Hannover Congress Centre

Highlighting the historic significance of the building's interior architecture, vogtpartner's lighting scheme combines the adaptability of modern technology and the illusionary power of colour at the Hannover Congress Centre in Germany.

To draw focus to the vast ceiling, acoustical components above the stage area have been removed. Suspended above the stage, freely arranged custom pendant luminaires from Hagenauer create the impression of a transparent 'light cloud'. The luminaires can be lowered or raised as a group and are dimmable. Their highly specular surface reflects surrounding colours, making them almost invisible.

Courtesy of lighting design engineers vogtpartner

The Hannover Congress Centre, together with its architects WoelkWilkens Architekten BDA DWB, created a competition to which they invited six lighting design firms. After careful deliberation, Swiss lighting design studio vogtpartner won the competition. Following this, the lighting of the Hannover Congress Centre was completely redesigned as part of the overall renovation of the building, which was inaugurated in April 2016 by German Chancellor Angela Merkel accompanied by US President Barak Obama. The new lighting design allows for greater flexibility in the use of the hall for both small and large venues and contributes to an entirely new experience of the space. “The vastness of the historical space and having to create an atmosphere that did this historical space justice made this project different from others,’’ commented leading lighting designer on the project, Matthias Wilcken-Frey. There were many demands presented to vogtpartner in the brief, but the most crucial one, expressed by artists themselves, was to make the enormous space feel smaller, for smaller events. “Artists don’t like to perform in venues when the upper levels are completely empty,’’ said Wilcken-Frey. The speed with which the project and the entire interior renovations took place meant that the hall remained a construction site, filled with scaffolding, throughout the renovations. Therefore vogtpartner weren’t able to test its conceptual ideas on site. The only way around this was to do some tests at different locations and in simulations. With the removal of former acoustical components above the stage area, the entire ceiling becomes more noticeable. Suspended above the stage are now freely arranged pendant luminaires that evoke the image of a transparent 'light cloud'. The luminaires can be lowered or raised as a group and are dimmable. Their highly specular surface reflects surrounding colours, making them almost invisible. Audio requirements were fulfilled by suspending the necessary audio components between the pendant luminaires, integrating them perfectly in the light cloud.

Previous page The seven historical chandeliers, each consisting of over 1,000 crystal elements, used to supply the hall wih general ambient lighting. This role has now been taken over by newly installed Zumtobel Cardan r1 LeD downlights. Left The folded surface material of the stage backdrop is grazed with a gradient light that can change to any colour, created by Waldmann mach LeD plus floor-mounted rgBW luminaires. Bottom Carved reliefs, such as the zodiac signs, which had been walled up for decades, have been exposed on upper-level walls and accentuated with precise, focused light from Zumtobel Iyon m LeD surface-mounted luminaires.

Additionally, the pendants are equipped with indirect light sources to brighten the ceiling above the stage. The folded surface material of the stage backdrop is grazed with a gradient light that can change to any colour, including a glowing white. A perception of depth is consequently evoked in the beautiful background. The row of architecturally pronounced pillars can likewise be highlighted with either white or coloured light, bringing an additional, working layer of light to the overall lighting composition. Carved reliefs, such as the zodiac signs and the so-called 'light goddess', which had been walled up for decades, have again been exposed on upper-level walls and accentuated with precise, focused light. These sculptured, historical reliefs complement the overall ambience, becoming festive, architectural elements that re-tell the historical origins of the building. With the performers in mind, the vogtpartner team wanted to prevent the sense of emptiness when upper level seats were unoccupied. They thus installed blue linear LEDs to create, at the right luminance level, a transparent curtain of radiant blue, reducing dimensionality and making the hall feel smaller and more intimate. Dimmable, brilliant light points that were added to the upper level railing frame the setting and add a festive ambience, especially for gala balls. “The lighting for such events is different than for larger ones, as it’s different for gala balls, classical concerts, rock concerts or assemblies. Therefore the right lighting had to be flexible lighting,’’ explained Wilcken-Frey.

The sculptured 'light goddess' is illuminated by precise, focused light from Zumtobel Iyon m LeD surface-mounted luminaires, complementing the overall ambience and highlighting the architectural elements that re-tell the historical origins of the building. also, the architecturally pronounced pillars can be highlighted with either white or coloured light, created by Waldmann mach LeD plus floor-mounted rgBW luminaires, bringing an additional, working layer of light to the overall lighting composition.

The seven historical chandeliers, each consisting of over 1,000 crystal elements, used to supply the hall with general ambient lighting. This role has now been taken over by newly installed down lights in the dome ceiling, allowing the restored chandeliers with their brilliant, sparkling points of light to act as decorative lighting creating a festive ambience. The open ceiling in the middle of the hall is now illuminated with the soft glow of a twilight sky, giving the room a positive connection to the space above. This soft glow of blue above reminds visitors of the hall’s original cupola, now walled up, and thus builds a bridge from the present to the past. The new lighting system is equipped with energy efficient LED technology. Special converters allow light level adjustments down to 0.1%, yet still guarantee flickerfree HD filming without shifts of colour. With the help of a lighting control system, different lighting moods can be easily programmed and realised depending on the occasion and use of the hall. In total, more than 400 new luminaires were installed in the context of the renovation; all of which are 360° glare-free. The maximum connected load (excluding the large pendants) now lies at approximately 14kW. This translates into a reduction in connected load of around 16% with over a twofold increase in light intensity. The use of modern LED technology and custom fixtures has allowed vogtpartner to develop a scheme that is adaptable to fit purpose while highlighting the historic significance of the building's interior architecture. www.vogtpartner.eu PROJECT DETAILS

Client: Hannover Congress Centre Architects: Woelk-Wilkens Architekten BDA DWB Lighting Design: lighting design engineers vogtpartner

LIGHTING SPECIFIED

Hatec custom-made pearl LED surface-mounted luminaires Hagenauer, custom-made, LED, direct-indirect pendant luminaires Waldmann Mach LED Plus floor-mounted RGBW lumininares Waldmann Mach LED Plus blau 1000 surface-mounted linear luminaires Waldmann Mach LED Plus, Blue LED, surface mounted linear luminaires Zumtobel LDO LEDRAY LED linear luminaires Zumtobel Iyon M LED surface-mounted luminaire Zumtobel Arcos WW LED wall-mounted luminaires Zumtobel, Diamo, LED, wall mounted luminaires Zumtobel Cardan R1 LED downlights

Following an intensive and meticulous period of research into China's rich history, Illuminate, the lighting design division of Hirsch Bedner Associates, has created a lighting scheme that exudes luxury at NUO Hotel Beijing - the first of its kind.

