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Left and previous page: Cai Light LeDiamant Right top: Cai Furtive Right: Cai Stocking two spheres knitted Far right: Cai Splashing Table

LED. This process allowed me to work layer by layer, to focus first on the light components and then on the envelope. The thinness of the LED and the absence of cabling allowed me to produce an extremely flat lamp with a very clean and sharp line. What about the emphasis put on LEDs? Do you find yourself having to convince clients to use alternative light sources, or are they usually happy to go along with whatever you specify?

AK: We always mix the sources. But it is true that there can be a negative approach to LED because people think it’s not warm enough. What do you feel is the most important element of the lighting design for a domestic interior - and is that necessarily the same for a commercial job?

What are you currently working on?

IR: I’m actually working on new products with Christophe. We are planning a project for Ajman, UAE, and a lighting project of the Souk entertainment centre. How do you begin to tackle a new project – can you take us through the process?

AK: As an architect, I felt the need to incorporate light into architecture from the initial concept stage. When light is considered solely as basic illumination, added right at the end of a project, it is often badly incorporated in the architectural context. Each project is worked to find a kind of contemporary ornamentation that had been lost years ago: there is the material, the pattern and the light. Light is seen as a third construction element. In your opinion – and you can only choose one - what’s the best light source currently available?

CH: The most important thing for me is actually the feel of light. Mostly for us, architectural lighting projects are based on a grid of technical (fluorescent or LED), recessed and invisible lighting, set in order to light up the space, combined with a selection of contemporary or vintage loose warm lamp. Then we play on the density and the balance between these two light frames; to increase the light level for commercial spaces, or to give a chic warm feeling for hospitality and domestic interiors.

AK: Fluorescent. It has a somewhat eternal quality. IR: Halogen, but I can’t say that because it is a lot more consumption than LED! CH: The ‘Nichia RGB multichip power LED - very powerful with these extremely saturated colours for a very small dimension.

Where in the world do you most enjoy working, and where do you have most design freedom?

What areas of lighting technology would you like to see developing further or faster?

symbiosis of both of the above, which transcends pure art and function into creating moods and ambiance.

CH: LED 230 Volts.

Who’s your favourite lighting designer?

What makes you tick?

IR: Enjoying discovering new things.

CH: Ingo Maurer for his lighting fixture and Realities United for the project.

If you had to change career now, what would you like to do?

Finally, describe yourself in 250 words or less.

AK: I love my career and I have a passion for it, this is the reason why I chose it in the first place, and I wouldn’t trade it with any other career.

IR: I grew up in Bretagne, Douarnenez, France and I feel really attached to this place, but I always travelled during my studies, to Venice, London... and a lot of discovering around the world. I like to work in collective. AK: I am a very curious person, I like to take the time and space to read, ponder design problems, art and issues of the world. I am first and foremost an architect; I spent 10 years of my life perfecting my training. I like challenge and to work with new materials and ideas. CH: In few words: single-minded!

AK: I have lived in the Middle East, in Morocco, Lebanon and Dubai, as well as in Europe, in Paris and London. This cultural heritage can be found in each of my projects, and sums up my way of being and thinking - having lived in cities around the world, I don’t have a home. What legacy would you hope to leave the lighting industry?

AK: I would like to leave a big collection of lighting fixtures, where light becomes an element of architecture and more than just a transparent presence. IR: A lighting project that gives you an experience that stays in the mind ... like a memorable movie or art piece

Where do you hope to be in 10 years’ time?

CH: Working with my own full-equipped workshop. IR: Anywhere as long as we have the possibilities to continue our adventure with a nice team and tools!

What’s a typical day at the office?

Do you look at your work as an art form, simply as a way to aid life in the dark – or something in between?

CH: Email, talk, phone, sketch, draw, site visit, factory visit...

AK: Lighting design is more than an art form or a mere tool to light. It is the


JULY 2012


Energy efficient lighting

EVERLED are the proud sponsors of...


