos or anything else. I have always worked with volumes to make exhibitions of experiences. You have often been titled an ‘Experience Designer’, creating novel experiences for visitors that witness your works. How do you cater to the experience of a space rather than just visually communicate? Space is volume. This is the most natural and only way to look at things. My concern is how to heighten the sense of experience for the audience in my space. I have often looked to the cinema for an inspiration of spatial architecture. It is the most emotive experience that is manufactured these days, or in fact from the time cinema was first made. In cinema, you are in a black box, captive, and compelled to experience time and space; but it is also very emotive. I have always been enthralled by the cinematic and theatric sense of space, and on the other hand, I have trained as an exhibition designer. The struggle, therefore, has been to bring these two teams together. I have tried to create narrative, storytelling, theatrical, near-cinematic spaces. I have used colour, texture, material, volumes, moving images, sounds, smells and much more, as my tools; and finally, the one thing that binds it all together, has always been light. Light is the most important but also the toughest element to work with. Natural light is so beautiful, but it keeps shifting all day. It refuses to stay in one place!

Corporate Exhibition, TVS Pic: Courtesy of DesignHabit

Corporate Exhibition, TVS Pic: Courtesy of DesignHabit

What is the significance of light in your work? Why does it garner such a critical aspect? Light is dynamism for me – I can make the space, working with colour, texture, and volumes. I can really harness the space, but finally, it is the play of light that makes space happen. I have struggled with it and I am still struggling. It is currently one of the large concerns in my head. Having worked with varying scales, forms and typologies, and having experimented with diverse lighting techniques, is there a mantra that you feel you can now rely on? The only element of continuity in all the work I have done is that it has always been

Corporate Exhibition, Mahindra & Mahindra Pic: Courtesy of DesignHabit

“We do not make chapters and put it in a book, but interconnect the messages in a story and create a space around it.”


Virasat-e-Khalsa Phase 2 Pic: Shailan Parker

Virasat-e-Khalsa Phase 2 Pic: Shailan Parker

Virasat-e-Khalsa Phase 2 Pic: Shailan Parker

spatial; my work is an act of space. In the early 1980s, exhibitions were limited to making pretty panels with exciting fonts and graphics, and slapping them together into a wall of information. They were then adorned by a series of Compta Lux lamps, and the day was called. Although NID pushed to move away from the norm, the structure and understanding of exhibitions and their design was a tough mould to crack. This was not my idea of ‘communication’. For me, it had to be spatial, and it could only happen if light played a larger role in it. So I started experimenting with light myself. I bought lights, followed my instinct and carried on with work on my own for a few years. I worked a lot with static light initially but always wanted more. I wanted light to be dynamic, to be able to tell a story. So I experimented and went the theatrical way. I tried the new age LEDs, moving heads, pre-programmed multimedia, sensorial lighting control and what not. I simulated natural light, created shadows, displaced shadows, and did all that too… but for me, the answer lay somewhere in the middle. Were you able to narrow down on the answer that you sought? If breath is the act of my physical body, light is the act of my physical space… but if light is to space, what breath is to body, then light needs to be dynamic. As I walk through space through light, the experience needs to be transformative. This is what we attempted in our work at the Virasat-e-Khalsa. It was one of our most challenging projects. Sikh history is very oral, so it was challenging to represent that. It was not only challenging to structure the content



Virasat-e-Khalsa Phase 1 Pic: Courtesy of DesignHabit

Virasat-e-Khalsa Phase 2 Pic: Shailan Parker

but also use 6400 sq.m. of incredible space designed by Moshe Safdie to exhibit it. The volumes of the space were challenging, with their curved walls and ceilings, large heights, and services concealed on vertical planes behind drywall partitions. In order to hang anything on the wall, we would have to puncture the partition and reach the concrete structure about a metre in. This was a very difficult project to execute. Besides installation challenges, we were working with extremely large spaces, and no artefacts to display. The exhibition itself was to become the artefact. This gave us the opportunity to do a ‘storytelling space’. While we needed to make the volumes feel as if they were built specifically for the exhibits, we also needed the exhibits to consume the volume.

The Virasat-e-Khalsa is an incredible story of layers and complexities, of working with handmade artefacts and using latest technology. Could you tell us how the experience was made so intrinsically emotive and creatively immersive? Virasat-e-Khalsa is a classic example of how volumes make spaces happen and create the experience. Since we wanted to tell a story, the journey through space was crucial. The journey also had to be engaging; it had to engage with all the senses, it had to be tactile. I sat down and listed what I wanted to do with the spaces, and then set out to find the way. We worked with a large team for various audiovisual needs. The AV team would ask me what I want, and then make it happen. We decided not to do static lighting,


Virasat-e-Khalsa Phase 1 Pic: Courtesy of DesignHabit

Virasat-e-Khalsa Phase 1 Pic: Courtesy of DesignHabit

and instead use LEDs for colour changing and multiple effects, various channels, numerous dimmer controls, and multiple programmed sequences. I think it mostly worked. There is an interplay of light and shadow that defines the multiple layers of graphic, creating a three-dimensional effect. It is a near black-box experience. Even though all galleries are fitted with skylights, each of them is treated very differently. While the light is diffused in some, in others it is completely wiped out. The light itself becomes a layer, and lighting works in tandem with the exhibits. We used many skills to put all this together. We compiled the exhibition in a contemporary language and yet managed to take one back in time. The display was made in a manner that you don’t miss the artefact,

and the automated audio system ensured that once you hear the story, it triggers a deep sense of the story in you. The essence of your work is storytelling, and you achieve the casting of your tale in such varied ways. How does DesignHabit’s approach to one project differ from that of another? For us, everything is about story telling. We are all stories, and we see life through our stories. They are the basis of our existence. And I see design truly as storytelling. DesignHabit is the place where we use the design process to tell stories. We work with clients who have a message or want to exhibit a message; it could be a mobile company, a corporate, a religious organisation or anything else. We try and find

“If breath is the act of my physical body, light is the act of my physical space… but if light is to space, what breath is to body, then light needs to be dynamic.”



Sant Nirankari Memorial Pic: Courtesy of DesignHabit

Darshan Museum Pic: Courtesy of DesignHabit

ways of expressing that message in the space so that the visitors get the message clearly. We try and see a narrative in it and then narrate the message. We do not make chapters and put it in a book, but interconnect the messages in a story and create a space around it. The sole purpose is to be able to express that message to the audience in an experiential way through space. The moment you make it experiential, it goes through the rigours of multimedia, sound, light, script writing, etc. And how does light come into play when defining a narrative? A great example is the Sant Nirankari Memorial. The clients wanted to create a water-based installation to celebrate brotherhood. Located at the northern edge of Delhi, this project faced its own challenges, high volumes of wind being one. The structure itself was very complex and difficult to construct. The centre houses a multilayered glass dome with a crystal in the centre and a stained glass world map that appears to be opening up like a flowering blossom. The intent was to represent a universal brotherhood that comes together and the universe opens up to expose the soul. Here the lighting scheme was critical and was done in collaboration with lighting

Sant Nirankari Memorial Pic: Courtesy of DesignHabit

designer, Andre Tammes. While the memorial was illuminated using static light for the most part of the evening, the lighting scheme was adapted and re-programmed to create a Sound and Light Show that runs twice per night. We worked with water screens, projections, dynamic lighting and myriad effects to offer an engaging experience of storytelling and narrative. On the other hand, Darshan was an exhibition that portrayed the story of a saint with great values and high moral fibre. Here the intention was to narrate his story in a manner that brings him alive. The visitor walks through eight distinct zones, each treated uniquely with static light, dynamic light, projections and many other techniques. The whole experience is immersive, and at times even theatrical. The exhibit controls the emotional graph of the audience, constantly moving them from two-dimensional to three-dimensional experiences.

In the last decade itself, technology has advanced tremendously. Lighting has changed rapidly. Lighting Design has developed as a profession, and practitioners themselves find it difficult to keep pace with it. Sometimes I feel that technology is changing so quickly that one’s experience does not really matter anymore, the use of technology does. Today it is about the spirit. Lighting is an attitude. Light has a strong presence by itself, and when space is created, light can either make it flower, or hide parts of it, or reveal parts of it, or invoke a sense of emotion in the space, or do many of these tasks at once. I am still looking for teams and people who can work with me in that spirit. It is becoming easier and easier to achieve this but we still need to find the spirit behind it. I myself am still learning. I don’t think I know lighting and I am looking for people who can walk with me through this process, and who can become storytellers with me.

Having used different techniques and technologies over the years, have there been any significant changes that you have had to adapt to? We are constantly trying to adapt to the changing trends and technologies available. We are also riding the wave with LEDs and dynamic show control lighting.

What do you think is the role that lighting plays in the life of a city? City lighting needs to get more sensitive. It hurts the eye, it is mostly in the wrong place, and its intensities are usually incorrect. Currently, there seems to be a typical townplanning scenario, where lights are installed


The Journey, DS Group Corporate Museum, Noida Pic: Courtesy of DesignHabit

The Journey, DS Group Corporate Museum, Noida Pic: Courtesy of DesignHabit

every 5 or 10 metres just for the sake of regularity. Of course, this is changing. In newer areas, it is evident that the authorities have thought the lighting through, but that too is not often. Lighting as a design industry is growing every day, so it is perhaps changing, but it still has a long way to go. Could you tell us about some of your most memorable experiences with light? We had travelled with the Festivals of India exhibition all over erstwhile USSR. It was probably March/April when we spent some time in Siberia. Our hotel was located right beside the river, and at 7 pm every evening we would watch the sun set against it. The sky would change its colours, transforming through the night till the wee hours of the morning. The colours were unimaginable; so stunning. It just never ended. And at around 5 am, the sun would rise again. If I think of exhibitory spaces, Moshe Safdie’s Yad Vashem Holocaust museum in Jerusalem was another memorable experience. It has a hall with mirrors, and beams of light reflect through the space, becoming almost infinite. It is a definite projection of the angst and the pain that children went through during the holocaust. Yet it is very quieting, emanating a great sense of silence and introspection.

Do you think there is an intrinsic need for dedicated lighting education, courses, institutes, conferences, or magazines? In any form of spatial design lighting is a very important element. And thus it warrants importance as a course of education. Architecture and interior design education definitely need to emphasise more on lighting, and in a much bigger way. We should, in fact, construct labs for lighting studies, where students can carry out experiments, and try out different approaches. They should be able to use light as paint, and actually understand what the palette of light is all about. If light were a magic wand in the hands of a designer (you), how would you use it to change the experience of space? I will be able to create a whole experience I think. Light is pretty fundamental – I see through light, but I can do very little exhibitory in my spaces without light. If I understand light and have control over light, I can create the intangible. Give me a black box and good control over light, and I can create a theatrical experience. When we talk about the 6th sense, light is the biggest part of it. You add smell and touch, and everything gets enhanced, but it all still rides on light.

The Journey, DS Group Corporate Museum, Noida Pic: Courtesy of DesignHabit

Highlights Projects that you would like to change All of them! By the time a project gets built I have usually moved on. Each project is like a series of doodles, one keeps learning hugely from each. Projects that you admire Soldier of Orange, the musical. French National Museum of Natural History Design Heroes Walt Disney, Charles Eames, Dashrath Patel Notable Projects Virasat-e-Khalsa Memorable Projects Darshan, Sadhu Vaswani The Journey, DS Group Awards We got several during the trade show days in Pragati Maidan. Though we never applied for any.



The Art of Motion Nebula is a range of kinetic lighting sculptures from British artist Ivan Black. Helen Fletcher takes a closer look at the man behind the design and why the tranquil Welsh countryside has a lot to answer for.

Pics: Caspar Beck Photography


INK is a new British design studio bringing together art, design and technology to create interactive kinetic lights. Launching with its Nebula range, consisting of the Orb, Ellipse and Ellipsoid, conceived to work in concert or individually, the lights are evocative of distant celestial bodies and in their spiralling motion reminiscent of the DNA helix. Designed by renowned kinetic artist and INK co-founder Ivan Black, the Nebula lights have evolved from the mathematically inspired sculptures that Black has been creating over the last two decades. These are at the forefront of the ‘connected home’ movement – their patterns of rotation and luminosity controllable through a proprietary iOS app and integrated motor system. But what of the man behind the design - what does he hope for in his latest collection and where does his story begin? Born in London in 1972, Black has always been surrounded by artistry and creativity, with his mother also an artist and his father a dealer in Persian carpets. Surrounded by

beautiful antiques, his creative flair surfaced at an early age and Black made his first sculpture at around the age of fifteen; going on to hold his first exhibition at the tender age of seventeen in a café in Portobello. Speaking with darc ahead of the official Nebula launch in London, Black reflects on this time in his life: “I sold a bunch of stuff and one of my friends told me it was beginner’s luck! It sounds a bit cruel but I think he was just trying to build up a bit of grounding in me because the art world is a hard one to make any headway in… But it was all I wanted to do. I was making more and more sculptures at school and went on to do a foundation course at Middlesex Polytechnic, one of the best foundation courses in the country at the time. I didn’t have any other interests that gave me as much pleasure as art did, it’s as if it’s inbuilt in me and I was determined that art would be a career and not just a hobby.” While Black describes his time doing the foundation course as a “fantastic experience”, meeting some great people

and learning a lot, he tells darc how he wasn’t quite as well suited to the educational system as most: “I was always arguing with the teachers and was very idiosyncratic – always wanting to do my own thing and that wasn’t always the popular choice with others! During the course I felt as though I was being pushed towards the business side of art and being more conceptual - having to justify everything that I was doing and working within acceptable parameters. I just wanted to do work I felt like doing at the time and didn’t want to be constricted.” Having made the decision to travel around India and Thailand rather than head to university following his foundation course, this was an opportunity for Black to build on his artistic skills: “It was an incredibly informative experience,” he says. “There were no mobile phones or internet in those days and it really was like going to another planet! Whenever we found ourselves among people who were making things we would always get involved - we did some stone carving in India in fact.”



Previous Page and This Page The Nebula light sculptures being refined and constructed by Ivan Black in his Pembrokeshire workshop. While working with light was a real learning curve for Black in the beginning, he found support in some fantastic craftsmen and engineers based in Pembrokeshire. ‘Keeping it local’ is at the heart of how Black likes to work.

An inherent problem solver, who confesses to picking up new skills rather easily, Black continued to amass multi disciplinary skills on his return to the UK, working with his father, David Black, restoring Persian rugs. “It is a very exacting and difficult trade but I found it fascinating,” he says. “It’s back breaking work hunched over a carpet all day long and when I look back at my time doing this now, I can kind of see my initiation and fascination with craft and repetition. “You look back on your past and you see these moments where you perhaps had formative experiences… working with Persian rugs was definitely one of them.” Black continued to work hard at building his skill set, completing an apprenticeship as a carpenter - a job he held for eight years,

before meeting his wife and making the life changing decision to move away from the chaos of London and head to the serene surroundings of the Welsh countryside. Once in Wales, liberated from the need to work - thanks to a very successful ‘final exhibition’ held in London - Black found himself in one of the most creative periods of his life, and for three months the ideas spilled out, he was making something new almost every day. “I’d go to bed with an idea and wake up the next day to make it,” he says. This, is where the story of Nebula begins... Motion had by this time, become central to Black’s work, adding another layer of complexity and interest to his experiments. Using his unique methodology to create

forms that mutate upon the introduction of energy, the repetition of identical elements is a recurrent theme in Black’s work and as such, he builds complex fluid structures. Each work is a section of a potentially continuous sequence, generated in form by the application of systematic rules to his geometry. “I’d always been interested in making mobiles,” Black tells darc. “There are very few dominant figures in the world of mobiles and their work is endlessly copied and recycled. Every time I see another Alexander Calder knock off I feel it’s a shame people aren’t driven to try and find their own angle. “I loved making mobiles but I’d only ever made small numbers of them; it’s difficult to get away from Calder’s legacy, he’s really cornered the market and while I was developing my ideas it felt as though there was almost nothing he hadn’t done. It was difficult – even if you think you’re coming up with an original, you then end up seeing something that he’s done that is similar.” However, Black managed just that when he started exploring the spiralling patterns, which have become a hallmark of much of his work. “It was one of those things – I thought to myself, it’s so simple it can’t be original - someone else must have thought of this because there’s nothing to it…But at the same time, it was so interesting and was creating something amazing.” Black thus spent several years developing and evolving his signature style, with his work being bought by collectors and public bodies around the world. It was the realisation that the introduction of light would add another dimension to his work, but also create sculptures that were as functional as they were beautiful, that led to the creation of the Nebula range.


“By adding light I could create something functional as well as beautiful. Not every room needs a sculpture, but every room needs light.” - Ivan Black

“It’s the spine of the sculptures and its interaction with the forces of inertia, gravity and momentum that is the key to the changes in shape. A chain of connected, off-set vertebrae rotate in series and deliver the transformation between the sculptures’ spiralling patterns and its celestial static form. “But it is the light that enhances and accentuates the aspect of the sculpture that I find most interesting, which is the movement and alignment of the parts. With the addition of lighting, the structures disappear and all you see is spirals of light. In the dark it creates a continuous line - a trail of beads almost.” Whilst the addition of light had originally been an experiment it soon became clear that it would open up many more possibilities. “Not every room needs a sculpture but every room needs light,” says Black. “Why not make that light a work of art? I realised no-one else in the world of lighting was exploring movement in a major way, so I concluded I was on to something unique. “It was initially a real learning curve working with light, but I was fortunate to have some fantastic craftsmen and engineers to support me through the process. I always want to make sure the skills we have in Pembrokeshire are put to good use. This is at the heart of how I want to work.” Interaction with the light sculptures is also a major part of their appeal for Black and being able to directly control the movement of the lights creates much greater engagement. They are not distant and untouchable like a museum piece, you can manipulate and play with their form - thus getting a much more connected experience. As such, Black initially developed a smartphone app to enable the speed, pattern and direction of rotation to be

played with, but has since taken this a step further, introducing a gesture-control system that allows the movement of the sculpture to be dictated by hand or arm movements - you can literally conduct the light with your body. This all serves to create an experience, not just a piece to look at or illuminate a room. Talking inspiration and influences, Black sees his work as more of a progression and conversation with himself, always looking to see where he can take his sculptures next. “If you look at my work chronologically you can see it evolving into different areas. I was quite deliberate about developing my own style. I decided to concentrate on kinetic work because I wanted it to be very much my own, I wanted to create an identity for the work I was doing – I wanted something recognisable.” “There are other kinetic artists out there that I admire but rather than be inspired by them, I’ve always seen their work as directions I can’t go with my own... it’s almost like an anti-inspiration in some ways, it can be very frustrating at times!” For INK, Nebula is just the beginning and there are already plans to reinterpret many of Black’s existing designs with the addition of light. Now at the beginning of a commercial journey with the three Nebula designs, looking ahead, Black is interested to see where the sculptures will naturally fit and what opportunities might lie ahead: “I can see the lights working in lots of different environments – they’re very classical and simple and I can’t see them clashing with much. I’ve seen them in modern settings and more elaborate settings and the juxtaposition works rather well. I think we’ve found a niche in the market, that’s for sure.”