Drawing inspiration from China’s 5,000 years of rich heritage, NUO Hotel Beijing takes its cues from the prosperous Ming dynasty. The 28-storey property offers a five-star modern luxury experience while paying homage to China’s celebrated era of scholarly pursuits. As the first ever NUO hotel owned by NUO - China’s first international luxury brand - global hospitality interior design practice Hirsch Bedner Associates (HBA) has created a signature look for its interior. HBA designers were tasked with creating a luxury international hotel brand that is a distinct reflection of Chinese heritage and culture, being modern yet rooted in tradition with a heavy focus on contemporary Chinese art. In pursuit of this, the HBA team spent six years immersing themselves in the Ming dynasty’s history and cultural significance. In addition, each facet of the design takes NUO’s four pillars into account: uniquely Chinese, luxurious, contemporary and green. Designers were challenged to not get too caught up in the ornamentation of Ming China, to take a refined and selective look at the design, to embellish when appropriate and stand back and let the quiet confidence of the space run through the design. Guest rooms are based around the Chinese tea ceremony – a signature aspect of the NUO brand. Roots of the presentation and serving process inspire many aspects of the guest experience, as the Chinese tea ceremony is a fundamental part of the hotel design. “NUO is an important project for HBA, not only for its unique, high-profile design, but as the flagship hotel for the NUO brand,” said Lead Designer and HBA Co-CEO Ian Carr. “Being involved in developing the hotel’s

Left Skylux ceiling-recessed remote controlled adjustable 3,000K ar111 narrow beam leD downlights illuminate the tables in the Yong le ballroom, while Skylux square trimless ar111 adjustable narrow beam downlights light the wall panels. also, luci 2,700K power FleX 20mm pitch leD striplights are integrated into the ceiling cove and wall to provide an even illumination to the vast space. Finally, Diamond life's decorative crystal chandelier uses a dual light source - gU10 3,000K leD and rgB leD, commissioned by HBa and lamp type specified by illuminate. Top Skylux ceiling-recessed remote controlled adjustable 3,000K ar111 narrow beam leD downlights illuminate the hotel lobby, while Skylux ceiling-recessed twin Mr16 wallwashers give light to statement art pieces in the lobby reception. additionally, Skylux ceiling-recessed trimless 3,000K leD wallwashers illuminate the lobby's stone wall. central to the lobby's lighting, Diamond life rgB colour-changing leD nodes provide backlighting to stretched membrane panels in the skylight. this is complemented by luci's 2,700K power FleX 20mm pitch leD striplights in the lobby's ceiling cove.

distinct look was a very exciting process and experience. It stretched the team’s creativity to another level and enlivened our imagination in the most rewarding way. This is 21st century luxury at its best, luxury from China for China.” The scope of HBA's design brief included the guest rooms and all public spaces except a Chinese and Japanese restaurant, which was conceptualised by another consultant but with its designs still developed and coordinated by HBA. ‘‘Lots of research was done to find the distinct look of NUO - being China’s first high-end hotel brand,’’ explained Carr. Following many rounds of presenting and discussing the proposal, the final product remains functional while retaining authentic Chinese luxury in aesthetics and details. Bespoke and custom pieces of furnitures and decorative lighting were specially designed as one-off unique pieces to NUO. NUO Beijing marks one of HBA’s first designs to bring several divisions of the firm into one project – Canvas Art Consultants, Illuminate Lighting Design and HBA Graphics. The significance of Chinese art will serve as a cornerstone throughout each space of the hotel. The team at Canvas carefully selected art that reflects the dimension of Chinese culture, be it traditional or emerging, and used each piece as a greater expression of the culture. The most standout feature of the property is the grand entrance, which is filled with seven-foot-tall blue and white

Left Skylux ceiling slats recessed adjustable gimbal Mr16 snooted downlights for general lighting in one of the many lobby lounges. luci 2,700K power FleX 20mm pitch leD striplights are integrated at the 'moon gate' entrances to the lobby lounge areas and Yuan tea lounge (top). also, Diamond life leD retrofit decorative bar pendants add a striking talking point in the lobby bar area - designed by HBa, with lamp type specified by illuminate. Top Right 8x40° Skylux 2,700K ceiling mounted leD graze light profiles with antiglare circular louver graze the feature wall in the Yuan tea lounge, while wall-recessed mini 2,700K leD flat discs with narrow beam angle illuminate individual tea pot niches. Bottom Right Diamond life leD retrofit decorative floor lamps create ambience in the lobby sitting area - designed by HBa, with lamp type specified by illuminate. Right Page Diamond life leD retrofit decorative pendants illuminate the lobby lift area - designed by HBa, with lamp type specified by illuminate.

Ming vases intricately hand painted, flanking a large sculpture centerpiece by famed contemporary artist Zheng Fanzhi. Illuminate achieved a feat of technology with the creation of a light installation that spans the ceiling in the common area and can project multiple images or nothing at all at the operator’s discretion. “Design creates the soul of this hotel; it makes it a special place to be,” said Carr. “That innate feeling of belonging is what we wanted to achieve to help guests feel at ease with the elements. Architectural elements are added and subtracted over the years, but the feeling of belonging is intrinsically what NUO is about. The design elements and concepts are all there to deliver that one exceptional feeling.” HBA Graphics were commissioned to produce signage and graphics for the property’s food and beverage outlets, as well as a bespoke set of luxurious room amenities. The team was tasked with creating a graphic design that reflected the main pillars of NUO and interpret it into a contemporary fashion. Delicate details, such as the hand-painted ceramic plaques used to identify guest room number, embody this goal. Luxury is a statement synonymous to this project and in regards to lighting, this meant pushing the boundaries to maximise quality of light while keeping to minimal obtrusions for Illuminate. Lighting is weaved

Top Skylux integrated leD profiles, encased in edge-frosted resin, are nestled amongst the spa's swimming pool ceiling slats, while Skylux cMHMr16 adjustable downlights complement plant growth on the spa's green wall. in the adjacent space, Skylux trimless square triple head Mr16 downlights, with a 36° beam angle, provide general lighting for the gym. Left Skylux surface-mounted box Mr16 and ar111 gimbals with honeycomb louvers, are complemented by Fanzhi Studio's feature light art suspended above the spa entrance staircase. Top Right integrated within the spa reception ceiling slats, Skylux recessed adjustable gimbal Mr16 snooted downlights provide general lighting and highlight furniture pieces and art. Bottom Right the basement spa adopted a quiet approach where fixtures were intentionally positioned at a low level to slow down the pace of life and create a more intimate space. the lighting is predominantly concealed, revealing the space and highlights are used to create a play of light and shadow conducive to the spa ethos of relaxation and rejuvenation.

into the fabric of the interior design, challenging forms of integration that aims to balance subtlety and visibility. Since the hotel design revolves around modern art displays, Illuminate implemented light fixtures that are art-specific, such as framing projectors, which have a focused, shaped beam of light. When introduced into a scene set environment, these deliver high contrast levels, creating a dramatic gallerylike experience for the guests. Illuminate also introduced signature RGB LED backlit barrisol panels located within the vertical sides of the deep pocketed skylights in the lobby, which help draw the eye up into the large volume and offer the possibilities of abstract motion. The animation changes in relation to time of day, event type or festivity, which help to compliment the artistic and creative essence of the hotel. Just like the depth of China's rich history, HBA's research conducted for this project was equally as deep. This is reflected in a luxurious and decadent design that runs throughout the hotel's interiors from its artwork to its lighting. ‘‘Being involved in developing the hotel's distinct look was a very exciting process and experience,’’ concluded Carr. ‘‘It stretched the team’s creativity to another level, which says so much about HBA’s principle motto from our founder Michel Bedner: ‘Do the best job we can and have fun with what you do’.” www.illuminateld.com www.hba.com PROJECT DETAILS

