119 DEC/JAN 2020/21 www.arc-magazine.com
Ancient Wonder Eleftheria Deko opens up on the re-lighting of the incredible Acropolis of Athens
LPA 30TH ANNIVERSARY • CRISTINA GIL VENEGAS - THE NIGHTTIME TRAVELLER • RCL DRX1 REVIEWED CHRISTIAN DIOR: DESIGNER OF DREAMS • FAÇADE LIGHTING FOCUS • EMPATHIC LIGHTING DESIGN
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047 Lighting Planners Associates On the 30th anniversary of LPA, we take a look back at some career highlights for Kaoru Mende and his team.
Contents
DEC/JAN 2020/21 014 016 018 020 024 038 040 044 120 122 128 130
010
Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source New Products Manufacturer Case Studies Event Diary Back Page Bucket List
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042 International Lighting Design Family Tree For the past few months, Light Collective has been hard at work putting together the International Lighting Design Family Tree, with an interactive version now available to view online.
062 Lighting Design and the Circular Economy As the drive for more sustainable approaches continues, IALD members discuss what the lighting industry can do to operate within a ciruclar economy
064 Cristina Gil Venegas In her research project The Nighttime Traveller, Cristina Gil Venegas examines the ways in which women interact with the urban environment after dark.
116 Empathic Design Communication Consultant and kindness advocate Bronwen Rolls asks if lighting designers can take a more empathic approach in their work.
118 David Morgan Product Review After a fascinating workshop session at [d]arc room livestream, David Morgan checks in with RCL to take a closer look at the DRX1 range and the iPad-based RCL Control system.
090 Shanghai Bund, China Fisher Marantz Stone opens up on the re-lighting of Shanghai’s Bund District, a project built on collaboration and bringing light to the people.
Projects
DEC/JAN 2020/21
072 Christian Dior: Designer of Dreams, China Assistant Editor Sarah Cullen sits down with Francois Roupinion of Lightemotion to discover the magic behind the remotely installed scheme for Dior’s Shanghai exhibition.
080 The Acropolis of Athens, Greece Long considered the most iconic monument of Ancient Greek culture, the Acropolis is now bathed in a new lighting scheme, designed by Eleftheria Deko.
100 Daiwa Roynet Hotels, Japan In illuminating the façades of three Daiwa Roynet hotels across Japan, I.C.O.N. paid close attention to each site’s context, creating a truly unique scheme for each hotel.
106 Façade Lighting Case Studies A selection of manufacturers showcase the latest façade lighting projects to use their range of products.
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EDITORIAL
Another year over... And a new one just begun... Front cover: The Acropolis of Athens, Athens, Greece (Pic: Gavriil Papadiotis)
What a year it has been!
Editorial
Managing Editor Helen Ankers h.ankers@mondiale.co.uk Editor Matt Waring m.waring@mondiale.co.uk Assistant Editor Sarah Cullen s.cullen@mondiale.co.uk
Commercial
Managing Director Paul James p.james@mondiale.co.uk Head of Business Development Jason Pennington j.pennington@mondiale.co.uk Media Sales Manager Andrew Bousfield a.bousfield@mondiale.co.uk Subscriptions / Marketing Manager Moses Naeem m.naeem@mondiale.co.uk
Design
Design Manager David Bell d.bell@mondiale.co.uk Production Mel Robinson m.robinson@mondiale.co.uk
Corporate
Chairman Damian Walsh d.walsh@mondiale.co.uk Finance Director Amanda Giles a.giles@mondiale.co.uk Credit Control Lynette Levi l.levi@mondiale.co.uk [d]arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 www.arc-magazine.com arc@mondiale.co.uk
I don’t think anybody could have possibly predicted this time
last year that 2020 would have turned out the way that it did. To
use the most over-used word of the year, it has been completely
unprecedented in the challenges that it has thrown our way, and I
sincerely hope that all of you have made it through the year happy and healthy.
While it has, at times, been a huge struggle, it has also been a year of new adventures, new technologies and new opportunities. For many of us, it may have taken a while to get used to, but by now I’m sure
you’re all overly comfortable with Zoom/Teams/Hangouts, and have sat in on enough webinars to last a lifetime.
Through it all though, I’ve been constantly reminded of the
kind-hearted, spirited and community-driven attitude of the
lighting industry. From digital events such as our own [d]arc room livestream and the IALD Enlighten conferences to wide variety
webinar series, to simple group chats and virtual hangouts, the
way that everyone has stuck together and supported each other has been incredibly touching, and I know that we as a magazine would
certainly have found it a lot tougher without the support of you, our readers. So from everyone at [d]arc media, a heartfelt thank you! Onto our final issue of 2020: inside these pages, we’re thrilled to
feature a massive 15-page special on Lighting Planners Associates as
they celebrate their 30th anniversary. I also sat down with Colombian lighting designer Cristina Gil Venegas to talk about her fascinating
research project, The Nighttime Traveller, which you can find in our
Women in Lighting feature.
Elsewhere, our incredible cover story sees us speak to Eleftheria Deko about the amazing re-lighting of the Acropolis of Athens - Deko
provided some great insight about the logistics of this incredible project, so I hope you enjoy reading it.
Finally, as we wave goodbye (and good riddance) to 2020, and look ahead to 2021, I’d like to paraphrase the late, great John Lennon:
Have a very merry Christmas, and a happy New Year, let’s hope it’s a good one, we could certainly do with it! Happy Holidays everyone!
Printed by Buxton Press To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc, ISSN
17535875, is published bi-monthly by Mondiale Publishing, Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ.
Matt Waring Editor
Spatial Ltd is acting as our mailing agent. Proudly Supporting
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NEWS
Headlines
2020 inductees to IALD College of Fellows announced
(USA) - David Ghatan, Maureen Moran and Kevin Theobald inducted into College of Fellows
David Ghatan
The IALD has announced that three new members have been inducted to the IALD College of Fellows in 2020. The IALD Fellow designation is awarded to members of the IALD for their valuable contribution to the art and science of lighting design, and for exemplary service to the IALD. Fellows are professional members with a minimum of 10 years of experience. David Ghatan, Maureen Moran and Kevin Theobald were the 2020 inductees, formally inducted in an online event. David Ghatan is deeply involved in lighting design through professional and personal pursuits, as well as his work with associations. President of CM Kling + Associates, Ghatan is
Maureen Moran
the immediate Past President of the IALD, and has consistently been an active member of the association, serving as Treasurer from 2013 to 2017 and Director at Large from 2011 to 2013. Maureen Moran began her lighting career as a lighting designer at Marriott Corporation, before transitioning to Coventry Lighting Associates as a designer. She established her firm, MCLA, in 1996. Leadership, strategic thinking and mentoring have all figured prominently in her success as a designer and business owner. Moran advances the interests and mission of the lighting community through her active engagement with industry organisations such as IALD and IES. Kevin Theobald has worked for the past 30
Kevin Theobald
years in major London-based design practices, and with a background in theatre and museum lighting, boasts more than 40 years’ experience in the industry. A Fellow of SLL and an Affiliate Member of the ILP, Theobald has dedicated an enormous amount of time and expertise to the international design and build community, and especially to the IALD. He has served on the board of directors and is a Past President of the IALD, where during his tenure, Theobald oversaw the creation of the Certified Lighting Designer (CLD) programme to establish a validated method for assessing the competency of designers and raise the visibility and standing of the profession. www.iald.org
Speirs + Major unveil new name, brand identity and website (UK) - The lighting design practice to be renamed as Speirs Major. Speirs + Major has announced that as of Tuesday 24th November, it has undergone a rebrand, and will now be known as Speirs Major. The move reflects an ongoing evolution in the studio’s design approach and company structure. The practice has also launched a new website: www.smlightarchitecture.com. Senior Partners Keith Bradshaw and Mark Major issued this joint statement: “Founded initially as an atelier practice 25 years ago, we have evolved into a unique team that has been responsible for creating hundreds of award-winning projects in more than 40 countries around the world. Our new name reflects this broader organisation, in which the design teams in our London and Tokyo
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studios are steered by our Partners, under our creative leadership. “We are delighted to announce that Clementine Fletcher-Smith and Carrie Donahue Bremner are joining us as Partners, and Benz Roos, Philip Rose, Iain Ruxton and Hiro Toyoda as Associate Partners. “Light Architecture underscores our ethos, rooted in our fascination with light, form, space and time. Our approach is to progressively and responsibly use light to improve the experience of the built environment, promote wellbeing and generate a unique sense of place.” The new website includes a full explanation of the practice’s approach, alongside in-depth coverage of its wide-ranging portfolio of work,
including many images and sketches that have not previously been publicly available. The site is also home to a journal page that is intended to act as a repository of inspirational content on the subject of light architecture. www.smlightarchitecture.com
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Dancer: Maja Størseth Direction: Raquel Bañón Photography: Héctor López
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EYE OPENER
Bruma Mexico City, Mexico The observer is embraced in a constant gloom, blurry and uncertain, much like the times we are living in now. There is a gloom that reveals light and matter; darkness and memories; memories where feeling another person’s skin was possible. Bruma, which in Spanish means haze or confusion, is a space of post-pandemic reflection, where we redefine that social distancing is not physical, is not real, it doesn’t have to exist if we use our emotional resources to create another reality. Bruma is an immersive light installation created by Sombra, that consists of a series of boxes that emit light from a middle slit. These boxes are modulated with different configurations, depending on the intention or the size of the space. The light becomes solid with the use of a fog machine; when the particles of the fog interact with the light, it becomes “visible”. At the same time, a dancer
creates an intimate connection with the light – the light is her lover, they understand each other and move together. In viewing this installation, the spectator is submerged in a space bathed in light, this light becomes material, one can touch it, feel it and breathe it. The body is immersed into the haze, generating a dialogue with the solid light, there is an intimate bond between the dancer, the space and the light. Likewise, Bruma is a space where spectators are subjected to keep a physical distance of 1.5-metres, a distance we recognise today as crucial to survive. Nevertheless, there is a spiritual connection between the spectators due to the emotionality of the artistic expression of the close relationship between the dancer and the light. They become one. www.s-ombra.com
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Drawing Board
Render: Atchain
Xi’an International Football Centre China Designed by Zaha Hadid Architects, the new Xi’an International Football Centre is a very modern structure, with a sweeping roof, tensioned cablenet structure, fluid forms and louvred envelope. However, the 60,000-seat stadium also pays homage to ancient buildings, historic materials, and its setting in Xi’an, one of China’s oldest cities. The centre will be located in Xi’an’s Fengdong New District, with its stations on the city’s expanding metro network. With a population of nine million people and two professional football clubs, Xi’an will be a host city for the 2023 Asian Football Confederation (AFC) Asian Cup in China. Taking its legacy mode of operations as a starting point of the concept, the stadium has been designed to provide optimum conditions for football, and to maximise its use by generations after the 2023 tournament. Integrated within the orthogonal urban grid of Fengdong’s business district, the stadium’s open façades invite the city into the heart of the building to enjoy its public spaces, recreation and dining facilities throughout the day. Located in a series of shaded south-facing garden terraces with views over the city to Qing Mountain, these amenities will also serve spectators visiting the stadium during football matches, cultural events and performances.
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The sweeping lines of the façade have been designed to protect the stadium from northerly winds, and convey the fluid forms of the roof that shelters the saddle-shaped seating bowl, which maximises the spectator seating at midfield. Lichtvision has served as lighting consultant for the project, working with Zaha Hadid Architects to develop a lighting scheme that supports its architectural vision. Time and timing play an important role in Lichtvision’s lighting design proposals. The studio’s concepts have evolved around different lighting elements that are added and subtracted in combination with the element of time. This has resulted in a layered lighting approach that aims to be highly adaptable and transformative, but always blending into one design. The lighting design responds to the varied uses planned for the stadium – from international football games, domestic league matches and cultural events to public dining, recreation and entertainment – by imagining the different atmospheres that the designers wanted to create, and the associations that they wanted to evoke. Working with the transparency of the façade, designers at Lichtvision envisage a more enclosed
feel when louvre lighting is used. Different scene settings will allow for this change, from perceiving the envelope in the foreground, to revealing the architectural structures and its interior. During match days, the whole stadium is an illuminated landmark, a celebration of colour and movement attracting visitors from afar and enhancing the important birds eye view for TV coverage and drones. The illuminated louvred faรงades, the metal and tensile roof structures and dynamic lighting scenes offer a spectacle while visitors pour into the stadium to enjoy the match and the hospitality. Rather than projecting images onto the roof and faรงades, the lighting designers have considered abstract scenes inspired by nature, sweeping winds, a moment of clouds or the mist rising in the early morning. During other cultural events, the stadium is envisaged to be softly illuminated, with architectural structures becoming more visible, providing a backdrop to the visitors on the public plaza. The building will therefore become more transparent, revealing more of its interior features. Illuminated terracotta columns behind the louvres begin to peek through the envelope. The glowing entrances and the large terraces invite guests and diners into the building, with the terracotta tones of the terraces and the fifth floor arched roof becoming focal points. www.lichtvision.com www.zaha-hadid.com
Match day scene - Celebrations
Sketches: Lichtvision Design
Cultural Events scene - inviting and calmer
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DARKhut USA In a direct response to the growing presence of “White Knight” surveillance towers, Francis Milloy Design has unveiled proposals for the DARKhut – an introspective place of meditation, completely dark and devoid of technological artifice. “We first encountered the White Knight in Times Square, New York City,” said Francis Milloy. “As thousands of individuals streamed past these mobile towers without so much as a glance and seemingly acquiescent in their own surveillance, we were struck and alarmed at the irony of a city and space so identified with freedom of choice, variety and cosmopolitanism, being monitored and watched in such an openly “covert” manner. “While these glinting white towers may have some uses and advantages in terms of “protecting” large temporary crowds or assisting search efforts – in our towns and cities they are, more often than not, strategically placed to monitor behaviour and act as a symbolic deterrent. “From today’s all-pervading insta-tech surveillance culture, it is not a radical leap to see this device for what it is, direct references to Jeremy Bentham’s Panoptican, George Orwell’s Big Brother and Michel Foucault’s
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Normalisation are implicit in its form and function. “For us, the symbolic and real form of the White Knight has a direct correlation to the space of ego. The fragile, centralised, neurotic, tooled up ego, vainly trying to control the concrete, complex and unknowable totality of existence beyond itself. This correlation between our “personalised” sense of self and the spaces of our towns and cities is no coincidence or accident, they are intrinsically linked.” Through the DARKhut, Milloy aims to “dissolve” the White Knight, and “recover the infinite space that our ego and society has cut us off from in its relentless pursuit of control and stability. From this source space, the authentic light of compassion, desire, creativity and appropriate action can arise”. As a “polemic response” to the White Knight, the DARKhut “manifests in a form that reflects, yet is also, altogether entirely, opposite”. It is black and charred, countering the White Knight’s superficial brightness. The inside is devoid of natural or artificial light, which Milloy believes will act as “a portal to the unconscious, to the dissolution of the watchful, fragile ego, towards a radical and
powerful realisation of space and ourselves at our most fundamental. Open, interconnected, infinitely expansive and full of light, energy and potential.” Milloy added that while the DARKhut is envisaged as a place for quiet contemplation and practice, he also sees it as a “vehicle of resistance and organisation in the face of the oppression and systems that seek to control our activity”. DARKhuts are mobile units that can be configured in many ways and distributed throughout our towns and cities at critical points in time and space. “The DARKhut is a radical challenge to our monadic existence,” he explained. “Our towns and cities reflect who we are. Our lack of understanding and misuse of space and light is a great danger to our future as a species. It is hoped this proposal provokes discussion and further action in that regard.” The DARKhut is an educational outreach programme, which seeks to share diagrams and drawings to a broader audience. The goal is to further advance these principles and construct a DARKhut. www.darkhut.space www.francismilloy.com
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Spotlight ICON O2 UK In 2000, the Millennium Dome opened on Greenwich Peninsula with the intent of creating a celebration of Britain in the new millennium. The exhibition hosted a series of stages celebrating “who we are”, “what we do”, and “where we live”, while the centre of the dome housed a special circus-style show. The Dome was open for 12 months and attracted 6.5 million visitors. It then lay empty for several years, before Anschutz Entertainment Group (AEG) purchased the venue in 2005, with the view of transforming the landmark into an entertainment venue. The redevelopment saw the venue renamed to The O2, with the centre turned into an entertainment venue, and half the perimeter circulation area becoming a pre-event food and beverage offer. The remaining half ring was left as storage, temporary events and delivery zones. However, as the O2 became a major draw, the Greenwich Peninsula developed with hotels, shops, residential, universities, piers, transport links and a cable car. As part of this continuing development, the remaining half of the ring was seen as a great opportunity for retail development; AEG therefore appointed CRTKL architects to develop designs for a designer outlet village. In 2016, Hoare Lea was engaged to provide lighting design for the project, and began working with AEG
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and CRTKL on developing lighting concepts. The development of ICON saw the 180-degree arch of retail spaces architecturally split into two distinct experiences – Clouds and Petals, with differing architectural and lighting treatments to define each experience. The grand entrance staircase announces the beginning of the Cloud area, drawing visitors up into the retail zone. Linear washes to the side of the stair treads define the curvature of the stair, while also enhancing the transition into the retail malls. “Lighting inspiration was taken from a theatre stage, which relies on different lighting treatments working together to create a defined impression,” said Jonathan Rush, Partner at Hoare Lea. Large, waved fabric fins define the Cloud space, and create an undulating soffit with washes of DMX interactive LED lighting, courtesy of Osram and Traxon Technologies, which can pulse, colour change and flex with the light, either mimicking daylight or creating a more kinetic and dynamic feature for special events. This cove lighting is complemented by additional suspended downlights from Reggiani. Natural daylight is limited in this zone because of an existing box structure beneath the fabric dome of the building, so the lighting was designed to mimic the brightness of light spilling in from above, which in turn adds a balance between the daytime and night
impression of the two connected spaces. The calming Cloud zone creates a false soffit of illumination and leads visitors into a large, two-storey node denoted by a yellow structural support leg of the dome’s existing structure. The node acts as an event space and a link between the Cloud and Petal spaces, the arena, and an external link to a nearby hotel. Large-scale retail façades wrap around the edge of the node, with back-illuminated perforated panels, lit via Traxon’s Nano Linear Allegro fixtures, enhancing the retail illuminated experience and creating exciting interventions. The Petal feature ceiling sails over this zone with a myriad of metal petal forms suspended beneath the original fabric dome. Designed by CRTKL to mimic the dappled shade of a tree-lined thoroughfare, creating a unique experience, these petals are complemented by large wooden columns that are intended to replicate the trunks of trees, supporting the canopy of petals and utilising up and downlighting from Erco, which very slowly ripples and dims over time. From an existing high-level gangway, RGBW spotlights from Traxon project light downwards through the petals, creating subtle shadows and dapples of coloured light. The upper level of the mall has additional illumination sources in the form of bespoke fixtures from Aether Lighting neatly integrated within the balustrade supports and wall lights that break up the uniformity of the retail fascias with definitions of light. “The two-storey mall section referred to as the Petals creates a sensory explosion of colour and form inspired by London’s fashionable retail streets,” said Nathmya Saffarini, Senior Associate Director at CRTKL. “Clever use of LED lighting enables the tone and look and feel of the development to shift depending on the time of day.” Each lighting experience was designed with people in mind, as Hoare Lea wanted to create a unique destination, and a feeling of sensory reverie. Brad Joseph, Senior Lighting Designer at Hoare Lea, explained: “Lighting has the power to amaze and captivate people. We wanted to use light within ICON O2 to create unique sensations and moments. The design has the power to be soft and calm, but also had to have the ability to erupt into life at selected moments. “Given the nature of the O2 as an event destination, it was vital that we responded to that, but also created a beautiful, calm retail environment throughout the day. The CRTKL design was an amazing canvas upon which we could use light.” The illumination of the ICON O2 mall was designed to create a neat transition between the day and night impressions. During the day, the original fabric of the dome allows daylight to penetrate, which defines a uniform background illuminance in many areas throughout the day. Care was taken to balance the soft daylight illumination of the Petal zone with the covered Cloud zone, creating a seamless daytime impression between the two. At night, the fabric becomes darker and greater illumination interplay comes to the forefront. The ICON O2 opened at a point when many other retail environments were having difficulties engaging people and enhancing footfall. The vision for the mall from AEG and CRTKL was to expand on an already iconic destination, and create a retail focal point for the arenas various uses, while increasing visitors throughout the day. Hoare Lea’s lighting design enhanced this experience, making a space people wanted to linger and relax in. The design closes the loop of retail within the O2, and provides a breath-taking new space for shopping and entertainment. www.hoarelea.com
Pics: Jonathan Banks Photography
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SPOTLIGHT
The Iron Bridge UK Shropshire’s iconic Iron Bridge has been brought back to life at night with an exciting new lighting scheme, unveiled during this year’s Ironbridge festival. As its name suggests, the Iron Bridge was the first in the world to be made of iron and as the forebear of modern metal framed buildings, is considered a worldwide icon for the start of the industrial revolution. From 2017-18, English Heritage undertook a £3.6m conservation project, repairing cracked joints to preserve its longevity. While the bridge has been lit since the late 1970s, the 40-year-old floodlights were lifeexpired, only lit one side of the bridge, and were regularly flooded by the River Severn. A new lighting scheme was therefore required to celebrate the conservation project, and the 50th anniversary of Telford new town. The new lighting scheme for the landmark bridge was designed by Liz Peck, Design Principal at LPA Lighting, and Bob Bohannon, Director of LuxRapide. With a strict brief from English Heritage, which included nothing being mounted on or under the bridge, as well as no cables running through or across it, the scheme had to meet very specific requirements. Further to this, Telford & Wrekin Council, as the client, wanted a new scheme that would extend the economic day of the towns of
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Ironbridge and Telford, to illuminate the downstream side that had previously been left dark from a key viewing point, and crucially, to celebrate the magnificence of the history of the bridge. The original concept for the bridge was to deliver a white-light scheme for weekdays, with a special effect on weekends, and the opportunity to have colour-changing for special occasions. The weekend effect was inspired by a quote from Morgan Cowles, Head of Conservation & Heritage at English Heritage, in a Sunday Times article: “Imagine the effect of the bridge lit at night by the fires from the furnaces and forges of Coalbrookdale, the structure glowing a demonic red” – the weekend effect thus became “the furnace”. This design could be achieved through the use of unobtrusive columns with integrated RGB floodlight heads to deliver both schemes, while also enabling Telford and Wrekin Council to colour-change on special occasions. A lasercut model of the Bridge was procured from the Ironbridge Enginuity Museum to physically demonstrate beam angles on spill light and light pollution to stakeholders, while detailed computer models of the bridge and gorge were made to determine quantities and aiming angles to ensure uniformity, while minimising glare and light spill through the filigree structure.