COLOUR ME RED! A 19th-century bathhouse reborn as a luxury restaurant requires a willing suspension of disbelief. RDAI has waved just such a magic wand over Le Bains in Paris. Devyani Jayakar lingers over the luscious design offerings in this carefully orchestrated reincarnation.

Pic: Paul Raeside


project / Les Bains - La Salle À Manger Restaurant, Paris, France












Floor Plan Drawings: RDAI

Red. Not blue, or green, or aqua, which you would expect to see in a space seeking to impersonate a grotto. So if red seems an unlikely colour to evoke associations with water, ask Denis Montel of RDAI about the extensive use of this powerful colour in his reinvention of a bathhouse as a luxury restaurant. And extensively red it is. These are no timid little accents, safely used in prescribed small doses. A luxuriant, regal crimson sweeps over large expanses of walls and ceilings, with truly gasp-worthy insouciance. “Les Bains used to be a spa, but now it is a space for entertainment…and what better colour than red to convey that spirit of celebration?” asks Montel. In his rendition, this is not just any red. Deep, glossy, it has a life of its own as it appears to drip and melt down the columns just stopping short of the floor, covering surfaces with a highly reflective finish which makes one imagine it must be wet…that if you touched it, your finger would come away with a daub

of slick vermillion on it. Subliminally, this completes the association with fluidity in the viewer’s mind; and Montel has thus accomplished his mission. In Montel’s reckoning, his concept for this design is anchored in what he refers to as ‘telescoping,’ a subtle transition from the old to the modern, to create a contemporary vision fed by the past. To understand this, one must go back a bit into the history of Les Bains. Opened in 1885, Les Bains Douches was a renowned bathhouse in Paris. Almost akin to a temple, it was dedicated to massages and sulphur baths and was patronised by the likes of Marcel Proust. In 1978, the place transformed into a hedonistic nightclub which cultivated clubbing into an art, rapidly becoming a cultural phenomenon in the process. However, by 2011, well past its heydeys, the place closed down. To reinvent and save this icon of Parisian nightlife, the current reincarnation came into being. In the hands of Montel,

‘Les Bains – La Salle à Manger’ (now a restaurant, which includes a bar and two patios) has been infused with a new life. “The original Bains Douches aesthetic is clearly reflected in traces such as the façade, the tiles and the thermal bath’s original reservoir, but it is also expressed in the resonance of forms and in the echo of the ceiling’s dome-like shape. Experiencing a subtle evocation of water was our first concern; but also to recall the spirit of the musical and cultural diversity that had existed for decades,” says Montel. “These domes which probably assisted in the condensation of hot steam from the spa, provide a significantly high ceiling. While the inspiration for such organic forms lies in the nineteenth century, its realisation demands twenty-first-century technologies,” he adds. This complex undulating ceiling dips and rises, bulbously convex in parts, a recessed concave in others - all the time maintaining the quality of a shiny red mirror.



In this cruciform layout, the geometry of the space dictates whether the ceiling goes up or down. “Each arm of the rightangled cross contains an undulation, with the ceiling becoming concave at the intersection,” says Montel. The complexity of the ceiling also serves to conceal services, the perforations on its surface assisting the acoustics in a time-honoured solution. “The moulded ceiling is a unique feature, finished in-situ. Its acoustic quality and the allure of the high-gloss red-lacquered finish was a technological B challenge. The hidden integration of all the technical elements - audio speakers, air conditioning and lighting - was essential, to provide a lounge atmosphere.” The plasterboard ceiling frame was cast on site by the plasterer and fitted with recessed spotlights; their quantity minimised so as not to disturb the shape of the ceiling, and used exclusively to illuminate the tables and the bar. Inconspicuous in appearance, with carefully controlled lighting levels, they do not flood the space with light. The intersection of the ceiling and walls have also been treated interestingly – curving the horizontal onto the vertical plane in some areas, while other parts form crisp edges. Light once again is used to generate a subtle glow, with LED strips concealed in coves running steadily from wall to wall. The lighting concept is developed around the architecture of the ceiling, especially its texture, its distortions and its high gloss red finish. “This involved taking advantage of the spectacular ceiling and improving the reflections on this red mirror,” says Montel. Never directly illuminated, the ceiling behaves as a deformed image of the room with changing and kinetic light reflections. The design language follows an aqueous visual, wherein all the lines are flowing,







Ceiling Plan

Section AA'

Section BB'





project / Les Bains - La Salle À Manger Restaurant, Paris, France

Pics: Guillaume Grasset


with no edges or sharp corners, extending the metaphor of fluidity at a subconscious level. A far wall is covered with row upon row of looped felt fabric, the overlapping juxtaposition of colours merging and dispersing in blocks in the manner of pixels. An inverted cove grazes the dressed surface with light, while recessed spotlights bounce light off other lacquered walls. A specially designed table lamp is placed on each table, to cast light only onto the surface of the table, illuminating the food without any upward spill. “Since there are so many reflections, we have lit the room correctly with a small amount of indirect light,” says Montel. While the space maintains rather low levels of ambient illumination, accent lighting on the vertical surfaces is pointed at the walls, niches or the front of the bar. The flooring is a classic chequered black and white, its crisp outlines getting pixelated as one moves further inside, echoing the blurred outlines of the fabric covered wall. Visually simulating the effect of being submerged under a layer of water, the result supports the intended imagery of fluidity as the floor transforms from the front to the back of the space. “The floor appears to dissolve as we advance; as if water has spread across the chessboard’s

surface, it becomes cloudy,” says Montel. “The simplicity of the material - the small stoneware tiles - contrasts with the complexity of its use, since each tile (one million eight hundred thousand in all), was designed, modelled, manufactured and laid by hand.” Beyond the dining space, an arresting horse-shoe shaped bar takes centre stage. The ceiling dips strategically overhead, while the under-lit counter casts a halo on the floor, delineating the shape of the bar. A deep niche with shelves on the dark wall at the rear is lit from within, the bottles and stemware thus glowing a come-hither golden. The glass encased patios on both sides of the bar double as external as well as internal spaces while providing an opportunity to draw in indirect natural light during the day. “The wall paintings by artist Futura from the 80s have been restored, creating a very strong presence,” says Montel. An installation titled Les Trois 4 by a young French artist, Benjamin Sabatier has also found a place here, resembling brackets on the wall. Concealed LED strips at the edge of the floor graze the rough walls, casting an upward glow, defining the otherwise darkened space in a mellow warmth. Supporting the hedonistic drama of

the liquid red canvas, Les Bains offers an extraordinary, almost avant-garde environment, it's lighting intentionally theatrical, creating dark spots and bright ones, directing one’s attention where it desires. “Les Bains Douches is a quirky place, daring and experimental. A place that could only exist in Paris,” says Montel. Expertly mixing seemingly irreconcilable associations, RDAI almost has you convinced that red means water. If you have been told otherwise since childhood, this space conspires to aid and abet the process of unlearning and relearning.

PROJECT DETAILS Les Bains - La Salle À Manger Restaurant, Paris, France Client: Société Les Bains, Jean-Pierre Marois Artistic Director: RDAI - Denis Montel Interior Architects: Cécile Buhagiar, Benoît Lemarié Executive Architect: Vincent Bastie Lighting Consultant: Ph. A Concepteurs Lumière & Design

Lighting Specifications Firalux: Firastrip 96, Profile Mini7up Soka Disderot: Gyrostaff 70, with anti-glare cone Soka Disderot: Gyrospot 50, with anti-glare cone


project / Soft Bank Energy Office, Aerocity, Delhi

Pics: Vibhor Yadav

A QUIET ELEGANCE Creating a ‘simple’ office in Aerocity, Delhi, for a client whose business is clean energy, Arvind Vivek and Associates have taken an appropriate and meaningful design to a new level. Devyani Jayakar observes the inspiration from Zen philosophy and its prescribes ofsimplicity, resulting in a peaceful serenity permeating the space.


What does one do while creating a new office for a client who deals in clean energy derived from solar and wind power? Tying in the aesthetic with the proclaimed ethical stance of the company would be completely in order. Arvind Vivek and Associates immediately decided that they must reflect this ‘clean’ aspect in their selection of materials as well as through honest design. And what does this translate into? A Zen-like simplicity. Read no cosmetic treatments. A natural palette consisting of concrete and pine wood. A bare ceiling with exposed services, for the most part. And LED lights, many of which are customised. The office is a linear space measuring

7500 sq. ft., with a 4000 sq. ft terrace alongside. This terrace has an eight-foot high ‘view-cutter’ for security reasons, due to its proximity to the airstrip at the Indira Gandhi International Airport, as also the Aviation Research Centre of the Research and Analysis Wing. “The owners of the property were very particular that the view-cutter should not be altered in any way,” says principal architect, Vivek Gupta. "Our design started with this monstrous black metal plate, which was quite an eyesore.” To add to that, the temperature of the terrace was usually five or six degrees higher than the covered space, which made it unbearable especially in Delhi’s furnace-

like summers. “There was great natural light, but the heat radiated inwards, ruining the space climatically.” However, this terrace now acts as a spill-out space for the office. Converting the ‘viewcutter’ into a green wall turned what was once a liability into an asset - the plants on its surface are movable to access the ‘arms’ which have been installed to clean the façade of the building. “Envisioned as an informal yet ordered meeting place, it has been designed as a compact garden with flowing water and mist provisions, making it comfortable to use during most months of the year,” says Gupta. Providing ample shade, bat-like triangular parasols

of aeronautical fabric mounted on a tensile structure were made possible because the terrace is a double height space. A lower layer of yellow fabric has been added for a happy punch of colour, the clusters of benches around the ‘trunk’ of the parasol recalling a village pow-wow under the shade of a tree, simulating time-honoured Indian social interaction. “Since this is a leased space, the owners were initially quite insistent that anything we did should not be visible from the road below, or adversely affect the appearance of the building; but now they concede that all design interventions are in fact for the better,” says Gupta. The pergola at the top of the building above the terrace casts lazily moving shadows with the changing angle of the sun, quietly animating the astroturf underfoot. A water body on the terrace contributes towards creating a peculiar micro climate, through a fountain which oxygenates the water and creates a mist, hence reducing the ambient temperature. This makes the terrace a pleasant place to work in, during the late hours which the office staff are known to keep. “All these measures have brought down the temperature on the terrace by about four degrees,” claims Gupta. Consequently, the dialogue between the inside and outside has become a more pleasant one. A Zen court with sand and a potted Champa tree occupies centre stage and is the first thing visible on entering the office. A continuous strip of LED concealed within the peripheral structure makes the mass appear to be floating weightlessly. Overhead, it is crowned with a luminescent stretched Barrisol fabric, eagerly mimicking


daylight. “This is an area of tranquil nothingness,” says Gupta. “It is a negative space, meditative in nature and contrasts with everything else that is high action. The staff can indulge in raking in the sand tray, an activity known in Japan for its calming therapeutic effects. Standing close is another yellow punch, and perhaps the only mention of colour indoors. An ottoman-like sofa upholstered in a canary hue sits across the Zen court, a large floor lamp swooping over it in an arc, casting a warm gentle glow. “The reception overlooking the Zen court has been envisioned as a large informal space, which besides being the point of entry, allows quick meets assisted by its loose furniture. In this reception, as the floor becomes the wall, the walls become the table. Ceiling panels are perforated, and a bricolage of standard office elements take on a second life to reveal a space that is at once familiar yet unexplained.” says Gupta. A curious set of carefully curated, bespoke luminaires suspended on one side create a point of focus, their multiple organic concrete forms fracturing the otherwise geometric vocabulary in the space. “These lights were designed in-house and cast in concrete to gel with the overall design language,” adds Gupta. A similar cluster is seen installed across the reception at the far end as well, offering a symmetric balance. Once inside the office, one is greeted by a series of striking elements that engage the visitor or user in a variable dialogue with the space. The vast long space culminates with a visual wall displaying the key projects of the company. All screens and furniture are made of varnished pine wood; the partitions are mostly glass supported by aluminium channels. A few columns are

treated with a special film to transform them into writing boards, and at the end of the office, presentations take place on a large video wall that is visible from the entrance and displays important information and targets of the office. The rest of the office has been designed on a beehive concept, where collaborative work is undertaken in a synergetic ambience. The versatile central work area is surrounded by individual spaces wherein each member participates in the overall functioning of the institution, promoting a homogenous work culture. “A strong interactive element was created by positioning the lounge overlooking the Zen court and the café in the most

prominent locations at the entrance, providing immediate social connection to clients, visitors and staff,” says Gupta. The cafeteria has a two-sided partition separating it from the rest of the office; this has alcoves and niches for plants and books, adding a touch of warmth to the space. “From carefully managed acoustics and plentiful natural light in the workspaces to pockets for informal gatherings, an indoor court, and lush outdoors, the design allows a variety of social interactions and work styles to flourish.” Desks can be raised at the touch of a button, making them a convenient height to stand around, for an informal meeting or a cup of coffee. This assists even casual interactions

to become meaningful. This arose from staff feedback that indicated that they were keen to have a space which made it easier for employees to engage with each other and yet have some privacy. The flooring and walls here are polished concrete, cast in-situ and contrasted splendidly with the pinewood furniture. Above the workstations, the exposed but painted ceiling carries a network of dark coloured conduits intersected with a grid of vibrant red sprinkler lines. An array of linear LED task lights provide ample illumination on the table surface below, while large, suspended downlights add to the ambient lighting levels. In the conference room, the lighting scheme


“From carefully managed acoustics and plentiful natural light in the workspaces to pockets for informal gatherings, an indoor court, and lush outdoors, the design allows a variety of social interactions and work styles to flourish.” – Vivek Gupta

employs a peculiar system. A continuous trim-less LED strip, recessed into the ceiling races the length of the slab, its beam of light colliding with the wall at the far end. Other areas dressed with a metallic ceiling grate are dotted with recessed downlights that are directed mostly over circulation or general use spaces. The CEO’s cabin, like other spaces at the periphery of the office, gets heated by the sun and is inundated with natural light. In addition to regular blinds, chic wooden panels of different lengths have been mounted on a track rail and can be moved sideways in a configuration of one’s choice as their width is exactly the size of the glass panels between the mullions,

allowing an effortless overlap. “Although their length can not be altered, they play a significant role in controlling the heat and light entering the space, their colour harmonising with the rest of the office,” says Gupta. The whole office is a uniformly lit and bright space, where there is a play of natural light, screens and artificial lighting. Technical luminaires are effortlessly offset with decorative elements such as suspended and floor mounted lamps that add a touch of enhanced aesthetic value; and the simplicity of the materials promotes the ideology of purity and naturalness, contributing to the serenity and quiet elegance of the space.

PROJECT DETAILS Soft Bank Energy Office, Aerocity, Delhi Client: SB Energy Architects: Arvind Vivek and Associates Design Team: Vivek Gupta, Amruta Turkhud, Vipin Rana, Nikhil Thakur

Lighting Specifications Bo Concept: Main floor lamp, black metal with grey fabric CLS: Lynus Recessed fixture with dimmable ballast, 70mm width CLS: Lynus Suspended fixture , 70mm width CLS: Linear fixture, 48W LED (36W Down, 12W Up) Philips: High Bay ceiling suspended lamps, 24 Watt LED Arvind Vivek and Associates: Cluster of bespoke pendents in pigmented concrete


project / Théâtre de Sénart, Grand Paris Sud, Évry, France

Pic: © Giacomo Bretzel

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



project / Théâtre de Sénart, Grand Paris Sud, Évry, France

Pic: © 11h45 / CMA

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

alongside the simple shape of the open stage, small auditorium. This single form unites the volumes to create a coherent and strong image within the site. The theatre possesses a morphology, at the same time complex and hierarchical with its reliefs in balance, whilst playing with the dynamism of the diagonals. This architectural device imposed itself; an independent, iconic building that serves as a new landmark, a signal within the landscape. From a distance, like a large ship in full sail, the isolated theatre silhouette punctuates the horizon. The envelope of the building is a fundamental and emblematic element of the Théâtre-Sénart project. When seen from afar on the vast Carré Sénart plain, it needs to be given special

attention. Nothing should emerge from this spectacular volume. Installed between the waterproof roofs and the external perforated skin, the technical plant and ventilation ducts remain invisible. The envelope fabric, whose joints fold continuously in façade and roof, gives form to a monolith that suggests the volumes of the auditoriums within. The square, the structuring geometry of the Carré Sénart and its grid, has been exploited in three ways: two perforations and one stamp size. When deployed in eight configurations applied to each side of the cladding, the dispersion of the different perforation sizes projects graphic variations. The grey pre-lacquered aluminium skin is randomly stamped and perforated with a grid of 1500x1500mm panels. Stemming from standard metal cladding techniques,