Crystal clear Specialising in water feature technology and providing LED lighting for fountains, Crystal was an early pioneer in underwater LED lighting technology. George Ayer, lighting engineer at Crystal looks at the advances in technology for submersible LED lighting WATER FEATURE effects are becoming increasingly impressive, and much of this is down to rapid development in submersible LED lighting technology. One of the biggest developments in recent years has been in high performance submersible LED lighting. And the increased possibilities have made water features highly popular with landscape architects and commercial property developers looking to entertain and set their destinations apart. During the evening, submersible LED lights extend the viewing time of fountains through many different moods and create multi-coloured light shows. New products, increased energy efficiency, better systems and lower prices are all driving the submersible LED lighting industry and leading to rising demand. Today’s fixtures are capable of delivering more light than even a short time ago. Lumen values have increased dramatically and light intensity is approximately 20 times stronger today than it was in the early 2000s. Interestingly, the total number of watts required to create an intense light is less than would have been needed for weaker light 10 years ago. For example, a 30W LED fixture today will give 30 per cent more light output than a 50W system could have a few years ago. This is why - with LEDs - it’s not just about watts. To measure a light’s power, lumen output and beam angle must be considered too, because highly intense light can now be created with what would usually be considered to be relatively low watt bulbs. It is not possible just to compare on the basis of watts as with incandescent lights. Clearly these changes are leading to improved energy efficiency and lower running costs.

Crystal’s new LED 160 Ring light, surrounds LED lights with a water jet, combining light and water in one component, focusing water illumination like never before. Space and flexibility is increased as the two components are combined. The company has already installed the new fitting at the White Square Office Centre in Moscow and the Yas Island Welcome Pavilion in Abu Dhabi. Where coloured and white light is required, the RGBW LED Combo Light allows pure, intense white and RGB coloured light, to be created from a single fixture. Previously, white Light was created by individual white LEDs, or by using an approximation, by blending RGB. The new light significantly reduces maintenance and energy bills, and creates more striking effects.

Constant research and development and a focus on innovation by companies in the LED lighting industry have driven this, and it’s likely to continue. Submersible LEDlLighting controls are also developing fast. They’re particularly important because commercial fountains often comprise thousands of LEDs that are choreographed with the water jets to form perfectly timed sequences. At Crystal, a focus has been placed on ‘smarter’ diagnostics, with LED-IQ products. These make it easier for installers to work with the high tech systems. For example, there is now an opportunity for two-way diagnostics, where DMX controllers are capable of two-way communication, and communicate installation problems. A command is sent to each LED light, which sends a message back to the controller telling it whether the command was received. This makes maintenance easier for maintenance staff to check a light’s health and wiring. It also means general electricians can install submersible LEDs, when previously a specialist would have been required. Going forward, we expect submersible LED lighting technology to evolve due to a greater demand for energy efficiency, but also for eyecatching water feature effects that help commercial destinations differentiate themselves. In the long term, I believe we’ll see the rise of laser LEDs, with highly focused beams, such as Audi has just started using on its vehicles. 

Contact: Crystal

JULY 2012


Commercial lighting

Illuminating choice


Lighting is playing an increasingly integral role in the retail scene. Luke Biddle of Newey & Eyre believes the onus is on specifiers to take more interest in emerging lighting technologies worldwide, to ensure their retail clients have the most effective solution for each job

ar or more than just helping to create an atmosphere that welcomes shoppers and accentuates a display, the right level of lighting can significantly enhance purchasing power. Additionally, by switching to more energyefficient options, retailers can benefit from significantly reduced energy costs. Amid today’s turbulent retail landscape, retailers are under increased pressure to boost sales per square foot, while decreasing costs. The answer to this challenge used to reside with improved store design, but as retail has come of age, companies have quickly discovered that lighting is an essential, specialist element of the retail mix. It is no longer just a practicality, but a commercial tool which requires an acute, near scientific approach. As such, the specification of retail lighting is no easy task. Requirements cover everything from generating interest, creating an atmosphere and visual guidance to integration with sales strategy and flexibility. Lighting must be employed to greet customers before any other associates, make a solid first impression, enhance the brand image and set the tone for the overall shopping experience. A customised approach is essential. Typically, high-end retail brands may opt for subtle lighting coupled with accents and well-planned displays to create an essence of grandeur and exclusivity, while big retail outlets tend to lean towards brighter illumination, alluding to a sense of openness and convenience. In short, quality lighting aids sales almost effortlessly. However, the considerations do not end there. Lighting represents a considerable cost factor throughout the retail sector, contributing as much as 60 per cent to the energy consumption

JULY 2012


Commercial lighting

Above: Osram lamps used to highlight boxy displays LED downlights are ideal for fitting rooms