To gain planning permission, with the support of Historic England, the use of Aubrilam’s bespoke Moshi wooden columns was proposed to soften the daytime appearance. These had bespoke brackets to bunch the projectors tightly together to reduce height, and customised bases to ensure that the wooden shafts were well above extreme flood levels. These were then located in as unobtrusive places as possible. The floodlights, courtesy of acdc, are mainly narrow beam, cross aimed horizontally to capture as much light as possible on the solid stone abutments to minimise glare and spill. To overcome cabling restrictions, Pharos’ automatic controls talk across the river by radio, while GSM links enable the client to change programmes from a computer or smart phone, with a backup system in place to ensure system robustness in case of signal failure. The final effect delivers a warm white light scheme during the week and the dynamic ‘furnace mode’ of red and amber overlaying a dimmed back white scheme for the weekend; the dynamism is created by altering the intensity of the red and amber floodlights across the bridge, creating the movement of the light from the fiery skies of Coalbrookdale. www.lpa-lighting.com
SPOTLIGHT
Pics: Ståle Eriksen
Selfridges Buying & Merchandising UK Nulty has completed work on the prestigious Selfridges Buying and Merchandising office space, designed by architect Alex Cochrane, to transform the department store’s head office on Duke Street, London. The result is a modern infusion of Brutalist architecture, comfort and colour, and the intent across every aspect of the space ensures that this aesthetic is celebrated. Designed with comfort in mind, this office floor comprises enclosed meeting rooms, phone booths, break-out spaces, flexible working desks and an outdoor terrace. To deliver a lighting scheme that highlights the original design of the architecture, Nulty worked closely with Alex Cochrane Architects. By illuminating each design element, the lighting designers create a hierarchy in the space, while the clever use of colour becomes apparent as users move through each area, with primary colours enveloping furnishings and walls to brighten the rooms. Every vibrant surface is lit to emphasise its colour, while vertical illumination ensures that light falls on specific finishes to bring depth and warmth to the office. The use of light is considered and deliberate. This sense of utility and purpose is reflected in the design to remove any sense of cluttered elements and intentional but discreet light fixtures are in place to ensure that the lighting is as unobtrusive as possible. Concealed track lighting in the ceiling pours subtle light on the furniture, while linear suspended pendants hover above desk islands, providing sufficient task lighting. It was vital for the designers not to implement lighting for lighting’s sake, and as such there is a method to lighting every location. The space isn’t over saturated with different ideas and lighting schemes, instead the same family of fittings has been sued throughout, creating a consistency and recognisable journey for every employee. Employees are welcomed by bright, contrasting elements in the reception area. Cove lighting details wrap around grey fabric panels
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to wash the vertical elevation, creating a subtle and sleek aesthetic. Moving to the main workspace, employees are met with hotspot hubs and flexible working environments, with desks equipped with bespoke built-in low-level task lights. Windows surround the office, providing an abundance of natural lighting during the day. The inclusion of cove and uplights enhances these windows at night, and balances the absence of natural light in the evening. In the ‘Playroom’ – a break-out area that forms an informal space for team building, activities and meetings – evoking a spirited atmosphere was encouraged. The use of flexible seating allows various room set-ups, and linear LED lights are concealed underneath fixed bench seating to create visual interest and low-level glow. Around the perimeter of the space, a line of high-level illumination highlights the verticals, while a rectangular downlight component with uplight features is suspended from the ceiling, dramatically illuminating the room. A roof terrace invites employees to surround themselves with nature. Here, linear LED strips are concealed in planters to highlight shrubs and bushes, while spike lights angled upwards bring attention to larger olive trees. Inside, a relaxed break-out kitchen includes a foosball table, dramatically illuminated with downlights to encourage play. A bold contrast in colour and finishes is apparent in the bathroom with gold metal sheets that envelop the walls. The mirror is an eye-catching feature, etched below to create an opal see-through finish. An LED sits behind it, illuminating a symmetrical line of light and allowing the eye to equalise every aspect of the bathroom. A linear lighting detail in the ceiling reflects in the mirror to illuminate the basins and taps, creating a softer vertical glow. Nulty’s strategic design solution enhances every space and its surface, promoting an uncluttered environment to suit any working individual who enters the space. www.nultylighting.co.uk
Pics: Margret Hoppe / Sebastian Stumpf
Oscar Niemeyer Sphere Germany After seven years of design and construction, an intensive coordination between the Brazilian office in Rio de Janeiro, local architects, and a committed client, the Oscar Niemeyer Sphere, designed by renowned architect Oscar Niemeyer in 2011, has been officially unveiled in Leipzig, Germany. Niemeyer is widely recognised as a “master of curves”, and lighting designers at Licht Kunst Licht sought to pay tribute to this, with a design that traces and emphasises the fine curves of the sphere, while giving the concrete finish the lightness for which the architect is known. At the same time, an interior atmosphere is created to experience and enjoy the extraordinary ambience of the sphere. The outcome of a simple request to extend the company canteen for railway crane manufacturer Kirow, the Oscar Niemeyer Sphere appears to have fallen from the sky and landed on the corner of the listed canteen building of the Techne Sphere Leipzig on Niemeyerstrasse. Designed by Niemeyer at the age of 104, and completed posthumously following his death in 2012 by his associate Jair Valera and local architect Harald Kern, the sphere measures 12-metres in diameter, with a 20cm-thick shell of pristine white concrete. While the sphere appears to sit eight metres above the ground, on the corner of the nearly 100-year-old brick hall, it actually rests on a brick-coloured concrete shaft
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that is flush with the building’s head end structure. Two organically shaped cut-outs open the concrete shell, these are closed with a geodesic steel tracery, whose 147 triangular panes of liquid crystal glass can be coloured black for shading, depending on the sunlight levels. In illuminating this striking architectural design, Licht Kunst Licht felt it was important to first understand the architectural intentions of Niemeyer, in order to underline them with light in the appropriate manner. Through extensive exchanges with Valera during the design process, the lighting designers were able to properly interpret the architectural language of the sphere. The sphere is accessed via the concrete shaft at the building’s head end, which houses a lift lobby and the central elevator to the upper floors. The brick-coloured concrete surface also extends into the interior of the shaft, and is gently illuminated by cove lighting from LED Linear that has been integrated into a ceiling panel inclined towards the elevator door. The ceiling, as well as the light, therefore have a guiding function. The lift takes visitors to the bar area on the lower level. The ceiling cove lighting continues around the perimeter of the sphere, tracing the ground floor plan and washing the curved white concrete shell with an indirect light. The bar is located in front of a red wall – a feature typical for Oscar Niemeyer’s designs.
SPOTLIGHT
An artwork by Niemeyer on the back wall, and the bar counter, are accentuated with recessed spotlights. LED downlights with warm dimming technology provide a golden, warm-toned light, while the bar counter and shelves on the back wall have lighting integrated into the millwork, again courtesy of LED Linear. The bottom of the sphere hides the building services and utilities areas, which have also been fitted with ceiling cove lights in order to emphasise the organic shape of the inner shell over both floors in the same way as the bar area above. The restaurant and lounge are located in the middle of the sphere, and are accessed from the bar via an internal, freefloating staircase. While the restaurant’s service area in the back of the sphere is surrounded by an adjusted wall, daytime visitors are seated in the anterior, light-filled restaurant area, underneath a glass vault that offers wonderful views of the outside. The artificial lighting in the lounge and restaurant areas offers various programmed light scenes, created especially for the evening hours. Indirect light is initially used as architectural lighting. Small, adjustable spotlights from XAL are integrated in the upper area of the partition wall, and illuminate the inner concrete shell, which acts like a white reflector. Additional small spotlights are located in the black floor ventilation duct along the perimeter of the sphere, directly next to the glass-steel construction, in order to gently wash them with indirect light. Another light layer is added via miniature spotlights at the junctions of the steel construction, which are used for direct lighting in the dining area and the stairs, as well as to emphasise the expansive mural. All spotlights are adjustable in both beam angle and tilt angle.
In order to enjoy an undisturbed view of the Leipzig sky, even during the evening hours, it was important for the lighting designers that the floor and table surfaces be kept in dark tones in order to avoid reflections in the glass panes. In the dining areas, battery-operated lamps provide local, intimate lighting on the table surfaces, while ceiling spotlights provide atmospheric light by virtue of their dimmability. For other events, such as lectures or receptions, ceiling spotlights are used to provide general lighting. In illuminating the sphere’s smooth exterior, the lighting designers’ aim was, especially in the evening hours, to make tangible the organic shape of the sphere in its entirety. The light coves and indirect lighting in the interior trace the extraordinary volumes inside the sphere. They set the curvature in scene and create a depth effect, as well as interesting visual references from the outside into the interior of the sphere. Gobo spotlights mounted on the roofs are used to illuminate the white concrete shell of the sphere, while a soft light gradient gives the concrete a lightness that is typical for the architect. In the evening hours, the exterior lighting gives the impression that the sphere is floating in the dark. While the exterior of the sphere deliberately shines in a cooler 4000K light colour, the interiors are illuminated with a warm, inviting light of 27003000K. Oscar Niemeyer’s driving force was always to gain attention through being different – “Architecture is a surprise, I want people to stand still,” he has famously said in the past. This attitude is particularly present in his late work in Leipzig. www.lichtkunstlicht.com
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SPOTLIGHT
Pics: Tomasz Majewski
Farrisbrua Norway The 570-metre long Farrisbrua (Farris Bridge) is part of the new fourlane E18 highway in Norway, situated in Larvik. The bridge curves across the shores of Lake Farris, and is the only sloping stay cable bridge in Norway with a curved road surface. Since its completion, the bridge has become a landmark for the city of Larvik and a visual milestone for drivers, with its two 70-metre high concrete towers, tilted outwards and backwards in a V-shape. The lighting concept, designed by Ramboll, highlights the two towers and their network of stay cables in a careful and gentle manner, where the contrast between the towers’ outside and inside is emphasised, while also supporting the architectural design of the bridge. According to Ramboll, the lighting concept for Farrisbrua is “from 3D to 2D”; the bridge is transformed gradually from a three-dimensional object during the day, to a two-dimensional object when it gets dark. The bridge will therefore be experienced differently during the day and night, giving the citizens of Larvik and all who drive past lighting scenarios that differ depending on the time of the day. The idea was to transform what could appear as a massive, heavy concrete structure into a simpler and visually lighter experience in the evening and at night. It is based on a minimalist and stylish design that reinforces different combinations of flat surfaces for the observer as they move around the scene. As Ramboll sought to create a contrast between the outside and inside of the towers in a way that the bridge’s inner volume would be emphasised. It was central to the design to create spaciousness and contrast, with a focus on light and shadow, where a warm “core” acts as the centre of attention. The use of coloured light emphasises the inside of the V-shape with a lower light distribution than that of the front of the towers, creating a visual dynamic between the structures. The outer side of the towers is not illuminated, and thus becomes part of the visually untouched surroundings. “It was important that the illuminated bridge should be
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experienced in a comfortable way both up close and from a distance,” said Katherine Hjelmeset, lighting designer at Ramboll. “The bridge is placed right next to a residential area, and it was essential to create a visual balance in the area. Effect lighting should not seem dominant in relation to Lake Farris as a landscape space. Its location involves reflections of the bridge in the water, which can be experienced through the curved roadway.” The bridge is visually anchored to the terrain through lighting of the towers from the underside of the roadway, as well as at each end through the lighting of the abutments. This is the same coloured light as inside the towers, visually connecting the structure. Ramboll used a range of high-quality LEDs from Studio Due, GVA and SILL, selected for their ability to handle the harsh environment, their precise light distribution, good light quality and low maintenance costs. The luminaires are programmed via a Helvar router into six groups, which are programmed in five different scenarios, following the day and being controlled by an astronomical timer. Since completion, the project has received recognition both locally and internationally. An entry into the 2020 [d]arc awards, the Farrisbrua has already won the Best Outdoor project at the Norwegian Lighting Awards. Speaking of the project, judges said: “The lighting of the Farrisbrua is executed in a refined and elegant way, based on a convincing move to transform a three-dimensional form into a two-dimensional expression. The lighting is sold and precise in an area with complex road geometry with a small margin of error. Good contrast between cool lighting on the outside and the warm spaces between the columns also creates a feeling of security. “The bridge is subtly lit and appears almost as a luminescent element and an appealing landmark. www.ramboll.com
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Interchange Pavilion Australia Interchange Pavilion is a sculptural landmark at South Eveleigh Village in Sydney, Australia. A new architectural pavilion and public artwork created by artist and architect Chris Fox, and illuminated by Westudio. Peeling from the ground plane up, geometries arc overhead to create an embracing volume and a point of confluence. The pavilion acts as a meeting place for the public to enjoy, and a space to host events for the community. Drawing inspiration from the precinct’s rail history, Fox worked with the salient geometries of the railroad switch; the point at which a train can change its course, moving from one trajectory to another. The work is intended as a tribute to the diverse stories and journeys of people connected with the Eveleigh Rail Yards. From the outset, Westudio founder Rhiannon West’s lighting vision was to ensure that the space would be as attractive and usable by night as it is by day – not only illuminating the structure to ensure that users feel safe and secure, but seamlessly concealing fixtures within the architectural skin to enhance its twisting form and impressive scale. Illumination needed to be simple and effective, with minimal fixture sizes concealed internally and externally. West’s concept called for four layers of light to bring the space to life: The Switches - highlighting the inspiration of the train tracks changing course, small in-ground marker lights (iGuzzini’s Light Up Orbit) provide a ‘spark’ of light at the ‘switch’ point locations, bringing homage to the
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design; The Drama Spots – a cluster of miniature high-powered spotlights located at the peak of the pavilion create ‘pools’ of light on the floor below; The Inner Shell – inside the Pavilion, lighting is integrated within the ‘tracks’ to provide a delicate wash of light to highlight the inner twists and turns. Each iGuzzini iPro luminaire required different aiming angles, tilts and outputs to create a deliberate drop-off of light washing down the warm timber cladding. Finally, The Outer Shell – where a contrasting cooler light is designed to provide illumination from the ground level, fading off towards the peak of the Pavilion. A series of iGuzzini’s Palco InOuts positioned carefully around the structure ‘cross-illuminate’ the skin, providing a uniform wash of light, avoiding any hotspots and glare. Getting the lighting solution right from concept to completion meant that Westudio worked closely with Fox and his team through studio reviews, creating prototypes, testing and exploring conceptual ideas, software modelling and several on-site mock ups. The management of the lighting programme for the Pavilion sits within a larger NEMA site-wide wireless system. One of few projects in Australia to utilise a NEMA lighting control system, the 4G network allowed for all of the lighting to be installed with nodes that talk directly to a master network. This allowed for a smart lighting control system with an astronomical timeclock, enhanced safety and an increased flexibility approach. www.westudio.com.au
SPOTLIGHT
Pista de Baile Spain Artist Guillermo Santomà, in collaboration with Simon and ProtoPixel, has unveiled the immersive art installation Pista de Baile at Madrid’s Intermediae – a space dedicated to socially engaged artistic practices with research and cultural innovation in mind. The installation is part of the Ciudad Bailar Exagerar (Dance City, Exaggerate) programme dedicated to the idea of solidarity, community and collaboration through dances with workshops, performances and radio meetings. The installation opened on 6 November 2020, and will be in place until the end of July 2021. Through Pista de Baile (Dance Floor), Santomà has transformed Intermediae into a completely different space. The result is a self-supporting structure that appears to be covered by sand – as if it were a negative of the original architecture it is a part of. The project is based on the idea that there is no fast distinction between the spiritual and the physical world, and that this soul, spirit or sensibility also exists in other animals, plants, stones, mountains or rivers, as well as in this human landscape. Therefore, this piece of “nonarchitecture” can also be defined as landscape or sculpture. By working with Simon, Santomà has also explored how the space can continuously be transformed through light. In this instance, Simon collaborated with ProtoPixel, who provided light control and the technical advice required to develop the installation’s creative possibilities at a light,
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interactive and experiential level. The piece therefore becomes a platform that is constantly changing and adapting to the different contents within the programme. On 6 November, during the opening of Ciudad Bailar, Exagerar, the dance piece Dondequiera Cualquier Sito, Seguimos Bailando (Wherever, anywhere, we carry on dancing), by architect and stage director Nacho de Antonio, premiered in the space designed by Santomà. This was the first of many proposals that will be held inside the Pista de Baile installation. Santomà works within design, architecture, sculpture and performance, and throughout his career has exhibited works in Paris, New York, Copenhagen and Barcelona. As a company, Simon has known for a long time that light is much more than the solutions designed, manufactured and marketed – its contribution to the culture of light is based on creating and collaborating on projects that help to see, feel and understand it, bringing together art and technology to humanise light and bring it closer to people. Santomà’s intervention is one of several artistic initiatives and cultural events, such as Barcelona’s Llum BCN Festival, Tulou Festival in China, or Alameda art lab in Mexico, in which Simon participates, which allows the company to learn and research with creators who inspire new views and concepts. www.guillermosantoma.com www.simonelectric.com
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SCHWINGHAMMER With a new office recently opened in Miami - the first expansion for the studio - we look at some highlights from New York-based Schwinghammer, a practice that covers a wide range of high-end projects. 53 West 53 New York, USA 53 West 53 is the most significant addition to the New York skyline in recent years. A gracefully-tapered 1,050ft-high tower rising above The Museum of Modern Art, it represents a bold artistic and technical achievement by Pritzker Prize-winning architect Jean Nouvel. The elegant, refined interior spaces of the private residences are designed by noted architect Thierry Despont. Complementing Nouvel’s innovative design, these homes offer a 21st century vision of the gracious urban living for which New York is celebrated. Schwinghammer’s approach to lighting this masterpiece bridges Nouvel’s contemporary form and Despont’s rich material palette. In the entrance, for example, the sleek vestibule is lit with cooler panels that highlight Nouvel’s diagrid. Those panels are then transformed into custom square decorative fixtures with backlit
Ralph Lauren’s Car Collection New York, USA This astonishing collection is rated by critics as one of the top ten car collections in the world. Schwinghammer’s first step in this project required understanding the collection. Given the unique character of the programme, the lighting designers decided to treat the space like a museum, where colour rendering and UV control are central to the perception and protection of the pieces. The design of the space carefully displays each car in the garage on a white platform over a black carpet, creating a monochromatic background that recedes and lets the cars capture the viewer’s attention. When Schwinghammer saw that approach to the design of the exhibition, they decided to recreate the light-ondark scheme in the ceiling by introducing large rectangular glowing surfaces to provide general illumination over the platforms. The scale of the panels is large enough that their reflections are concealed on the surfaces of the cars, easing the understanding of the various silhouettes of the pieces. The general illumination layer is then reinforced with a secondary layer of projectors that highlight the interiors and other special features of the cars.