Client: YanXiang Development Project Architects: URBAN PROJECT Lighting Design: ILLUMINATE Lighting Design (HBA)

LIGHTING SPECIFIED

Skylux Square trimless twin adjustable MR16 downlights Skylux Square surface-mounted adjustable MR16 downlights Skylux Square trimless AR111 adjustable downlight Skylux ceiling-mounted LED graze light profile Skylux recessed adjustable gimbal MR16 snooted downlights Skylux Ceiling recessed twin MR16 wall washer Skylux Ceiling recessed trimless 3,000K LED wallwasher Skylux Inground mini narrow beam 3,000K LED uplight Skylux surface-mounted gobo projectors Skylux Ceiling recessed remote controlled adjustable 3,000K AR111 LED downlight Skylux Ceiling slats recessed adjustable gimbal MR16 snooted downlights Skylux surface-mounted box MR16 & AR111 gimbal Skylux ceiling-recessed framing projectors Skylux trimless square triple head MR16 downlights Skylux CMH-MR16 adjustable downlight Skylux customised ceiling integrated LED profile Luci 2,400K Power FLEX 15mm pitch LED Striplight Luci 2,700K Power FLEX 20mm pitch LED striplight Luci 2,400K Flat FLEX 10mm pitch LED striplight Luci Wall recessed mini 2,700K LED flat disc Diamond Life LED retrofit decorative Wall Sconce and Study Table Lamp, design by HBA, lamp type specified by Illuminate. Diamond Life RGB colour changing LED Node Diamond Life Skylight Diamond Life LED retrofit decorative table lamps, floor lamps and bar pendants, design by HBA, lamp type specified by Illuminate. Diamond Life decorative ceiling crystal chandelier using dual light source –GU10 3000K LED and RGB LED, design by HBA, lamp type by Illuminate Fanzhi Studio Feature light art suspended at Spa staircase Top Right Skylux Square trimless twin adjustable Mr16 downlights in varying beams 10° (reading lights), 24°, 36° and Square surface-mounted adjustable Mr16 downlights with elliptical lens illuminate the guest room corridors. Right Skylux ceiling-mounted 3,000K 8x40° leD graze light profiles with antiglare circular louvers highlight porcelain artwork found in the guest room corridors. Top Left luci 2,400K powerflex 15mm pitch leD striplights highlight the headboard artwork and wardrobe, while luci 2,400K Flat FleX 10mm pitch leD striplights are integrated under bathroom sinks, wardrobe hangers and bedside nightlights. Designed by HBa, with the lamp type specified by illuminate, Diamond life leD retrofit decorative wall sconces and study table lamp, provide accent lighting within the guest rooms.

Maintaining an overall harmony with the site's neighbourhood, Maurice Brill Lighting Design's scheme responds to the landscape of London's Crossrail Place and engages with people's spatial experience through characteristic lighting choices.

Located in London's Canary Wharf, Crossrail Place, designed by Foster + Partners, is a horizontal structure that resembles a sailboat floating on the dock waters that once sailed the West India Dock. With its natural wooden lattice beams and transparent ETFE cushions, it is a welcome counterbalance to the tall steel and glass buildings surrounding it. Beginning work in 2008, Maurice Brill Lighting Design (MBLD) was tasked with the interior lighting to main entrances, bridges, external lighting to the promenade walkways, Adams Place, flood storage reservoir and roof garden. MBLD's approach was to design lighting that engages with people’s spatial experience and gives each space a distinctive character, whilst maintaining an overall harmony with the site and neighbourhood. A big feature of the building is the rooftop public garden, including the landscape designed around the main walkway, which features a combination of exotic trees. MBLD responded to the landscape narrative by designing a special gimbal luminaire mounted in the roof nodes to illuminate the main pathway. For the secondary routes, higher and more even illumination has been achieved using bollards to comply with the client’s brief of higher illumination levels to deter any anti-social behaviour. A conscious decision was made not to have any lighting for the roof skin, to allow the park lighting to come through the translucent ETFE panels for views from the ground and neighbouring buildings. Lines of light between the louvers tie in the architectural language for the main entrances. Each of the entrance luminaires are compliant with the LU 1-085 regulation of London Underground as a design requirement. The pedestrian bridge connecting the main entrance has a single line of light running

Facing Page resembling a floating sailboat, the structure's natural wooden lattice beams and transparent eFte cushions contrasts with the steel and glass buildings surrounding it. This Page Top selux continuous t5 and t8 linerar Middle Mike stoane lighting custom stem reeds illuminate the flood storage reservoir's boardwalk. fluorescent provide a clean light from the ceilings. Bottom erco and Mike stoane lighting uplighting fixtures provide illumination to the rooftop garden's many exotic trees.

the length, which allows for unimpeded views of the interiors. For external areas MBLD looked to combine light and architecture as a way of minimising external pole lights; this is demonstrated in lighting to Adams Place, which is achieved by hiding luminaires inside the structural ‘V’ columns of the bridge. Theatrical rhythms are positioned at selected public realm locations such as lighting to the flood storage reservoir. High power floods with straw coloured gels hidden under the walkway capture the movement of reeds in the wind. The play of light and movement is extended to the pedestrian bridge, which is punctuated with specially designed carbon fibre reeds up to nine-metres tall that gently sway in the wind.

PROJECT DETAILS

Client: CWCL Canary Wharf Company Architects: Foster + Partners, UK Lighting Design: Maurice Brill Lighting Design, UK

LIGHTING SPECIFIED

ACDC Blade linear LED wall grazers Crescent lighting fibre optics to concrete bricks - ground level Erco - tree uplighting - park level Ewo Indirect pole system 70W MH - column lighting - ground level Ewo reflector and 150W metal halide concealed uplighter within column - elevated walkway Lumino Vector 12 concealed linear lighting - park level Mike Stoane Lighting - tree uplighting - park level Mike Stoane Lighting custom gimbal - roof structure Mike Stoane Lighting - Surf M - park pavilion Mike Stoane Lighting custom 1W LED handrail mounted LED Mike Stoane Lighting custom stem reeds - boardwalk, flood storage reservoir Norka UK linear LED - under bench lighting Philip Payne emergency exit sign bollards - park level Schreder - primary pathways - park level Selux continuous T5 and T8 High output linear fluorescent and prismatic diffuser - ceilings Zumtobel emergency exit signs Zumtobel 4.5W LED floor washer - Adams Place planters

Visual: Architect Rajesh Patel

Pulling out all the stops, architect Rajesh Patel designs the S.P. Jain School of Global Management Studies in Mumbai using colour and a contemporary sensibility. Devyani Jayakar examines the design purport of a layout conceived as a ‘pedestrian street’, which facilitates advanced academics, with lighting playing a stellar role, designed by Sandeep Adagale of Lighting Dimensions Studio.