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

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

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


project / Théâtre de Sénart, Grand Paris Sud, Évry, France

Drawings: Courtesy of Atelier H. Audibert

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


Pic: © Giacomo Bretzel


project / Théâtre de Sénart, Grand Paris Sud, Évry, France

Pic: © 11h45 / CMA

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

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

Pic: © 11h45 / CMA


Pic: © 11h45 / CMA

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

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

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

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

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


project / Concept 1 Gym, Vadodara, Gujarat

Pics: Tejas Shah











EAST Drawing: Dipen Gada & Associates

FIT TO BE THERE Rising to the challenge of a unique program in an unexpected locality, and constraint budgets in an unusual setting, Dipen Gada delivers a compelling design in an unconventional manner. Mrinalini Ghadiok walks through the scheme to unravel the intricacies that make this space fit for use. Sometimes small strokes make big waves, and modest gestures present great shakes. Such is a hopeful future for an intriguing new fitness facility located in the heart of Vadodara. The Concept 1 Gym may be situated within an unassuming residential area, but its ambition for nothing short of the best can be seen rather clearly in the infrastructure and space it offers. Dipen Gada pulls out his finest brushes to create an architectural arrangement that responds not to its mediocre surroundings but addresses the aspirations of its vicinity. The 5500 sq.ft. gym was slated to be housed on the first floor of a multistoried commercial

building, previously charted into various small stores. Partition walls were brought down to create a large, narrow and linear volume, supported by an array of peripheral columns. The stunted height posed a curious challenge, as did the network of dropped beams that sprawled across the ceiling slab. Gada worked closely with the client and also graphic designer, Jignesh Goswami of Wolves Creata to conceive of an efficient spatial plan that would accommodate a range of different functions such as a cardio training zone, heavy weight training zone, aerobics/yoga area, changing rooms, administration offices and other

facilities. The budget was skewed towards a top-of-the-line collection of machinery and equipment, while the interiors were to be kept simple and in control. What could have rendered a hindrance in the design process was instead taken as a challenge to rise to. Gada’s pocket-friendly iteration of the interior was definitely left of centre, moving away from his comfort of neutral hues and a stark palette. Instead, he opted for vibrant colours, an eclectic mix of textures and a slew of graphic representations. His intention, of course, remained to offer, “A space that does not look extravagant and unapproachable but doesn’t seem dowdy either. It was important to strike

a balance, in the look and feel, as well as the budget.” Oriented along the north-south axis, one enters the gym from the north end into an inviting reception. This is where we get the first glimpse of the vivid ceiling - exposed to the services, but shrouded in what is officially known as Asian Paint’s recent ‘Madder Red’. Gada was initially apprehensive about the choice of crimson, which by the way is not restricted to the reception, but stretches right across the gym. “Let’s try it,” he said, quickly adding, “We can always change it!” One coat of the paint did not really cut it, so they tried more, and then some, till the slab was covered in a thick virile hue. This red is a peculiar shade, but just the right one to create a fun and welcoming element that is also a strong and energising force within. The glazed east-facing facade warrants ample sunlight in the reception area, adding a fresh glow to the warm colour palette of browns and greys. The bare wooden furniture, oxidizing steel panels, tiled flooring and textured walls are held together with a diverse collection of accessories. A pair of

steel frames with embedded LED lamps is carefully suspended over the bar counter, while another set of stylized cylindrical luminaires are placed over the seating area; the geometric language translated from architecture to interior design to decor. “Concept your world, workout your life,” says an angled wall, directing one into the depths of the gym. Passing through a narrowed passage, the main space opens up in all its strapping glory. Divvied into defined zones, the workout area is impressive. The cardio zone abuts the east face, along which continues the large glass facade. Fitted with alternating floor to ceiling windows and metal grills, it inundates the length of the space in mellow sunlight. Gada exclaims pleasantly, “Exercisers can have the best of natural Vitamin-D along with a view of the main road from here.” Treadmills and cycles line the edge of the space like a succession of seasoned soldiers. The pristine vinyl floor gets painted in myriad patterns of daylight and shadows. Columns that find themselves interrupting the flow


of activity are either clad in mirror or firmly wrapped in layers of cordage to soften their edges and almost blend into oblivion. The design treatment of the space is painstakingly painless, read, meticulous yet facile. The heavyweight-training zone is neatly set apart from the cardio area. Splicing through the two is a precise path of darkened flooring etched with metric markers. Meant merely to measure distances during workouts, the milestones are also reminiscent of poignant yardsticks in the journey of one’s own fitness progress. Along the western edge lies an assemblage of weight machines and workout equipment. The intensity and force of the activity are represented in its visual rendering in grey speckled rubber mats that offer adequate resistance to the various contraptions. While natural light fades considerably towards the deeper areas of the space, ceiling mounted downlights take over the role of providing adequate and uniform illumination. The reddened ceiling slab is studded with black cylindrical luminaires casting a web

of conduits behind them, and a prescribed level of light below. The southern end of the volume is capped with an enclosed aerobics and yoga room, administrative offices and nutritional consultation facilities. Being a health club, it was essential for the space to feel fresh and activated, and the environment to be energised and invigorating. This was achieved through conscientious work on part of the architectural team, working in conjunction with the graphic designers. “The motto of the gym is, ‘Being Healthy’,” says Goswami of Wolves Create, adding, “This is a pro-active fitness centre that caters to the body, mind and soul.” While the colours are devoid of aggression, the graphic decals plastered across window surfaces or quotes of encouragement placed in strategic locations aid in motivating the members to strive further. “Since many materials were used here, we were careful that the graphics do not overpower the architectural intent.” The architectural intent along with its visual presentation too was mindful;

of addressing not only an established membership but a community that could be engaged and integrated into the larger idea of fitness. Gada states, “Combining art with rigorous discipline was something that we wanted to achieve.” And this they did with a concerted effort of striking delicate balances to deliver a space that is distinct and a facility that is distinguished, marking a presence within the urban fabric of its proximity, and hoping to offer itself as inspiration.

PROJECT DETAILS Concept 1 Gym, Vadodara, Gujarat Client: Amit Patel Architects: Dipen Gada and Associates Design Team: Dipen Gada, Arpit Jain, Prashant Gurjar, Prakash Prajapati Graphic Design: Jignesh Goswami, Wolves Creata

LIGHTING SPECIFIED TRIX Lighting: Diffused Downlight + Task Light, 12 Watt 4000°K


project / Elbphilharmonie, Hamburg, Germany

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


The Elbphilharmonie on the Kaispeicher A marks a location that most people in Hamburg know about but have never really experienced. The Kaispeicher A, designed by Werner Kallmorgen and constructed between 1963 and 1966, was originally used as a warehouse for cocoa beans until the end of the last century. The new building, designed by Swiss architecture firm Herzog & de Meuron, has been extruded from the shape of the Kaispeicher A and is seamlessly congruent with the brick of the older building on top of which it has been placed. The top and bottom of the new structure are, however, entirely different from the plain, blunt shape of the warehouse below. The broad, undulating sweep of the roof rises to a total height of 110-metres at the Kaispitze (the tip of the peninsula), sloping down to the eastern end, where the roof is some 30-metres lower. In contrast to the stoic brick faรงade of the Kaispeicher A, the new building has a glass faรงade, consisting in part of curved panels, some of them cut open. The glass faรงade transforms the new building into a gigantic, iridescent crystal whose textured


project / Elbphilharmonie, Hamburg, Germany

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

appearance changes as it catches the reflections of the sky, the water and the city and transforms them into an intricate puzzle on its façade . Upon reaching the top of the Kaispeicher A, visitors find an open space, a public Plaza above the city. Between the top of the Kaispeicher A and beneath the new building – at the joint between old and new – is a new public space that offers panoramic views. Along its edges, vault-shaped openings offer theatrical views of the River Elbe and the City of Hamburg. Further inside, a deep vertical opening creates constant glimpses of the foyer areas of the Grand Hall above. A café and the hotel lobby are located here, as well as access to the foyers of the new concert halls. in the centre of the audience, is a wellknown typology, along with the arrangement of tiers that take their cue from the logic of the acoustic and visual perception. Here, this logic leads to another conclusion. The tiers are more pervasive; tiers, walls, and ceiling form a spatial unity. This space, rising vertically like a tent, is not determined by the architecture alone but by the 2,100 listeners and musicians who gather in the space. The towering shape of the hall defines the static structure of the building and is reflected in the silhouette of the building as a whole. Not only is the Elbphilharmonie a display of outstanding contemporary architecture, but it also features a complex and artistic lighting scheme developed by Hamburgbased lighting designer Ulrike Brandi. Brandi has created an understated and subtle scheme, leaving the architecture at the forefront. ‘‘The architecture of the Elbphilharmonie is powerful enough,’’ explained Brandi. ‘‘So we didn’t want to create a secondary spectacle with the light. The artificial light is modest and works with simple optical principles.’’


Inside the concert hall, 1,200 units of the custom glass luminaires, hand-blown by glass specialist Detlaf Tanz, punctuate the towering shape of the vast space, while below it linear LED luminaires highlight the hall’s tiered seating arrangement.

In the HafenCity quarter of Hamburg where the Elbphilharmonie is situated, there is sufficient illumination provided by the surrounding area. As a result, the concert hall is easily visible without its own spotlights. The lighting concept also corresponds to the Federal Emission Protection Act, which regulates light pollution. The port city is a residential area, therefore the light emission of the Elbphilharmonie is designed so that it doesn’t interfere with the immediate environment. Special lighting accents fill the gap between the old and the new building parts as well as the large arches, which are cut into the

façade. They are illuminated in the evening and add rhythm to the entire picture, while during the day they carry daylight deep into the building. ‘‘During this time, a dialogue between daylight and artificial light begins to dominate the artificial light until the end. The result is a variety of effects from the light refraction, play of illuminated and unlit windows, and the printed grid glass of the façade,’’ added Brandi. During planning it was ensured that the sky, the water and the panorama of the city can be experienced from within. That is, in the plaza or in the foyers, it is never so bright that the view outside would be hindered. One notable area of Brandi’s lighting

scheme can be found behind the entrance above the escalator. ‘‘The escalator is not linear but slightly curved,’’ explained Brandi. ‘‘The curved upward movement is a special experience. The light is reflected from the walls and the ceiling into the room, while glossy spots on the matte plaster provide additional special effects. They dazzle like sequins on evening dresses and thus form the prelude to a celebratory evening.’’ An interesting detail of this area is that the lights are installed at the bottom, hidden beside the stairs. This ensures wonderful indirect light and is important for subsequent maintenance.



project / Elbphilharmonie, Hamburg, Germany

Left The ball fittings are seamlessly dimmable via DMX controls and fully compatible with HDTV, meaning that video recordings made in the concert hall are flicker-free. A third of the luminaires are also integrated into the emergency lighting system. Top The microshaping of the walls, which was created for the acoustics, provides playful optical effects, where the lighting, with its many small light points, emphasises the wave-like and irregular structure.

In the plaza the artificial light comes from the ceiling, where it is reflected from 750 spherical lamps, which were customised by Zumtobel. These LED solutions are grouped in diamond shapes and provide pleasant warm-white general illumination with a colour temperature of 3,000K. These luminaires can be found throughout the building. Sometimes grouped into diamonds, sometimes randomly distributed over areas, they are something of a musical motif, which is repeated in variations. Over 3,400 lamps were installed according to Brandi’s plans, including: 750 glass ball lamps in the plaza, 650 mouth-blown glass ball lamps for the large hall as well as 750 linear lamps for the foyer. These radiate out The design for the new Elbphilharmonie is a project of the 21st century that would have been inconceivable before. The principle design idea of the Grand Hall as a space where orchestra and conductor are located from the ceiling around the concert hall - a symbolically charged positioning that was a requirement of the architects. In the concert hall itself, the illumination emphasises the grandeur of the space.


Top Left The building’s concrete car park is given a clean illumination by 3F Filippi’s Linda transparent LED ceiling lights. Top Right The 'tube' escalator is lit by RSL Tubular 60 linear luminaires. The light is reflected from the walls and the ceiling into the room, while RSL Less 150 beam glossy spots on the matte plaster provide additional special effects. Bottom Dusk arrives, allowing Herzog & de Meuron’s crystal-like structure to glow from within due to the dotted façade.

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

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

are the windows, whose thousands of dots create a pixelated effect used for sun protection. In contrast to usual sun protection glass, however, the light is not filtered uniformly over the entire window surface. The dots become denser along the edges, while in the middle, the view is free. This weighting makes the façade livelier and the view to the outside more interesting. The dots are coated in silver on the outside so that they reflect light. On another layer, there are points inside that are black to avoid reflectivity and to allow visitors to look outside without sun glare. At the same time, the round dots take on the festive sequined motif, which can be found in the tunnel as well as the ball lamps. Brandi concluded: ‘‘The location of the Elbphilharmonie is unique in terms of light conditions. You see the wide sky, the water with its reflections of light, and last but not least the sunset in the west. With the façade the architects have designed something exquisite. From each viewpoint, new and agitating lighting effects are explored.’’

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


project / Sunset Walk, milton keynes, UK

Pics: Andrew Beasley


A Place of Principals In a perfect blend of architectural and decorative lighting, Lighting Design International pieced together a lighting scheme that evokes the very namesake of Milton Keyne's Sunset Walk shopping mall. Shopping mall consumers want their overall experience to be one of visual stimulation and luxury. This was the premise behind the refurbishment of Sunset Walk at Centre MK in Milton Keynes, UK, by British architects Rawls & Co. Combined with a well-designed lighting concept delivered by designer Graham Rollins at Lighting Design International (LDI), the overall scheme incorporates strong design elements and a level of detail that makes the refurbishment stand out from the crowd. Unique in its design, Centre MK is a Grade-II listed building that was originally recognised for its use of daylit arcades, elegant steel framed design and a mirrored exterior façade. It was hailed as a ground breaking design when it opened in 1979 and retains its architectural principals today. The shopping centre is 1km long and 116m wide, and houses over 200 stores, with the refurbishment covering just less than a quarter of the mall’s overall circulation. LDI was invited to work on the project by Rawls & Co following a previously successful collaboration on another mall retail project. Rollins told darc: “For this project, the brief was consistent and clear from the very start, enabling LDI to develop a clear lighting strategy.”

The design enhances daytime and evening ambiance, comfort and wayfinding by smoothing and balancing the transitions from natural to artificial lighting, as customers move around the centre during the day, and as the daylit arcades transition to night. Lumen depreciation and fitting maintenance had left large contrasts between the high ceiling daylit bright arcades, and lower ceiling artificially illuminated areas during the day. This was one area the LDI scheme had to address to achieve better balance and more apparent brightness to the lower ceilings. Conversely, during the evening, the higher ceiling areas were not as luminous as the lower ceiling areas, due to lighting throw distance, and difficult maintenance access to the fittings at high level. While providing scene controlled balanced lighting was a prerequisite to the actual design, it was also important for the final lighting scheme to provide a touch of glamour and interest, elevating the retail experience beyond standard shopping centre expectations. The scheme intended to enhance the appearance and appreciation of the refurbished zone, making it a destination within the centre as

a whole. LDI paid special attention to the entrance atriums to provide a strong visual presence for the centre when viewed from a distance to entice shoppers. Grand gold finished geometric 'kites' were proposed by the architect to emphasise the large volume entrance atriums, and to bring identity and presence to the centre from the adjacent roads and paths. “The architect’s vision for the project had always included a sea of hexagons and they needed a lighting designer to develop this concept while technically designing these fittings,” said Rollins. “The decorative vision needed developing into a holistic architectural lighting scheme to provide the correct lighting levels, balance and surface illumination.” The kites lead the visitor from the high ceiling atrium through to the lower ceiling mall, where their golden tone is echoed in the bespoke mirrored gold hexagonal ceiling lights. A total of 960 hexagon lights were installed throughout the mall, to lead the customer through the newly refurbished areas, while providing uplight and downlight along with visual interest to the space. The hexagons were developed by LDI in conjunction with Mike Stoane Lighting, and come in three styles; 180mm deep


project / Sunset Walk, milton keynes, UK

uplighting only, 80mm deep uplighting only and 180mm uplighting and downlighting. These three hexagon styles are swathed in a seemingly random pattern throughout the mall circulation, providing a sculpted landscape of mirrored gold and light to the ceiling. The hexagons in conjunction with beam concealed linear uplighting from ACDC ensure the ceiling plane is bright and fresh during the day, in comparison to the daylight in Sunset Walk and the entrance atriums. Mike Stoane’s uplighting of these structures using bespoke track mounting spotlight systems provide high contrast dramatic warm white lighting to the kites from the perimeter columns. 2,700K was selected to bring out the kites’ rich gold finish against

the 3,000K lighting used for other lights in the project. A special bar mounting system was developed to clamp to the column, allowing maximum fitting adjustability without invasive fixings on the listed columns. An array of large Moooi Raimond pendants were also used to provide sparkle and reflection against the gold finish of the kites and polished beaten metal ceiling panels. Naturally this installation didn’t come without its challenges, as Rollins explained: “The main challenge was designing such a large number of decorative hexagonal pendants, which would need to be simple and easy to install, while exuding glamour and quality. The mirrored gold stainless

steel finish brought durability and elegance, tying the fitting into the architectural finishes. Through three rounds of mockups, the pendant suspension and lighting characteristics were focused to ensure high quality light and functional standards. As the pendants are so abundant, and constructed from mirrored gold stainless steel, their loading on the ceiling was significant. The team was not able to reinforce the plasterboard ceiling with ply due to fire loadings, and hence specialist plasterboard fixings were reviewed and pull tested to ensure the installation method.” The hexagons provide the majority of functional and decorative lighting through the centre of the mall halls, and are


Previous Spread Moooi's Raimond pendants were used to provide sparkle and reflection against the gold finish of the kites and polished beaten metal ceiling panels. This Spread Kites lead the visitor from the high ceiling atrium through to the lower ceiling mall, where their golden tone is echoed in the hexagonal ceiling lights, which lead the customer through newly refurbished areas, while providing uplight and downlight along with visual interest to the space.

supplemented by DAL deep cone visual performance X161 downlighters to the high traffic perimeter walkways. The lighting is controlled by a Helvar architectural dimming system, enabling LDI and the client to tailor each space to react to the amount of daylight, at different times of the day or year through an astronomical time clock. The control system scenes are automatic and save energy, while enabling the lighting intensity to be adjusted for better synergy between daylight and artificial light. As a trained product designer, Rollins found a different challenge in his designs for Sunset Walk: “It was a great opportunity to work on such a large number of bespoke luminaires. The considerations when

designing towards such a large number of fittings are quite different, to when working on a single bespoke feature. I really enjoyed considering the installation method, maintenance aspects, time of installation and overall wattage and performance of the hexagons. I feel they work really well to bring the wow factor to the lighting scheme as a whole.� In this intelligent cooperation between architectural and decorative lighting, customers to Sunset Walk shopping mall are met with more than they could have imagined, as they effortlessly navigate the space under the guidance of light.

PROJECT DETAILS Sunset Walk, Milton Keynes, UK Client: Centre MK Architecture: Rawls & Co. Lighting Design: Lighting Design International

LIGHTING SPECIFIED ACDC DAL Lighting Mike Stoane Lighting Moooi: Raimond pendants


project / Penthouse, Mumbai, Maharashtra

Of Penthouses and Pools A duplex penthouse with a pool has been designed by ZZ Architects with their customary sophistication, creating a super-luxe home in Mumbai. Devyani Jayakar takes note of the high-end, contemporary aesthetic.