‘It is not only the emotional, promotional aspects of lighting design that are so important, but also the rational aspects, such as energy efficiency and ease of maintenance’

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for non-food retailers. This is why it is not only the emotional, promotional aspects of lighting design that are so important, but also the rational aspects, such as energy efficiency and ease of maintenance. After all, running costs have a fundamental impact on profitability and, in turn, the success of a business. Fortunately then, the market has responded with a plethora of highly sophisticated solutions, which combine this dual need for fashion and efficiency. For the lighting specifier, a good recommendation would be to take it one step at a time, by breaking up the retail environment into the most important areas. First to consider are store windows and displays. Often viewed as the pinnacle of allure for the shopper, even the most attractive display will not stand a chance without the right illumination. With this in mind, high light levels and narrow beam angles can be used with downlights to create accents even in small spaces, giving the illusion of space and grandeur. Conversely, for larger areas, fittings specifically designed for large area lighting can be employed for both façade and accent illumination, creating sophisticated light installations with high luminance. GOOD LIGHTING MEANS MORE SALES

Entrances and sales floors are equally important. A successful entrance lighting design engages the attention of passers-by, creating a sense of wellbeing and drawing them in. Light in entrance areas should be as bright and homogeneous as possible. Conversely, on the sales floor, lighting needs to be strategically designed in order to increase the customer’s sense of wellbeing. Naturally, when it comes to fitting rooms it is vital that customers look and feel great and are, quite literally, presented in the best light. The most important thing here is to create a warm and pleasant atmosphere, using lighting that both emphasises and conceals when called on to do so, therefore aiding the purchasing decision. A good choice for fitting rooms is the latest generation of LED luminaires, which offer bright yet glare-free lighting with exceptional efficiency and a very low heat radiation, meaning they can be employed with no problem in small changing cubicles. Of course, given that fitting rooms are not always in use,

Commercial lighting

HELP AT HAND For specifiers seeking more information, Newey & Eyre’s Birmingham branch is hosting the OSRAM Light Spot; an inspirational product display which showcases a new world of possibilities in retail lighting through live demonstrations, coupled with expert advice. The concept is designed to help contractors and specifiers widen their knowledge of retail lighting, providing inspiring lighting ideas to enable them to entice customers and create different effects. Following hot on the heels of its success in Europe, the display in Birmingham offers visitors an exploration of the very latest in retail lighting solutions; including LED display, LED strip and cover, halogen and metal halide, as well as state-of-the-art light management systems for the entire sales floor. The comprehensive display includes solutions for front-of-house, shelving, fittings and stock rooms, as well as warehouse facilities, all designed to engage and inspire.

it makes sense to fit presence sensors, which switch the lighting on instantly to 100 per cent power as a customer enters the cubicle and reduces it to a minimum as soon as the space is unoccupied. In terms of energy-efficiency, many of today’s lighting solutions are more efficient, durable and intelligent than ever before. For example, many products not only drastically reduce carbon emissions, they boast a lifetime guarantee and extremely low maintenance too, with some not having to be replaced for up to 12 years. This, in turn, means rapid payback for the retailer. Lighting is just as important in the retail environment as the brand concept, product offer or architecture. It is no longer enough to have quality goods, a high level of service, and attractive product displays without first creating the right atmospheric setting to put shoppers in the mood to buy. Moreover, the advent of energy efficient lighting, which can significantly help reduce energy usage costs, makes the specification of the right lighting even more commercially viable. Surely time to see the light?


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Above: Osram lamps create pools of welcoming light at the bar

Specialist lighting


winning combination

The long awaited London 2012 Olympic Games has arrived, hot on the heels of Euro 2012 and Wimbledon fortnight, and as everyone’s thoughts are focussed on sport, there’s probably no better time to look at the specialist lighting requirements of sporting facilities Poznan Stadium, one of the Euro 2012 venues

‘I will be watching the game at home, with friends and family, and I know that our lighting will help make this a great experience.’

ans arriving at the Donbass Arena in the Ukrainian city of Donetsk, for one of the six UEFA European Football Championship games held there, found the walk to the stadium entrance illuminated by elegant Vedo luminaires from Hess. ArupSport, which was responsible for the Allianz Arena in Munich and the Olympia Stadium in Beijing, won the contract to design and build the five-star, 50,000-capacity stadium. Sited in the middle of a 74-acre park, the full-glazed façade and round form of the structure integrates unobtrusively into the newly landscaped grounds surrounding it. Leipzig-based landscape architect, Fagus was responsible for the surrounding area, including lighting the stadium’s expansive paved access. ‘To under-score the spaciousness of these entrance areas, we wanted homogeneous general lighting with as few poles as possible,’ explains Gabriele Seelemann of Fagus.