“Some of the ‘students’ here are Vice Presidents and CEOs of international companies, who are engaged in a management class for high-end corporates,” discloses architect Rajesh Patel. Clearly, this is no ordinary educational institution, and thus the décor for such an acclaimed and focused business school had to be appropriate to where the alumni were coming from. Working closely with Sandeep Adagale, Lighting Design Director of Lighting Dimensions Studio, Patel’s design centered on an unconventional approach, steering away from typical classroom settings. Having conceived similar projects for the same client in Dubai, Sydney and Singapore, Patel was familiar with the design vocabulary that had to be maintained within the 15,000 sq. ft. space located in Mumbai’s Kamala Mill Compound at Lower Parel, surrounded by corporate offices. The client’s brief specified a world class corporate cultural environment to give students a first-hand experience within an educational institute, all integrated with smart technology. “We used the concept of a pedestrian street, breaking the stereotype of a linear corridor. Each transparent envelope is designed so that the activities flow seamlessly into each other, providing an interactive environment for the students,” says Patel. The extensive use of glass for the café, breakout areas, meeting rooms and library facilitates the sense of a meandering street lined with see-through shop windows, where activities can be easily viewed by all. This gesture simultaneously wraps the entire space in a contemporary idiom. Interaction by means of communicating either visually or physically plays a major role in the design scheme. The angular aesthetic of the reception area sets the note for high-tech, futuristic spaces inside. An abstract geometry in the furniture with its white, yellow and black palette makes a strong visual statement, which is reflected in the branching white ‘structural’ light fitting suspended overhead. The bright reception area stands in contrast with the darkened spaces within. Walking

in, one enters the cafeteria and the eye is immediately drawn to the complex visual display on the ceiling that is adorned with strips of reflective orange polycarbonate sheets hung from the slab, and interspersed with amoeba-shaped light fittings. The convoluted silhouettes add to the heavy drama overhead, while casting soft pools of light onto the tables below. “I chose to camouflage the industrial ceiling with its barrage of services in black, hence heightening the volume,” says Patel. This also serves to emphasise the generous but judicious dollops of colour in the design. “The light fixtures suspended from the ceiling appear like floating sculptures.” In this inverted colour scheme, the floor is light in contrast to the busy ceilings. “For the class rooms, designed as auditoriums, we created coves in the ceiling echoing the seating pattern below. The coves are fitted with inbuilt LEDs, providing uniform light distribution on the task area. The scheme is controlled with a fully automated system that allows for adequate light levels for video conferencing,” he says. Break-out spaces outside classrooms enable unity and interaction between staff and students alike. The design supports an informal work atmosphere while it strengthens the student-faculty bond by providing ample spaces for informal interaction. The corridor is flanked by various circular

meeting rooms, in which the task lighting not only ensures visibility on the tables but enhances the aesthetics as well, echoing the placement of the furniture below. Here too, illumination levels are kept sufficient for video conferencing. Establishing a strong graphic language, Patel centers the design around the circular light fitting above each table. Lines radiate outwards and angle to the ground between sections of glass to define the periphery of each meeting room. Six such rounded rooms sit alongside the meandering ‘street’ as pit stops in one’s journey. Says Adagale, “The Executive Lounge has decorative custom made light fixtures in fabric which are five feet tall and two feet in diameter. Casting a warm glow, their function is to illuminate as well as enhance the aesthetic experience within the space. Making a statement, they dominate the space by their size and dwarf the furniture on the floor. Multiple such pendants inevitably draw the eye upwards, even as they render almost invisible the undisguised conduits for wiring and air conditioning which traverse the ceiling.” A fully glazed wall with blinds provides the option of controlling the amount of daylight which enters the space.

“The library which is designed largely in glass is illuminated in a manner that resembles an art gallery – light is concentrated on focal points without sacrificing ambient or task lighting,” says Adagale. Each reading space is flagged with a circular light fitting suspended from the ceiling, demanding attention to its form, while casting enough light below to facilitate easy reading. “The heart of the project is the Leadership Hall, in which we designed a pattern of honeycomb mesh suspended from the ceiling, created with regular T5 lamps and Opal diffusers.” The expansive installation provides a uniform light in the room, while almost creating a dropped ceiling. The illuminated form conceals the slab, and yet the open pattern maintains the impression of height in the volume. “We believe that the more you interact the more you learn; the more you share, the more you gain. This thought is implemented by connecting the classrooms to the campuses in other parts of the world through a media interface. This breaks the

traditional system of formal and restricted learning through books and lectures,” says Patel, describing the incorporation of technology in the learning process. The design uses passive and active energy systems, and recyclable materials such as metals, MDF boards and dry wall partitions for innovative expressions of sustainable design. “Services have been designed to reduce electrical consumption, while the use of LED lights with sensor systems, timers and access controls, lowers energy requirements and emissions,” says Patel. The lighting functions on several levels. While recessed spotlights provide ambient illumination through the built space, supported by downlights and coves in some areas, carefully selected pendants and suspension fittings add not only to the illumination levels but also the overall aesthetic value. Seamlessly integrating transparency and functionality, Patel has combined modern day technology with a metaphorical streetscape. The free flowing meandering corridor connecting various activities, gives students an opportunity of staying visually connected with the entire campus. www.architectrajeshpatel.com www.lightingdimensionsstudio.com “The library which is designed largely in glass is illuminated in a manner that resembles an art gallery – light is concentrated on focal points without sacrificing ambient or task lighting,” says Adagale.

PROJECT DETAILS

Client: S.P Jain School of Global Management Architect: Rajesh Patel Lighting Designer: Sandeep S. Adagale, Lighting Dimensions Studio

LIGHTING SPECIFIED

Changi Lights: Spot Lights Changi Lights: Track Lights Changi Lights: LED strips Lutron: Automation system from Anusha Technovision Red Dots Lighting: Honeycomb Mesh

After conquering many challenges, EFLA Consulting Engineers has managed to create a natural and unique experience inside Iceland's Langjökull Glacier through well planned light scenes and sophisticated use of colour.