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onyx that bring a warmer light to the lobby. The residents’ lounge, a grand space overlooking Central Park, reinterprets the theme introduced in the lobby. Here the coffers are dimly lit with inverse coves that leave the centre squares in silhouette and create visual interest on the ceiling. Given the spectacular views from this space, the lighting designers avoided over-illuminating the space to reduce reflections on the glass and preserve the view of the exterior at night. The main source of light in this space are the various floor lamps and table lamps throughout. The pool is illuminated with a custom detail at the bottom, which creates a continuous line that demarcates its floor surface. The cool colour temperature of the underwater light contrasts with the warmer light surrounding it, transforming the water into the sparkling jewel of the space.
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Dr Barbara Sturm New York, USA This is the first retail flagship for Dr. Barbara Sturm in the United States. Schwinghammer worked with the client’s brother and project design architect, Tobias Freytag, to enhance their vision of a contemporary urban retreat where clients can find comfort while treating their skin with the brand’s products. The designers concealed architectural lighting for the retail areas as much as possible to direct attention to the product. A cluster of decorative globe pendants over the counter add sparkle to the space. In the treatment spaces, the lighting fixtures are purposefully showcased to reinforce the architectural concept. The smooth curves in the ceiling are accentuated with sleek lines of light that follow them. A circular pendant over the treatment chair provides a highlight to the skin of the customer while remaining diffuse and pleasant to the eyes. All sources were vetted to provide great colour rendering that helps showcase the products’ effect on the customer’s skin. The project embodies the skincare brand’s ethos and offers clients a unique way to experience both treatments and product.
The Ritz Paris, France The $450 million renovation of the Ritz was announced in 2011. The design team was asked to refresh the feeling of “the best hotel in the world” without altering its character. Architect Thierry Despont approached the project with the idea of reusing as much as possible of the existing materials and furnishings in the space. Wherever possible, the spaces retained their original components or received replicas of the original pieces. This approach guided Schwinghammer’s thoughts about the lighting. Much of the lighting designers’ intervention consisted in reilluminating the existing spaces to give them a face-lift without changing their character. They relied enormously on concealed lighting that did not distract from the ornate elements that should protagonise the experience.
Schwinghammer also created a transition strategy for the hotel, from outdated incandescent technologies to LED. Given the richness and variety of the colours in the fabrics and materials throughout the complex, initial research concentrated on the LED technology available at the time that could render colours beautifully and consistently. Upon reviewing the existing luminaires of the hotel the lighting team found that the multiplicity of decorative fixtures required their facilities manager to stock dozens of different lamps for maintenance. The final plan intended to reduce the stock of lamps to less than a dozen types. This required the rewiring and modification of antique decorative fixtures to retrofit warm-dim lamps.
Schwinghammer Schwinghammer is an architectural lighting design firm based in New York City with more than 30 years of experience. The summer of 2020 saw the firm’s first expansion with the opening of a new office in Miami. Its work encompasses high-end retail, hospitality, residential, commercial, corporate and luxury projects worldwide. Some of the highlights of its portfolio include the Woolworth Tower Residences, 56 Leonard (Herzog & de Meuron), 53 WEST 53, The Palm Court at The Plaza Hotel, The Irish Hunger Memorial, among others. Schwinghammer’s design team comes from diverse backgrounds – architecture, interior design, graphic design – that enrich its approach to projects and allows the studio to tailor its solutions to the needs of its clients. www.schwinghammerlighting.com
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Krishna Mistry With more than 10 years’ experience in the lighting design industry, Krishna Mistry has this summer established her own independent lighting design practice, Mistry Lighting. arc sits down with Mistry to learn more about her lighting journey to date, and her goals for her new solo venture. How did you get into lighting? I studied interior design at university and always focused on the lighting element to design during my studies, which came naturally to me. I initially hoped to get into theatre set design but graduating during a recession, it was difficult finding a job. I got a temporary position at a wholesale lighting company, and it was only here I realised there was a possibility of a career in lighting design. I started looking for junior lighting jobs and got a position working for Fagerhult. It was a brilliant start to my career and it only took a few months for me to realise I found my passion! Can you describe your lighting career so far? After Fagerhult, I moved on to Buro Happold. Coming from a manufacturer to a large engineering firm was a big jump, but it gave me the opportunity to work on recognisable projects across the globe with the some of the most iconic architects. I later moved on to the Light Corporation specialising on hospitality projects. My favourite client was Nando’s, I love their ethos and we designed some creative colourful lighting schemes for them. 10 years later I now have a new journey as an independent lighting designer. What led you to the decision to start your own lighting design studio? I always imagined I’d work for myself in the future but whilst I was furloughed for several months, it gave me the opportunity to think about my future and I thought why wait when this is the path I always intended to go down. Was it a difficult decision for you to make? It wasn’t difficult at all; I have gained freedom to follow my passion independently and focus on my own values when it comes to lighting design. How has the experience of forming a new studio in the middle of a global pandemic been? Strange, but exciting! It’s been challenging not being able to meet face to face and create new connections. While work is harder to come by during these times, the support of the lighting industry has been amazing. I’ve been fortunate to have a great network of peers, which has made this transition smooth sailing for me. Do you have a ‘Mission Statement’ or design philosophy for Mistry Lighting? I don’t have a mission statement as such, but I’m very open minded when it comes to lighting. I never want to restrict myself to a particular style but like to keep adapting to the latest technology. I strongly believe in supporting small businesses. Whilst working with Nando’s, I’ve had the opportunity to come across extremely talented artisans such as AAKS, who have a ‘weave for change’ initiative, which aims to create fair and dignified work for refugee artisans. Through creative collaborations such as these the refugee
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artisans living in extreme poverty may have an opportunity to change their lives. For me, this gives greater meaning towards a lighting scheme and I am actively sourcing artisans to widen my knowledge of what is available to us and support small business where possible, especially now in our current economy. Will you have a particular area of specialism? I will be open to working in all aspects of designs from hospitality, residential to landscape and retail design. How does running your own independent studio compare to working for a global engineering firm such as Buro Happold? It is completely different; working for a large firm like Buro Happold, there are bigger teams, a lot of admin and planning that goes into the project before you can even begin designing. Once you’re on the project, it can also last a number of years. A complete contrast to an independent studio, our projects are smaller and the pace is a lot quicker. I really enjoy the smaller projects, which has made the transition pretty easy. I find you have more authority over the lighting design as there are less people involved with the advantage of focusing on small details, which can often be overlooked on larger projects. What are your aspirations for Mistry Lighting? What do you hope to bring to the lighting world? I’d hope to continue to evolve my designs with every project I work on. I always believe you can never stop learning. Each project will always bring its own challenge and it’s how you adapt and push design forward that is important to me. I want to continue to enjoy each project I work on and keep lighting fun, not only for me, but hopefully in the future when I can expand the team and share my knowledge and experience. Finally, lighting is so important to our daily lives, it almost gets unnoticed, so I hope I can be influential in making it one of the first aspects of design that is thought about. What sort of reaction have you had so far? Do you have a lot of work already in the pipeline? The reaction has been very positive. It’s always scary to start up on your own, especially in the middle of a global pandemic, but to have support from my network, friends and family has given me the confidence to take this next step in my career. I’m fortunate to have worked under some great peers through whom I’ve been able to get some work in the pipeline, as it’s still early days and I’m continuing to reach out to my network. What do you think the future holds for the lighting industry? The future is exciting for the lighting industry, as products are evolving, so are lightings designs. In the 10+ years I’ve been in the industry so much has already changed, who knows what the next 10 will bring. I have no idea but I’m enthusiastic about it! www.mistrylighting.com
String Theory For the past few months, Light Collective has been hard at work putting together the International Lighting Design Family Tree, with an interactive digital version now available to view online. Here, they tell us more.
F
inally, many months after it was
don’t like you or forgot to put you in, it’s likely that
pegs at Light + Building 2020 (yes - we
we will get a chance to include all 900+ of you in a
supposed to be realised in wool and
must have been completely mad!), we
have created a digital version of the International
Lighting Design Family Tree for you to admire and explore. You can find this version - which uses
some zoomable software so you can move around it - on the ILDFT website.
As you look through it, you can immediately see
how complex it is so hopefully you will therefore appreciate we couldn’t include everyone who submitted data this time around. We needed
to narrow down the list of people we included
(otherwise we would still be drawing…) so created a smaller list of participants. This encompassed
countries with the most lighting design companies and people who had said they would definitely be going to Light + Building in March and had also
submitted their information before a certain date.
So if you aren’t on this version, it’s not because we
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you didn’t fit the above criteria. Hopefully one day, full version…
The designers names are around the outside of
the infographic. The circles represent countries
with each dot representing a separate company. The coloured line from each lighting designer
represents the geographical region the designer
is from and follows their career path from design
company to design company and from country to
country if applicable. You can follow their journey on the drawing.
After we published a series of facts drawn from
the data, we listened to the online feedback and in answer to your questions, here are a couple more
facts. This time we have taken several of the data points and combined them to see if there are any discernible trends. Interestingly the number of
people with an educational background in lighting design is consistent through the ages until you
international lighting design family tree
get to above 61 - this could relate to the age of the various courses
and with KTH just celebrating 20 years that possibly accounts for the high number of respondents in the “Under 40” bracket. In gender terms, it’s interesting to see that although the overall picture is
50/50 this is created by a large increase in female lighting designers under 40 compared to the older generations and also the average
does vary a lot by country of origin. Without a doubt, using the data
we have gathered it seems realistic to say look out guys - the Women in Lighting are on the way! If there is anything you are particularly interested in, drop us an email.
If you don’t know what we are talking about, the ILDFT is a global
lighting data project, exploring the career paths and backgrounds of the lighting design profession everywhere. In September 2019, we
asked designers to provide their data to help us get it right, sharing with us all the companies that they have worked with in their
lighting design career and their educational background. If you still want to participate, we are still accepting data via a simple form on the website.
www.lightingdesignfamilytree.com www.lightcollective.net
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DARK SOURCE
Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced
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Learn how an IALD member lighting designer can turn your vision into reality. Visit iald.org/FindALightingDesigner to start your search today. 2020 IALD Award of Excellence – Re-Lighting of Interior of Norwich Cathedral | Norwich, England UK | Speirs + Major | Photography Š James Newton
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30 Lighting Planners Associates (LPA) is an organisation of lighting specialists established in 1990 and led by Kaoru Mende. The goal of LPA is to design and build outstanding lighting environments that enrich architectural and lighting culture. Today, LPA has more than 60 unique lighting specialists at its offices in Tokyo, Singapore and Hong Kong. Here are the footsteps of LPA’s unique and exceptional lighting design history.
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This Is Your Life LPA Founder Kaoru Mende, and directors Mari Kubota, Kentaro Tanaka and Reiko Kasai, reminisce on the history of the company, and how it has grown to its current stature.
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ighting Planners Associates (LPA) Founder Kaoru Mende
has experienced an empty toilet paper holder twice since he established the LPA office in 1990, and both times he was extremely annoyed.
“Who didn’t replenish the toilet paper after it was empty? You should stop being a designer right now.”
In other words, Mende’s theory is that design is about caring for
those around you - if you are not able to do so, you are not qualified to become a designer.
This is the first time that LPA has shared Mende’s toilet paper theory.
As LPA celebrates its 30th anniversary, Kaoru Mende, alongside three of the company’s current directors - Mari Kubota, Kentaro Tanaka
and Reiko Kasai, looks back on the past 30 years, and discusses what kind of company LPA has grown to be today.
Reiko Kasai (RK): Oops, I don’t see any 2400ø (diameter) round
tables in the new Tokyo office that we have just moved into at the beginning of the year.
Mari Kubota (MK): LPA is now too big to fit around a singular round table.
RK: When you started LPA 30 years ago, did you think that it would expand to become a company of this scale? What was the state of
the world at that time and what was the environment surrounding lighting design?
Kaoru Mende (KM): I started my career in lighting design 43 years
ago, and at that time there were no architectural lighting designers in Japan. I founded LPA on 8 August 1990. Three days later, Rafael
Vinoly’s office contacted me and we started working on the Tokyo International Forum project, our first commissioned project.
At the time, there were a lof of highly motivated architects in
Japan like Arata Isozako, Fumihiko Mako and Toyo Ito, who were all interested in LPA.
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PROFILE
We started with six people, and now there are 60 spanning three offices in Tokyo, Singapore and Hong Kong. At the time I had no
idea that LPA would grow to this size, but I think that we achieved
this scale because we feel very strongly about being involved in all phases of development, including site supervision, properly and meticulously.
RK: Mari, what was the atmosphere like at LPA when you joined the company as a new graduate in 1994?
MK: At first, I started out working part-time, organising slides,
but I learned a lot from looking at the many photographs that Mr.