Pics: Subhash Patil, Courtesy of ZZ Architects

3 2









Drawing: ZZ Architects

1. Double Height Living Area 2. Swimming Pool 3. Fibre Optic Lights in Terrace

4. Bedroom 1 5. Walk-in-Wardrobe 6. Bathroom 1

7. Bedroom 2 8. Walk-in-Wardrobe 9. Bathroom 2

“It is not at all common to have an apartment with a pool,” says Zubin Zainuddin of ZZ Architects, understating a fact of Mumbai living. “A really large one at that, since the deck itself is a little over 2,000 sq. ft.; the pool is the size of most apartments," adds Krupa Zubin, a partner in the architectural firm headed by them. Evidently, this is not just a lotus pond. No points then for guessing that the pool forms a large part of the attraction of the penthouse which has been designed to entertain large numbers of guests as well as have distinctly private areas. Combining four apartments to create this home has resulted in a 12,000 sq. ft. space held together with the choicest material in a selective palette. “Floors and walls have been treated in a monolithic manner,” says Zainuddin. “We have used the same Statuario marble on both, reserving the busier parts for the walls, to add character at eye level rather than have it disappear under some furniture.” On the lower floor, the linear living room with its dining area, kitchen and home theatre are flanked by two terraces, one of which houses the aforementioned swimming pool. There is a ‘cave-like’ connection between the dining area and the pool deck, with walls clad in a dark-hued stone. The pool terrace houses a gym as well as a glasswalled steam unit, from which the rather spectacular views of the city’s skyline can be enjoyed – changing ever so often because of new constructions. Flanking the pool on one end is a railing in deck wood, and adjacent to it is a wall of composite marble embedded with fibre optic lighting. The splattering of fibre optics echoes the shimmering of stars in the dark night sky. “All lighting necessarily has to come from below since this is an open-to-sky area,” says Zubin. The landscaping has been kept to a minimum to allow for a more expansive space, often used to entertain guests. Within, the living room is a pivotal space, its large west-facing façade enclosed with floor to ceiling glazing, which brings in ample


project / Penthouse, Mumbai, Maharashtra

natural light. “In fact, the automated blinds are dropped at 5 pm every evening when the sun is lower on the horizon, to ward off direct heat and glare,” says Zainuddin. The pale colour palette indoors is a stark contrast to the darker hues used on the pool deck outside. Opening the doors of all the smaller spaces, the living area becomes one large interconnected volume that accommodates the home theatre, formal seating, a pooja room, a four-seater breakfast table, as well as a 10-seater formal dining table. “To deal with the proportions of the room, we had two clusters of seating, each of which could seat four people,” says Zainuddin. Chic Georgetti sofas in white leather are thus located in the only double-height space in the home and enable intimate conversations. “Deciding where to incorporate this double height volume within the house to keep the floor space at its optimum required much deliberation,” adds Zubin. It is rather interesting in how this heightened volume has been treated – dressed with a striking light installation, Balance by Windfall. Ten single units are delicately suspended at different heights in a random scatter - a contemporary take on


a central chandelier. Animated by sunlight refracting off the glass facets, they reflect a glimmering brilliance in the day. At night, recessed spotlights in the ceiling illuminate the crystal drops from above, adding to the drama. To achieve uniform general light levels, the scheme employs a series of coves along the top edges of the drapes and in the ceiling. In addition, a Viabizzuno 094 recessed track with an aluminium profile runs across the slab, creating a perfect knife-edge detail. Studded with an array of spotlights, it offers increased illumination with greater flexibility. “The spotlights on this track can be easily added to, or removed at will,” says Zainuddin. Throughout the home, the combination of coves and Artemide spotlights in the ceiling present an evenly lit ambience, keeping the source of light largely inconspicuous. “We saw no reason to have any dark pockets. The space is one seamless large volume,” says Zubin. This neutral illumination is accentuated by decorative fittings - the Windfall chandeliers above the seating, and a splendid rectangular Schonbek crystal chandelier over the dining table. Additionally, works of art such as the Nakul


project / Penthouse, Mumbai, Maharashtra

Vengsarkar canvas are highlighted by specific luminaires directed towards them for the purpose. Commenting on the complex task of achieving precise lighting, Zubin adds, “We like to handle the lighting ourselves… it becomes easier to coordinate the technicalities with the aesthetics.” A single flight staircase constructed in backlit onyx easily marks itself as a star attraction. A bar is tucked under the staircase, sliding out at the touch of a button, rather like something out of a Bond film. Climbing up to the next level, a floating walkway (visible from the floor below), sparse and visually light, connects two wings containing bedrooms on either side of the elongated volume. The master bedroom continues the muted white palette, with a Fendi recliner and a study tucked into one corner. The son’s bedroom, on the other hand, is designed with a more elaborate study, the existing window sills of which are used to detail the periphery as ledges for books. The daughter’s room responds to a slightly shifted aesthetic, complete with a contemporary four poster bed, and a polished volcanic stone used for the study. In the bathrooms, busy parts of the Statuario have been put to use effectively, the veins adding character to these smaller spaces, combined with other materials such as Sodalite blue in the son’s bath. “We’ve used the blue sparingly because it was difficult to obtain,” says Zubin. Platinum mosaic from Sicis has been used in the master bath tying together two different white marbles, both with very strong characters. The powder room adjacent to the home theatre stands


replete with a mosaic that replicates a cane weave at a large scale. “This project is not only about the size of the space. Given the prices of real estate, we have to take our work very seriously. Highrise buildings have no character, so how are we going to create a space which is different from a hotel room? When clients are sitting on a property that’s this exclusive, it’s easier to convince them to go that extra mile, so that the end result justifies all the efforts. This hasn’t been just another job…I wish I owned this house,” says Zainuddin. If design celebrates life, then this apartment is worthy of some champagne popping, with various areas vying for oohs and aahs. Without much ado, Zubin and Zainuddin wield a high-end contemporary aesthetic with practised ease.

PROJECT DETAILS Penthouse, Mumbai, Maharashtra Architect: ZZ Architects Design Team: Dharam Vishwakarma, Prachiti Khanwilkar, Jayesh Pipaliya, Krupa Zubin, Zubin Zainuddin.

LIGHTING SPECIFIED Artemide: Spotlights Endo: RS Series, Conical Pin-hole Fixed Downlight Schonbek: Chandelier Viabizzuno: 097 Track Lights Viabizzuno: La Dodo wall fixture Windfall: Candle Balance Chandelier, single suspended units with Swarovski crystals


project / Dubai Opera, United Arab Emirates

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



project / Dubai Opera, United Arab Emirates

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

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


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

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

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

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


project / Dubai Opera, United Arab Emirates

Grazing the wall panels from within the skirting around the auditorium, Vexica linear uplights and Remote Control Lighting DR7 spotlights with custom housing within the moveable ceiling are examples of the level of fixture customisation used on this project.

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

through to construction and retain the excellent design intent. Coordination between multiple consultants based in multiple countries was paramount and, at times, proved challenging. In addition to neolight’s architectural lighting scheme, coordination and collaboration with the theatre consultants Theatre Projects was required to resolve the overarching challenge of providing a lighting scheme that was flexible enough to cater for a multi-format venue. ‘‘The lighting details, fixture locations and control circuits that we designed and executed had to work across all modes,’’ continued Thornton. ‘‘This meant working out all of the logical control circuits for the light fixtures to feature in any of the format modes, as well as working with manufacturers to design a number of bespoke light fixtures that could meet the requirements.’’ As the project developed, virtually all the lighting details within the auditorium space were iterated and improved in line with the increasingly complex site conditions, having to amend circuiting, manage DMX cable routing, and design plug-and-play style cable management systems to allow for

a number of flying walls, rotating mobile boxes, seating wagons, staging sections, and a proscenium arch, which all to need to move seamlessly depending on the required mode. The Vexica linear uplights that graze the wall panels from within the skirting all around the auditorium, and the Remote Control Lighting remote control spotlights within the moveable ceiling are particularly great examples of the fixture customisation used on this project. Another challenge neolight faced was the timeframe required to complete the project. ‘‘Throughout the project we found ourselves being forced to react to site conditions and detailing much quicker than we would have liked, whilst trying not to compromise on the design intent,’’ said Thornton. “The flip side of this speed is that you get to see your design realised extremely quickly, with the site developing and growing each day that you visit.’’ Although well versed in the fast-paced construction industry of the UAE, this project had its own fixed schedule of events that put tremendous pressure on the construction site, which meant that neolight and most other consultants and


The top of Lasvit’s Symphony sculpture is accompanied by linear fixtures facing inwards to highlight he building’s dhow-shaped structure.

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

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

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

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


project / Office Ideas, Mumbai, Maharashtra

SHOWCASING PRODUCTS A REDEFINITION A showroom for chairs in which each chair is treated as a standalone exhibit or an objet d’art has been designed by KNS Architects in Mumbai. Devyani Jayakar discovers that the idea is ably supported by lighting, to accentuate and dramatise the angular geometry of the space. “The overall shell has been imagined as a neutral space, with the products as the highlight,” says Neemesh Shah, a partner in KNS Architects with Shresht Kashyap and Kanhai Gandhi. With this showroom for chairs located in an industrial estate in the suburbs of Mumbai, the team realised that the territory came with so many walk-in customers, that it was essential to draw their attention from the outside itself. Glazing on the store front lays bare its offerings…but in a complex fragmented geometry which invites exploration. In a design which showcases and highlights the high-end commercial and residential chairs themselves rather than the space which houses them, KNS Architects have hit upon a meaningful solution which gets the desired attention without being gimmicky or forced; it is tied to the umbilical cord, the raison d’etre of the store. Having a narrow linear footprint of 2000 sq.ft., the space accommodates an additional display on a partial mezzanine and a back office. Whites, greys and browns merge effortlessly in the colour palette. The mezzanine cantilevers off one wall but stops short of meeting the wall across; it is enclosed in glass to enhance visibility and a sense of openness. Below it is located a sizeable conference table that extends towards an additional office space, separated only by a slender metallic grid. What is not immediately evident is that this screen is also a vital support for the cantilevered mezzanine above. The screen

thus splices the table in two, each portion supported by a large, white, V-shaped base and appearing to rest in a delicate balance on the point of the V. “These bases were made from an MS frame, clad in Corian,” says Shah. Along one wall of the showroom, hexagonal pedestals of different sizes and heights act as bases for the chairs and are made of white Corian and frosted glass. The glass boxes are lit from within, offering a diffused glow in the space. Long, linear strips of floor-recessed LEDs radiate outwards from the corners of these lambent shapes, spreading across the river-washed black granite floor. “While the in-lit pedestals illuminate a chair from below to highlight a design detail, the LED strips on the floor serve to demarcate areas for different brands. There are four different companies on display, each of which has its own space,” says Shah of the fragmented imagery on the floor. “We also played at different levels to create platforms of varying sizes which are highlighted and differentiated with the use of solid and translucent surfaces. These are designed to create a dramatised set up for the products to be perceived at different levels. Corian and acyclic form the materials for these platforms, designed with a series of lighting experiences that both entice and intrigue viewers.” Accepting the selection of material, one wonders on the choice of a hexagonal shape for the display bases. “Hexagons are the primary design inspiration in this

Pics: Photographix



project / Office Ideas, Mumbai, Maharashtra


Drawings: KNS Architects




2 4

Ground Floor Plan 1. Entry 2. Window Display 3. Open Discussion Space 4. Library 5. Executive Desk 6. Display Area




Mezzanine Plan 1. Display 2. Staff Cabin 3. Toilet

“Hexagons are the primary design inspiration in this showroom. This basic geometry is used to derive other forms by breaking the symmetry, stretching and pulling them for a more playful variation.” – Neemesh Shah

showroom. This basic geometry is used to derive other forms by breaking the symmetry, stretching and pulling them for a more playful variation,” says Shah. “These encourage customers to walk around the chair, without defining a ‘front’ and a ‘back’. Visitors are not compelled to only stand before the chair,” he explains. The irregular shape of the pedestals presses them to negotiate these angles in their circulation – facilitating a constant movement around the displays, as opposed to a static viewing of the artefact. The pedestals also add character to the space, as well as an interesting visual dimension to the otherwise passive environment. Given an inherent lack of natural light in the space, restricted to ingress in the day from the clear glass store frontage, the architects were compelled to consider artificial light as a key design element. To supplement the light levels, overhead illumination has been provided in the form of both recessed and surface mounted spotlights on the double height ceiling. In addition, the area under the mezzanine with a clear height of only 7.5 ft. is studded with Flos spotlights encased in boxy metallic grills, designed in-house. “The lighting concept is a combination of ambient light that adds a warmth to the environment and accent lighting that is used to highlight the product display. The visual hierarchy aids in creating a premium experience in the space. Therefore, the overall levels have been kept dim, with a strategic placement of luminaires that show the colours and textures of the


product surfaces in their best and true form. Reconfigurable LED track lights have been used to enable a modular and flexible store layout,” says Shah. The entire length of one side wall is finished in brown wooden panelling with horizontal stripes, guiding one’s eye towards the rear as it plays its role in accentuating the depth of the showroom. The double height ceiling has similar stripes in support of the visual effect created by the wall. Seemingly counter-intuitive though this may seem, since it emphasises the length of what is already a linear space, this is one trick which works. Another optical illusion rests at the farthest end of the elongated store - a grey mirror clads the rear wall, subtly doing what mirrors are congenitally good at – doubling the space even as it reveals the design details on the rear of the chairs placed in front of it. Two angular shelves which echo the hexagonal geometry are located on the higher reaches of the mirrored wall. Lit from within, they glow from above as well as below and draw one’s eye upwards. The other linear wall finds a staircase clinging to it, the vertical face which it shows the showroom bristling with a grid of niches holding catalogues and books – conveniently at hand next to the conference table. Ascending the staircase leads to the mezzanine which has mirrored Hunter Douglas panels on the ceiling, peppered with recessed spot lights. This space houses the back office and meeting room as well as provides further display space for the products. So while displayed products get used as functional objects, Shah also ascertains the corollary to say, “The showroom has been designed as a gallery, where the products become an artwork.” If beguiling passers-by is an important aspect of what the design has set out to do, it successfully acts like a magnet as it integrates product, display and lighting in a striking manner.

PROJECT DETAILS Office Ideas, Mumbai, Maharashtra Client: Mr. Shah Architects: KNS Architects (Neemesh Shah, Shresht Kashyap, Kanhai Gandhi) Design Team: Neemesh Shah, Bhavesh Mewada

LIGHTING SPECIFIED Hybec: LED Strips Flos: Spotlights


project / C3A, Córdoba, Spain

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

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



project / C3A, Córdoba, Spain

Previous Page The modernist artistic education centre C3A faces the Río Guadealquivir, contrasting with its natural surroundings. This PageThe building’s inner motif has been translated to form a characteristic outer topography on the façade, a system of irregularly shaped, hexagonal indentations, or ‘bowls’, of varying density, size and scale. Facing Page Top A 1:7.5 scale prototype of the building’s façade shows the various ways in which light transforms the exterior into a media display. Facing Page Bottom Three technical drawings from realities:united show various design for the tessallated pattern of the GRC façade bowls.

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

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

by the local government (Junta de Andalucia en Córdoba) in 2006 for the concept development and design of the façade, followed by a commission by Nieto Sobejano Arquitectos for the planning and artistic site supervision, and a commission by the general contractor FCC Construccion S.A. for the development of the artistic software,’’ explained Tim Edler, Co-Founder of realities:united. Following a period of collaboration and cooperation with the architects, C3A’s façade has now been transformed into a light and media display, whilst maintainingits solid appearance as envisioned by the architects. The resultant exterior has been designed


Pic: realities:united

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

to deliver a tactile and solid appearance in the day, while turning into a unique and dynamic communication wall that reacts very specifically to the architecture at night. The starting point for the media façade was an analysis of the significant inner structure of the building, which is made up of a tessellated pattern of polygonal rooms. This inner motif is translated to form a characteristic outer topography on the façade, a system of irregularly shaped, hexagonal indentations of varying density, size and scale. There are 1,319 of these pre-fabricated ‘bowls’ scattered over the 100-metre long fiberglass-reinforced cement (GRC) façade. Each of the bowls serves as a reflector for

an integrated artificial light source. By controlling the intensity of each lamp individually, the bowls turn the façade into a low-resolution grey scale display. Three different scales of bowls are employed and distributed in huge patterns over the total exterior, thereby subtly echoing the building’s architectural elements. Additionally, each bowl appears to be unique in shape and size; and their distribution appears to be irregular, with only the distribution density remaining consistent. ‘‘The effectiveness of façade lighting is dependent on the quality and efficiency of the luminaires used and designing the right lighting control system,’’ said Jan Riha of

Lledó Lighting Group, the company that developed the fixtures, wiring and control scheme for the project. Each of the bowls is illuminated from the side and serves as a reflector for the integrated LED mini spotlights, of which the intensity can be controlled individually. One of the challenges faced was the uniformity of the illumination, as the bowls vary in size. In relation to this, the mini spotlights used have been applied in relation to the size of bowl in which they are situated. The innovation lies in Lledó’s inhouse developed optical concept which combines lens and light-shaping diffuser film and the flush mounted frosted cover glass. ‘‘For this project we have chosen mini


project / C3A, Córdoba, Spain

spot lights equipped with a single high power LED with 2.1W 86 lm/W, and a special oval lighting distribution to obtain the adequate distribution for each bowl type,’’ explained Riha. The square shape of the heat sink provides an optimal heat disipation for the LED. In addition, the IP65 fixtures are telescopic and the fact that it is easy to swivel and tilt, aids the aiming of the light. Just like the human eye’s retina, this composition allows the definition of areas of varying density or sensitivity on the façade. This analogy offers a certain artistic freedom: the resolution of the displayed images can stay low, fitting the blown-up scale of the screen, creating a mode of display in which the motifs are hinted at, rather than unambiguously presented. ‘‘We could never verify that this principle would work on the scale of the façade

without building a one-to-one prototype,’’ commented Edler. ‘‘Of course we tried to simulate the anticipated effect to a certain degree and we developed an advanced software to run the façade, but testing it for the very first time remained a very exciting moment.’’ During the day, the exterior shows a three-dimensional landscape with no sign of being a media façade. Additionally, this tectonically modulated surface topography is characterised by a playful composition of light and shadow that constantly changes with the movement of the sun. The thorough immersion of the pixel-bowls – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. The studio’s interest in the aspect of visual acuity stems from earlier projects and extensive research on the process of visual

This Page Inspiration for the façade’s design, C3A’s inner structure showcases polygonal-shaped rooms, allowing daylight in to the space. Facing Page A scale mock-up shows the unique illuminated effect of the bowls during the evening.