Inside Europe’s second-largest glacier, at a height of 1,200 metres, lies Iceland’s newest tourist attraction, a magnificent, manmade, 500-metre ice cave tunnel - the longest in the world. The aim of the project was to provide a natural and unique experience, well planned light scenes with natural light colours and limited use of other colours. Guests are to experience the lighting without any visible equipment or cables. As a consequence of this, the project presented many challenges, including the fact that the temperature is consistently around 0°C, so heat from LED lighting had to be minimal in order to prevent melting. This was done by raising lighting equipment from the ice so that it is never in direct contact, as well as having a tight network of sensors and precisely programmed DMX controllers to limit the light-time of each light source to between five and seven minutes. All equipment had to be placed inside the walls and ceilings, with light sources of up to six-metres in length, without visible cables, control tables or light sources. Holes were drilled with a specially built steam drill for illumination, and slots were made in the tunnel corners for control and power cables. It proved difficult to reach the tunnel opening in winter, in a blinding snowstorm and at a height of 1,200 metres, so GPS was used to find the opening and tunnel in. The built-in lighting in the walls and ceiling of the tunnel provides pleasant illumination through the ice, which varies depending on the thickness and age of the ice, as well as highlights layers of ash from times past, including ash from the infamous Eyjafjallajökull eruption. The visitor experience is divided into segments with darkened passages inbetween to provide contrast. When guests view the Eyjafjallajökull ash layer, for example, the passage ahead is darkened, with only a back-lit wall at a 50-metre distance, providing soft and billowing blue and white colours. When the guide has finished their account, the lights in the tunnel walls are turned on, slowly and gradually, until reaching the visitors by the Eyjafjallajökull ash layer 50-metres above. There are several themed spaces on the 500-metre trek through the glacier, including an assembly hall, chapel and pillar hall where lighting was installed

Left Integrated lighting glows through the walls and ceiling of the tunnel, varying in intensity depending on the thickness and age of the ice. Middle several themed spaces including an assembly hall and chapel proved a major lighting challenge due to difficulties faced when attempting to conceal all lighting equipment and cabling. Bottom Right led projectors illuminate the 30-metre-deep crevasse.

in locations such as an altar, benches, walls and the floor without any visible installations, proving to be one of the major challenges in this project. The most spectacular experience on this journey is the large crevasse that crosses the tunnel and provides guests with a spectacular and mystical connection to the natural forces from the bottom of its depths, 30-metres below the glacier surface. The lighting, provided by powerful LED projectors and Pharos controls, is a major factor in capturing the magnificence and drawing out the contrasts of this 200-metre-long, fivemetre-wide and 30-metre-deep crevasse. The crevasse is darkened when the guests reach it but is then illuminated in stages, enhancing the experience further. www.efla-engineers.com PROJECT DETAILS

Client: Isgöng Architects: Arni Pall Johannesson – Reynir Sævarsson Lighting Design: EFLA Consulting Engineers

LIGHTING SPECIFIED

Anolis ArcSource 24MC exterior luminaires Griven Maxi WaterLED exterior luminaires Osram Value Flex Power Linear LED strip 860 Osram Value Flex Power RGB LED 865 Osram BackLED XL Plus G15 LED modules Pharos LPC, RIO LED lighting control Robe CitySkape RGBW exterior luminaires

Pics: Redshift Photography

As well as paying close attention to the building's historic façade and architectural identity, Hoare Lea Lighting's scheme is engaging and delights the occupants of London's Alphabeta workspace, highlighting a new way of thinking for large-scale office projects.

Located between Shoreditch and the City, the landmark Triton Court building on Finsbury Square, London has been transformed into a major new workspace – Alphabeta. The development, which is set over nine storeys and comprises 20,000 m2 , features a dynamic atrium and a ride-in cycle ramp. Hoare Lea Lighting developed the lighting concept in conjunction with the project architecture team at Studio RHE. Led by Dickon Hayward, (winner of the RIBA London Project Architect of the Year Award for Alphabeta) the concept was designed from the ground-up, with Hoare Lea Lighting working closely with Studio RHE to understand the space and its requirements from an architectural lighting perspective. Central to the lighting scheme was the careful consideration of the interior’s deliberate architectural idiosyncrasies. Using integrated and hidden sources wherever possible, the design complements the clean, seemingly effortless architectural approach. Ultimately for Hoare Lea Lighting, the design was about enhancing and working with the unusual and exciting character of the post-industrial space. The dramatic changes in level within the front-of-house areas focused attention on maintaining an even illuminance and providing lighting coherence. Warm white

Top Forming a visual statement, the lobby's 'Alphabeta' sign uses an integrated lighting approach, utilising the staggered linear form of the sign to keep the walls and ceiling free from luminaires. Left Hand Page different angles of the 'Alphabeta' sign highlight its visual impact and linear illumination.

This Page + Top of Facing Page central to the lighting scheme, the interior's architectural idiosyncrasies have been highlighted by using integrated and hidden luminaires where possible, shown here in the building's glazed and timber-clad atrium, which benefits from daylight from a glazed rooflight.

light throughout the reception ensures the visual atmosphere is welcoming, while avoiding a typical commercial workplace feel. Clad in timber and steel, and with a series of cantilevered glazed meeting rooms, the dramatic atrium is the heart of the building, and benefits from daylight from a glazed roof light. Due to the height of the atrium, it was important to design ways to integrate luminaires into the architectural features at low level. These include the handrail, which runs around the reception desk, direct and indirect lighting in the low-height ‘waffle’ ceiling zone, and the integrated step lighting which leads to the basement level. The entrance on Worship Street features a dramatic cycle ramp positioned behind a glazed screen. This allows cyclists to enter the building without dismounting, leading them from street-level to bike storage and changing facilities at basement level. On view from the atrium and adding movement to the scene, the cycle ramp was a key statement, which reinforces the sustainability of the building. Here, lighting is bold and direct, contrasting enjoyably with the main reception space. The lobby entrance and ‘Alphabeta’ sign formed a primary visual statement, so Hoare Lea Lighting worked with Studio RHE to develop an integrated lighting approach, using the staggered linear form of the sign to keep walls and ceiling free from luminaires. The result is a spectacular interaction between the pendant sign and the lobby finishes, which creates dramatic impressions from all angles.

Bottom the Worship Street entrance features a cycle ramp that allows cyclists to enter without dismounting. here, lighting is bold and direct, contrasting with the reception space.

The building’s historic façade has been restored and celebrated, and succeeds in being simultaneously intricate and restrained. Illumination lent itself to traditional lighting techniques, which bring out the form and rhythm of this splendid façade. Alphabeta offers much, it engages and clearly delights its occupants; its vibrant articulation of spaces shows a new way of thinking for large-scale office space, providing an alternative to the sterile mainstream offer of more ‘shades of grey’. www.hoarelealighting.com

PROJECT DETAILS

Client: Resolution Property Architects: Studio RHE, UK Lighting Design: Hoare Lea Lighting, UK

LIGHTING SPECIFIED

acdc Plaza 35 with vertical louvre – Cycle ramp spots acdc Plaza 35 – Atrium gantry - downlights acdc Cold Cathode custom chevrons/light art Encapsulite T8 Lightstick – public/circulation threshold walls iGuzzini Le Perroquet LED – circulation / lift lobby spaces Optelma Quad 100 profile with custom centre joining piece – cycle ramp linears Optelma SAM 165 profile + Cita spotlights – bar zone task LEDLinear VarioLED Venus - reception desk handrail + reception desk task light + library task light LightGraphix LD22 POWER surface mounted linear washer - ceiling ‘waffle’ raft uplight LightGraphix LD22 RGB surface mounted linear washer - ceiling ‘waffle’ raft uplight LightGraphix LD12LT – stair treads, stair handrail, bar front wash, bar shelving LightGraphix LD32 joinery hidden shelflight washer Lumenpulse AlphaLED: 120 Series Nimble square – ceiling ‘waffle’ raft downlight

Pics: Sanjay Kewlani

Multiply Architects reflect on the traditional iconography of Buddhism to develop a contemporary architectural language for the Mahabodhi Monastery in Singapore, while Mrinalini Ghadiok discovers the bold strokes of subtle illumination used by Light Cibles to create an experience of intense contemplation.