Mende and his colleagues took of architecture and spaces in various locations, capturing them with light. Gradually I became involved
MK: It is amazing that in the 25 years since then, the various activites
to look beautiful with light, which led me to the present day. Unlike
carried out continuously for the public.
projects, so I guess one of the characteristics is that there is never a
the spirit of the Lighting Detectives and involve citizens in planning
in the project and was fascinated by how architecture can be made
of the Lighting Detectives as a non-profit organisation have been
architects, lighting designers are always working on multiple
RK: In Japan, there are also public projects in local cities that take on
clean break in our work.
the lights of their cities. I think it’s wonderful that lighting designers
motivation for joining the company Kentaro? For a while after I
that reflects the culture and history of the area, not forgetting the
the time, where they just made models.
We are currently working on a community lighting revitalisation
commissioned by architects, so in hindsight, I think I was spending a
something like that in Singapore, where cities are built based on
models.
The Lighting Detective’s work has become a major part of LPA’s
by making models, and I realised that the hands-on experience and
started to network with lighting designers who responded to the
the completion of the space later on site.
Detectives Forum.
RK: Kentaro and I joined the company in 1995. What was your
and the government are working together to create urban lighting
entered LPA, I saw you in a small room called the “model room” all
will of the people.
Kentaro Tanaka (KT): At the time, most of our projects were
plan in the area where the LPA office is located to see if we can do
lot of time in the design process with the architects, carefully making
state-led urban planning.
With no practical experience, I deepened my knowledge of the space
identity. As we began to be featured in international media, we slowly
understanding I had in making models would be directly relevant to
term “Lighting Detectives”, which led to the Transnational Lighting The first Transnational Lighting Detectives Forum was held in Tokyo
in 2002, and has since travelled to Europe, Asia and the United States for a total of 15 forums and workshops.
In 2000, we celebrated our 10th anniversary and opened an office in Singapore.
LPA’s starting point in Japan was architectural lighting design, and to literally bring new light to the Japanese architectural culture, focusing on projects that Japan’s world-class architects were RK: Speaking of me, I was hired as Mr. Mende’s personal assistant
responsible for. Following the expansion overseas to Singapore and other locations, the scope of work has naturally evolved to cater for
and publicist. On the second day of work, I asked what I could do
what different societies and cultures require.
Theme”, and was asked to translate it into Japanese. I was puzzled by
to the site alone, interacting with the architects to plan the design
today and was handed a copy of Louis Kahn’s book “Light is the
MK: By 2000, I was handling projects on my own, and enjoyed going
this first work assignment.
and build the site. I felt a sense of fulfilment in working with Maki,
thought it was highly admirable that the company was doing non-
sense of accomplishment that I was able to physically and actively
purely desk-based work.
When we started working on the Roppongi Hills project, I got the
it was founded. We moved from our first office building, which was
from being commissioned by architects to being commissioned by
office. We ended up staying in this office for 25 years, until the
KT: The first overseas project I was involved in was the
From the end of 1995, LPA started organising various public events
just after its completion in 1998, but it was completely different
Centre, these included monthly public talks with artists, writers and
very surprised. At the same time, it reminded me of and made me
lights, one-night guerrilla lighting events and so on.
RK: Singapore is a country where the government has strong
had to juggle organising these events when we are a lighting design
forward and updating its plans for development from time to time.
MK: We learned how to organise and make plans through the
We have witnessed that change through our work in ligting design
What drew me to LPA was the Lighting Detectives activities. I
Taniguchi and other wonderful architects on public buildings, and a
profit after-school activities to bridge design and society, not just
make things happen on site.
The year 1995 was a milestone year for the company, five years after
impression that the work we were doing was gradually shifting
near Kengo Kuma’s office, to a few minutes away from Toyo Ito’s
business owners.
beginning of this year.
refurbishment of the lighting at Kuala Lumpur International Airport
under our non-profit group, Lighting Detectives, at the Tokyo Design
to a Japanese project in terms of structure and manners. I was
cultural figures until the end of 1996, tours to explore Tokyo’s night
appreciate the high quality of Japanese construction.
Mari, you must have been overwhelmed and wondering why we
leadership and initiative in urban planning. It is constantly looking
company?
Over the past 20 years, development has progressed at a fast pace.
monthly talk events. Although it was hectic, I learned how to plan
there. It is in Singapore that we have been able to push on with the
skills and to work in a team.
project development. LPA is proud to have contributed to the
efficiently each month, and this helped me improve my management
nightscape planning, along with urban planning and landmark
RK: Ah, “making plans” is one of Mr. Mende’s favourite terms.
creation of the night scene in this city-state with projects such as the
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PROFILE
Kaoru Mende
Kentaro Tanaka
Mari Kubota
Reiko Kasai
Light Masterplan for the city centre and Gardens by the Bay.
company, which is very meaningful for the development of interests
will be added to our proposals after they are completed if they are
As more and more work is being done online through the pandemic,
However, there is always the question of how much additional light perceived to be too dark, and if our work has been appreciated as the final product by lighting designers.
There are many lighting design firms out there, but what makes LPA’s lighting design unique?
KM: People sometimes perceive LPA’s work as being dark. When I was young, I was taught by my seniors to add about 20% more brightness to the design, and it was safer that way. However, I believe that it
is the professionals who should always ensure that it is sufficiently bright enough or dark enough. “Learning from nature” is a design
principle of LPA. I have been inculcating this value to my staff for a long time now.
KT: To be consistently detailed and meticulous is something I learned in my early days of model building, and I think this basic approach is how LPA has been able to contribute to building projects.
KM: That’s right. Meticulous work in both “concept” and “detailing” are the lifeblood of LPA. Lighting design with a strong sense of
responsibility for what we are trying to create through our projects is something that LPA values.
RK: Young people today do not know about the process of creating
lighting design by moving their hands and bodies, such as making models and examining details from the early days of LPA when we
joined the company. 30 years later, the process and speed of work has obviously changed.
From the early days when designs were created by communicating
with architects, the focus is now to proceed with the design process from the point of contact with the client. This is especially true
outside of Japan. The challenge is how to maintain LPA’s design DNA and still make full use of new technologies and engineering to create beautiful work.
Within LPA, Kubota’s specialty is collaborating with architects to
create spaces, and Tanaka’s best interest is in hospitality design. It is important to create an environment in which talented, experienced designers can make use of their individual strength.
The “Expert” programme is an extracurricular activity within the
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and characteristics of each designer.
I feel that communication between our three offices in Tokyo,
Singapore and Hong Kong is becoming easier than ever before. In the same way, I think we will see an increase in the number of activities that transcend traditional boundaries.
KM: Yes, that is right. Lighting design will be linked to the peripheral fields of “lighting” to create a “new realm”, and LPA will also aspire to be an interdisciplinary design studio that transcends barriers.
At the same time, I believe that artistic work and technical work will become more polarised, meaning LPA will focus its professional and creative efforts on these two extremes.
Furthermore, we are a company that combines the business of lighting design with a non-profit social activity.
Since our inception, we have always promoted and will continue to
consistently promote that we are not for profit through our Lighting Detectives organisation.
I do not think that lighting has become as much of a culture as what we expect it to be. I believe that we should continue to play a role in educating society about environmental issues as they become even more critical.
MK: Through experiencing the Covid-19 pandemic, I feel more
strongly about our lighting design to provide sensible experiences
that are similar to how humans respond and move by natural light.
KT: Agreed, I would like to create luminous environments that lean towards the users for them to feel special.
RK: In addition to pursuing beautiful design, LPA should like to
remind ourselves that we are a group of professionals always pushing our thoughts and actions to the public to enhance our social and cultural environment with design.
Let’s always remember to be mindful of making sure the next person can use the bathroom comfortably!
KM: 2020 has been an unimaginable year for humanity, but it is also a huge milestone for LPA as we celebrate our 30th anniversary. I
am 70 years old now, and with 20 more years of work ahead of me, I guess the next step is a 50th anniversary round table!
Tokyo International Forum Tokyo, Japan / 1990 LPA was established on August 8th, 1990, and received a phone call three days later from Rafael Viñoly Architects in New York to design the lighting for this project. At the time, the architects had recently won an international competition, and were about to solidify their basic design. From that moment, it took six and a half years to complete the project. Many people have “thought about becoming a lighting designer after witnessing the lights of Tokyo International Forum”, according to Kaoru Mende. This project was indeed honorary and legendary for LPA, and incorporated diverse ideologies and methodologies of architectural lighting design. Even 24 years after its completion, it still stands as a model for lighting design.
LPA 1990 >>> 2020 Estabished LPA Tokyo
1990
TOKYO
SD Design Vocabularies of Light
A Manner
1999
6
Chihiro Art Museum Azumino, Nagano
Sendai Mediatheque Tokyo International Forum
Nagasaki N
Kyoto Station Building
Night Survey, Tokyo
Lighting Detectives founded
1990
You too can be a Lighting Detective, Tokyo Lighting Detectives SD Special Issue
1997
The Lighting Detectives Makes Its Appearance in Ginza, Tokyo
r in Architectural Lighting Design
A Manner in Architectural Lighting Design
Opening of Singapore office
2000
Designing with Light and Shadow
Lighting Design for Urban Environments and Architecture
Light
2006
TOKYO 13 SG 1
Kyoto State Guest House
Meiji Jingu [akarium], Tokyo
Roppongi Hills, Tokyo
Gar
National Peace Memorial for The Atomic Bomb Victims
Light Up Ninjya in Ryogoku, Tokyo
Lighting Masterplan for Singapore's City Centre
Round Table Talk Rally, TNT Forum, Tokyo Tokyo You Too Can Be a Lighting Detective
2000
Alila Villas Ul
Light Up Ninja at Duxton Plain
Tokyo Nightsape 2050, Tokyo
2004
Transnational Lighting Detectives
g Up Our City Centre
2010
Designing with Shadow TOKYO SG
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Opening of Hong Kong office
2012
2015
Traveling Exhi
14
AMAN TOKYO
National Gallery Singa
ns by the Bay at Marina South, Singapore Minna no Mori' GIFU Media cosmos
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Tokyo Station Marunouchi Building
Candle Night, Tokyo
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Candle night, Singapore
2010
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Children Workshop, Taipei
Night Watching Tour, Sukagawa
Light Up Ninja, Sao Paulo
Light U Singap
Manners in Architectural Lighting Design
ibition Nightscape 2050
LPA 1990-2015
Tide of Architectural Lighting Design
2020
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14
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Jewel Changi Airport, Singapore
Takanawa Gateway Station, Tokyo
Magical Shores at Siloso, Singapore
Nihonbashi Mitsukoshi, Tokyo
eedon, Singapore
Up Ninja, pore
Children workshop, TNT Forum, Kyoto Yokohama
Citizen workshop
TNT Forum, Shenzhen Night Walk, Tokyo
Website renewal
2020
Jewel Changi Airport Singapore / 2019 Jewel Changi Airport is a mixed-use development containing gardens and attractions, retail and dining, a hotel and facilities for airport operations. As time passes, expressions of light gradually change to reveal the full 24-hours of pre-set lighting operations, using a combination of daylight and artificial lighting.
PROFILE
Magical Shores at Siloso Singapore / 2020 Magical Shores at Siloso is a grand scale, multi-sensory experience that transforms Siloso Beach and its islets, on the island resort Sentosa, into an interactive light installation. The permanent installation along the 400-metre sandy beach was set as a part of the island revitalisation programme. Inspired by the rich biodiversity of the island, visitors can enjoy the interactive lighting and projections that respond to the weather and movement of people.
Nagasaki City Nightscape Japan / 2019 The Nagasaki City Nightscape was formulated in 2017, and the guidelines for the Nagasaki City nightscape are steadily becoming a reality. The neighborhoods near Heiwa Park has been maintained and completed with the Nagasakistyle light up of the Peace Statue.
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‘Minna no Mori’ Gifu Media Cosmos Gifu, Japan / 2015 This 80x90m, two-storey, multi-use facility, with central city library, includes on the first floor a closed-shelf library, public gallery, multi-use hall, and community center. The second floor is an open-floor, open-shelf reading room with large, suspended, umbrellashaped, “globes,” to gently divide the space. The globes incorporate daylight and are used to circulate air. The lighting design concept aims to create the illusion of being in a forest and connected to nature through the lighting environment. The architectural aim is to reduce primary energy consumption by 50% compared to the same architecture of 1990 and the lighting plan achieves this goal with sensors and detailed operations. The interior environment should not be one uniform solution; instead combinations of temperature, humidity, and brightness are used to create various individual spaces. Whether daytime or nighttime, the second floor lighting environment is gently wrapped in soft light from the highly transparent and diffusive globes. Using daylight sensors and dimming control system, artificial lighting in the globes adjusts according to the amount of daylight, gradually increasing lux levels to 200-400lx when necessary. Disk-shaped pendants suspended outside the globes are also wired together into several small groups to allow area daylight sensors to intricately control levels of brightness. The application of highly-efficient luminaries, incorporation of daylight, use of daylight sensors, and a dimming control system all add up to a 14% reduction of the goal to reduce primary energy consumption by 50%.
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Mt. Fuji World Heritage Centre Shizuoka Shizuoka, Japan / 2017 This centre is a base for study and the cultural output of Mt. Fuji, registered with UNESCO. The centre’s main gallery, clad in a lattice of Japanese cypress, is designed to reflect in a pool of water at night. The reflection of Mt. Fuji on water, a “Reverse Fuji,” is an age-old, familiar view from long ago. Mt. Fuji naturally exhibits ever-changing expressions; similarly, the lighting programming adapts to suit centre events and seasonal changes. Outside, low positioned light emphasises the centre’s commanding façade. Light grazes the lattice structure inside and out for a soft presentation, threedimensional feel, and comfortable brightness.
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Kusatsu Onsen is one of the most popular hot spring areas in Japan. The after-hours lighting surrounding the symbolic Kusatsu Hot Water Fields was upgraded. The hot water beds are softly illuminated, coming to form amongst the rising stream to delight visitors. Sino-Ocean Taikoo Li Chendu is a commercial complex that includes historical buildings. Vertical luminance washes the landscape, while the eaves of the roof are lit up to create comfortable ambience for shoppers. Gardens by the Bay is a 101-hectare waterfront garden. LPA proposed a concept of Entertainment with Organic Lighting for adapting outdoor entertainment to a new age. Takanawa Gateway Station is newly completed railway station in Tokyo. At night, the station is softly illuminated with warm light, a contrast to the daytime, when it is filled with daylight.
1: Kusatsu Onsen, Gunma, Japan / 2016 2: Sino-Ocean Taikoo Li Chendu, China / 2015 3: Gardens by the Bay, Singapore / 2012 4: Takanawa Gateway Station, Tokyo, Japan / 2020 5: The Okura Tokyo, Tokyo, Japan / 2019 6: Aman Tokyo, Tokyo, Japan / 2014 7: Nihombashi Mitsukoshi, Tokyo, Japan / 2018
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The Okura Tokyo, an original Japanese hotel brand, was first established in 1962 in Toranomon, and was renewed and reopened in 2019. The main lobby, beloved by foreign and Japanese guests, was faithfully recreated. The lighting design uses LEDs to create a soft lighting environment that beautifully adds a modern touch. Aman Tokyo is the first city hotel that Aman resorts has opened in Japan. One of its most distinctive features is the 33rd floor lobby covered by a spacious six-story high atrium. Here, guests are greeted by soft light radiating through the washi glass that covers the atrium like a giant lantern and by the view of Tokyo outside the windows.
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Nihombashi Mitsukoshi is a historical department store that is listed as an important cultural property of Japan. In this renovation project, the interior design concept is that of “a shining, white forest.” A pillar-supported “tree canopy” extends throughout the first floor of the main building and is beautifully illuminated with a gradation of light to provide a sense of unity in the retail space.
Pics: Toshio Kaneko Arch - Exist, The Oval Partnership Chen Yao, The Oval Partnership Fumito Suzuki Shinichi Sato XIE, Xin
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Lighting Detectives LPA is also very active in promoting the appreciation of lighting culture and awareness of good lighing through its non-profit wing, The Lighting Detectives, by engaging with the public. The Lighting Detectives have organised numerous workshops, urban lighting surveys, exhibitions and public forums.
Who Are They?
The Lighting Detectives is a non-profit group dedicated to the study of lighting culture through practical methods, mainly by engaging in fieldwork. The Lighting Detectives was founded to review the present state of urban environmental lighting – to physically go out with our own feet and eyes to observe lighting in actual use instead of relying on theories, ideologies and preconceptions. Through the Lighting Detectives, LPA goes to places where light is found and observes, detects, and gathers experiences to understand lighting on a deeper level. They leave their books behind and go out into the streets where physical examples of lighting are found. Natural light teaches us many wondrous ideas and techniques, and from street lighting, we learn the reality of the properties of light. With new discoveries, we continue to feel both excitement and anger. This feeling led to the emergence of a curious group called The Lighting Detectives. There are five rules that Lighting Detectives always keep in mind: 1. Get angry with surrounding light pollution. 2. Deep and accurate observation of light on site. 3. Do be impressed with artistic lighting. 4. Calmly detect inspiring lighting designs. 5. Continuously accumulate experineces in lighting.
Mission 1. The Lighting Detectives highly regard local lighting culture from around the world and offer a platform to share knowledge and inspiration attained from it. 2. The Lighting Detectives highly respect the identity of various lighting cultures and provide activities to learn, think about, and enjoy through mutual interaction. 3. The Lighting Detectives also meet and talk about the future and ideal being of “light, lighting, and akari” and the brilliance of lighting culture.
Who Are the Members? As of 2020, Lighting Detective membership totaled 1,100 members - 800 Japanese members, 300 international members. Members come from various backgrounds including lighting professionals, researchers, architects, designers, students, businessmen, and housewives, but all have a collective interest in lighting. The Lighting Detectives feel it is important to work together with a wide range of people who are interested in lighting, instead of those just professionally associated with the field.
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Worldwide Activities The Lighting Detectives, which started in Tokyo, became a worldwide network in 1999. People of many nationalities gather together to study, analyse and discuss lighting around the world in the hopes of promoting the development of a lighting culture. Now, 16 core members in 12 chapters all around the world lead Lighting Detectives’ worldwide activities.