Pic: ©2006 by realities:united, Berlin.

perception. For visualisations with very low resolution, the precognition of the brain determines whether an image or animation can be recognised. A motif that has been displayed at a higher resolution can be shifted to much lower resolution and still preserve its readability. The C3A project was the studio’s first commission to transform a non-transparent façade to become dynamic. ‘‘In comparison to all other dynamic façades we developed, this was a game changer. At least if you want or need to work with light as a medium – it was tricky to preserve the building’s solid appearance as a concrete block, as planned by Nieto Sobejano, while turning its main façade into an urban communication tool,’’ said Edler. For that reason, realities:united changed the basic principle of the façade by transforming it into a tactile topography

made out of recesses to be illuminated from the side rather than perforating it like Swiss cheese as proposed by the architects. In conclusion, this works very well; when you approach the building during the day, you discover a solid concrete façade with a playful texture of sunlight and shadow. Only at night the special qualities of the façade are revealed. When asked about the role lighting plays in this project Edler responded: ‘‘I believe it’s not so much about the right lighting but about the identification of a suitable artistic concept to match the architecture.’’ For instance, besides the solid appearance of the façade, the decision to make use of the building’s significant inner structure and its tessellated pattern of polygonal rooms. Upon reflection, Edler and the realities:united team claim their biggest challenge was to trust their own concept

until the very end. ‘‘We proposed different scales of pixels on the façade in order to engineer a façade that could display images with as little pixels as possible that are still decipherable by the observer,’’ concluded Edler.

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

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

Pic: Ganesh Ramachandran

Pic: Gowtham Raj

Pic: Ganesh Ramachandran

Pic: Gowtham Raj


Light in Motion Pic: Gowtham Raj

Pic: Gowtham Raj

Working with constraints and a limited budget, MOAD Architects along with Lighting Spaces achieve a spatial symphony through the optimum use of colours, lights and aesthetic tools. Meghna Mehta offers a glimpse of the clear intent and execution made using elemental resources.

Pic: Gowtham Raj


project / SPARK - Children’s Activity Center & Gym, Chennai, Tamil Nadu

Zoning Plan Drawing: MOAD Architects

Pic: Ganesh Ramachandran

“Architectural lighting design need not always be conceived with fancy, expensive fixtures. This project is an attempt to showcase the potential of lighting as an entity by itself and not by the fixture, which is only an enabler.” – Anusha Muthusubramaniam

A derelict building tucked into a residential neighbourhood of Chennai was prudently renovated into a dynamic children’s activity centre. A traditional courtyard house, which was sandwiched between another house and a boundary wall on either side, internally included a random set of spaces. MOAD Architects’ primary challenge was twofold, to re-imagine an intuitive place for children, and establish a new narrative through the design. Constantly working alongside lighting designer Anusha Muthusubramaniam, the architects explain, “Our primary tools were colour as the organiser, and light as the material. These two parameters characterised the spatial quality throughout the project.” The conceptual premise was set by incorporating a stimulating array of colours to represent each function. The colour designated to each space was applied to all planes - floors, walls and ceilings, framing interesting visual sequences. Multiple evocative illustrations were also introduced to bring a charming focus and purpose to the abstract spatial volumes. To illuminate the vibrant hues, new windows and ventilators were added to provide a profusion of natural light. While these aptly delineated the forms during the day, it became rather challenging to light up the areas at night. Considering the established concept, use of colour, and a restricted budget, a solution was derived with the help Muthusubramaniam. Inspired by the work of artist Dan Flavin, artificial light was infused in the project using fluorescent tubes, expressing a strong narrative in individual spaces replacing the dark with light. Muthusubramaniam believes in thinking out of the box and moving away from stereotypical lighting design application. She explains, “Architectural lighting design need not always be conceived with fancy, expensive fixtures. This project is an attempt to showcase the potential of lighting as an entity by itself and not by the fixture, which is only an enabler.” The architect's strong creative constraint was to use generic products that are available at a local hardware store and make a simple yet artistic use of light to create an imposing visual statement. “Volume demarcation was the main design feature that lighting had to handle, outline and entwine with. In some cases, it also had to tone down the visual obscurity for spatial clarity”, says Muthusubramaniam. Lighting


Pic: Gowtham Raj

Pic: Gowtham Raj

had a clear intent to modulate the colour’s nature of hue, saturation and fluorescence, to act as a communicative and artistic tool rather than merely provide functional illumination. During the conceptual framing, it was understood that when a single colour is applied to all planes, ‘edge definition’ is the prominent aspect that lighting can facilitate. This was used as the precise catalyst creatively manipulated to present visually interesting perspectives. The linearity of the edges was the inspiration derived from Dan Flavin's light art, and the designer exclaims, “I found a charming beauty in the way in which a simple fluorescent tube mounted at the corner of the walls, renders the surfaces with light, and highlights the edges.” The design exercise also examined varied configurations that would address the potential of diffused light – a) Flexible Light, to suit every changing task; b) Configurable Light, to create patterns that impose volume definition and spatial clarity; c) Usable Light, to provide adequate functional illumination. Considering that the total lighting budget of the project was US $500, Muthusubramaniam selected slim LED T5 tubes, easily available in the local hardware store. In order to execute seamless configurations, she was careful in choosing fittings that did not have end sockets. Available in 1', 2' and 4' modules, the tubes could be interconnected to avoid any end socket shadows, and at the same time created a plethora of interesting patterns. The definitive lighting scheme was implemented from the entrance itself. The long corridor leading to the reception was fitted with an array of 2’ strips creating a horizontal rhythm and sense of depth. The reception was treated with four vertical 2’ strips at each corner to establish the volume of the space. The blue reading room, adjacent to the reception was rendered with longer horizontal pieces on the top edge of the walls, injecting the ambience with a gentle calmness. The central whitened double height volume with a series of column-beam intersections provided for a curious opportunity to accentuate multiple axes. A single T5 was vertically mounted on each of the columns, forming an ‘L’ shaped effect due to the light reflecting on the horizontal surface of the beam, divulging ample ambient luminescence to the space.


project / SPARK - Children’s Activity Center & Gym, Chennai, Tamil Nadu

Pic: Ganesh Ramachandran

The adjacent yellow zone was the most difficult to work with due to the saturation, visual blur and fluorescence of the colour. A linear narrow space, it was illuminated with vertical 4' strips placed equidistant to provide a definite vertical rhythm. “It helped that the light was not bounced off the yellow as it increased the saturation in the ambient environment. On the other hand, the blue space is a softer volume and has a heightened visual feeling. So bouncing an uplight off the ceiling helped define the edges and rendered this zone very differently,” says Muthusubramaniam.

Pic: Gowtham Raj

The red room, also used as a gym, was a difficult space to equip with light due to the immense visual blur caused by the saturation of the colour. The intention was to reduce reflected illumination and instead use direct lighting tools. A cross pattern was created on the ceiling, and vertical strips were mounted in the centre of the walls instead of the edges, thus, creating a visual twist and offering diversity in the artistic forms. The green room employed a unique approach – a motivational message, ‘PLAY MORE’ was written in the old style calculator board format using 1’ linear

Pic: Gowtham Raj

“I found a charming beauty in the way in which a simple fluorescent tube mounted at the corner of the walls, renders the surfaces with light, and highlights the edges.” – Anusha Muthusubramaniam

Pic: Fazal Ahmed

Pic: Gowtham Raj

Pic: Gowtham Raj

strips. Muthusubramaniam explains, “Here, lighting acts as a communicative tool other than being artistic and functional.” Besides selecting the most appropriate equipment that would deliver an aesthetic expression, the process of deciding the right colour temperature of the fixtures was a rigorous one. After much experimentation, 4000K was selected for all spaces uniformly. An important aspect of the lighting design was, “One can see and experience the lighting pattern in each volume only when you are inside it, such that the light does not stand out uninvited.” The project is an astute example to prove that art has no boundaries. In this case, we see the revival of outmoded apparatus and the use of minimal resources, infused with art and creative design to produce an animated and thriving space for children to learn and nurture in.

PROJECT DETAILS SPARK-Children’s Activity Center and Gym, Gopalapuram, Chennai, Tamil Nadu Architects: Madras Office of Architects and Designers (MOAD) Design Team: Mahesh Radhakrishnan, Ashwin Ashok, Rohini Raghavan, Dani Gladson, Hari Vardhan Lighting Designer: Lighting spaces Design Team: Anusha Muthusubramaniam Graphic Design: Marcos Guardiola

Lighting Specifications Osram: LED T5 battens, 1’, 2’ and 4’ inter-connectable modules with thin acrylic endcaps


art & design / Redwoods Nightlights, Rotorua, New Zealand

Walking With Giants The new night-time attraction at Redwoods Treewalk, New Zealand, required custom made lighting on a gigantic scale in order to bring mystery and magic to the forest experience. Luckily, the team at David Trubridge Design were up for the challenge.

Redwoods Treewalk and David Trubridge Design have partnered to create an iconic nocturnal tourism experience: the Redwoods Nightlights. Incorporating unique creations from Trubridge and his team; the Nightlights is New Zealand’s first design-led tourism experience. The new night-time experience offers visitors and locals the opportunity to explore Rotorua’s majestic Redwood forest under the shroud of darkness, illuminated by Trubridge's bespoke designs that create an immersive and captivating environment. “With 30 custom-made lanterns and a network of architectural lights, the night-

time forest comes to life in a magical and surreal experience,” says Treewalk Director Kellie Thomasen. “Trubridge’s unique and inspiring lights add an amazing design element that is sure to become a much admired attraction within the forest. “The idea to marry design and tourism remains relatively unexplored in New Zealand and enhancing an already magnificent environment like the Redwoods was no easy task,” continues Thomasen. “The Trubridge design team and the arborists at the Treewalk worked hard to place the 30, 2.5m tall lantern creations in areas embracing the natural beauty of the forest,

to provide dramatic contrast for visitors. It will be an experience Rotorua can be proud of.” In addition to the Trubridge lighting, over 40 infinite colour spots and feature lights illuminate the 115-year-old redwood trees, forest ferns and pungas. “The Treewalk day walk has proven extremely popular and it was a natural progression to look for an innovative and world-class night-time product to offer additional opportunities for visitors to experience the city’s wonderful forest,” says Redwoods Treewalk General Manager Alex Schmid. Located within Rotorua’s Redwood Forest,


which attracts more than 500,000 visitors annually, the Redwood Treewalk is the world’s longest suspended walkway. The walk, consisting of 23 elevated swing-bridges and living platforms, showcases one of Rotorua’s most visited natural attractions. Speaking with darc exclusively about the project, the David Trubridge team explained: “We became involved through a previous project with the owner of the Redwoods Treewalk. After experiencing how our existing range of lights come alive at night, they saw the potential of the night time experience in the treetops and asked us to turn their forest into a night-time wonderland!” “The initial brief was to design and produce a series of decorative lights to hang in the Redwood forest to create a night-time offshoot. It took almost twelve months from initial brief to the opening of the Night Walk experience to complete.” As the project is outdoors, sourcing materials suitable for outdoor conditions was a challenge for the team, however during initial explorations for the project

they found a new product that had just launched to the market that has a 30 year lifespan and is highly sustainable - the perfect solution, as the Rotorua geothermal enviornment has the added complication of corrosive sulpher fumes. “The other big issue was the scale,” the team told darc. “The forest environment is vast compared to the architectural spaces we're used to and our normal lights would have been totally lost in it. As such, we had to design the lights in a larger form to compensate – they looked ridiculously enormous in our workshop! “We had to move from our usual method of clipping together thin pieces of flexible plywood to bolting much thicker, rigid pieces onto a custom made stainless steel frame. As we built prototypes we learnt more about the structure and how to stabilise it. “As well as the size and material issues, because of the fragile and dense nature of the forest floor, the large lights couldn’t be carried in, already assembled. We had to send up a shipping container with everything

we might need packed inside, then assemble each light in-situ right below where it hangs. “The lower canopy of bush was thick and up to three-metres high and as such, the install team devised ways of swinging the lights into place using ropes so that the forest wasn’t damaged. Only fabric straps have been used, wrapped around the trees with the horizontal suspension lines connected to them, to ensure the trees can expand without any permanent fixtures or damage.” A team of skilled climbing arborists were involved in the installation and continue to maintain the lights – some of which are up to 25m above the ground! As the project progressed, aspects of the initial agreement had to be negotiated; the number of lights had to be reduced to fit the budget for example, yet the arrangement still had to achieve the same aim of creating an exciting experience for visitors. The decorative element of the lighting was the only driver for this project, with the installation of lights creating a whole new visual experience, emphasising the natural


art & design / Redwoods Nightlights, Rotorua, New Zealand



art & design / Redwoods Nightlights, Rotorua, New Zealand

beauty of the forest by illuminating it in new ways. The intensity, specularity and direction of the light were key considerations throughout, as the team didn’t want to add to light pollution by aiming the light skyward. “We discovered that much less light was actually needed in the darkened forest environment to achieve the desired lantern effect,” the team told darc. “Trying to control glare from the light sources while still maintaning the lovely shadow play on the forest floor was also a significant challenge.” To overcome this, the team built three test versions, which were installed in the forest before completing the final order. This allowed them to ensure they had the correct light levels, that the concept worked and that the designs were as good as they could be.

In order to achieve their goals, the David Trubridge team also worked closely with New Zealand lighting manufacturer Hunza, which makes a waterproof downlight housing. The locally made products are precision engineered out of the highest quality materials and meshed well with the lighting design needs, they also fulfilled other considerations such as long life span and servicability. Reflecting on the project, the installation was all the team had hoped for and more, as they explained: “None of us had anticipated just how well the lights would work in among the giant redwood trees. There is a reaching perspective, accentuated by the overlaying silhouettes of trunks and branches as the carefully placed groups of lights appear in the distance. The scale is so large and yet the effect so enveloping.”

A team of skilled climbing arborists were involved in the installtion of the 30 giant David Trubridge lanterns, some of which are 25m above the ground. Standing at 2.5m tall the design team had to move from their usual method of clipping together thin pieces of flexible plywood, to bolting much thicker, rigid pieces onto a custom made stainless steel frame.


There was no second chance for the team once they had strung all the wires - it had to be right first time! As such, the design team went around the walk, very carefully visualising how they would look in order to work out the best placements. “Our lights have created a new sense of wonder in the natural environment and encourage people to enjoy and rethink the outdoors. The combined sensual experience of being in a forest at night, 25m high on a swaying platform looking out to seemingly weightless giant lanterns, illuminating the trees is memorable and romantic.” The lighting created by the David Trubridge team is the entire design and defines – in fact, creates – the space and the experience. Some of the lights hang inbetween the trees, casting patterned shadows on the ground below – not unlike

the nearby spreading Punga Tree ferns. “The most successful light for us, is the treehugging Titi, which has been built around the tree trunk,” the team added. “It is partly inspired by the bracket fungi that similarly grows on tree trunks and was David's idea, but he had to fight hard to keep it when it was becoming difficult to make and install! “Because it is more expensive, we had to compromise with less of them. The most challenging part was working out how to install the horizontal luminaires so that they weren't directed at the walkways. “We are proud of the natural cohesion happening between the lights and the forest and are especially proud that we completed this demanding project ahead of time and within budget.”

PROJECT DETAILS Redwoods Nightlights, Rotorua, New Zealand Client: Redwoods Treewalk Lighting: David Trubridge Custom Made Fixtures: Ruru, Karearea & Titi Hunza Waterproof Downlight Housing

The decorative element of the lighting was the only driver for this project, with the installation of lights creating a whole new visual experience, emphasising the natural beauty of the forest by illuminating it in new ways. The intensity, specularity and direction of the light were key considerations throughout, as the team didn’t want to add to light pollution by aiming the light skyward.


art & design / OUTDOOR DECOR

A Breath of Fresh Air While lighting is often necessary in outdoor areas serving the general public, it can also work to create an inviting and warm atmosphere - encouraging people to make better use of the space. Over the next few pages we've put together some examples of decorative outdoor lighting at its best.

Art of the Treasure Hunt Chianti, Italy Slamp’s Clizia Table lamps set the mood for a suggestive outdoor dinner, held at the Felsina vineyard last summer. The dinner was held in the vineyard’s garden as part of the ‘Art of the Treasure Hunt’ event, an exclusive experience organised for international art collectors to explore and purchase modern art while visiting vineyards throughout Chianti. The table lamp was the perfect accompaniment for Chianti’s local, rich gastronomy and exemplary wines. A portion of the benefits from the items’ sale go to Robert Wilson’s Watermill Center Foundation, an interdisciplinary laboratory focusing on the arts and human studies, giving young artists from around the world residence and study opportunities. This year’s treasure hunt was in honour of the foundation’s tenth anniversary. Slamp’s lamps were part of two on-going site-

specific installations on the Felsina property, which were open to the public until the end of October. Wilson’s own La Traviata light sculpture, designed in 2015, and Zaha Hadid’s Aria Gold, unveiled this past April during the 2016 Salone del Mobile, were hung in striking contrast to the aged barrels and stone walls of the wineries cellars. Slamp’s Clizia graced the dinner table during the Treasure Hunt’s dinner party. The Clizia Table lamp is part of lamp family that includes an array of functions, finishes and colours. Slamp’s patented Lentiflex and Cristalflex Fumé polymers diffuse light softly and evenly, and the lamps’ 230 manually folded elements create sensuous volume in each of the collection’s forms. The table version has a base that connects magnetically to the diffuser, making

cleaning and maintenance easy. As was the case for the Felsina dinner, the lamp is available in a battery-operated version, making it not only portable, but allowing varying lighting combinations and outdoor use. The soft, slightly opaque polymers refract the light, casting a play of shadow and form onto any surface, and the minimal base sturdily supports the lamp without appearing bulky or distracting from the lamp’s endless folds. The ‘Art of the Treasure Hunt’ dinner was a perfect example of Clizia Table Fumè’s versatility. In a rustic environment, the lamps’ modern silhouette, slightly inspired by the classic bedside table lamp of yesteryear, fit in perfectly. The illumination looked like contemporary candlelight, perfect for an al fresco Tuscan evening.