Envisioned as an abode for Buddhism, the Mahabodhi Monastery in Singapore was redeveloped as a response in design to the philosophy and governing rules of the religion that it holds. Multiply Architects conceived the building working closely with the monks and Feng Shui masters to identify the main characteristics of Mahayana Buddhism and translate them into architectural storytelling through the space. While the architecture sets stage for a contemplative experience, the considered and precise lighting scheme designed by Light Cibles embodies the serenity of a meditative aura that embraces the monastery. Located on a 10,000 sq. ft. site flanked on one side by an old temple and on the other by a residence, the monastery is reimagined as a contemporary sanctuary that encourages a younger population to visit its realm. From the outset it can well be mistaken for anything but a religious centre. The design renounces the formal composition of Chinese temples to embrace an outward facing configuration, while reflecting a strong but subtle allusion to its cultural histories. The restrained plot size led the architects to orient the building functions vertically as opposed to a traditional horizontal topography of a typical monastery. The five storeys are shrouded in an outer shell composed of a precise metallic framework studded with lambent ochre panes. “The facade design was inspired by the golden colours and geometric patterns found on the cassock, or robe, of Buddhist monks. It was conceived of as a robe or shawl enveloping the inner building, evocative of the humble rice paddy, while at the same time enriched through the use of golden onyx,” explain the architects. The second skin is held away from the main building structure as a protective layer to the inner refuge. Onyx panels are placed in a measured pattern creating a porous sheath. Sunlight filters through

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Meditation and Tantric Hall

Monks’ Quarters

Bamboo Guanyin Garden

Chan Garden

Butterfly Garden

Tranquility Pavillion

Abott’s Quarter

Genealogy Hall

Car Park

the openings to fashion a dynamic play of shadows that dance through the day as the sun traverses across the sky. At night, the façade flames like a lantern as the onyx sections come aglow. Sandwiched between two sheets of finely sliced translucent stone, is a pair of LED strips, placed at the top and bottom edges of the panel. Meticulous research resulted in identifying 4000K as the appropriate colour temperature that would retain the natural shade of the delicate yellow onyx and cast an ethereal radiance. An accurate control mechanism enables 100% to 0% gradation of the illuminated panels, maintaining brighter levels in the front and allowing the rear to fade into the dark of the night. Emanuela Stucchi of Light Cibles explains, “Our main vision was to communicate the importance of the building for the surrounding community by creating a visual landmark during the night: a lantern that would guide worshipers from afar. In view of the material used for the second skin, it was instinctive to associate this image of a very porous façade with myriad fire lanterns set free in the sky during the Yi Peng lantern festival in Thailand.” The lustrous screen performs multifarious roles as it shields the building from the harsh tropical sun, as well as models a transitioning barrier between the interior and exterior. The architectural intent is careful to offer variegated experiences and absolve thresholds by opening interior spaces onto outdoor passages, terraces, courtyards and gardens, driving in abundant daylight and rendering volumes in a fresh brightness. The void between the outer casing and the expansive grey off-concrete shell of the building houses a stately staircase.

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Drawing: Courtesy Multiply Architects LLP

“The raw form-faced concrete of the main building acts as a foil to the all white interior of the main hall, and as a simple vessel for the teachings of Buddhism.” – Multiply Architects LLP

Illuminated with strips of LED concealed under each tread, the steps become an orientating passage for visitors to the monastery. Each of the five storeys that make the structure offers a distinct tale to tell. Owing to the five elements that comprise the universe as per Chinese philosophy, the levels are themed after wood, fire, earth, metal and water. The main hall, titled the Hall of Universal Light encapsulates the heart and soul of the monastery, located at the very navel of the building. A chamber for ritual, prayer and congregation, the large room is also a sanctum for a sizeable collection of artifacts, statues and valuable artworks. On entering the hall, one is engulfed in the serenity of blanched surfaces and an elusive aura of pure tranquility. The sidewalls are lined from floor to ceiling with thousands of miniature glass tiles, each imbibing a seated Buddha. After much deliberation and experimentation, Light Cibles arrived on an illumination scheme that would minimize shadows and emphasise critical aspects such as the hands and face of each statuette. “In this particular space, it was essential for us to obtain a shade-less ambience as the walls made of thousands of Buddha glass tiles had to look luminous and spotless. A specific cove was created to wash the tiles from the top, in a way that would allow the hand and the face of the Buddha on the tiles to receive more light and be accentuated,” explains Stucchi. Moving towards the rear end, the ceiling suddenly rises to reveal a double height volume blessed with the Buddha Trinity – three tall and magnificent statues that make home within deep niches in each enclosing wall. The architectural language presents a fascinating altar for the divinities, and the prudently manufactured lighting scheme induces an experience of supreme reverence. While 12 projectors placed strategically on the ceiling and opposing walls, and angled accurately highlight the Buddha faces to avoid any shadows, the diamond third eye of the central statue is accentuated to sparkle brilliantly. The system of coves and projectors is complemented with a series of ceiling recessed low glare downlights that provide a uniform fill of light in the room. These are switched off during certain functions to create a theatrical contrast between a dim ambience and vibrantly lit figures. Stucchi illustrates how the control system allows for 10 settings for different occasions, “To emphasise the central

walkway when monks approach the altar, two rows of downlights can be switched off. When all lights are switched off, uniform task lighting across the tables is provided for the chanting ceremony.” A cogitated assessment by the architects restrains the inflow of daylight into the main hall to limit exposure of the highly valued artifacts to UV rays. However, natural light is cherished and invoked into other parts of the building through various architectural interventions. Most interior spaces open onto gardens and courtyards, diluting boundaries between the inside and outside. The monk’s living quarters on the upper level receive dappling daylight as an expansive glass wall overlooks into the Bamboo Guanyin Garden. Outside, the Buddha altar takes focus. At night the ambience is kept discreet with subtle highlights within the landscape, while the Buddha alcove is elegantly accentuated with well-concealed directional spotlights. Similarly, the Chan Garden and Butterfly Garden located on the building terrace are treated as meditative spaces, maintaining overall lower levels of illumination, yet creating elements of contrast that facilitate a visual hierarchy of perception. A consistent lighting vocabulary is followed through to the Tranquility Pavilion, positioned behind the main hall. While daylight permeates through the latticed wooden frames to project myriad lines of shadow within, at night, the rigid geometric structure is emphasised in juxtaposition to the organic overgrowth in the backdrop. An inconspicuous spiral staircase leads into the Abbot’s Quarter in the basement, below which lies the Genealogy Hall. Even the basements are witness to natural light as they are exposed to a pair of open-air courtyards that draw light into the sunken landscape, balanced by a meticulous selection of artificial light fittings. Multiply Architects artfully chisel daylight to craft a procession through the building by way of a series of indoor and outdoor spaces. “Gardens and water features are located on all levels, including a water fall beginning on the third storey and flowing down to the first, to a water feature surrounding the main hall. These transitions through green and aquatic environments provide zones for meditation and rest, allowing for views to private enclosed gardens from every room,” they say. Light Cibles on the other hand manipulate “The use of off-form concrete as the main building structure gave Light Cibles the opportunity to work with a very versatile material as the lightness and diffusing properties of the material allowed proper achievement of a bright uniform ambience.” - Light Cibles