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The Forum is an annual international event where Lighting Detectives’ core members from around the world gather in a host city to discuss the local lighting culture with local people. Since 2002, Lighting Detectives has hosted this event in 15 different cities around the world..
World Lighting Journey The World Lighting Journey is a photo library of nightscapes and lighting environments from cities worldwide. Lighting Detectives hopes this database will be a catalyst for future discussion on urban lightscapes and local lighting culture. Viewers can submit their own nightscape images from their hometown, adding to Lighting Detectives’ ever-expanding photo library. www.shomei-tanteidan.org/en/wljtop-en
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Eight Major Activities 1. City Walks & Salon City walks and salons are the base activity for the Lighting Detectives and are held regularly with Lighting Detective Club Members. 2. Night Watching Tour In contrast to the city walks, these extended trips are sometimes carried out in foreign countries to study the nightscapes of various places. 3. Global Lighting Survey To grasp lighting environments around the world, the Lighting Detectives have continued to survey local and global cities. 4. Children Workshop The Lighting Detectives wants to offer lighting educational programmes for the younger generation through play and real experience.
5. Light-Up Ninja Far from extravagant illumination of towers and bridges, Light-Up Ninja focuses on simple experiments to find appeal in the typical, by illuminating scenes found in daily life. 6. Symposium & Exhibition Many large and small exhibitions have been carried out, including “World Lighting Journey Exhibition” and “You Can Be a Lighting Detective”. 7. Publication & Web Lighting Detectives newsletters, website and social media are essential tools to promote Lighting Detectives’ activities. 8. Transnational Lighting Detectives Forum The Forum is an annual networking event for the Lighting Detectives to exchange information and learn about other lighting cultures.
Light-Up Ninja Sao Paulo, Brazil / 2014 A three-day workshop and Light Up Ninja event was held in August, 2014 in Sao Paulo, Brazil. During this three-day workshop, participants not only looked for heroes and villains of light, but also discussed what kind of nightscape is needed in Sao Paulo, since public safety and other issues are of concern in the city. Lighting Detectives and its
local participants illuminated one of the city’s iconic buildings, Copan, designed by Oscar Niemeyer, for two hours. This workshop was a handson opportunity to take part in a regular night walk, but also debate and carry out actual experiments with several viable lighting proposals.
1. Orientation Lighting Detectives gave a lecture on urban lighting, and the purpose of the night walk, explaining how to find heroes and villains of light. 2. Nightwalk With lux meters in hands, all participants walked around the Copan to see what the problems of lighting were in that area. 3. Group Discussion & Presentation After a discussion, the Heroes and Villains of light were presented by each team. Light up proposals for Copan were also shown. Participants voted and decided on the best lighting plan. 4. Light Up Ninja A light up plan that featured a contrast of red and blue light was decided by voting and realised for two hours. The building, previously lost in the dark at night, was highlighted beautifully by lighting and transformed into an exciting space.
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Transnational Lighting Detectives Forum Shenzhen, China / 2019 The 15th annual Transnational Lighting Detectives Forum aimed to create a platform to discuss the nightscape of this enthusiastic and frenzied city 10 years down the road in 2030. Participation from local students and residents exceeded expectations and through their proactive efforts proposals concerning the future of various Shenzhen nightscapes were discussed. 1. Orientation The content of the event was reviewed and Lighting Detectives core members were also introduced. 2. Night walk After introductions and review of the assigned area, each team set off on their city walk with a core member to act as a central figure to guide discussion about existing positive and negative lighting environments. 3. Group Discussion The teams gathered in small groups to look over images taken from the preview night’s city walk and to discuss heroes and villains of light. 4. Presentation The three-day workshop was capped with a presentation. Each team gave a 15-minute presentation on the survey results in their assigned area, including the existing lighting environment and proposals for the Shenzhen nightscape of 2030. 5. Panel Discussion Discussions were held with seven panelists on the theme of Shenzhen Nightscape 2030.
Children’s Workshops Various Locations There is no set curriculum for the children’s workshop, so each can be tailored to fit individual or group needs depending on age, season of the year, size of the group, etc. Previous workshops included lantern craft, candle making, candle-lit parades, adventures with flashlights in darkened gardens, and simple lessons to experiences different sources of light. Workshops range in size, from Candle night, with more than 500 participants, to a simple class of 30 elementary school students. For instance, Light Up Ninja Jr. workshops were carried out in Singapore and Tokyo. Children made lightsabers with flash lights and mimicked Japanese Ninja. In other workshops in the bay area in Yokohama, children drew the transition of the sky from sunset to night, painting the shift of colours. Through these enjoyable experiences, LPA wants to contribute to children’s emotional education.
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Nightscape 2050 A dialogue between cities, light and people in the future
Berlin > Singapore > Hong Kong > Tokyo From August 2015 – June 2016, the Travelling Exhibition of Light, an event organised by LPA, was hosted in four cosmopolitan cities: Berlin, Singapore, Hong Kong and Tokyo. The exhibition aimed to explore the interactions between people, light, and cities in the year 2050, and LPA hoped that it would serve as a remarkable opportunity to animate thought and spark discussions with regards to the future interrelationship between cities, light and people. Around 35,000 visitors enjoyed the exhibition, which included a Lighting Pavillion, interviews with five masters of light, and panels illustrating the lighting heroes and villains of Berlin, Singapore, Hong Kong and Tokyo made by children. LPA hopes the exhibition encouraged an engaging dialogue to exchange ideas on the delightful future of light and people throughout the world.
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PROFILE
Lighting Design for Disaster After the great earthquake and tsunami hit eastern Japan on March 11, 2011, as a group of lighting professionals, LPA wondered what kind of support could be offered to the affected areas. This led LPA to start of The Earthquake Disaster Relief and Support Project. Since then, LPA has held lighting events and surveys together with architects, university professors, students and local people in the Tohoku region of Northeast Japan.
Lighting Design Proposal for time of disaster LPA wanted to make a proposal on lighting design in times of disaster and of recovery. First of all, LPA held an in-house competition and came up with 32 unique ideas. These were then compiled into four proposals: SOS Light Station, Emergency Light Goods, Urban Lighting system against Disaster, and Hope to the future ~Lighting for Hope~.
LPA continues to hold internal workshops to brush-up ideas in the hope that some ideas will come to be realised. Details of some proposals can be found at: https://note.com/lpa_revivng_pj/m/m1c4b95c9743a
Akari Cafe, Akari Cinema, lighting survey in temporary housings The earthquake and tsunami destroyed not only houses and infrastructures but also local communities. There was a situation of temporary housing in a space with little socialising space. Also, the darkness caused by the damage led to a depressing atmosphere at nighttime. To make the situation better, LPA set up a temporary outdoor café kit with lighting set up in collaboration with relative teams. The kit was used at the temporary housing area during summer, at a local
summer festival, and local theatre revival after it was destroyed by the tsunami, among other locations. A children’s lantern-making workshop was set up for when the kit is used. LPA has also been undertaking a hearing survey for those affected by the disaster, and a “disaster-defence lighting workshop” to explore knowledge of around the needs of lighting in emergency conditions.
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Lighting Design and the Circular Economy: What Does the Future Hold? As the drive for more sustainable approaches continues, IALD members discuss what the lighting industry can do to operate within a circular economy.
I
n Europe and other parts of the world, sustainability is gaining attention. Owners and investors into new
buildings want to offer the users
and building occupants healthy and
sustainable experience. At the same
time, policymakers and regulators are
continuing to push industries to transform their products
and operations to be greener and climate neutral. Welcome to circular economy.
Circular economy is a response to the current linear economic system: We extract materials from the
environment in unsustainable ways, we manufacture products not designed to last and we dispose of used
products in a way that ends up in landfills or incinerators. In fact, 80% of products’ environmental impacts are
determined at the design phase and packaging alone is
responsible for 173kg of waste per inhabitant (in Europe
in 2017). And by 2060 material use is expected to double if
there is no change in today’s system of use and disposal in the economy.
A circular economy is based on the principles of designing out waste and pollution, keeping products and materials in use and recycling end-of-life products back into the economy.
Source: A Circular Economy Handbook for Business and Supply Chains: Repair, Remake, Redesign, Rethink by Catherine Weetman
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IALD
“We are actively trying to select our suppliers based on sustainability criteria. However, the problem we face is that often manufacturers cannot guarantee sustainability in their supply chains.” Kevan Shaw, KSLD | EFLA Lighting Design
Linear Versus Circular
The IALD has studied how lighting comes into play in these trends and published a position paper on the role of lighting designers in
control the lighting, the industry will need to make sure that the software gets updated during the whole lifetime of the product.
Outdated software could make products obsolete too early before the physical end of life of the luminaire, creating waste unnecessarily.
Kristin Bredal, Director at Zenisk, says her clients are eager to reuse second-hand equipment in their projects. “Currently the problem is with warranties for second-hand products. There needs to be a
way to fix this and we as lighting designers have the responsibility to make the right recommendations to our clients as to what fixtures and lamps could be reused.”
circular economy (https://iald.me/circulareconomy). The paper
A Way Forward
between policy development and practical application.
sustainability and durability of products and materials? Hopefully
positions the lighting design profession at important crossroads
Focus on Sustainable Products
As the need for sustainable lighting solutions rise, lighting
designers will increasingly look to specify products that fulfil this
criterion. However, how will lighting designers be able to judge how sustainable a lighting product is? Increased transparency from the
industry about the materials used and the efficiency of their products will not be enough. Kevan Shaw, Design Director at KSLD | EFLA
Lighting Design, says: “We are actively trying to select our suppliers
based on sustainability criteria. However, the problem we face is that often manufacturers cannot guarantee sustainability in their supply chains. Manufacturing in areas where environmental and labour
standards are lower, or unclear treatment of waste, opens a question in many industries and lighting is no exception.”
Today, electronic products carry labels scoring them on their energy
efficiency. If planned regulations go forward in the EU, every product on the market would have a sustainability label displaying a score
according to different criteria. It would encompass rating of products
based on criteria such as product life cycle assessment of their carbon footprint (the emission produced during manufacturing and use),
reparability (the ease of taking a product apart and fixing defective
parts) and recyclability, in which separable material composition that avoids harmful substances such as mercury or adhesives will be key. Another parameter of products’ eco-design is their durability.
One of the keys to using products for a longer period of time is the
Does this mean lighting designers will need to become specialists on not, if the regulators manage to come up with efficient legislation resulting in clear criteria on product sustainability that will be reflected on product labels.
Cobham points out that the whole industry needs to focus on
providing information. “There is also a lot of misinformation out
there, some companies are making claims on sustainability that are not necessarily true. We need to find a method to prevent that.”
These labels would guide consumers, in the same way as they could
guide specifiers, to select lamps according to sustainability criteria. If these strict criteria eventually find their way into lighting
products, lighting designers will be able to continue to focus on
good design and quality of light – creating atmosphere and light
induced wellbeing. But even so, the responsibility of lighting design professionals is larger than that.
Carla Wilkins, Senior Partner at Lichtvision Design, believes lighting designers are well placed between clients and the lighting industry,
communicating with both to find sustainable solutions: “We should not be afraid to push both the industry and our clients to make sustainable choices.”
“Lighting designers are well placed between clients and the lighting industry, communicating with both to find sustainable solutions.” Carla Wilkins, Lichtvision Design
availability of spare parts for repair and maintenance. “Our main focus is both longevity and performance of our products,” says Matthew Cobham from Erco.
Meanwhile, Shaw is convinced that lighting designers should assume
lifetime guarantee, a luminaire will need to come with a guarantee
refurbishments of buildings. Nevertheless, it will be up to lighting
For specifiers, to choose the lighting product with the longest
that there will be spare parts available. However, for manufacturers,
it might be difficult and costly to keep a stock of many different parts for many products for several years.
Shaw sees the solution in digital technology, such as 3D printing.
“Stocking spare parts for a long period of time is not practical for the manufacturers and also has its environmental impact. But if
manufacturers store digital models of the products and their parts,
it will be fast and efficient to simply print out a replacement part on request.”
Similarly, as more and more luminaires contain software used to
the role of advisors on what existing products could be reused during manufacturers to innovate fast enough to take into account changes in regulations, which will incorporate eco-design requirements on reparability, durability or on low carbon footprint.
Even though the road to circular economy is long, many have
already started the drive by engaging in these critical conversations central to sustainability, durability and reusability. Clients,
contractors, lighting designers, suppliers and others in the lighting community all need to join this discussion as the future of circular economy evolves. www.iald.org
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The Nighttime Traveller A new research project has been established to examine the ways in which women interact with the urban environment after dark. We speak to the research founder, Colombian lighting designer Cristina Gil Venegas, to find out more.
F
or many in the lighting design
interest in urban design and outdoor lighting.
added bonus of plenty of global
environments, and in the course of my lighting
sphere, the job comes with the
travel. Whether it’s working on projects overseas or attending international conferences,
many of us are lucky enough
to occasionally swap the office for the airport and see the world (before 2020 had other plans).
With this luxury of international travel comes
the opportunity to experience different cultures, immerse ourselves in new environments and
discover new cities. However, while it can be exciting to explore places that we’ve never been to before, for some, this can come with an added sense of caution or trepidation, especially once night falls.
This is the basis for a new research study from
Colombian lighting designer Cristina Gil Venegas,
entitled The Nighttime Traveller. Based in Bogota,
Colombia, Venegas has travelled around the world,
studying in Buenos Aires, Barcelona and Stockholm, and throughout her career has always had an
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“I have always been keen to work in outdoor
design studies, I began to feel an interest in working in urban environments at night,” she told arc. “During the first urban intervention I saw in
Barcelona, during the Llum BCN Festival for Santa Eulàlia, I felt really inspired by the poetical way Barcelona’s old town was transformed through
lighting and the way that locals and tourists of all ages enjoyed the outdoor activities. Even though
those activities were mainly contemplative, people’s mood transformed just by walking by and admiring the city, seeing Barcelona through new eyes.
“Since that moment, I wanted to inspire other
people to explore the night with that curiosity I saw in people’s faces during the Llum BCN Festival,
contrary to the current panorama in which most
citizens almost don’t interact with the urban night. I wanted to become a spokeswoman for the endless opportunities of urban lighting design to create a sense of wellbeing at night.”
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women in lighting
Venegas first came to lighting via architecture;
Venegas explained that it was once she began
Urban Environmental Emphasis at Santo Tomás
she realised what her true passion was. “During
she completed a degree in Architecture with
University in Tunja, Colombia, during which she spent a year studying abroad at the Universidad
de Buenos Aires (UBA) in Argentina. “I had some hints of lighting design while I was studying in
Buenos Aires and saw a class given at UBA,” she
explained. “I was intrigued by the description of
that class, which was on the relationship between
light and spaces, but I didn’t take the class because it overlapped with other assignments I had already enrolled on. It wasn’t until later that I realised
that class was given by a really talented lighting designer, Eli Sirlin.”
Years later, while Venegas was working as a junior architect in an architectural heritage studio, she read an article on the ability of light to change
the perception of buildings. “The article was on a group of people who stopped heritage buildings from being demolished in New York by lighting them up and doing an ephemeral intervention.
“Since that moment, I felt inspired by light as an
‘invisible’ tool that can transform a place with no visible interventions.”
This led Venegas to research lighting design
postgraduate courses, which eventually led her to
a one-year course at the Universitat Politècnica de Catalunya (UPC) in Barcelona, called “Proyectar
la luz”. “I found this one-year programme a good way to understand light, from its basic concepts
between light and shadow, then its application in
indoor and outdoor environments, and finally the
possibility to explore my own interests during the development of a final project,” she continued.
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researching lighting design as a career choice that my last years as an architecture student and at the
beginning of my work experience, I was interested in urban design and the job opportunities that I had. But at the time, even though I enjoyed my
work and career, I didn’t feel the passion I used
to see in my bosses. When they were working you could notice how much of themselves they put in
their projects, so I realised I hadn’t found my own path yet.
“When I started researching lighting design, I
began to feel that passion that I used to see in my bosses, so I followed my intuition and I believe
that with the passing of the years, this passion just increases.”
Finally, in 2017, Venegas enrolled in the Master’s
programme at KTH in Stockholm, Sweden, “driven
by the recommendations of some lighting designer friends and my curiosity of living in a country with
such drastic light conditions”. Here, she expanded on her interest in urban design, researching
outdoor lighting and focusing her thesis on how light can positively influence and encourage
peoples’ engagement and interaction with the urban environment at night.
“For this, I did field research at Norrmalmstorg
and Biblioteksgatan in Stockholm, and a literature review about two case studies in Colombia and
lighting designers’ approach to urban projects.
I called this research Light as a tool to structure
urban planning: a socially-oriented approach. My
tutor for this was Florence Lam, Global Lighting Design Leader at Arup,” she explained.
The outdoor space of the Guggenheim Museum in Bilbao, Spain, taken by Venegas during her studies at UPC in 2013. The space shows how ambient lighting can create a welcoming atmosphere without being over lit.
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The result of her thesis, Venegas continued, was the proposal of
unless asked, not to speak up, not be so noisy or demanding, and
guideline was to establish the framework to structure urban lighting
“But then I discovered that the fear of the night was a shared
a guideline to approach urban lighting design. “The aim of the
proposals, by identifying the attributes in light that encourage people to dwell and explore cities at night.”
This research ended up being a great influence for Venegas in
creating The Nighttime Traveller. She explained: “During the
research process of my thesis, I was able to study qualitative and
quantitative data, and see the way people move through urban spaces
differently during daytime and nighttime, and also to study how their paths and pace change in those two moments of the day.
“Additionally, when I was studying how facial perception changed
under different light conditions, I realised how we as citizens avoid certain spots of the city due to the fear of not being able to identify
among all those ‘nots’, not to go out outside alone at night.
feeling. As women, we hear statements such as ‘you should not walk alone at night outside’, or ‘you have to avoid wearing provocative
clothing’. These statements can be more or less extreme between
countries as a result of social constructions that translate into norms and boundaries.
“Most of us were raised with that fear of the night, in cultures where statements exclude women from enjoying the nighttime, and where we are judged if we do.”