JULY 2012


Specialist lighting

‘To underscore the spaciousness, we wanted homogeneous general lighting with as few poles as possible’ Lviv Arena, one of the newest stadiums in Europe, features specially constructed stands, which, with the absence of a running track, provides spectators with the great views for maximum impact. Having already implemented the lighting design for Donbass, Philips installed and illuminated the playing field at the Lviv stadium in accordance with FIFA and UEFA standards for broadcasting televised football matches. The lighting system has five modes of illumination, of which the highest level is 2,400 lux. Director for the construction of stadiums and infrastructure for EURO 2012 in Lviv, Volodymyr Onishchuk, noted: ‘The Lviv Arena is a solid stadium with excellent quality. The lighting from Philips is fantastic, both in terms of price and quality; that’s something that is very important, given that the Lviv Arena was built by public funding from the state budget.’ The company’s lighting was installed in a number of areas, including: 288 ArenaVision sports floodlights for the pitch; specialist fittings for the grandstands (including anti-panic lighting), and another 8,139 fittings for indoor VIP areas, lodges, public spaces and technical zones. BOX CLEVER

Of course it’s not all about football or athletics, Every sporting event takes specialist knowledge and products, which is where Robe comes in. The company was responsible for the recent M1Global MMA (mixed martial arts) fight in Moscow, headlined by heavyweight legends, Fedor ‘The Last Emperor’ Emelianenko and Jeff ‘The Snowman’ Monson. The M1 Global phenomena is huge in Russia and the CIS states, and the event, at the Olimpiyskiy indoor sports arena in Moscow had an audience of 15,000, including Russian PM, Vladimir Putin. Lighting was designed by Andrey Fisbein and Nicolay Dmirtiev of St Petersburg-based TOK. A total of 76 Robe fixtures were utilised – 35 ColorSpot 2500E ATs and 16 ColorWash 2500E ATs, along with 24 ROBIN 600 LEDWash. They were positioned on a series of trusses in the roof that criss-crossed the arena. ColorWash and Spot 2500s were rigged above the stage and fanned out to highlight the audience seating and to light the rig itself. Some of the ColorWash 2500s were used to illuminate the ring and concentrated on the fight action, while others introduced colour changing and strobing during the fighters’ entrances. The LEDWash 600s lit up the walkway for the fighters’ entrances and exits. The LEDWash 600s were picked to emphasise the fighters as they emerged from the stage and walked along the ramp to the ring – always a moment of big drama and anticipation for the fans!

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Olympic teams from China, Ireland, South Africa and Japan used facilities at St Mary’s, Twickenham following the construction of a state-of-the-art £8.5m sports centre, which features controls and luminaires from RIDI Lighting. The lighting scheme had to suit a variety of sports, so required an easy-to-use, programmable system. The DALI control allows lighting scenes to be set on a court-by-court basis, as well as integrating with sun pipes and ventilation turrets. ‘The bookings can change from one hour to the next: for instance, in one slot may be netball and in the following slot it could be badminton, where the lighting levels need to be different,’ explains Tish Jayanetti, sports facilities manager. ‘The ability to quickly switch between lighting levels is very important as it allows us to provide a seamless, efficient and professional service. ‘For multi-sport halls, different lighting levels are required. National governing bodies for each of these sports stipulate the lighting levels, not only in relation to H&S, but also to provide the optimum levels for performance.’ For luminaire specification, Dale Price of Michael Jones Associates opted for RIDI, based on its ability to meet the differing architectural and practical demands of the complex. ‘We decided to use ABR Sport fittings in the main hall as they can be mounted at a high level so offer no distraction to the athletes.’ In the fitness & conditioning suite, Price specified U-Line luminaires to accommodate the idiosyncrasies of the ceiling. ‘As well as the ability to fit into the interior, U-Line eliminates any visible wiring,’ he explained, ‘an important point when dealing with such a unique interior’.