Hermann J. Wierner Winery New York, USA The Hermann J. Wierner Winery is a space overflowing with craftsmanship and artistry. The wine is produced using oldworld knowledge combined with modern techniques. The same can be said for the lighting that illuminates the outdoors and indoors of the 90-year-old scissor-trussed barn. The state of New York had traditionally been ignored as a location for a vineyard due to the belief that the region’s climate is too harsh for delicate grapevines. Hermann Wiemer changed that belief in 1976 when he established his winery. In 1982, he enlisted the help of an architectural team from the internationally-renowned Cornell University to design his complete wine production area and tasting facility. The oldest part of the winery is the barn, which sits at the entrance of the vineyard. Wiemer brought a wealth of family history and experience into his endeavor, with more than 300 years of winemaking tradition, first started in Bernkastel, Germany, coming

from his mother’s side. His father, a skilled nurseryman, had been in charge of the Agricultural Experiment Station in Bernkastel and was responsible for restoring vines in the Mosel region after WWII. As a result, he recognised the importance of grafting vinifera on American rootstock. Ultimately, Hermann’s father convinced Dr Thanisch – who maintained the most famous Riesling vineyard in the world – to graft Mosel Rieslings onto American rootstock. Like the finest wines, the design aesthetics of the space has improved with age. The cavernous interior of the facility balances white walls with bare wooden walls and ceilings. It houses sleek Italian stainless steel tanks and the space is illuminated by a multitude of Hubbardton Forge’s Ellipse Circular pendants, Axis pendants and After Hours sconces. The winery’s exterior design is just as striking. The roof’s overhang carries the bare wood theme from interior to exterior. The beauty is in the indoor/outdoor nature

of the design. Large glass doors are crowned with equally large four-paned windows to showcase the captivating views within the structure. The lighting choices for the exterior include Hubbardton Forge’s After Hours outdoor sconces and Banded Large outdoor pendants. Like the wine produced on the premises, the lighting has a storied background. Hubbardton Forge, just a short drive away in Vermont, was founded just three years before the winery. Each piece is designed, engineered and handcrafted under the same roof. Today, little more than 40 years after the first vines were introduced to an area where many doubted a tenable vineyard could take root, Wiemer’s winery produces nearly 14,000 cases each year. They continue a three-century family tradition and today is one of the top Riesling producers in the USA.


art & design / OUTDOOR DECOR

Limehouse Conservation Area Ontario, Canada Lighting installation ‘12’ at Limehouse Conservation Area in Ontario, Canada sees twelve handmade lighting balls designed by Nargiza Usmanova, bring the forest floor to life - evoking a sense of mystery and magic. As the general public walk through the space, the lighting balls give the illusion that they will start to move at any given moment...Working to create this effect are 500 zip-ties woven into each knitted lighting ball, along with 60 LEDs IP-SF-3 from GVA Lighting. Adding to this, in the area chosen for the installation, there was a crack in the soil and several light balls and linear STR9 RGB floodlights were implemented to achieve a glowing effect appearing out of the cracks and illuminating the tree tops from below. “The RGB-programmed light added mystical and dynamic effects,” said Usmanova. “It created a deep sense of space. When

I visited Limehouse Conservation Area in Ontario I was overwhelmed by the scenery, which is part of unique Niagara Falls landscape,” continued Usmanova. “It was then that I had the idea of combining the spheres of light with a natural wood environment.” The combination of such an unusual landscape with tall trees penetrating through the cracks and rocky surface of the park area, with twelve bionic light balls created a magic atmosphere and mood. “The artistic example of this installation, has inspired me to create a final product series that can be implemented in any public parks or private gardens,” concluded Usmanova. “They will be able to create special and extraordinary atmospheres in any public parks or private gardens.”


The Four Seasons Doha, Qatar The Four Seasons hotels are located in some of the most fascinating destinations in the world and known for offering unique relaxation, sophistication and pleasure experiences. This hotel chain pays special attention to the smallest of details to provide a unique and personalised luxury experience. The Four Seasons Doha hotel perfectly suits business traveller needs and at the same time is a relaxing resort by the sea. The Shisha terrace, overlooking the marina, has a roof that can be retracted to enjoy the sun and the breeze in a relaxed atmosphere.

EDG California, responsible for the interior design, opted for the Bover Barcelona Fora lamp to illuminate the nights in this luxurious space. Fora is specially designed for outdoor spaces. Its screen, made of synthetic material, is highly resistant to weather effects, while its design provides a pleasant atmosphere, with enveloping or diffuse light. Its light source is protected by an elliptical polyethylene balloon which ensures a highly watertight seal. The result is a light that adapts well to all types of interior and exterior spaces.

Hotel Brummell Barcelona, Spain Hotel Brummell is an urban oasis off the Barcelona beaten track, a 20‐ room boutique hotel in the Poble Sec neighbourhood, next door to Montjuïc. The hotel was built and designed to be relaxing, intimate, imaginative and adaptable. The façade of the hotel remains just as it was in 1870 while the interior has been completely transformed. The architect, Inma Rábano, rehabilitated this historic building into a structure that could house the details. The unquestionable heart of the hotel is the patio, which was strongly influenced by Sri Lankan architect Geoffrey Bawa, who pretty much invented tropical modernism with green plants overgrowing heavy concrete walls and structures. The design was completed by the Australian‐born, Barcelona‐based duo, Blankslate.

On the patio, light and plants play together in order to create a timelessness and it was for this purpose that Marset’s Santorini fixture was chosen. These lamps, inspired by traditional fishing boat lanterns, allow the hotel to create its own composition, defining the final aspect of the lamp by rearranging the order and orientation of the fixture's shades. But overall the most important characteristic of the Santorini is its versatility as well as its ability to give off a laid back, Mediterranean ambiance. This essence - the atmosphere of a town festival - pairs well with bespoke modern furniture and Sri Lankan and European antiques sets. The patio also features Marset’s Soho, a fixture designed in recognition of the merits of the lamps traditionally used in markets, taverns and cafeterías. At the far end of the

patio, undercover, you can find Marset’s Aura wall sconce, which was inspired by the traditional glass carafe. Indoor lighting product Aura bathes the wall in light and creates a luminous effect without harshness. Up on the terrace Marset’s Cala lamp provides a warm, comfortable indoor atmosphere in an outdoor space. This is the aim of the Cala, a highly decorative light with a structure that draws on the simplicity of the classic painter’s trestle. The final result is that the Brummell Hotel is a laid back, casual place to hang out, to rest, and to indulge. Blankslate’s efforts bring together other worlds and times with the local, modern Mediterranean aesthetic, resulting in a design that cannot be totally explained, but must be experienced.


Project T Waasmunster, Belgium Designed by the world-famous architect Vincent Van Duysen, Project T is a magnificent rebuild of a countryside residence into pure, timeless architecture. Due to the fact the villa is a rebuild, the entranceway is situated in a bit of an unfortunate position - with one arriving on the left handside and the main entrance being centrally positioned. As such Tekna tried to attract the attention towards the main entrance in a subtle way by placing the Montrose Floor lamp on the step next to the front door. These floor lamps were chosen because of their harmony with the

architecture, without being intrusive. The south side of the residence makes use of huge windows, which are a natural source of light and create lots of transparency. The windows blend into the multi-level terrace, which accommodates a swimming pool on the lowest level. The terrace, with a total width of 30m, creates an oasis of peace and gives a true holiday feeling. Here, the Ilford Floor lamp from Tekna combines the architectural transparency and illuminates the terraces in both a beautiful and functional way. The fact the

light source is invisible allows for the Ilford Floor lamp to be placed wherever you prefer, without dazzling anyone. As soon as the sun sets, the Ilford Floors light up and create an enchanting, pleasant and cozy atmosphere. The mix of both fixed Ilford Floors (with cable) and portable, rechargeable (on battery) appliances gives the option of placing the Ilford Floor in different settings. Although only one size of Ilford Floor is used in this project, there are three sizes available.


art & design / OUTDOOR DECOR

Terra Madre Puglia, Italy Combining wine production, leisure and work, Valentina Passalacqua's home sees the surrounding landscape as the dominant influence and force in her stunning villa's design. The philosophy of bio dynamics (used for producing wine), linked to the idea of care and respect to the land, environmental sustainability, and the recovery and promotion of the territory, were all key considerations in the building's design. Built in the middle of vast vineyards, and adjacent to the operational heart of the company and the cellar, Terra Madre is an experimental residential project. Comprised of wood, with a low environmental impact, it is respectful of

nature and at the same time works as a viewing point for the vast landscape. Opening the door to this house, you are immediately immersed into an alternation between indoors and out. From the windows you can see the green hills of the Gargano, the fields of the Tavoliere, the family stone quarries of Apricena; and on the horizon the eye captures the Vulture with the Dauni mountains. Every room preserves and reconstructs the landscape, designed to resemble Puglia. Outside, the garden takes on its own design 'Starry Night', where Ex Moon outdoor lamps by In-es.artdesign are featured in various sizes (35, 50, 70 and 120cm). At night, thanks to the porch and large windows of

the living area, the indoor space becomes one with the outdoor garden. The nighttime sky brings to life lamps that resemble the moon, including in-es.artdesign's Luna pendant, which interacts with the three Ex Moon lamps that light up the stone wall by the pool. It is the philosophy of bio dynamics adopted in the making of Valentina’s wine that inspires this project. This is why the territory is accompanied by views of the cosmos, with the Moon, which is the director of agricultural rhythms and nature, and is the dominant element in the pool area. Using the words of Valentina herself: “It is a villa, designed between earth and sky.”


Pic Anna Ă&#x2013;hlund Photography

Kiruna Church Kiruna, Sweden The Lappish hut is a building that for millennia has provided protection from the weather - built entirely from what nature has to offer - a single building still perfectly formed for its purpose. It is a traditional building, which has survived the test of time and stands as a symbol of a lifestyle and culture that has existed in the area for 6,000 years. The Lappish hut served as the inspiration for architect Gustaf Wickman when the Kiruna Church was built in the early 1900s. A church free of religious symbols except the small crucifix on the altar. A church built in a community that had just started to become developed adjacent to the large iron ore mine. The church was built in the middle of an area that was divided between the indigenous population and the mining company, not without conflicts. It has since been named Sweden's most beautiful building.

More than 100 years later, the city has grown, technology has developed and society has changed and when it came time to replace the lighting around the church, it was difficult to find a fixture that would fit. It needed to be solemn stately yet unobtrusive. It needed be beautiful and give a beautiful light. It would be built on nature's terms and resist a climate that many considered extreme. BLOND is know for its customised luminaires in Sweden and became a natural partner and manufacturer for this project right from the drawing board. The idea was simple: Not to take inspiration from the church itself but from the same source as Wickman once did - the Lappish hut with its simple form containing the heat, light and security. The poletop lamp Ä&#x152;uovga, is designed by John Pettersson and uses a wooden pole made of Swedish pine, which is treated

with a tar-paint to protect the post. The luminaire housing has been designed in metal and the crossbar used as a cable entry. With a diameter of 60cm the street light demands its place in a space. The post, which is five-metres tall, features beveled edges and is tapered towards the top, giving the impression of being light and slender. A heavy metal ferrule around the base of the pole serves as protection against large amounts of snow and plow-trucks while also giving the luminaire an adamant appearance. The inspiration came not from Kiruna but from the culture that Sweden's indigenous people have lived for thousands of years. Ä&#x152;uovga, is Northern Sami and means 'light' or 'glow from campfire'.


art & design / OUTDOOR DECOR

Wonderland Collective Ealing Broadway, London Bright Goods' LED filament lights were featured in a stunning installation at Ealing Broadway’s 2016 Christmas Market. The Wonderland Collective, a pop up shop curated by Eat Me Drink Me, was illuminated with LED filament lamps from the Bright Goods range. The shop's exterior was decorated with holly and shone brightly with the Victoria LED filament lamps. The Victoria is a popular shape from the Bright Goods range, featuring a clear glass cover and lattice LED filament, the lamp uses just 6W and provides an impressive light output of 100 lumens per watt. Wonderland Collective was also spelt out in

amber metal lettering paired with Victoria LED filament lamps, which created a beautiful, inviting and warm glow to the shop. Ian Hawes, Director of Light Fixation, who supplied the lamps to the Wonderland Collective stand, commented: “We chose to use lamps from Bright Goods because they are high quality, come in a variety of stylish designs and have a good range of colour temperatures to choose from. Also, Bright Goods is a UK company, and as the Christmas market supports UK craftspeople, it fits in with the ethos of the event. We used The Victoria lamps in the festoon

because the warmth of the light gives the perfect glow for a festive Christmas Market, plus the size and shape of the lamp is far more dramatic and interesting than a frosted golfball, without looking over the top. We also lit the inside of the chalet with our bespoke light fittings using Bright Goods lamps.” Inside the pop up shop were five unique light fittings designed by Ian Hawes, including Bright Goods bulbs in an industrial cross pipe chandelier and dangling from steam punk desk lamps.


Bio Restaurant Milan, Italy Bio restaurant, designed by architect Ingrid Fontanili, lies at the foot of what has been named as the most beautiful piece of recent architecture worldwide and winner of the ‘High Rise Award’ - the ‘bosco Verticale’ (the vertical wood) designed by Italian architect Boeri. The restaurant has been designed into two separate parts - an indoor 140msq space and an outdoor terrace of 70msq. The outdoor structure is realised in aluminium and thermal glass, which are used for the perimiteral walls and the roof covering. The design allows customers to enjoy an impressive view of their surroundings and

the fabulous façade of the 'vertical wood'. In-fact the entrance from Pazza de Castilla gives an immediate 'vista' of the towers and winter gardens. The use of natural materials was a focal point for the interiors, using natural and recyled products and all produced by artisans. The main bar is made from a single block of pinewood from nearby producers, all reflecting the concept of healthy and sustainable living and, in this case, eating. The terracotta lamps, designed by Colin Dinley, are a perfect reflection of this. Toscot's Novocento system, which has an IP44 rating has been used throughout the

terrace and outdoor area. It allows the opportunity to develop the illuminated area in a very flexible way without the need for a ceiling fixture thus ideal for outdoor terrace situations. The use of terracotta glazed covers gives a familiar yet new feel to the surrounding and a choice of several colours allows for an individual approach to the design of the interior/ exterior. In this case a more sober white colour was chosen, perfectly matching the theme of the project, the rigour of the aestethics and the clean, formal yet familiar atmosphere.



TRACING NARRATIVES As part of the lecture series titled, Where The Real World Lies, SPADE recently hosted two events in Mumbai, marking the opening of the travelling exhibition, Tracing Narratives on Indian Landscape Design. “You cannot heal mankind, unless you know how to tend to one human first. And what use is that body if it does not dream, and aspire for poetry.” Landscape Architects today do a host of things, from thinking about cities to regional natural resource management, to conserving fragile ecosystems, and most think that doing gardens is not really a compelling reason to be in the trade. On the other hand not only has the garden always occupied the human mind historically; but the history of landscape design is the history, to a large part, the history of gardens.

Paradise is a garden, not a mansion, or a palace, but a garden. And this is amplified in most religions. Somehow the garden is the ‘other place’, the place we aspire for, and a place to be in when all else is over. It all started with a garden, and somewhere we seemed to have forgotten that. The exhibition, Tracing Narratives on Indian Landscape Design attempts to define that garden, and states, “A garden was a space that had a circumscribed territory, its limits notional or clearly marked, but at all times discernible and finite; the very marking

of this territory could happen by an act of active making or even claiming one already marked and within this would exist a certain prescribed or evolved ritual that allowed the many ideas of nature to be experienced in an articulated manner.” The exhibition attempts to create a lens; through which practitioners may care to evaluate the world of landscape design and its meanings today. Another facet of this adventure is to make the idea of the garden, central to the discussion. The meaning or rather the many meanings of a garden are often forgotten, and the searching of these meanings will lead one to find the core of the profession; a place from where many forays not just in the world of design can well be launched. The lecture series started with Episode1 Projects|Process, Episode 2: Theatre and Cinema, and then Episode 3: Landscape, Art and People. The speakers selected are experts in their field, and talk about the processes that they undergo in their projects, or explorations that they believe can lend value to the community at large, and unravel another, perhaps, a more real world for us. This is followed by discussions and documentation through films, essays and critical reviews that can further the dissemination of ideas through the net of social media. The most recent lecture, Landscape Art and People: a discussion on its significance and its relationships with each other and the people at large, included speakers Rahul Mehrotra, Riyaz Tayyibji, Aniket Bhagwat, Leander D’souza, Jitish Kallat, and Sidharth Bhatia. Held at Chemould Prescott Road, Mumbai, the two-part event was a successful discourse that held ajar the door for many more thoughts and discussions to come. SPADE is a not for profit organisation, a platform that deliberates design. Of the many activities like publications, seminars, films, and books that it has commissioned in the past, this year SPADE is committed to engaging in a lecture series. Spade believes in cultivating an attitude that brings about an authentic pursuit of design.

a creative lighting exhibition at London Design Festival


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.


24th – 26th February 2017


Chandigarh / INDIA


A Tribute to Corbusier


Chandigarh College of Architecture (CCA)


Harkiran Singh (Illuminaty), Prof. Pradeep Bhagat (CCA)


Debbas, ERCO, Helnix, Lightup, LSI, New Luxmi Electric Co., Om Electricals, RayBright, The Hive

Lighting designers

Babu Shankar (ILD), Amardeep M Dugar (LR&D), Tejas Doshi (Light & Beyond), Gurpreet Singh (Studio Lumitiv)

Pics: Rajeev Kumar, Tejas Doshi

Every mile a memory Time-travel starting from early monolithic architecture to Le Corbusier’s grid iron plan, through time-travel loops and time-space warp into the future. | Sponsor LSI

Starry night Inspired by Vincent Van Gogh - balance, connectivity and mutual function in the designs of sculptures provides a calm and ambient environment. | Sponsor Helnix

The myopic soul Theseus’s Paradox: does an object that has had all its components replaced, fundamentally remain the object. Highlighting smaller elements enables a true experience. | Sponsor Debbas

A walk to remember Providing a comfortable and safe experience by designing darkness with minimal intrusion in the natural and raw landscape; all the while maintaining the wilderness. | Sponsor ERCO & The Hive


WORKSHOP #2 | 10- 12 MAR Asian School of Architecture & Design Innovation (ASADI) KOCHI


The final outcome of this workshop revealed the usefulness and wholesomenes of the entire exercise for my students. Under the expert guidance of eminent lighting designers, different installations were designed in context to the Le Corbusier-designed building. Students dabbled with different lighting techniques, luminous colours and luminaire technologies so as to critically appraise the master architect’s work using light as the sole medium. Overall, it was a true reflection of teamwork between the students and the lighting product sponsors, and as a coordinator it was the most satisfactory and rewarding outcome. - Prof. Pradeep Bhagat (City Coordinator)

A new year and a new series of workshops, however the focus for 2017 is on ‘Tier-II’ cities of India. And what better way to kick-start the series in Chandigarh – the city of sun, space and silence – designed by Le Corbusier, one of the greatest grandmasters of modern architecture. Serendipitously, the CCA campus also being designed by Corbusier, provided an opportunity for challenging the students to create lighting installations that are a tribute to the master architect. The results were nothing less than stupendous, and one can confidently claim that this year’s workshop series has already transcended to the next level! - Amardeep M Dugar (IALD India Coordinator)

Illusion of balance Alternate co-existence: unconditional love of nature transiting into the brutal; mindless development of humans leading to their destruction; balance between the two. | Sponsor Om Electricals

Heaven and Hell The brise Soleil is the prison of hell with warm light trapping human forms; cool light on the sawtooth brick façade with layers of stairs depicts the elevation to heaven. | Sponsor New Luxmi Electric Co.