their prowess to conduct illumination in a manner that imprints on the mind and that evokes in the experience a sense of fulfillment. Together, they are inspired by the Buddhist concept of the Eightfold Path, which is defined as - a sequence of interconnected truths that operate as interdependent dimensions, which together define a complete path. www.m-ply.com.sg www.light-cibles.com

PROJECT DETAILS

Client: Santarli Mahabodhi Monastery Architect: Multiply Architects LLP Lighting Designer: Light Cibles Project Team: Emmanuel Clair, Emanuela Stucchi, Derry Falrisya, Asako Hirokami

LIGHTING SPECIFIED

Philips: Selecon RGBW 120W projectors Lucifer: Custom wattage downlights Lucifer: Wall Washers EDL1YP, EDL2YP EDL5YP LUCI: LED Strips Wibre: Underwater lights Vossloh: H serie Downlights, 12W with custom reflector

Creating a sense of depth at its entrance, Inverse Lighting Design's illumination of the Ports 1961 Shanghai glass block façade has become a sparkling urban statement.

Founded in 1961 in Toronto as a silk importing business, Ports 1961 has evolved into an international 327-store chain. In Shanghai, its high-fashion point-of-view was expressed in its initial store, which opened three years ago on The Bund - the city’s historic and fashionable thoroughfare. After outgrowing its original space, the store relocated to a new location as a free-standing, sculptural, sparkling urban statement. This adaptive reuse of a former office building takes full advantage of a high-visibility site with a dimensional façade of LED-illuminated glass blocks. The now 12,325sqft faceted glass structure has taken on a dramatic new life as a three-level retail store, set like a jewel amidst steel and glass high-rise towers. The façade was designed was UUfie, Toronto, store interiors and merchandise fixtures created by Yabu Pushelberg, Toronto and New York, and lighting by Inverse Lighting, London and Bangkok. Principal architect Eiri Ota of UUfie further compared the store to a free-floating iceberg: “During the day, the faceted glass façade reflects the sunlight. In the evening, it generates an overall glow by means of LEDs embedded in the joints of the masonry behind the glass block skin.” Two types of glass block with a satin finish were used: the standard twelve-inch square block and a custom-mitred block of the same dimensions used for the corners, creating the three-dimensional façade. The blocks rest on shot-blasted stainless steel plates of the same dimension which extend to a steel frame. The underside of the exposed steel plates has a soft matte finish. Strips of this metal divide the glass blocks into groups of 64. An elaborate ornamental stepping canopy fashioned of glass blocks frames changing fashion images that extend outward from the planar glass block surface. According to Inverse Lighting director Filip Vermeiren, LED’s placed behind the exterior glass blocks are aimed towards the wall: “They light the façade indirectly to give a sense of depth and to smooth out any imperfections in the lighting to achieve a homogenous lighting effect,” he explained. www.inverselighting.co.uk

PROJECT DETAILS

Client: Ports 1961 Architect: UUfie, Canada Additional Design: Yabu Pushelberg, Canada; Eightsixthree Architects, China Lighting Design: Inverse Lighting Design, UK Lighting Suppliers: Local suppliers

Scenographer Sumant Jayakrishnan has a candid conversation with Mrinalini Ghadiok about the Indian exhibit at the London Design Biennale 2016, in which several artists collaborated to create an invigorating experience through space, colour and perception.

ALIGNING THE CHAKRAS

“One can’t jump into the first boat that sets sail,” exclaimed Jayakrishnan to himself as he made his way back from London after an exciting meeting with Pathy. Rajshree Pathy, founder of India Design Forum had already selected a double height space at the Somerset House, which was to conduct the London Design Biennale for 2016. She introduced the site to Sumant Jayakrishnan, scenographer extaordinaire, who immediately responded to ‘Utopia By Design’, the theme conferred to the festival, with a plethora of factors that reflected India. One of the initial concepts to emerge was ‘Chakravyuh’ – reminiscing the fascinating military formation used by Dronacharya to capture Abhimanyu at war in the Mahabharat; and abstracted into the ‘chakras’ embodied within a human frame. Jayakrishnan brushed aside these primordial notions as he returned to Delhi, to continue his search for a trope. His interactions with Alice Cicolini, famed designer and curator, urged the quest for what India represents,

“The Chakras with reference to color and element cover give us a skeleton which encompasses aspects of the personal, craft, consumption, philosophy, technology and sustainability. The shift from the evolution of the personal to the societal!” – Sumant Jayakrishnan

and how different people frame their own utopian images. Wheeling into the ‘self’ and its evolution, ‘chakras’ surfaced yet once again. The ‘chakras’ seemed to have aligned and the boat seemed to have sailed, Jayakrishnan admitting to the weight and virtue of the thought.

WEAVING THE CHAKRA-VYUH

The ‘chakras’ are consummated into an exhilarating experience of vibrant colour and avid geometry precisely suspended from the heavens above. The extruded shapes each representing a node of energy, are hung precariously from the 21 ft. high ceiling, and are depicted in layers of silken thread fringe that bow into the expansive volume. Dipped in bright hues of jewel tones, the lambent centres of force lie bathed in the ethereal subtly of placid light. Illuminated from concealed sources, the tiered formations come aglow overhead, only to be perfectly reflected beneath one’s feet.

“We hope the audience will pause for a while in wonderment at the abundance of India, the myriad emotions that are conveyed through this work and then be startled and perhaps leave with a bit of the soul of India in their hearts forever.” - Rajshree Pathy

Jayakrishnan imagined being suspended in space, in limbo, detached from the reality of the present, cognizance of the past and ambition of the future. His yearning to negate boundaries and perpetuate a suspended state of actuality is realised in a spectacular surface, mirroring the absolute into a realm unknown. Entrepreneur and steel baron, Deepika Jindal substantiated the void with a highly reflective steel flooring that begets the question, “Is design conceived for patrons, or perceived by consumers? Do I exist in the space of craft or consumption?” A chance meeting with artist Hanif Kureshi paved the way for further elucidation and eventually a unique collaboration. Exploiting the metaphor of the ‘Indian Street’, Kureshi along with fellow artist Rutva Trivedi, explored hand painted signages and a curious representation of aspirations through them. The walls are layered with utopian impressions, 895 wooden embroidery hoops that frame polysatin prints of the designs, a multitude of which compose a chaotic cascade, gradually changing tincture to follow the chromaticity that lies above.