Venegas even references Michelle Obama – a spokeswoman for freedom and empowerment – who herself wrote in her book
Becoming, that she “knew never to walk alone at night”.
other people because the light position makes us perceive faces with
“After a while of exploring that shared feeling of fear and my own
“That process made me enquire about my own way to explore the
trying to be as invisible as possible in the urban nighttime. We
strong, dramatic shadows.
night and start asking some friends about their experiences. I began to ask about how, when recognising landmarks was easy, through
planned lighting design, those places became more interesting for people to explore.
“Then, I realised how different the perception was between women and men about the urban night, and from that, I decided to inquire more about that situation.”
The contrasting perception in the way that men and women feel
about the urban night, Venegas believes, stems from deep-seeded societal attitudes. On the Nighttime Traveller blog, she writes:
“In my youth, I started to become aware of the difference between
women and men. In the beginning, I was not sure if that feeling was just my own construction because of my shyness, or the fact that I
grew up in a Catholic school, where the norms were very clear about
‘how a lady should properly behave’, referring to not give her opinion
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feelings, I came to the conclusion that, as women, we have been
use this as a sense of self-protection; as a way to remember those
behavioural norms that society has imposed on us, in order to protect ourselves from harassment, and because we know if we are attacked, society is going to blame us for provoking these situations – this is something we continually see,” Venegas continued.
“I became aware that the way we move, the speed of our pace, the
emotions we put in the urban journeys, suddenly became controlled and supervised by external eyes, and those eyes are prepared to
judge us if a misfortune happens to us. In this situation, we become aware as women that our gender, that social construction, instead of including or integrating us into society, has instead limited our interaction with public space due to those prejudices.”
It is these attitudes that inspired Venegas to set up The Nighttime
Traveller, to try and ascertain with more clarity how public spaces are perceived by women, and what can be done to create more inclusive
women in lighting
“I hope this research can contribute to raising awareness about how different women perceive and explore the urban environment at night, and to communicate how culture influences our confidence to explore the world and stand by ourselves as women.” Cristina Gil Venegas
2
public spaces at nighttime.
awareness about how different women perceive
try and allow for a more open and transparent
and to communicate how culture influences our
To do this, she created an anonymous survey to dialogue. The survey is divided into four sections as a way to structure the outcomes: General
Information, Emotions, Travel and Comments. In the first section, Venegas looks to obtain
general data about the women taking part in the survey, to guarantee that the sample includes perspectives of women from different socio-
economic backgrounds and age groups. In the second, Emotions, she seeks to identify how women interact with public spaces at night,
emphasising the perception of safety and the main obstacles they identify when exploring cities at
night. The third section, Travel, asks participants
about their preferences when travelling, and hopes to gather qualitative data about whether the topics they search before travelling are connected to the obstacles they identify earlier in the survey. The
final section is more open for women to share their experiences of cities after dark. The goal for this
section is to explore qualitative information that
can then open the discussion up to future research. Venegas plans to present the outcomes through data visualisation that is easy to understand,
communicate and interact with, and with that data, “adapt and design tools that decision-
makers, designers and other professionals could
use to design collaborative projects with citizens from a gender perspective approach”.
“I hope this research can contribute to raising
and explore the urban environment at night,
confidence to explore the world and stand by ourselves as women,” she added.
“I believe light is a powerful tool to communicate,
1. The Secret Garden, an outdoor lighting installation that Venegas created alongside four classmates during her studies at KTH in Stockholm. 2. While working on her thesis at KTH, Venegas carried out field research on site at Norrmalmstorg, Stockholm. Using an app called AftabLuminance, she gathered information about facial recognition at diverse points of the square.
so I want to create and encourage other designers to create urban ephemeral interventions with the data of the outcomes of my research, to
communicate to citizens, decision-makers and designers the female perception of the urban nighttime.”
It is an issue that Venegas clearly feels passionate
about, and from the many women around the world that have already participated in the study, it is
clear to see that this is a global concern. “I believe it is a situation that as women, we are aware of,
but it still has many cultural barriers that make us avoid those conversations,” she said.
“One of the insights this process has brought to
me was how different women feel when they travel abroad compared to the way they do in their own cities. I have identified this situation mainly in
Latin American countries. So far I have found that, in general, women are cautious to explore urban spaces at night, and in countries such as mine,
Colombia, this situation is even more evident.” While Venegas’ research gauges how women
perceive the urban environment at night, she has
also begun to consider what lighting designers can
do to help create more safe spaces for women after dark. “I have read about how we, as women, rely
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women in lighting
“I want to become a spokeswoman for the endless opportunities of urban lighting design to create a sense of wellbeing at night.” Cristina Gil Venegas
1
2
3
more on a sense of location and facial recognition
atmosphere that allows all of us to grow together,
I believe that as lighting designers, we can
continued.
to explore urban environments at night. So
contribute by lighting landmarks to turn them into reference points when we navigate through cities
at night; light pathways to guide the flow through a visual sense of direction; and also to take care
about the light direction in the urban environment, related to how citizens will perceive each other’s faces,” she said.
“With that in mind, I believe it is not just a
matter of how much light, but where the light is
coming from; what areas, buildings or elements to accentuate; and what the best lighting positions are that allow people to recognise other faces without distorting facial features.
“Additionally, the idea of designing urban
environments at night around the activities people do would promote more vibrant spaces at night,
and with more people engaging outdoors comes a feeling of more safe spaces.”
Venegas’ research is still open (scan the QR code at the end of the article to get involved), and she is hopeful that, through the support of Women in Lighting (WiL), more women will take part.
“WiL has given me a lot of support in sharing my
research, and also brought me the opportunity to be in contact with other women who have either been researching this topic, or who have some
interest in it. I believe these networks create an
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and I am really delighted to be a part of it,” she
Looking forward, as Venegas continues to work
on her research, she is already making a number of plans based on the outcomes she has already received.
“I am planning some ephemeral interventions with the outcomes of the research for raising awareness about this topic to a wider group of people.
Additionally, on the Nighttime Traveller website,
I am making the outcomes available through data visualisation, and will share a report with more detailed information for lighting designers and other professionals interested in the topic. My
aim is for this information to be shared on other platforms to reach a bigger audience,” she said. “I am also adapting and designing tools to help
designers to go through the design process, taking into account the gender perspective, and working
with citizens to design collaborative projects. The
goal with these tools is to encourage professionals to use them during their design process, and get
feedback from them to adjust the tools to diverse needs and locations, and make them available to anyone who wants to use it.
“I also want to encourage other women to share their own stories – nobody knows who they can inspire.”
www.nighttimetraveller.com
1. The Holbeinsteg Bridge during Luminale 2018 in Frankfurt, Germany. Part of Venegas’ research has looked into how light festivals can act as a means of “activating urban vitality” at night. 2. For her thesis at KTH, Venegas investigated how light can positively influence and encourage engagement and interaction with the urban environment after dark. Part of this thesis involved field research at Stockholm’s Norrmalmstorg (pictured) and Biblioteksgatan. 3. While studying at UPC in Barcelona, Venegas visited the Llum BCN Festival for Santa Eulàlia. Here, she says that she “felt really inspired by the poetical way Barcelona’s old town was transformed through lighting, and the way that locals and tourists of all ages enjoyed the outdoor activities”.
Remote Control Assistant Editor Sarah Cullen sits down with Francois Roupinian of Lightemotion to discover the magic behind the remotely installed scheme for Shanghai’s Christian Dior Designer of Dreams exhibition.
T
he turn of events the world has experienced this year
has undoubtedly had an impact on everyone, globally. But from it, we have witnessed an increasingly
staggering positive response from industry creatives,
and the new lighting design scheme for the Christian Dior Designer
PROJECT DETAILS Christian Dior Designer of Dreams Exhibition, Shanghai, China Client: House of Dior Curator: Oriole Cullen, V&A Museum UK Lighting Design: Lightemotion, Canada Exhibition Design: Agence NC Nathalie Crinière, France Graphic Design: Anamorphée, France Audiovisual Design: La Méduse, France Photography: Dirk Weiblen
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of Dreams exhibition in Shanghai by Lightemotion is no exception, with its unique Zoom-based installation.
Beginning its journey back in 2017, the Christian Dior Designer of
Dreams exhibition launched at the Musée des Arts Décoratifs of Paris before moving on to London’s Victoria & Albert Museum, and arriving at Shanghai’s Long Museum West Bund in 2020.
Canadian-based lighting firm Lightemotion was assigned the brief of illuminating the display by Nathalie Crinière in Paris, who designed the exhibit, which comprises more than 270 Haute Couture
silhouettes alongside original documents, accessories and artworks by contemporary Chinese artists. A complex and dynamic lighting
project
scheme was created to interact with and highlight the pieces in a
possible for a smooth transition to working remotely on the lighting
put together after the Coronavirus was declared a global pandemic in
the dresses in the rooms, and it was only when the placement of each
sculptural aesthetic for what was the first big international exhibit March. As such, the designers embarked on a unique and groundbreaking approach to the task by establishing an entirely remote team to implement the scheme.
Professional camera operators helped to facilitate an accurate
portrayal of each room, from their colours and tones to the size of each space. A number of cameras were also installed on tripods to give the
team simultaneous virtual views of each room from various angles. At the same time, more cameras set at eye level moved through the
rooms and around specific items that needed to be lit to complete the
full picture for the designers, giving them a chance to understand the overall visitor experience and each item’s setting in the rooms.
Crinière, curator Oriole Cullen and the Dior teams had worked on the project for months leading up to its arrival in China, which made it
install. The process of the installation started with the placement of exhibited item with the remote teams by Cullen was finalised that the lighting process started.
Lightemotion was then connected to local staff, Crinière, the Dior
team, Cullen, and audiovisual designer La Méduse via a Zoom link,
which was left open at designated times for all members to access. The virtual meeting room was specifically for the usage of the
lighting design team; however, it proved a useful tool for all parties
to participate in consultations and voicing their opinions cohesively. The open link – typically open for up to 12 hours a day – made it possible for the Lightemotion team to consult directly with the
necessary people when making critical decisions - when lighting a
specific dress, for example. The team could witness multiple lighting options and scenes that would highlight varying aspects of the dress
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project
Lightemotion worked closely with all those involved in the new Dior exhibition to create a dynamic and submersive lighting scheme. Video projections and sculptural architectural lighting transformed the exhibit, highlighting new details and perspectives of the classic, iconic items of clothing.
“What unified the show was the extreme quality of lighting and how it would sculpt the objects. Each artefact was treated like a star...” Francois Roupinian, President, Lightemotion
and decide together on the most fitting outcome.
Francois Roupinian, President and Director of Design at
Lightemotion, reflects on the collaboration with Crinière and the formation of the successful project: “It has been an amazing
collaboration with Nathalie and her team, curator Oriole Cullen, and with the Video artist team La Méduse. From the beginning, we were
able to sit with everyone and bring fresh new lighting ideas to really create that sensory experience. Nathalie also wanted to be able to tell the story of the show with light and wanted us to be able to
create a subtle environment that would serve the purpose and the experience of the show.
“The concept was to create a sensory experience with light that
would evolve throughout the show. I wanted to put the artefacts on
stage and illuminate them in a way where they could tell a story and create a feeling, an experience that the visitors feel when they see the display. Also, the environment of each of these spaces was crucial; we went into detail to make sure that even the general
lighting would fit with each theme and that the public always had a sense of being submerged and part of the environment. It is a very submersible experience,” he said.
“What unified the show was the extreme quality of the lighting and how it would sculpt the objects. Each artefact was treated as a star, as a personage.”
Understanding from the outset that communication was key to making this project a success, Roupinian saw the project as an
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The design team at Lightemotion highlighted specific details in display items and created spotlight focuses, purposefully avoiding general washes of light, creating a contemporary and striking overall finish in the cohesive exhibition.
opportunity to create a platform for everyone to be directly involved,
setup. Good lighting design is a process where you need to be
new way of working for us. I established from the get-go a level of
never forget that we are the magic wand that is meant to serve a
like pieces of the puzzle coming together. “The challenge became a communication where everybody would be involved and be part of
the process. The client, the House of Dior, the exhibit design team, the auiovisual designers, and the installers were always invited to
join us, to pop up in our Zoom sessions. So, these sessions became
the pivotal point for everyone, and we were able to get some amazing human interaction. I do not believe in working solo and for me, 90%
of a project is the human factor. Everyone felt part of the process and it made the artistic elaboration quite unique and collaborative.
“Our team in Shanghai was incredible. They were our eyes on the
ground and we could not have reached the level of quality without them. They were engaged and generous; the local team is a major part of the lighting success of this project.
“The person in charge of cultural projects at Dior was involved
almost every day in the Zoom sessions. We would ask her to pop in
for a few minutes, ask her feelings and her level of comfort on how
we were presenting the pieces, which was very different from what
they had done in the past,” he added. “I think the key was to always stay connected with the curator and the Dior teams and be sensitive
to their needs and business objectives, and be flexible and adapt what we were doing to the challenges they may encounter during the
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generous - it has to be heart driven and not ego driven - we must purpose, the exhibition’s purpose, not ours.”
When speaking to arc about the difficulties the project encountered, surprisingly the list was very short. With the on-ground support of the Activation team and the constant level of communication, the
Lightemotion scheme was installed successfully and with minimal difficulty. One of the only unfortunate consequences, as a result of the global Covid-19 situation, was the team having difficulty
sourcing the desired fittings for the installation. As such, many
fixtures were replaced with more convenient local alternatives to combat this obstacle.
Another matter they had to address during the installation was the
lack of track or support system for fixtures in the museum. Roupinian explained further: “We had to create an extensive study and layout of additional tracks and pointing structure to host the lighting needed for the project. Also wanting to use DMX, we had to come up with different scenarios, from wired DMX, to wireless DMX systems.
“Also, part our design was to take advantage of the beautiful brutalist architecture of the space by illuminating it and making it part of the
background of the show. So, cable placement was critical; we did not want to have a busy ceiling. Furthermore, La Méduse created an
project
elaborate, immersive video mapping environment,
deliver a Magic exhibit in Toulouse, France this
in some areas so the video could take full
and in Canada, an architectural project at
so it was important to have minimal intervention advantage of the surfaces.”
Reflecting on the successful installation,
Roupinian added: “I feel the lighting brings a
subtle aura throughout the show and embraces the visitors from the different spaces - we say in
French “le fil conducteur”, which means it is like the connecting thread of the project. For Dior, a
major difference was the way the dresses were lit up. I used a very sculptural approach with the
lighting, we never used just a general wash of light. This technique made the dresses pop and it
brought emotions. It was not just about creating
beautiful environments but bringing that special attention to each piece so the visitor could really
connect with them and feel something, maybe an emotion that the creator had when he designed that dress.”
Moving forward, Lightemotion is now
undertaking numerous projects utilising its
remote experience over Zoom, and is due to
December, as well as a major show in Singapore Parliament Hill in Ottawa, all created remotely. “We have developed a level of connectivity
working remotely that does not affect or reduce
the quality of the projects. In the way we produce our brief / mood boards and our narrative, we are
able to give enough information so that the team on site feel well-equipped. We are present every
day via Zoom. I see a major market opening up for us; we already have a very extensive experience
and portfolio of international projects, and now our clients and future ones can see that we can
deliver the same quality even remotely. That is a major selling point as it dramatically reduces costs,” concluded Roupinian. www.lightemotion.ca
lighting specified Chauvet Colorado Zoom EK Mini Profile MZ WW ETC Mini Leko iGuzzini 2 cell downlight LED Linear LED strip Loupi Spot C Monopoint Lumenpulse Lumenfacade LED grazers Lumenpulse Lumenfacade Nano Wallwasher Nova SS 349 Omnify Omnisheet Wac Lighting Silo Focus
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Wonder of the World Long considered the most iconic monument of Ancient Greek culture, the Acropolis is an architectural marvel overlooking the city of Athens. This landmark is now bathed in a new lighting scheme, designed by Eleftheria Deko.
PROJECT DETAILS The Acropolis of Athens, Athens, Greece Client: Greece Ministry of Culture Donor: The Onassis Foundation Lighting Design: Eleftheria Deko Lighting Design, Greece Lighting System Development & Programming: Demos Kapetanelis, Greece Photography: Gavriil Papadiotis
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1. The new concept for the Acropolis of Athens, proposed by Eleftheria Deko, called for a dramatic re-lighting of the Sacred Rock, the fortification walls, and the monuments that sit inside the citadel. 2. A UNESCO World Heritage site, the Acropolis and its monuments are considered as an international symbol of Greek civilisation. 3. Deko requested customised luminaires from Erco based on its Lightscan fixture to illuminate the Acropolis and its monuments. 4. The lighting designers used a range of different lenses, from elliptical to wide flood, oval flood, wall washer, etc, to accurately focus light on the monuments where needed, while avoiding scattered light and light pollution.
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P
erched atop a hill known as Sacred
previous lighting scheme, then we set up our
the Acropolis is an ancient citadel
approach.”
Rock, overlooking the city of Athens,
intentions and concluded with a whole new design
housing the remains of several
The philosophy of this new approach was applied
buildings of great architectural and historic
to the lighting of the Sacred Rock, the fortification
A UNESCO World Heritage site, the Acropolis is an
the Propylaea, the Temple of Athena Nike, the
viewed by many as an international symbol of
Stoa of Eumenes, the Shrine of Dionysus, and five
Acropolis considered some of the most famous
first time.
In late 2019, the Greek Ministry of Culture
Ministry of Culture and to the Central
lighting scheme for the Acropolis hill and its
six-hour presentation. The new approach of
Onassis Foundation, who offered to fund the entire
from the wall and the monuments through lighting
offices to submit their proposals for the
Because of the immense cultural significance of
In January of this year, Athens’ own Eleftheria
revealed that when working on the new lighting
Foundation for the project. Although the project
things in an entirely new way.
lighting study, Deko went one step further,
project, I felt I had to forget all I knew and start
“We didn’t receive a brief for the lighting design,
the space and understand the lighting
and restrictions from the archaeological
observer of the Acropolis.
Deko explained.
during the different phases of the day; in the
presented to the technical study, we studied the
dusk while the sun sets, under the moon and in
significance, including the Parthenon.
wall and the monuments, including the Parthenon,
iconic landmark for the people of Athens, and
Erechtheion, the Ancient Theatre of Dionysus, the
Greek civilisation, with the temples of the
other monuments that were illuminated for the
architectural landmarks in the world.