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: Phone: +91-9445549567 Web:

The open box Important connections to the site - Ashoka tree seating, brick-wall seating, broken cube. We created an open box that opens new experiences for the viewers who visit. | Sponsor Lightup

Intergalactic court An intergalactic court from where one can witness the Milky Way has a mirror reflecting the king’s throne. A virtual barrier of light transforms it into a dream to surround the throne. | Sponsor Raybright


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.


10th â&#x20AC;&#x201C; 12th March 2017


Kochi / INDIA


A Tribute To The Vernacular


Asian School of Architecture & Design Innovation (ASADI)


Ranjith Kartha (Veda)

SPONSORS Lighting designers

3S Lighting, Architectural Lighting Concepts (ALC), Gojis Lifestyle, KKDC, Studio Plus Consultancy & Marketing Services Amardeep M Dugar (LR&D), Suma Khandige (Light Vista)

Pics: Amardeep M Dugar, Gowtham

Conquer by endurance

Our concept depicts the evolution of humans where they first lived in harmony with mother nature before inventing fire and the wheel, which then led to the destruction of nature due to industrialisation and urbanisation. We wanted to evoke the senses of humans to direct their roots back to nature for its ultimate survival. Sponsor ALC & KKDC

Neverending mystery

Our entire site of the riverside back yard and the architecture of the college block provided a great opportunity to covert it into a haunted mansion. Our main was to look towards darkness and how it can be created with light, thereby contributing to aesthetic beauty. Sponsor 3S Lighting



The workshop being the first in Kerala was welcomed with great enthusiasm in order to set a benchmark for future workshops in other parts of the state. There is no other medium within the architectural realm that provokes such great enthusiasm as light. Its mystery, intangibility, fluidic and ephemeral quality sparked the wildest imagination of the students and faculty in scripting their stories, picking their characters (luminaires), and directing the plot. This mega-artistic carnival received a very positive response from the Kochi public, which included prominent dignitaries such as the local MLA, Chairman of Kerala Sahithya Kala Academy, architects, and families members of the participants. - Ranjith Kartha (City Coordinators)

In line with our focus for 2017, the second workshop was conducted in Kochi â&#x20AC;&#x201C; hub of the biennale and the ultimate testimonial for ancient vernacular architecture of Kerala. Quite fittingly the theme for this workshop was a tribute to the regionsâ&#x20AC;&#x2122; vernacular. It was heartening to witness the students and faculty design lighting installations that were sensitive not only to the architecture and culture of the region, but also had a moral to respect its natural habitat and environment. This is also the first workshop to be inaugurated by the local MLA, who was the chief guest. Truly next level stuff! - Amardeep M Dugar (IALD India Coordinator)

Down the corridors of time

Our site which consisted of the Koothambalam symbolised the tradition of Kerala. The structure outside it depicted the stressful mind of humans. We guided onlookers through the interiors, which depicts a journey that connects the past, present and future through various colours, textures and shades of light. Sponsor Gojis & StudioPlus

AMARDEEP M DUGAR Email: Phone: +91-9445549567 Web: 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

Dream chasers

When we follow our dreams, there comes a point of crossroads where we must make the most important decisions. Sometimes what we dream of does not turn out the way we want it to. Our site, which is a crossroads provided an opportunity to depict this dichotomy using light. Sponsor ALC & KKDC



FOOD, FASHION, FURNITURE AND FAIR Architect Sourabh Gupta and designer Mridu Sahai of studio archohm, special correspondents for mondo*arc india, share their experience of being in attendance at yet another Euroluce and Salone del Mobile 2017, and the art of exploring design.

Food, fashion and furniture – these are avenues that are quintessentially Italian - industries where Italy has set an international benchmark with such an authority that it is now a stereotype. It is known worldwide that every product made in Italy will be a fine one! Italians do things in style! This principle translates to their automobiles, food, fashion, furniture, and even the fairs they host. It is as if Italy takes it upon itself the obligation to reflect today’s times in society and challenge the rest of the design community to respond, and therefore the dialogue in Milan. Functionality is taken as a given need in design, the aesthetic is accentuated to an art form, and the most critical of all, associated narratives are then taken to the next level. The fair gives the world its annual design direction, it becomes a forum for ultimate exchange within the design community, while also facilitating the transformation of the city into a pure celebration of design. Salone del Mobile, also called the Milan Furniture Fair is the most coveted annual trade fair and the largest of its kind. Held in April, it is a week where the entire country if not just the city of Milan, is in business. Besides the fair, the city is dotted with satellite design districts like Tortona, Brera, via Durini, Lambrate, Naviglio and many more that are open till the wee hours of the morning as extended exhibition spaces. This entire eco-system laden with excitement makes Milan the destination for all designers, architects and design enthusiasts to visit. The International biennial Lighting Exhibition - Euroluce runs parallel to the Salone and thus significantly boosts the range of design products on offer. With nearly 40,000 sq.m. of exhibition space and almost 500 exhibitors, the fair offers probably the largest palette of lighting design served at one place. Interestingly, Euroluce is alternated with the Light + Building fair in Frankfurt every other year. The two events have very distinct flavours; the German venue attracting more architectural and engineering solutions and solution providers, while the Italian one leaning towards architects and designers. From the science of illuminating to the style of lighting, from the country of Mercedes and BMW to the land of Ferrari and Lamborghini, the language of lighting tangibly transforms its essence. The difference between the two fairs is seemingly rooted in their country’s cultural understanding of perceiving things – the Germans being top-of-the-line in technology and engineering, and the Italians being more lop-sided towards aesthetics and craftsmanship. The annual pilgrimage to Milan is always befitting for us designers, and even though nine of us from the studio made our way through the halls this year, it was a tedious task to cover the entire length and breath of the world’s best in design. Nevertheless, following the motto of this year’s fair, we too wanted to ‘Be The First To See The Latest’. Barovier & Toso Pic: Diego Ravier | Courtesy of Salone del Mobile.Milano


Pic: Alessandro Russotti | Courtesy of Salone del Mobile.Milano

Swarovski Pic: Diego Ravier | Courtesy of Salone del Mobile.Milano

Paolo Castelli Pic: Diego Ravier | Courtesy of Salone del Mobile.Milano

Kundalini Pic: Diego Ravier | Courtesy of Salone del Mobile.Milano

Euroluce 2017 had its share of stories and surprises. As expected, designers took centre stage. What was really encouraging was the beautiful value they brought and the brilliant vision they lent to the business of lighting. The brands invested not only in design but also in the designers and their promotion. This gave the fraternity of lighting design the muchrequired elevation in its positioning. Almost all the important designers from product and furniture design have designed their own lighting collections ranging from Konstantin Grcic to the Bouroullec brothers, and even Philippe Starck. Besides this, thanks to technology, boundaries have been pushed, lights are now customizable to any shape and size, and even their uses have experienced a fresh freedom of thought. Technology is beautifully intertwined with craft, making lighting products more graphic and clean â&#x20AC;&#x201C; the light source has virtually disappeared, hidden from the human eye. It could be anywhere and in any nook. From light pillars to minimalist chandeliers, lights today mean much more than mere illumination. Light Birds seemed to have highly inspired lighting designers this year as birds were seen perched everywhere - on trees, on branches, on desks and on wires. Many products seemed to epitomise the threshold between art, design and illumination; and portability and a play of materiality were experimented with. The fair also augmented as always, the argument between decoration and design. Here is what we found interesting â&#x20AC;&#x201C; a selection of people and their products.




DAV I D E G R O P P I Redefining lighting to give infinite possibilities, Infinito is an 18mm stainless steel light strip, which could extend up to 12m in length at a time. It follows a simple concept of attaching a LED strip to a metal strip to produce an indirect ambient source of indoor lighting. The intensity of the luminance varying according to need is quite revolutionary - a light like a tape measure that can be cut to any desired length, and is bright enough to light up an entire room. |

Pics: Courtesy of Davide Groppi

Besides INFINITO, Davide Groppi’s collection was full of fantasies and fantastic stories that are all worth exploring.



Pics: Courtesy of DCW Éditions Paris

D CW É D I T I O N S PA R I S This lamp is a light capsule enclosed in a high-polished brass case, with a mechanical hand-pull out system. The idea is to pull out only as much light as required. It could be used as a table lamp or a wall mounted fitting but the speciality of the ISP lamp is its ability to dim without a dimmer and to switch on/off without a switch. As physical as it is conceptual, it also gives the user the mechanical experience of ‘taking out’ the required light from a box, and then keeping it back in! | Interestingly DCW Editions also celebrates Corbusier’s lamps of the past, and Dominique Perrault’s lamps of the future. De s igne r i l ia pote m ine





VIBIA The June is an interesting outdoor light that has multiple applications – it can be used as a floor light, a pendant or a table light – and can even be suspended from a tree or on a wire. The fixture can be used to create ambient lighting or task lighting, depending on the need of the project. It features a LED source and opal glass shade, is dimmable and has a battery life of between 6 and 18 hours. | As always, Vibia continues to enthral with minimalism and meaning in lighting. Pic: Vidur Madhav and Mridu Sahai

De s igne r A na Mir A nd E m i l i P adros ( E m i l iana D esign S t u dio ) |



A R T U R O A LVA R E Z Very artistic in its language, the fixture is a perfect blend of lighting and its environment. The long stem suspended from the ceiling sways lightly in the air, projecting light onto the steel chain forms held against the wall, creating illusionary shadows of faces with different emotions and intensities. The combination of multiple fixtures fixed together creates an installation with all the lights, though separated can be seen interacting with each other. | Pics: Vidur Madhav and Mridu Sahai

What was interesting in the entire collection by Arturo Alvarez was that it celebrated light as art with its functionality a mere ‘by the way’ byproduct.




Different geometric outlines of light are intertwined to form chains. The fixture is almost transparent, cutting just an outline in space with one edge illuminated. A modular system, the installation was exhibited in a variety of shapes, combinations and placements. The individual units attach onto others as if resting, balancing perfectly as part of a glowing chain. | Flos continued its zeal to lead with an enviable ensemble of designs and designers for translating technology, with partners like Konstantin Grcic, Bouroullec brothers, and Nendo among others. D e sig n e r Michael Anastassiades


Pic: Vidur Madhav and Mridu Sahai

Pic: Vidur Madhav and Mridu Sahai



ARTEMIDE With a poetic aesthetic and a strong technical back hold of Artemide, the Yanzi light series presents a unique palette that can animate any space. Swallows inspire the Yanzi collection and birds add the necessary flavour to this rather simple fitting. Breaking stereotypes attached with lighting, the collection challenges every aspect of a regular design, from its shape, aesthetic, materials and colour! | Pic: Courtesy of Artemide

Finally we saw the art in Artemide.




BLACKCORK An aesthetic and practical blend of light rings resting on black-stained corkwood is a beautiful experimentation with the material. The entire concept of the brand revolved around the play of light rings, boxes and tubes using the cork as its base and structural balance. | Pic: Vidur Madhav and Mridu Sahai



The collection by Blackcork positioned Portuguese design as reflective and refreshing.

Pics: Courtesy of Laurameroni



This hanging spotlight in burnished brass can be outfitted with halogen

MA 05

be easily adjusted to suit varied contexts, thus making the light ultra

or LED lamps. Ideal for ceiling suspension, the height of the fitting can versatile. | The attention to detail and materiality with this lamp is noteworthy. De s igne r Mark A nderson





ANGLEPOISE Reinventing and celebrating a classic design was seen done beautifully by the British brand in its new collection. The glossy smoothness of the bone china shades is complemented by chrome-plated fittings, while the grey fabric cables provide subtle textural contrast. The change of materiality to ceramics, and the sensibility shown towards changing times and technology, keeping the brand image consistent was innovatively handled. | A glowing bone china lamp, gives an elegant

Pic: Courtesy of Anglepoise

impression to this timeless industrial product.



F O R M A FA N TA S M A , F LO S The wire ring is a â&#x20AC;&#x2DC;practical sculpture' with the ring attached to the wall, and the power cord acting as its support. The ring contains a LED strip and the wire is a custom made belt-like electric cable that gives the aesthetic of a tightly stretched rubber band and connects the ring to the power source. The power cable that is usually hidden from plain sight, is celebrated here as an integrated element. | | Flos saw the introduction of mobile applications to applications making lighting mobile, a versatile feat in exploration that covered the entire gamut of possibilities.

Pics: Courtesy of Formafantasma


Pics: Courtesy of Tokujin Yoshioka




LG An amalgamation of serene Japanese aesthetic and forward-looking Korean technology, this exhibition by Tokujin Yoshioka and LG was a marriage between furniture and lighting design. The experience was a misty hall with illuminated OLED-screens in the form of seats, the gesture heightened when one could actually sit on the lights. | Interestingly, the OLEDs in another installation also attempted to replicate the sun with all its might, light and intensity, very avant-garde indeed. De s igne r T ok u j in Y os h ioka





D E LTA L I G H T An ironical installation with a compelling contrast between the ’traditional’ and ’modern’ techniques of lighting, the fitting features a classical glass chandelier, which is lit by a track suspended around it, fitted with LED spotlights. While the product is also available in units that have integrated LEDs or the more retro-look version with classic light bulbs, this installation facilitated an interesting dialogue in design, one that shows the evolution of light and its application in today’s times. | DeltaLight is design and price conscious – in that order.

Pics: Courtesy of DeltaLight




VIABIZZUNO The Viabizzuno exhibition at via Solferino was divided into outdoor sub-pavilions for displaying their lighting range. The exhibition continued into an indoor showroom that continued the display of their range of light fittings. Lucciola caught our eye for it is a silicon-enveloped outdoor fitting, mounted on a carbon fibre stem, which swayed along with the wind, making it appear like a firefly. | Positioning themselves as couturiers of lighting, Viabizzunoâ&#x20AC;&#x2122;s portfolio spans across lighting for Hermes to Armani stores.

Pics: Courtesy of Viabizzuno



VIABIZZUNO DCA Binario is an indoor track mounted LED spotlight in an aluminium housing, with a brass attachment between the rod and the fixture, which enables it to rotate on all 3 axes, with a rotation of 355° on the vertical axes. A light trap is included at the bottom of the luminaire for

any desired length without bending or cutting the copper wire. The track also comes with a range of accessories for installation that is available on request. | Clean and straight-lined with exquisite craftsmanship and technology,

optimal visual comfort.

the brand sets itself apart with customization and quality at its core.

The Binario track is a five conductor track with three switchable circuits. It

Exclusive and entirely customizable, Viabizzuno offered immense play

is made of extruded aluminium with copper conductors and can be cut to

with their solutions. De s igne r (DC A B INARI O) D avid C h ipperfie l d


When one is leaving Milan after days of design immersion, weary with all the walking and almost an overload of information, it is important to reflect on why the fair is so vital to attend. More than just a meeting point, Euroluce and the Milan Fair in totality - was a place to understand the future of design with relation to sustainability, safety and style. It is important to see what the possibilities are in making the world a better place â&#x20AC;&#x201C; with new technology and tactility, materials and meanings. The fair has evolved considerably â&#x20AC;&#x201C; from having display stalls of the past, to design showrooms of today, and looking to experience centres; it is not merely a place of promotion and exhibition, but one that exhibits the passion and pride behind creating each product. It is inspirational. It is a forum and an opportunity to influence and inspire. In its content and context, hardware and software, curation and location, the fair excites the Indian design community. As one of the biggest markets for the future, one needs to carefully apply it to our country. India, known for craft, clothing and cuisine needs to reinvent itself with this renewed dimension of design culture and cutting edge creativity.

Artemide Pic: Diego Ravier | Courtesy of Salone del Mobile.Milano



Stand Out Design This year's Euroluce saw a multitude of exhibitors push the boat out in terms of the look and feel of their stands. Over the next few pages is just a small selection of the stands that caught our eye over the course of the week.

LAMBERT ET FILS Lambert et Fils wanted the concept of its booth to match its aesthetic ethos of being different, yet minimal. This was achieved through texture, colour and careful placement of its lamps. The booth became a gentle escape from the chaos of the show surrounding it.

SLAMP Light of Other Worlds, an installation directed by Robert Wilson for the Slamp stand at Euroluce, was a flux of transportive stations, each a unique and an intimate perspective of Slamp's newest lighting collections. This yearâ&#x20AC;&#x2122;s Euroluce was the perfect moment for the brand to unveil fresh, exciting collaborations, as well as innovative revisitations of some of its most successful design projects. Visitors to the stand were invited to enter into the illuminated worlds of Slamp's designers as they recounted their approach as well as the role light plays in their everyday life.

VISO VISO's vision for its Euroluce stand was to engage visitors differently. The intention was to draw unsuspecting visitors into the environment by a gradual reveal of each collection. The creative journey began almost a year in advance of the show; partnering with Paolo Ferrari, Principal and Founder of Paolo Ferrari interior design firm in Toronto, Canada. His unique sense of design and architectural creativity took VISO on an exciting journey, which resulted in a Cathedral like booth design. “Inspired by the concept of ‘Light House’, the space was organised by a stepped layering of architectural display niches, creating a monumental forced perspective upon arrival,” says Ferrari. “A long communal table, constructed of white washed oak, with a dynamic lighting display above, anchored the environment, while the sculptural cobalt blue and crimson red niches offered an unexpected point of contrast. Through a purposeful concealment of product presentation, the lighting displays gradually revealed themselves as visitors moved through the environment and discovered each new collection.”

Tzetzy Naydenova, Managing Partner of VISO commented: “We loved working with Paolo. What the firm delivered was right on point with our vision and more. The curved corners details and intelligent colour play

further asserts our aim to stay on brand as a unique and fashion forward company in both our lighting design and lighting display.”

ARTEMIDE Artemide’s stand at Euroluce 2017 took on the appearance of an open stage. The floor – an area of over 1,000sqm – was made of black iron, whilst textile panels acted as partitions, creating visually dramatic stage sets. Areas between these zones remained free and open, with no physical barriers. Light filtered through the curtains, dispelling darkness and illuminating the Artemide products that were displayed on vividly coloured stands and platforms. In line with the new photography campaign by photographer Pierpaolo Ferrari, the graphic elements of the Artemide stand left a lasting visual impression. (Michele De Lucchi, March 2017)

PANZERI The 70-year anniversary was the focus of the Panzeri stand at this year's Euroluce. Made up of elements influenced by the fashion world, the stand was designed by architect Carmen Ferrara. Novelties presented included both decorative and architectural aspects of Panzeri's collections. New design products included Viisi (the work of designers Marco Fossati and Giovanni Minelli), Al Decimo (another fruit of Carmen Ferrara’s creativity) and To-Be; architectural novelties were represented by Brooklyn Round, Corner and Giano. As part of the celebrations, on Friday 7 April, renowned television chef Simone Rugiati was the centre of attention at a special event organised by Panzeri, that saw him host a cooking show. Rugiati prepared a selection of dishes that aimed to evoke the history and the values of the brand. ‘Pure’ ingredients were used to represent the quality of Panzeri’s lamps; as well as a traditional speciality from Brianza - a reminder of the company’s origins and the connection with its territory and molecular gastronomy as a form of innovation. For dessert, to complement this unique menu, a special edible version of one Panzeri’s bestselling products was served.