Above: Wroclaw: Above left: The Diamond of Donetsk

Contact Hess ArupSport Fagus Philips Robe Ridi

Event lighting


The set of the highly popular Norwegian National Lottery TV show has received an LED lighting upgrade from dbn


anchester-based lighting and visuals specialist, dbn has specified and installed a custom LED lighting and control solution for the new TV set of the popular Norwegian National Lottery, operated by Norsk Tipping AS. Project manager for dbn was Nigel Walker, who worked with UK-based Stage One Creative Services, a company he’s enjoyed a long and successful working relationship with. Stage One in turn was commissioned by producer, Fabelactiv, to deliver a set for the high profile show, which is broadcast from its HD studios in Hamer via national TV channel, NRK. Stage One appointed Nick King to design the spectacular set, and then asked dbn to interpret the prominent lighting elements of the resulting 15-m wide scenic environment, a streamlined fusion of interlocking curves made from frosted acrylic material and backlit with LEDs, designed to embrace a retro vibe and combine it with futuristic elements.

JULY 2012


Event lighting

‘It was a hugely enjoyable project to be involved in, and it is always great to work on jobs which are interesting and different’

The relatively short lead-time was a major challenge for dbn, which worked with its suppliers, including Artistic Licence, Anytronics and Studio Due - all of which rose to the occasion to deliver the orders quickly and efficiently. FLEXIBILITY IS KEY

The aim was to realise the ideas suggested in Nick King’s designs, with a solution that was flexible, would have a long life span, and would require minimal maintenance. The largely LED light sources selected also offered an energy efficient scheme. dbn chose Kypai’s ColourScene RGBA LED battens, supplied by Studio Due, to illuminate the five cyclorama panels and the four revolving acrylic monoliths that are sited between them. The CS2s were picked for their robust build, low profile and costeffectiveness. Over 50 of these in 600mm and 1200mm lengths were fitted behind groundrows and inside the monoliths. Kypai also supplied 100, 3W RGB LED SMD Tri-linkers, which have been used for internal lighting of the acrylic features in the set. All of the equipment is controlled by three- and four-channel, DMX LED drivers. Additionally more than 500-m of RGB LED Flexi-Strip (encapsulated ribbon) from Artistic Licence was used in radials under the circular centre section of flooring, concealed behind stair treads and other features to produce striking delineating streaks of light.

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A length was also installed behind each clear acrylic vane on the 64, three-m high revolving monolith vanes. It is controlled via Artistic Licence’s Rail-Pipe HC low voltage dimmers, housed in two custom control racks on either side of the set. Underneath other areas of the floor, dbn specified 27 Anytronics Anycolour 4-channel RGBY colour changing fluorescent batten fittings, which uplight through the opaque floor for smooth, even and vibrant lighting on the overhead camera shots. These units utilise high efficiency recyclable fluorescent light sources (energy group A) with digitally controlled high frequency ballasts for long life. Anylight DaliDMX units control the digital ballasts, and are housed in the off stage control racks. Mounted in the stage floor are 37 in-ground white LED uplighters, used to accentuate the curvature of the set, and controlled by a CC DMX LED driver unit. Dotted around the upper level of the stage are six Pulsar ChromaSpheres, plus six bespoke acrylic cubes made by Stage One, illuminated internally with Pulsar LED light engines – effectively an oversized ‘ChromaCube’! These are driven by a Pulsar Chromazone DMX LED power supply. dbn also built a quantity of other specially tailored fittings using the RGB tri-linker modules. IN CONTROL

In total, the LED fixtures require more than 400 DMX channels of control. The control racks were all designed and built at dbn’s facility in Manchester, while some of the LED lighting was pre-installed in the set pieces at Stage One’s headquarters in York before being shipped out to Norway, where the build was completed and all the lighting commissioned and programmed. Walker and the dbn crew worked on site with a team of seven set assemblers from Stage One, led by account manager, Simon Wood and project manager, Rob Green, taking six days to complete the task. He commented: ‘It was a hugely enjoyable project to be involved in, and it is always great to work with Stage One on jobs which are unique, interesting and different’.

Contacts DBN Stage One Creative Services Norsk Tipping AS Fabelactiv Artistic Licence Anytronics Studio Due Kypai

Total Lighting July 2012  
Total Lighting July 2012  

Total Lighting July 2012