ENTWINED IN INTRICACY

The Indian street laden with utopia would be but dreary for if it stood silent. Design strategist and audio-visual artist, Avinash Kumar of BLOT!, Quicksand and Unbox fame, roamed congested streets and glutted spaces to chronicle the curious conversations and familiar sounds of the country. Humming softly behind the silence of the space, the recording leisurely penetrates the conscience as one visually inhales the deluge of imagery.

FABRIC WALL

FABRIC WALL SANCTUM

PAPER CEILING

THE SALIENT SANCTUM

Deep within the sanctorium lies the final point of contemplation. Sheathed in the tactility of a handmade paper ceiling, and embraced in the serenity of calmed blue walls, the sanctum translates into a centre of reflection, as a silken vinyl strip ribbons across the floor. Kumar projects a video reminiscing history in histrionics, capturing contemporary culture and basking in the variegated ways of the eventual. The circular screen glowing in the cerulean shell draws one into its depth, into the ‘garbh’ of the ‘griha’.

IN CAPTIVITY

While one enters the CHAKR-A-VIEW through a clear glass encased stairwell, their journey into the minds of a million Indians commences through a passageway draped with the elaborate weaves of its artisans. Sourced from Aadyam, the Aditya Birla Group weaver’s initiative, the intense textures and vivid textiles create a generous welcome leading to the cardinal display within. The ‘chakras’ embody nodes of energy, transpiring in a journey from the outer to the inner, from the shell to the core; but also a poignant ascension from the base to the crown, from the fundamental to the culmination, and from the prevalent to the utopian. “Utopia is never reached… for it always remains in the future!” exclaims Jayakrishnan. www.indiadesignforum.com www.londondesignbiennale.com

The inaugural London Design Biennale is being held at the Somerset House in London, UK from 7 – 27 September, 2016. India’s unique cultural heritage meets contemporary design in the exhibition titled, ‘CHAKRAVIEW’ presented by India Design Forum.

An audio reactive light installation that explores LED light diffusion and elemental shapes and soundscapes, The Storm is previewed in the eerie subterranean surroundings of Brighton Town Hall.

In the surroundings of the old police cells underneath Brighton Town Hall, sixteen feet of cloud covers billows from ceiling to floor, concealing over 6,000 individually programmed LED lights. UK-based creative studio Ithaca has been working with LED lights in a variety of indoor and outdoor installations for some time and became increasingly interested in the effects produced when you diffuse them. The cells presented such a dark and atmospheric setting that it seemed an ideal place to experiment with the idea. The Storm is made up of a circular wooden frame from which suspended strips of individually addressable LED lights are attached, made to Ithaca’s specification and divided up into sections. This ‘skeleton’ of light is draped with sheets of wadding fabric and then built up into billowing clouds with pillow stuffing. The lights are coded by Ithaca to synchronise with the audio, which is a custom soundscape produced by sister company Ithaca Audio.

As the first piece of abstract art commissioned for permanent display in London's Westminster Hall, New Dawn is a light sculpture that celebrates women's suffrage through inspired imagery and symbolism.

Pics: ©UK Parliament/Jessica Taylor

One-hundred and fifty years to the day since the campaign for women’s votes began, New Dawn, a contemporary light sculpture by artist Mary Branson celebrating all the individuals involved, was revealed on 7 June 2016 in Westminster Hall, London, the oldest part of Parliament. New Dawn is located above the entrance to St Stephen’s Hall so that viewers of the artwork can literally stand in the footsteps of the hundreds of thousands of women and men who came to Parliament to fight for women’s right to the vote. New Dawn is a permanent addition to the Parliamentary Art Collection, as well as the first piece of abstract art commissioned for permanent display in the historic palace. Measuring over six-metres high, its massive scale is intended to reflect the size of the campaign, and the unique hand-blown glass scrolls that make up its dawning sun reflect the many individuals who were involved in the movement. The glass scrolls are a direct reference to the Act Room at the Parliamentary Archives, where the legislation which brought women the vote is stored. These are mounted on a portcullis structure – the principal emblem of Parliament – symbolising women’s longawaited access to democracy. The circular scrolls combine with the metal portcullis to create 168 distinct ‘Venus’ symbols, representing the women who fought for their right to vote. The installation has also been influenced by the campaigners it celebrates. The rainbow of colours used in the artwork reflects the numerous organisations that were involved in the struggle, including the National Union of Women’s Suffrage Societies, the Women’s Social and Political Union, the Women’s Freedom League and the Men’s League for Women’s Suffrage. The title of the piece comes from the language of the campaigners themselves, many of whom conceived of the vote as offering a ‘new dawn’ for women. The lighting of New Dawn’s sun shape rises and falls over a twelve and half hour cycle, linked to the tide of the Thames. The ebb and flow of the illumination reflects the

Top scrolls of the act room at the Parliamentary archives, where legislation which brought women the vote is stored, provided inspiration for Branson's art. Left Branson presents New Dawn above the entrance to st stephen's Hall. Bottom the circular scrolls combine with the metal portcullis to create 168 distinct ‘Venus’ symbols, representing women who fought for the vote.

ever-rising tide of change that campaigners were certain would bring women the vote in time. Each scroll is individually lit, allowing the appearance of the artwork to change moment to moment, encouraging onlookers to reflect on the value of the vote and women’s role in democracy. In addition to this, New Dawn was revealed on the 150th anniversary of John Stuart Mill MP presenting the first mass petition calling for women’s votes in the House of Commons. This date is generally seen as the beginning of more than 70 year’s campaigning for the vote, involving hundreds of thousands of people across the UK. Branson worked with a team of craftspeople to develop the work – including Adam Aaronson (glass), Musson Engineering (metal work), Applelec (LED lighting), and WLX Productions (electrical programming). “Applelec’s LED Light Sheet has been vitally important in the creation of New Dawn,’’ commented Branson. “Being really bright but thin, the light source could be hidden in our structure and so gives the impression that the glass itself is glowing and floating in front of the structural portcullis metalwork. I needed a light source that was low power, and low maintenance, as my brief was to create an artwork that could be enjoyed by future generations. LED Light Sheet generates almost no heat and with our DMX controlled drivers, fades smoothly to give beautiful and subtle effects through the glass.’’ Ian Drinkwater, Applelec managing director, said: “We feel privileged to have worked with Mary Branson on the lighting for New Dawn, and to have contributed our expertise in LED lighting to this significant and beautiful artwork celebrating women’s right to vote.’’ Now a permanent addition to the Parliamentary Art Collection, New Dawn will educate, inform and inspire the one million visitors who pass though Parliament's doors each year. www.marybranson.co.uk www.applelec.co.uk