“The new lighting study was presented to the
announced to the public the need for a new
Archaeological Council in March 2020 during a
monuments. This relighting was supported by the
distinguishing, for the first time, the Sacred Rock
process, and invited distinguished lighting design
was welcomed and approved unanimously.”
monumental project.
the Acropolis to the people of Greece, Deko
Deko Lighting Design was selected by the Onassis
concept for the landmark, she had to approach
initially called for an improvement of the existing
“This one was so different from every other
proposing an entirely new lighting concept.
from scratch,” she said. “I had to feel the energy of
but we received a technical study with guidelines
requirements, so at the beginning I became an
department, which we had to apply to our study,”
“I spent many hours observing the monuments
“We respected all the guidelines that were
morning, at noon when the light is harsher, at
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complete darkness. Just to try and imagine
the other hand, are worship, art, and if I may
the project to be carried out.”
sculptures in different versions of natural
illuminated in the same way – apart from the
Heritage site also meant that accessibility on
teacher.
different materiality. The Rock is made of
designers to overcome. Deko explained
of the city and its coexistence in today’s
materials and the monuments are made of
hours due to the touristic archaeological site,
the Parthenon are visible from many points
This differentiation of materials was the
positions for lights that were difficult to
away from the site to see the Acropolis from
research, where they carried out many tests
same positions as the previous lighting
“When you are on the hill, you are
firstly for the Parthenon to reflect its light.
serve our lighting study, but for every new
and awe for the Acropolis itself. As you move
Temple of Athena Nike, the Propylaea, the
official approval from the Central
wall and the monuments. From these
the wall, in order to make them reflect their
ephorate. We had to submit detailed
elements needed to be differentiated. Each
highlight the details and also create depth of
“Another important element to mention is
inspired us to create those lighting layers
distinct from afar,” Deko added.
new lighting concept, we changed all the
differentiations. In the previous scheme, an
terms of its geographical scope, but also its
in order to comply with the new available
almost orange light colour for all, the
to work to a very tight schedule, with 45 days
tunable white luminaires, etc. The challenge
was no differentiation, which in my opinion
she was given just nine months to complete
electrical network, the replacement of all the
“The idea of differentiation was clear and
was only exacerbated as according to Deko,
ones, there was not allowed to be a black out
existed and exists before human
etc, was in fragments, so our team had to
monuments. That was a big challenge as the
effort, the craftsmanship. Monuments, on
and modify it into the necessary forms for
strict and organised way in order to achieve
the reflections of the stone and marble
say, mystery. These elements cannot be
The historical standing of the UNESCO World
light. That observation was the guide and the
difference in their substance, there is a
site was a challenge for the lighting
“Of course, I had to see the Acropolis as part
one material, the wall is made of other
further: “Firstly, the restriction on visiting
urban landscape as well. The Acropolis and
the luminous Pentelic marble.”
and then the accessibility to the new desired
of the city, so we were frequently walking
starting point for Deko and her team’s
reach. On some occasions we had to use the
far away, from different neighbourhoods.
to achieve the most appropriate shade,
scheme, and in others create new ones to
overwhelmed by the feeling of admiration
This same approach was replicated for the
position or new element, we had to get
away, you realise its gradations: the rock, the
Erechtheion and also the Sacred Rock and
Archaeological Council and archaeological
observations, I realised that these three
own light. “Moreover, we wanted to
sketches for everything to get approval.
bears the symbolism of its time and that
field in order to make the different volumes
that except for the implementation of the
through colour temperature and intensity
Although an immense project, not just in
electrical panels and wiring of the Acropolis
emotional colour was chosen; a warm,
cultural significance, Deko and her team had
technology and products – DMX control,
monuments, the rock and the wall. There
in which to deliver the lighting study, while
was that throughout the change of the
was necessary.
the whole project. Such a short timeframe
old fittings and the installation of the new
essential to me because the Rock is nature, it
“the available material, plans, 3D models
of the site, neither the Sacred Rock nor the
intervention. The wall represents the human
dedicate time to collect the proper material
whole installation had to be planned in a
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an unnoticeable transition from the old to the new,
DMX control provides independent control of every
lights off.”
improved energy efficiency, reducing power
luminaires from Erco, alongside fixtures from
“The complexity of the site, the differentiation of
to customise a specific type of luminaire based on
for us to work with a range of different lenses,
characteristics of the new fixture are: tunable
washer, etc, to accomplish the required light
based on DMX protocol, and lastly, to create a
to accurately focus the lights to the monuments
luminosity and high efficiency, while remaining
light pollution. The light only reaches where it is
Erco’s Greek representative, Smeka, was onside
Michalis Karousis, Vice President of Smeka, added:
during the mock-up and testing period on site.
Parthenon, the Propylaea and the wall, and the
temperature from 2700-5000K was based on the
several on-site mock ups. The availability of a
white to illuminate each monument, with 12
specify the ideal luminaire.
used across the Acropolis monuments. Meanwhile,
use the minimum amount of energy possible.
possible for Deko to define the optimum light
efficient LEDs. Thanks to precise optics and
on-site tests.
illuminate only the desired areas, even over long
fixtures specified, which allowed them to achieve
use of energy.”
and textures of the marble and stone, while the
team is the same challenge that we have all faced
and deliver the new lighting without turning the
fixture. The transition to LED fixtures also led to an
The new lighting scheme called on a selection of
requirements by around 60%.
Linea Light Group and Griven. Deko requested Erco
heights and structures, meant that it was essential
one of its existing products – Lightscan. “The
from elliptical to wide flood, oval flood, wall
white from 2700K to 5000K, the control system
distribution,” Deko added. “That way, we managed
product with maximum enhancement of
and the wall, and overall, avoid scattered light and
elegant in shape and size,” Deko explained.
needed.”
throughout, supporting the lighting designers
“The unique structural formation of the
The need for tunable white, with a range in colour
morphology of the Acropolis rock itself required
desire to be able to decide on site the exact shade of
projector with interchangeable lenses helped to
slightly different, harmonious shades eventually
“The demanding challenge of the project was to
Lightscan’s exchangeable lenses meant that it was
Energy efficiency is however, not only a question of
distribution for each mounting position through
different light distributions, it was possible to
The lighting designers also sought a high CRI in the
distances. In this way, we ensured a sustainable
the optimum illumination to highlight the colour
However, the biggest challenge for Deko and her
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1. The Covid-19 pandemic meant that Deko and her team had more flexibility to visit the site and carry out tests while it was closed to the general public. 2. By opting for a high CRI in the fixtures specified, Deko was able to achieve the optimum illumination to highlight the colour and textures of the marble and stone, while DMX controls provide independent control of every fixture. 3. The new lighting scheme called for a differentiation in illumination for the Sacred Rock, the wall and the monuments as according to Deko, each element “bears the symbolism of its time, and that inspired us to create those lighting layers through colour temperature and intensity differentiations”.
“I felt that our task was not to illuminate the site, but to make the monuments reflect their own incredible light.� Eleftheria Deko, Eleftheria Deko Lighting Design
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throughout 2020, working around the
my first visits on site, I felt that I had to leave
and night, and my thoughts were exclusively
global crisis impacted on this project: “In
lighting designer, forget my art and science,
Parthenon; I was constantly thinking about
late March, and that was exactly during the
was as if I was listening to our ancestors,
bothering my colleagues with successive
ups and the ordering of the lighting fixtures.
Greek culture. It was the greatest honour for
which was presented at the Central
Covid-19 pandemic. Deko explained how the Athens, we went into a strict lockdown in
most significant period for the project mock“The pandemic became a big challenge, as
we didn’t have enough samples, the factories
aside my knowledge and experience as a
and focus on ‘listening’ to the monument. It reading our history, baptised to our Ancient me!”
Given the historical significance of the site,
there. I was closing my eyes and ‘seeing’ the the dilemmas of the shade of the rock; I was sampling to be sure that our philosophy, Archaeological Council, would be
implemented in the best possible way.
were temporarily closed and we were facing
while it was a great honour for Deko to be
“Together with my colleagues, we studied
team continued working throughout the
sense of pressure to get the new lighting
a photometric model, and then did tests and
was a positive situation, it is that the
She explained: “The Parthenon, as many
photometric findings and define the right
many delays in the process. However, our
lockdown period. If we could say that there
involved, she added that there was an extra right.
every inch of the rock and the monuments in mock-ups at night to confirm the
Acropolis site was closed to the public during
analysts and historians have said, is perfect!
number of luminaires.”
and visit the site at any time, as well as get
the perfect – I was in awe.
official unveiling of the new scheme was
lockdown, so we had more flexibility to test permission for the workers to work
undisturbed in the daytime on the wiring
You can imagine how difficult it is to light “This monument is imposed on everyone and it creates emotions and feelings so
Once the lighting design was completed, an organised and curated by production
company Yard and V+O, together with the
infrastructure and the foundation of the
unprecedented that they lead you to a
Onassis Foundation. As part of this official
positioning and installation of the lighting
our task was not to illuminate the site, but to
the world, Deko collaborated with director
electrical installation and afterwards, the fittings.”
While the relighting of the Acropolis would
be a big project for any lighting designer, for
Deko, an Athens local, the project holds even
more significance. “Being part of this project was a multidimensional journey not only for
me but for the whole team,” she said. “From
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personal introspection. Somehow, I felt that make the monuments reflect their own incredible light.
“As a Greek citizen and a lighting designer, the Acropolis of Athens has been a lifetime
project. It has been a unique experience for me and my team. For nine months, I was
dealing with the project’s lighting every day
unveiling, which was livestreamed around Alexandros Maragos and song composer
Stavros Gasparatos to create a short film and
dynamic light show that would catch the eye, while presenting different perspectives of the Acropolis from multiple viewpoints across the city.
“From the very beginning, I insisted that the
project
“I felt that I had to leave aside my knowledge and experience as a lighting designer, forget my art and science, and focus on ‘listening’ to the monument. It was as if I was listening to our ancestors, reading our history, baptised to our Ancient Greek culture.” Eleftheria Deko, Eleftheria Deko Lighting Design
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lighting show should not last longer than three
claim that after the new lighting reveal, their
audience’s attention and not antagonise the final
their business.
“We believe that you cannot honour such a
congratulatory messages, photographs and
but you can create an exciting introduction, using
looking at a completely different nightscape,
minutes, since our intention had to captivate the new lighting of the Acropolis,” explained Deko.
monument by presenting a dynamic lighting show, the Parthenon as a symbol, and this is what we finally did.
clientele grew, with a positive financial impact on “People are sending us thankful and
comments that their daily life has changed by appreciating the beauty of the Acropolis.
“Also, the international press has applauded the
“During the ceremony, I was sitting in the VIP area,
new lighting approach and welcomed it as a fresh,
the Hellenic Republic, the Minister of Culture, and
times that we are going through globally.”
The whole time, I was crossing my fingers that
perfectionist at heart, she said that she is still
where the Greek Prime Minister, the President of
the President of the Onassis Foundation were sat.
optimistic and symbolic moment during the dark Despite the international acclaim, for Deko, a
everything would go as planned. I was so moved
“fine-tuning details”, and is “continuously
was finished, I felt fulfilled with the result, and
order to bring it to its fullest completion”.
that I had tears in my eyes. When the ceremony happy that everything went well.”
The new lighting concept for the Acropolis has,
visiting the site now and for a few more weeks in That being said, she is very satisfied with the final outcome of this extraordinary project. She
since its official unveiling, been universally lauded
concluded: “The new lighting emphasises the
community, the press, and the general public. For
the marble. The Acropolis hill is now more vibrant
around the world, from the lighting design
Deko, she believes the overall reaction can be summed up with two words: enthusiasm and
emotion. “We are constantly receiving moving and enthusiastic messages from people who live near the city centre and have a view overlooking the
Acropolis, people who are walking around the area, and even from the owners of local restaurants who
1. The Acropolis is visible from many points throughout Athens, so Deko and her team frequently walked away from the site to gain a better understanding of how it appears from different neighbourhoods. 2. The new lighting scheme for the Acropolis, according to Deko, emphasises the naturalness and pure colour of the stones and the marble, while allowing monuments such as th Parthenon to “proudly stand up again”. 3. Together with her colleagues, Deko and her team studied every inch of the rock and monuments in a photometric model, and then did tests and mock-ups at night to confirm the photometric findings and define the right number of luminaires.
naturalness and the pure colour of the stones and and to us, it feels like the Parthenon is proudly standing up again.
“I will use the words of the President of the Onassis Foundation during his speech at the opening
ceremony – ‘In dark times, when you light the
Acropolis, you bring light to the whole world.’” www.edeko.gr
lighting specified Erco Lightscan 24W Erco Lightscan 48W Erco Lightscan 72W Oval Flood Erco Lightscan 72W Wide Flood Griven Parade S 60 Linea Light Archiline_W Linea Light Periskop
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PROJECT DETAILS Shanghai Bund, Shanghai, China Client: Huangpu District Lighting & Landscape Management Authority, City of Shanghai Lighting Design: Fisher Marantz Stone, USA In Collaboration With: Uno Lai Lighting Design, Taiwan & Shanghai
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façade lighting focus
A Piece of History In re-lighting the waterfront buildings of Shanghai’s Bund District, Fisher Marantz Stone collaborated with Uno Lai Lighting Design, alongside several other local lighting consultants, to showcase the district’s history, and bring light to the people.
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1. The relighting of Shanghai’s Bund District has seen 27 landmark buildings cast in a warm white light, a strong contrast to the dynamic colour shows of the Pudong District on the other side of the river. 2. While Fisher Marantz Stone developed an overall concept for the Bund, the studio’s primary focus was on the district’s two most iconic buildings - the Shanghai Pudong Development Bank and Custom House.
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T
he city of Shanghai is perhaps best
focused on two of the Bund’s most iconic buildings
the Pudong district, with its bright,
Development Bank – while also developing an
known for the glittering metropolis of
– the Custom House and the Shanghai Pudong
colourful skyline the benchmark for
overall lighting concept for 25 additional
modern urban planning. However, just across the
buildings along the Bund, collaborating with Uno
architecture of the Bund district. A protected,
deliver the end result.
by a stretch of 27 landmarked buildings that stand
sense, Stone explained that FMS worked closely
built between 1920 and 1931, the façades of these
the original concepts: “They knew that they
orange light of high pressure sodium fixtures.
sodium was ageing. There were already different
Fisher Marantz Stone won a competition to
what they wanted to do in a larger sense,” he said.
sought to rejuvenate the buildings, and in the
one year, five years, 10 years and asked them what
Charles Stone, President of Fisher Marantz Stone
helped them write the brief.”
annually or more often, since 2013, when I began
striking new lighting concept that would stand up
judge for a different competition on the Huangpu
the “riot of colour changing dynamic lighting”, as
invited to this competition. I attended a
“Between the two sides of the river, it’s tough to
municipal authorities, a variety of constituents.
dynamism, it’s just outstanding,” he said. “Having
as soon as we realised that it was going to happen,
all built between 1920 and 1931 that represent a
whom we’ve known for many years. That was the
survived revolutions, they survived big changes in
During those eight months, FMS specifically
celebrate that history.”
Huangpu River lies the more traditional, classical
Lai and six other local lighting consultants, to
historic area of the city, the district is characterised
Although not given a design brief in the traditional
out within the wider fabric of the waterfront. All
with the municipality of Shanghai in formulating
buildings were previously cast in the warm, almost
needed to relight it, because the high pressure
However, in early 2018, lighting design studio
kinds of retrofit ongoing, so they already knew
spearhead a mammoth re-lighting project that
“We discussed with them what it would look like in
process, give the buildings back to the people.
they were trying to accomplish. From there we
(FMS), explained: “I’ve been involved in Shanghai,
The central question for FMS was how to create a
speaking at annual conferences, and served as a
to what was going on across the Huangpu River –
River involving 60km of Riverfront. We were then
Stone described it, in the Pudong district.
competition day full of presentations to academics,
name another city that has more night time
“We were awarded the project, and from day one,
that as context, we have these buildings that were
we joint ventured with Uno Lai Lighting Design,
snapshot of history – nobody tore them down, they
beginning of eight months of steady work.”
government, and here they are – we wanted to
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The best way in which to do this, Stone
dynamic colour shows of the Pudong.
the previous, ageing system of high pressure
light and use solely white light. Although, as
uniformity across all 27 façades, FMS worked
important to create a balance, and not go for
FMS explained, this was achieved within the
could deliver on their expectations.
“On a practical level, we just threw the old
“There is actually the ability to tune the
to do this in a unified manner, and to achieve
was no question, everybody knew from the
although we used some colour changing
had to be completed in a short space of
he said.
But there was a lot of testing to be done as to
choice but to use somebody with substantial
exist, perhaps in an older generation, from
close to the existing high pressure sodium
with along the whole district together.”
sodium, was important. We didn’t want to
to make it a little bit more modern, but stay
fixtures with them,” Stone added. “Signify
people. That wasn’t the only reason for
“There is a drama of expectation,” Stone
we were giving them a spec at the same time,
consider, and as long as you go down low
concept was that this was to be light for the
type, I guess you can put that in the
facsimile of sodium.”
preserving history, as well as looking
exactly, but I think they were the forerunners
laid it out for the client is, yes you could stay
comfort. All of this came together in a central
“And for the manufacturers that were
just update it with new technology and make
“And Enrique is quite right, the tunable
our two buildings, they were on the list to be
modern and bring it into true white light.
a cooler, whiter white, was driven in part by
reasons of consistency. If you call something
the only reason why it was orange to begin
To create this warm, historic feel with new
fixture at 3000K, using a different chipset
it at the time. Would they want to do it with
constrained to a CCT range from 1800K to
The only way to solve that problem is: once
had the chance originally?
the Bund, and a marked contrast to the
When it came to the logistics of replacing
low colour temperature effect would be, and
believed, was to move away from coloured
However, to ensure a sense of consistency and
sodium fixtures, Stone explained that it was
Enrique Garcia Carrera, Associate Principal at
with Signify to develop a range of fixtures that
anything too different, too quickly.
wider capabilities of tunable white fixtures.