ASTRO LIGHTING Astro's stand design this year had a distinctive 20-year theme, however remained very much true to the brand and showcased lights from across the entire product portfolio. The stand was segmented into interior, exterior and bathroom, with the purpose of showcasing lights within the context of room set environments. One of the key features of the stand was an impactful wall installation of the best-selling Eclipse plaster lights painted in various colours to create an eye-catching display just above the main seating area. A number of new products were launched at the show, including the Kiwi family, Altea family and Coastal collection. The star of the show was the Edge Reader, thanks to its innovative combination of ambient and directional illumination, as well as the win of the Red Dot 2017 Product Design award.

CONTARDI Designed by Contardi's Art Director Massimiliano Raggi, the brand's Euroluce booth stayed true to its product and project design style, with a clean and precise look enriched by graphic and ornamental details. Central exhibition aisles in the main hall worked in harmony with the side areas that focused on new products, enhanced by large scale inspirational wallpapers. The stand was an open space, both in the structure and mindset, although clearly defined.

FOSCARINI At Euroluce, Foscarini exhibited across 880sqm of space, designed by Ferruccio Laviani, who was faced with the challenge of representing the company’s philosophy and creating a space that would remain in the memory of visitors for years to come. “To envision a new booth for Foscarini at the Salone del Mobile meant narrating the two sides of the company,” Laviani explained. “On the one hand, the more creative side - that takes its inspiration from culture, art and the many stimuli emerging in the contemporary world; on the other, I wanted to communicate the reality of a company made of technological research, innovation, communication, commitment, including distribution and retail operations. One side was softer, while the other was more ‘solid’; an extroverted spirit, as opposed to a more rational approach.” The company represented by the design of the booth is a ‘dual’ Foscarini, seen from the inside and from the outside. Seen from outside, the space was striking for its formal rigour and for a sort of greater severity, while the internal view was more relaxed, playful, intimate.


ART & DESIGN / EUROLUCE 2017, MILAN, ITALY - a selection

PECULIAR PICKINGS This year's Euroluce was witness to many design innovations and introductions to bigger and better ideas. Here are a few of our favourite things. Future Living April 2017 A visual and emotional exploration of daily life, The DeLightFul exhibition introduced visitors to a new way of inhabiting the domestic space. A series of rooms illustrated various concepts of contemporary design, through impactful displays and furnishing pieces reprised with novel combinations of materials, treatments and colours. The exhibition unfolded in free, unpredefined spaces, a house with no walls in which architecture and light, symbiotic and complementary, played an important role in highlighting individual furnishing pieces, unusual combinations and mises en scène that hovered between the real and the virtual. DeLightFul brought an imaginative approach to narrating the world of design and its trends.

Ceramic Collection Anglepoise

Alysoid Axolight

84 Bocci

The new four-piece Anglepoise Ceramic collection exudes simplicity and elegance. The glossy smoothness of the pure bone china shades is complemented by smart, chrome-plated fittings. When the light source is switched on the shade turns translucent, radiating soft, ambient light around the room.

The first project by Japanese designer Ryosuke Fukusada for Axolight, Alysoid is inspired by the catenary arch. The unique curve of this stunning pendant is created by delicate chains made of small spheres. The frame is available in anthracite grey finish and the chains either in a glossy black nickel or in natural brass finish.

A white glass moil captured inside a fine copper mesh basket and plunged into hot clear glass, 84 from Bocci is air blown to gently push the white glass through the mesh, creating a delicate pillowed form. A low-voltage xenon or LED light source is used inside the pendant, casting a warm coppery hue.








1. Drop Bover

2. Ersa Brand Van Egmond

3. Chronalight Graypants

Designed by Christophe Mathieu, Drop's small screen is made of borosilicate glass, finer and more delicate than blown glass. The light source is an LED that includes a dimmable system. When the light is projected and reflected in the materials found along the way, it both sparkles and casts shadows.

Inspired by early morning dew, the poetic Ersa lighting sculpture is handcrafted with a brass burnished finish element and bronze translucent glass spheres. The iridescent finish on the glass leads to a gradual change of colour as the angle of view or illumination changes, radiating a stunning glow.

A series of dish pendants comprise the first release in the Chronalight collection. With a variety of configurations in both horizontal and vertical orientations, dish pendants can be clustered together to make stunning constellations or individually hung. The debut pendants are available in diameters ranging from14-43cm.

4. Eve Lasvit

5. Macaron Brokis

6. Caged Buster + Punch

Designed by Zaha Hadid Design, Eve is composed of fifteen glass pieces arranged in one intriguing ensemble. It combines traditional glassmaking techniques with parametric design. Suspended at varying heights, the glass bodies create an impressive play of light and shadow.

Concealed in an elegant flue-shaped marble base, the light source of the Macaron casts its gentle glow upwards. Irregularities and imperfections intrinsic to both semiprecious stone and hand-blown glass make each light a unique original. The Macaron table light comes in three sizes, with the largest doubling as an impressive floor light.

Caged is a new collection of architecturally designed, modular lighting solutions inspired by the city of Londonâ&#x20AC;&#x2122;s steel skyline. Buster + Punch's patented LED technology is framed by the graphic outline of a solid matt black steel cage. The light is finished with a black knurled lamp holder and signature matt black penny buttons.


ART & DESIGN / EUROLUCE 2017, MILAN, ITALY - a selection

Tac/Tile by Andre Fu Lasvit Celebrating Fu’s signature language of relaxed luxury, the Tac/Tile collection is an ode to a truly tactile material that embodies religous, institutional and monumental architecture. Inspired by the 1932 Maison de Verre (a.k.a House of Glass), Czech metropolitan passageways, traditional Chinese tiled roofs, the Flatiron Building, as well as modernist glass blocks, the purist triangular profile became the core form adapted into a spectrum of applications - from table lamps and floor lamps to suspended pendants, the collection is an ode to a truly tactile material that embodies religous, institutional and monumental architecture. “A lot of work Lasvit is known for is the big, opulent, almost magical installations they do and so I had to think about how my aesthetic would fit in with that and how I could create something out of the box with a narrative that extends beyond the physicality of the light itself,” Fu tells darc. “I see the Tac/Tile range as something that can work as a single entity or as a grouping. It’s a clean, flexible design that can be built on.” While there are plenty of architects and designers that tap into the world of product design, for Fu the challenge is working within spaces, telling darc: “In interior driven spaces there are many layers of things... We can layer the lighting, carpets, textures and so on to form the journey from one space to another, they all come together to form an experience. “When I look at something like my work on the Tac/ Tile range, I wanted to express an experience in the product itself - it has to go beyond the inspiration and become something that communicates from more than just a visual sense.”







4 6

1. Sator Contardi

2. Reef De Majo

3. Yuh Louis Poulsen

Designed by Architect Massimiliano Raggi Contardiâ&#x20AC;&#x2122;s tradition of tailoring light is embodied by Sator. Cut and sewn in creative patterns from exclusive and precious fabrics designed by Bruno Triplet for Sahco, Sator creates several plays of light. Available in a double version or in three different sizes.

Designed by Chiaramonte Marin for De Majo, Reef is part of the Dome collection,a series of lights in which the overall shape is a unit of volume. The base is white lacquered metal while the transparent diffuser with white matte inside, is an ideal continuation of the profile made from blown glass.

Yuh celebrates Louis Poulsenâ&#x20AC;&#x2122;s philosophy of designing to shape light. The lamp rotates, rises and drops, illuminating and creating ambience in the required area while the shade is determined geometrically from the functional movement of the screen on the vertical pipe. A minimal shape created from a circle to a line.

4. Superlight Pablo Designs

5. Pili Arturo Alvarez

6. Noctambule Flos

Superlight balances the demands of both workplace and home with a combination of minimal form and maximum function. Superlight achieves fluid, sweeping movement in every direction with a full three-axis range of motion providing warm glare-free LED light exactly where you need it.

The Pili table lamp is full of charm and mystery. Nestled between four metal rods a single painted stainless steel thread is interwoven creating random volume and wrapping irregularity through the collection. Pili is available in two sizes, which allows for some visually stunning compositions when units are combined.

Made from transparent blown glass modules, come night time the Noctambule transforms into a gorgeous illuminated lantern. Several modules can be stacked on top of one another to create a light column or suspended chandelier. Carefully calibrated LED technology powers the lamps.


ART & DESIGN / EUROLUCE 2017, MILAN, ITALY - a selection

Tekio by Anthony Dickens Santa & Cole

Tekio, a name derived from the Japanese word for adaptation, consists of the transformation of ancient Japanese craft-paper shades - into a remarkable contemporary LED lighting system. London-based designer Anthony Dickens has been developing Tekio since returning from a visit to Japan in 2010 where he came up with the idea of bringing traditional Japanese paper ‘Chochin’ lanterns into a new, design-based dimension. In 2017, Santa & Cole decided to incorporate the product into its catalogue. The Barcelona-based brand selected Tekio owing to its warm, thoughtful presence, which fits in with the company’s criteria and philosophy, and on account of the subtle combination of technology and tradition, common in some of the company’s best-selling products. Santa & Cole has updated the lighting system and transferred production over to handcraft artisans in Japan, ensuring its high quality. Tekio makes it possible to create different combinations and ambiences, from horizontal and pendant columns to wall lamps, a varied range of circles and ovals.








1. Filo Foscarini

2. Myriad Gabriel Scott

3. Kazimir Roll & Hill

Made from porcelain, textitle cable, blown glass and varnished metal, a wide range of colours enliven the Filo lamp with multiple identities. From watercolour tones to the transparent hues of Murano glass, this light is at home in a wide range of settings. Filo comes in table, floor, wall or suspension versions.

The newest addition to the Gabriel Scott line, Myriad is inspired by natureâ&#x20AC;&#x2122;s bioluminescent organisms, this modular series is made up of the brandâ&#x20AC;&#x2122;s signature doubleblown glass and satin metallic hardware. Its articulated stems carry the soft-lit pivoting heads to create a delicate, asymmetric and ever-changing silhouette.

The newest member of this collection designed by Ladies & Gentlemen Studio is the Kazmir long pendant, a rhombic take on the series inspired by the earl 20th century Russian modernist Kazmir Malevich. Here, his ideas are transformed into three dimensions with pieces of textured and dichroic glass arranged in layers.

4. Nautilus Studio Italia

5. Porcelain Tala

6. Aldwych Tekna

The Nautilus from Studio Italia is a highly versatile and functional LED wall sconce. Its strong and sophisticated design brings contemporary Italian style to luxury architectural lighting. Flexible to 32Âş the Nautilus splits into two separate pieces with a mirrored centre allowing for a custom approach to lighting.

The porcelain range is centred around four distinctive shapes. Tala has squashed and moulded the matte porcelain glass to create a series of self-assured lamp designs. Designed to be an antidote to an overly industrialised aesthetic, these units work well with bold colours and backgrounds in a commercial space or a residential space.

Initially created as an automatic drawing, the flat and square surfaces of Aldwych seamlessly transform to curved surfaces, requiring true craftsmanship that challenges existing CNC machines. The Aldwych is fitted with eight Soraa LED modules, which can be set-up individually for use in residential or professional environments.


ART & DESIGN / EUROLUCE 2017, MILAN, ITALY - a selection

Copénica by Ramírez i Carrillo Marset The weightless light. With no more than fingertips, one can achieve a feeling of weightlessness with the Copérnica lamp. As if levitating, it moves through space effortlessly, without friction or resistance. Circles, semicircles, tubes, and bars of different diameters, materials, and weights… With the combination of these primary elements the Copérnica collection constructs geometric sculptures of light, establishing an intimate relationship with space and combining functionality with the beauty of pure lines. The collection consists of desktop and standing versions that play with counterweights of mixed materials and density, such as steel and aluminum. This design allows one to move the lamp with great precision, providing a wide range of heights, distances, and adjustments to the beam of light to suite one’s taste. The upright version, a true statement piece, stands almost two meters in height and directly or indirectly illuminates the environment with its tilting head system. Copérnica draws minimalist sculptures in space, as if it were a canvas, and the carefully selected colours add soft chromatic touches to the ensemble.

If we love your photo you get featured in the upcoming issue!




photo + description + photo credits


mondo*moment is an interplay of light (natural or artificial) with space, people or objects, captured in a moment of time! Catch that definitive moment in an image and Get Featured!

Dimensions 242 mm (W) x 339 mm (H) Resolution 300dpi

mondo*moment #13 by Matthew Momberger






Pics: © ERCO GmbH,, photography: Dirk Vogel

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

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

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

Paris Professional Lighting Design Convention 01. – 04. November, 2017


- shift happens -

More than 80 paper presentations More than 1700 attendees expected Keynotes given by leading experts Exhibition of leading manufacturers Gala dinner and PLD Recognition Award Marketplace for the PLD community Excursions Pre-convention meetings Cities’ Forum Experience rooms Recognised as an official CPD event by the PLD Alliance The Challenge: Final round Social events

me m a r g Pro w! out niostration

eg Early r y 26th! a ends M

Aditi Govil Akari-Lisa Ishii Alberto Pasetti Alexander Mankowsky Dr. Alexander Rieck Ali Mahmoudi Allan Ruberg Dr. Amardeep Dugar Ana Miran Andres Sanchez Anne Bureau Anuj Gala Barbara Bochnak Barbara Matusiak Birgit Bierbaum Carla Wilkins Carlijn Timmermans Caroline Hoffmann Cashel Brown Chandrashekhar Kanetkar Christiaan Weiler Christian Klinge Christina Hébert Christopher Cuttle Colin Ball Dario Maccheroni Dashak Agarwal Dean Skira Deborah Burnett Edwin Smida Dr. Elke den Ouden Emmanuel Clair Emrah Baki Ulas Fanny Guerard Francesco Iannone Gilberto Franco Glenn Shrum Gregor Gärtner Gudjon Sigurdsson Dr. Heli Nikunen Henrika Pihlajaniemi Imke Wies van Mil Inger Erhardtsen Ion Luh Isabelle Corten James Benya Jenny Werbell Joe Vose Prof. Dr. John Mardaljevic Jonathan Rush Juan Ferrari Kapil Surlakar Dr. Karolina Zielinksa Kathryn Gustafson Dr. Katja Bülow Kevan Shaw Koert Vermeulen Konstantinos Labrinopoulos Linus Lopez Lyn Godley Malcolm Innes Marina Lodi Mark Major Martin Hofer Martin Tamke Maryam Khalili Maurici Ginés Michael Grubb Pascal Chautard Paul Traynor Prof. Peter Andres Rafael Gallego Dr. Rianne Valkenburg Richard Taylor Rozenn Couillard Dr. Rune Nielsen Sara Castagné Serena Tellini Dr. Sergei Gepshtein Simon Berry Simon Ewings Sophie Caclin Sophie Stoffer Stephen Willacy Prof. Susanne Brenninkmeijer Susheela Sankaram Tapio Rosenius Thorsten Bauer Tino Kwan Prof. Uwe Belzner Vellachi Ganesan Ptof. Werner Osterhaus Zhuofei Ren

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

Pics: Courtesy of Prolicht

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

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


TECHNOLOGY / products

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

Zeki Megaman

Verge LED Wipro Verge LED, winner of the prestigious RED DOT award 2017, is designed to create unconventional work experience focusing on the wellbeing of the user with its minimalistic, thoughtful and peripheral design. The product blends well with the architectural space elements, creating an exclusive volumetric lighting experience. It follows the grid ceiling pattern, keeping the occupant away from any visual clutter. The ceiling material continues to the inner core of the product. The peripheral LED configuration contributes to the light on the verge of the luminaire. It is designed for reliable performance with best-in-class thermal management. The product is versatile and creates different ambiences in different spaces with its pendant and gypsum mounted versions continuing the same design language.

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

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

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

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

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


Centriq Prolicht

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

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

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


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

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

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

event calendar

100% DESIGN 20–23 September London, UK

Maison Et Objet 8-12 September Paris, France

Clerkenwell Design Week May 23-25 London, UK

Anglepoise....................................... 168 Architonic........................................... 23 darc room......................................... 133 Led Linear......................................... 167

Versalite................................................ 7 vis a vis................................................. 9 WAF.................................................... 11 Wibre.................................................. 13

DECOREX 17–2O September London, UK

Shanghai International Lighting Fair 5-7 September Shanghai, China

Index May 22-25 Dubai, UAE

Light & You........................................ 4-5 Office Expo....................................... 159 PLDC................................................ 157 Simes.................................................. 25

LED Symposium + Expo 26-28 September Bregenz, Austria

Darc Room 21-23 September London, UK

InterLumi 29 June - 1 July Panama City, Panama

ICFF May 21-24 New York, USA


Restaurant & Bar Design Show 26-27 September London, UK

London Design Festival 16-24 September London, UK

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

Showlight May 20-23 Florence, Italy

Wipro.................................................. 21

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For Media Partnership

ICFF 3-4 October Miami, USA

DESIGNJUNCTION 21–24 September London, UK

Darc Awards / Architectural 14 September London, UK

SPARC FMA 30 May - 1 June Sydney, Australia

Wanted Design Manhattan May 23–20 New York, USA

IstanbulLight 21-24 September Istanbul, Turkey

BIEL 13-16 September Buenos Aires, Argentina

Smart Lighting Conference 30-31 May Hamburg, Germany

Wanted Design Brooklyn May 23–17 New York, USA


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Robert Petersen Photographer / Film Maker / Web Developer

“I always love the patterns that stairs make when attached to a cylinder like a fuel storage tank. There is always a magic and mathematical golden section that unfolds when the sun is aligned in a certain way, usually in the early morning or early evening.  For this image, I walked an extra mile to a parking lot so I could get a straight on shot. Even though this subject matter is a bit cliché, I will keep pursuing it in my Photographic adventures.” 

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


| Trimless

| Pendant | Direct-Indirect

LED Linear™’s Light Line series is a new line of linear profiles made with special emphasis on the Indian subcontinent market. High quality 3 Step McAdams LM 80 certified LED’s are used in the light engines for this series. These light engines are produced in house by LED Linear™ in our German facility offering lifetime of 60,000 hours @ L80/B10 with high lumen values up to 7660 lm/m.

LED Linear™ India Pvt. Ltd. 107, Allied House. 1, LSC, Madangir. New Delhi - 110062. India +91 11 6515 0072


mondo*arc india issue#14 May/Jun2017  
mondo*arc india issue#14 May/Jun2017