“One of the challenges was that we wanted
fixtures away – and I say that because there
colour of the light for all the buildings, and
this result across dozens of buildings that all
first hour that it was all going to be LED,”
lights here and there, they’re set to be white.
time,” said Garcia Carrera. “There was little
“But the emotional connection that could
how close to white we could get, versus how
resources like Signify, who we could move
seeing the buildings lit in the golden light of
colour the client would allow us. We wanted
“What we ended up doing is developing new
change too quickly, as this is a project for the
within the warm range of white.”
was developing tunable white fixtures, and
tunable white, but it was a variable to
added. “In other words, our big central
so once you make thousands of a fixture
enough in colour temperature, you have a
people. That encompasses things like
catalogue. I wouldn’t call them custom
Garcia Carrera continued: “The way that we
forward, and ideas like placemaking and
of the range of fixtures that you have today.
with a very warm glow similar to sodium and
concept that we then linked to white light.
involved in the project, once they were on for
it easier to maintain; or you could make it
white, which we vary from a warm white into
used for the rest of the project, for very good
And perhaps that is the thing to do because
the history of sodium.”
3000K, and then get another manufacturer’s
with is because there was no other way to do
LED fixtures, FMS kept the white light
and different drivers, it will look different.
high colour rendering ‘white’ light if they
3000K – sympathetic to the stately façades of
you get one that you like, stay with it.”
“We showed them what upgrading to a very
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façade lighting focus
Fisher Marantz Stone worked with Color Kinetics to develop custom variants of a range of its Powercore fixtures, which were used to create a consistent, uniform white light along the Bund.
we also showed them what an increased white
to 3000K, keeping the light levels warm to bring
ended up with something in the middle.”
with the new tunable white system in place, there
that perhaps we needed to temper our use of the
a much cooler, more modern colour temperature,
white light really is, and then here you have
from all parties on what would work best. “It had
effect would be, and then we hedged our bets and “Ever since professional lighting designers realised RGB magic wand, we started thinking about what questions of what the indigenous colour should be,” continued Stone. “We agreed with the owner not to
Stone explained that there was a clear agreement been discussed in words, it had been drawn in renders, and it had been mocked up in the
conference room and on site, with yet another
the balance between warm and vintage vs crisp and
surprises,” he said.
piece of the spectrum of white, you have a long way
academics and the municipal authorities on the
modern. And even in there, if you zoom in to that
more formal mock up on site, so there were no “We walked arm in arm with the architects, the
to go from a very yellow, warm incandescent
committee, Uno Lai, our partners in design –
Garcia Carrera added: “Normally, we like to talk to
how we would do the next step. Few projects have
feeling, all the way up to a crisper white.”
the architects when working on a project like this, but of course they weren’t available at this time.
everybody was presenting a single attitude about so many incremental mock ups.”
While the project sought to update the old high
We had to go back and start thinking that not all
pressure sodium lighting to a new LED system, it
building to building the stone character changes;
existing fixtures and replacing them, like for like,
the buildings are made from the same stones, from the architects picked the stones for certain reasons, and we have to assume that the
colouration of the stone is part of the reason, so
why wouldn’t we want to be true to that at night as well as during the day?”
As such, FMS opted for a range in CCT from 1800K
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was a risk that the client could alter the lighting to
do colour, because we didn’t want to compete with
the Pudong. Instead, with white light we had to find
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out the colours of the stone façades. And while,
wasn’t as straightforward as taking out the
with new ones. Garcia Carrera explained the
approach further: “We took an approach that was almost like putting makeup on an actor’s face
where you start off with the foundation. We didn’t want to just highlight certain elements and have
everything else go dark because the contrast would
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ARCHITECTURAL & FACADE LIGHTING
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have been too much. We found ways to put a very
on it, it’ll be LED and it will be wonderful’, then
added accenting where we felt it was required. In
down. And we came back a few weeks later and they
where the original lighting was located.
wanted us to be the bad guy. He knew it had to
conduits concealed, to come from inside the
Perhaps the biggest challenge for this project was
were going to be, but because the buildings were
such as this, it’s not uncommon to be given several
possible in many cases. Instead, those exposed
for FMS, the timeframe of just eight months meant
behind parapets or cornices, and whatever we
“We had to develop a point of view and a concept
exactly the colour of the stone. Similarly in some
no backpedalling,” said Garcia Carrera. “Once the
they’re also painted.”
it was just about implementation and overcoming
can’t find a conduit, because we had scene painters
Stone added: “That’s one of the reasons people
building, painting them to match the colours of the
professional you don’t question a decision that’s
Garcia Carrera continued that, during the refurb,
challenging, but also kind of fun in retrospect.
hardware and equipment that had previously been
line, there’s no going back. You couldn’t get out to
the Bank building was illuminated with a bunch of
maybe not, we should do it another way’,
flies circling around the dome. We got rid of that,
“And the projects really do look like the renderings
the boulevard by the river and erect new poles so
continued. “They were very true, there was very
from the building to let the building breathe.”
implementation, and that’s rare. When you have
do believe a lot of people involved thought ‘we can
the way you had it originally, but after going
soft wash of light on the main façades, and then we
we’re out there saying that it all has to go, take it all
many cases, that wasn’t in the same locations as
had taken it all down – maybe the owner just
“We also wanted to have most of the wiring and
come down – we had a great client.”
buildings to the exact location where the fixtures
the very limited timeframe. For large-scale projects
occupied with active office spaces, that wasn’t
years to complete such extensive re-lighting, but
wires and conduits were integrated into groups
that everything had to move very quickly.
couldn’t fully conceal, was painted to match
and just be sure of it right away, because there was
cases the fixtures themselves are exposed, but
concept was developed and signed off by the client,
“Without the benefit of shadows from the sun, you
the obstacles.”
in bosun’s chairs slipping down the façade of the
come to FMS, because we adopt the view that as a
stone,” Stone added.
well made. So yes, a compressed timescale was
FMS called for the removal of unnecessary, dated
“But Enrique’s point is we had to go in a straight
used to light some of the buildings. “The dome of
the field on the second mock-up and say ‘well,
out-rigged arms and light fixtures that looked like
everything had to go in a straight line.”
and convinced the client to go on the other side of
that we presented early on,” Garcia Carrera
that we could get a proper aiming angle and be away
little that changed from day one to the final
“It’s one of my favourite stories,” Stone added. “I
time, you change it a lot, and maybe you go back to
just use those brackets, we’ll just put new lighting
through a whole process. We didn’t have time to go
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1 & 2. The relit Custom House (1) and Shanghai Pudong Development Bank (2) are cast a warm white light, showcasing each building’s history, and the rich colour of the stone. 3. When selecting the correct shade of white, Fisher Marantz Stone presented a range of options to the client, from a very low colour temperature to a more crisp, modern white, before eventually landing in the middle.
façade lighting focus
through that process, so we were very glad that we
Garcia Carrera continued: “It also helps to establish
wasn’t going to be a second time around.”
the other side of the river. Whereas, when you’re in
ups in Europe over the last couple of decades that
around a city centre that has a river running
approach, but not in eight months,” Stone added.
banks of the river. Here we see a unique contrast.”
integration, and imagine the bureaucracy that was
whether that be the location, the use of white
anywhere without having 42 different civic
three, that both Garcia Carrera and Stone believe
and that. This was a unique opportunity and we
been recognised by the IALD with an Award of
This unique result has brought a new lease on life
“It’s hard to find something like this elsewhere, on
buildings along the waterfront in a new light, while
period, from the same era, unobstructed by views
while there is a uniformity to the new lighting,
think that what we did with that, and how it looks
district together.
a district. It’s a destination. There is a common
character and their own individuality. The
they’re joined together; and part of what joins
what the lighting does is bring them together into
looks great.”
And the decision to solely use white light is
white light. If we had used multi coloured light,
stand out on a world stage: “If they were lit each in
be forgotten as another night of coloured lights,
red and blue and green and yellow, it would be just
mind as this white image of history. The light
That’s the key right there. There’s nowhere else in
enhancing your appreciation of the architecture,
the moment.”
www.fmsp.com
got it right the first time around, because there
the astonishing contrast with what’s happening on
“I’m certain that there are dozens of old city light
London or Paris or other cities that are based
have received the same kind of care, attention and
through it, you usually have the same feel on both
“It takes a curious blend of will, money, cultural
Indeed it is the remarkable nature of the project,
avoided somehow. Imagine doing this almost
light, the timeframe, or the combination of all
organisations all involved in it and protesting this
makes this re-lighting project – which has already
have a unique result.”
Merit – such a success.
to the Bund district, casting the landmark
the river front, all built within the same time
also paying tribute to their heritage status. And
because of the river,” said Garcia Carrera. “And I
Garcia Carrera believes that this helps to bring the
at night now, really conveys the idea of the Bund as
He explained: “The buildings bring their own
idea uniting these buildings. They’re distinct, but
architecture varies from building to building, but
them together is the lighting, and the lighting
a unified district.”
Stone concluded: “It’s a testimony to the power of
something that Stone feels makes the project
and you flew in and out of Shanghai, it would easily
a different way with bits of colour here and there,
but instead the Shanghai Bund is etched in your
another night of colour on somebody’s waterfront.
doesn’t tamper with the history. Instead, we’re
the world you can go and see it done quite so well at
and creating a waterfront for the people.”
098
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To create the warm, historic feel across the district with new LED fixtures, Fisher Marantz Stone kept the white light constrained to a CCT range from 1800K to 3000K - the variance in CCT allowing each building to shine in its own right, while still creating a sense of unity along the Bund.
lighting specified Color Kinetics ColorBlast Powercore gen4 Color Kinetics ColorGraze MX4 Powercore Color Kinetics iW Burst Compact Powercore Color Kinetics Reachelite iColor 100 Powercore Erco Tesis
PROJECT DETAILS Daiwa Roynet Hotels, Tokyo & Kyoto, Japan Client: Daiwa Roynet Lighting Design: I.C.O.N. Lighting Design, France Architect: Azusa Sekkei Architects, Japan
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façade lighting focus
The Concept of Context In illuminating the façades of three Daiwa Roynet hotels across Japan, I.C.O.N. paid close attention to each site’s context, creating a truly unique scheme for each hotel.
I
n lighting design, the old adage goes that no two projects are the same; that each has its own requirements, its own concepts and its own unique end result.
This was particularly apparent for Akari-Lisa Ishii, Director of
I.C.O.N. who has designed the façade lighting for three branches of the Daiwa Roynet Hotel chain across Japan. For these hotels, rather than create a
uniform scheme across all sites that would become synonymous with the
Daiwa Roynet brand, she instead drew inspiration from each hotel’s context
– whether this is geographical, historical, cultural, architectural or temporal context – to create something unique to its location.
The notion of context is something that Ishii believes is integral to effective lighting design, in order to avoid cityscapes from becoming repetitive and
boring. “Being bright or colourful is not a problem itself if it is an appropriate concept based on contextual research,” she said. “When you ignore the
context, you end up with a similarity all over the world. I love the exciting,
dynamic lighting in Times Square, in Shibuya, but if you only have this, it is going to be very boring. So I warn myself not to repeat the same thing everywhere in the world.”
The first hotel that Ishii was asked to illuminate was in Ariake, Tokyo. I.C.O.N. was appointed as the lighting consultant for the hotel by architect Azusa
Sekkei, who has worked regularly with the Daiwa Roynet hotel group. “At the first presentation to the client, their president admitted that he always
thought lighting was one of the key issues to create a hotel’s image, but he did not know how. Since that day, our close collaboration started, and the journey continues to this day,” Ishii explained.
The Ariake hotel is situated in a new district currently under development in
the Tokyo Bay Area – a district that was intended to be one of the core sites for the 2020 Olympic Games (now rescheduled to 2021). The hotel, which is adjoined to a shopping centre, is also at the crossing point of two major
railway stations, with a public concourse connecting the two stations. The
exterior lighting therefore needed to signify the nocturnal identity of both the hotel and the area, while providing a visual connection between the stations in a unique and interesting way.
www.arc-magazine.com
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1. The high-rise tower of the Ariake hotel is cast in a narrow beam of light that reaches halfway up the building, intended to emphasise its height. 2. Alongside the façade lighting, I.C.O.N. also illuminated the surrounding garden landscape by the Ariake hotel, using light and shadows to add an extra sense of intrigue and natural element amid the modern architecture. 3. The Ariake hotel includes a corridor that connects two railway stations. Here, Ishii used coloured indirect light to pay homage to the passing of the seasons, with different colours for each month of the year.
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3
“The architectural context is always very
etc. “Those who are passing by every day on this
interesting crossing notion of horizontal and
be stressed out, going back and forwards from the
design concept that I proposed to the client was of
them, to remind them of the passing of time and
the urban crossing point, the vista crossing point,
On the shopping centre, a large beam was
crossing point.
complex, while in the same way, landscape lighting
this particular project, so it was obvious for me to
effect, while complementing Azusa Sekkei’s
This is the ‘vista crossing point’. On the other
“I also tried to dramatise the entrance of the hotel
lighting on the great eave connecting the two
crossing point also became a featuring element, as
crossing point’.”
famous garden designer. For me, it was interesting
illuminated with a semi-custom type of Stanley
façade. The architecture is quite geometric and
one of the narrowest LED spots, and casts a strip of
green shadow was quite interesting.”
constraint for the façade uplighter,” Ishii
Roynet hotel, Ishii was asked to come up with
the façade, and the standard fixture from Stanley
branch. Working once again with architect Azusa
(equivalent or smaller) with a 3° narrow beam, so I
design – a conscious effort to differentiate the
version of it, incorporating six LED units instead of
inspiring for me”.
The “daily crossing point” came in illuminating
century, Kyoto is a city very rich in heritage and
Here, Ishii sought to represent the feeling of the
history for the hotel’s façade.
colour each month – cherry blossom pink in April,
the entrance of the hotel is located at the angle of
important, and the architect came up with an
concourse from one station to another, they might
vertical design,” Ishii explained. “The lighting
house to the office every day, so I wanted to help
a Light Crossing Point; this was broken down into
the changing of seasons,” Ishii added.
daily crossing point, feeling, green and time
magnified in white to express the continuity of the
“The geographical position is very important for
and exterior circulation spaces reinforce this
emphasise the high-rise building with lighting.
architectural design.
hand, the horizontal dimension was underlined by
with a special lighting treatment, while the green
buildings of the complex. This is called the ‘urban
the surrounding landscape was designed by a
The façade for the high-rise tower was therefore
here to play with shadows, casting them onto the
Electric’s LEDS Focus. With a beam of just 3°, it is
sharp, so to break this harshness with the organic
light halfway up the tower. “There was a space
After successfully illuminating the Ariake Daiwa
explained. “The limit was at 15cm from the front of
another lighting scheme for the brand’s Kyoto
Electric was too large. But there is no alternative
Sekkei, the hotel features a different architectural
requested the manufacturer to make a smaller
hotels, and one that Ishii said “was always very
nine.”
The former capital of Japan from the eighth to 19th
the corridor that joins the two railway stations.
history, and as such, Ishii wanted to tap into this
changing seasons via indirect lighting that changes
Situated across from the main rail station of Kyoto,
ocean blue in July, autumnal orange in October,
the corner building. Therefore, instead of
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1
1. The Kyobashi hotel plays homage to the grid-like layout of the neighbourhood with a cubic design, highlighted by the square grid of windows. 2 & 3. Ishii brought a sense of movement to the façade lighting for the Kyobashi hotel, with the lighting playing through three dynamic scenarios. 4. Each window frame of the Kyobashi hotel is contoured by light emanating from a discreet fixture - iGuzzini’s Trick, which creates a sharp lit effect, without light spilling into rooms. 5. The façade of the Ariake hotel is uplit with Stanley Electric’s LEDS Focus spots. With a narrow beam of just 3°, it’s one of the narrowest LED spots on the market. 6. The concept for the Kyoto hotel ‘Vibrant Light Poetry’, is inspired by traditional Japanese colours, original movements akin to candelight, and a diagonal composition inspired by local art. 7. Three different lighting ‘modes’ for the Kyoto hotel play with light and colour, with subtle movements that reflect the ‘urban rhythm’ of the city.
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3
4
emphasising the horizontal and vertical lines, Ishii
should change. For this, she went to the site and
through lighting. “In traditional Japanese
by in front of the hotel. Here, she noticed that the
present to give a kind of dynamism to the
more laid back pace, so she applied this rhythm to
From here, Ishii drew further inspiration from
“It was intention that we didn’t have very speedy
nobles wore very beautiful kimono. From the
to rest. Instead we have a very subtle change of
of kimono, and they established very sophisticated
don’t gaze at the façade, you don’t see that it is
colours in the kimono to express the seasonal
has a different expression, which gives it a
project, and I proposed three different modes of
In February 2020, the third collaboration between
combinations.”
this time in the Kyobashi neighbourhood of Tokyo.
the building, while anchoring it to its location
planning, going all the way back to the 16th
diagonally from the corner entrance to the sky. The
hotel dates back to European-style modernisation
coherence with the seasons; a discreet alternation
square, grid-like vocabulary of the area, the
‘daily’ mode with three tones of the same colour,
interior and exterior of the hotel. The exterior
All modes will have the same subtle movements,
approach and the grid of window frames that span
“The concept that I extracted was ‘Vibrant Light
Each window frame is contoured by light
movements akin to candlelight, and diagonal
Trick – which creates a classy light effect, without
entrance,” Ishii explained.
edged beam thanks to its special optical lens, so I
began thinking about how fast or slow the lighting
guestrooms at all. But in order to convince the
wanted to bring a dynamic movement to the façade
observed the movement of cars and people passing
paintings, this diagonal composition is very
area had a certain rhythm, where people move at a
painting,” she explained.
the lighting movement.
Kyoto’s heritage. “This was our capital, where the
changes, because this is a hotel where people come
Middle Ages, the noble women dressed in 12 layers
colours. It takes one minute for a full loop, so if you
colour codes by using different combinations of
moving, but every time you look at the building, it
changes. I took this as a specific theme for this
richness.”
lighting, using colours inspired by the kimono
I.C.O.N. and Daiwa Roynet was officially opened,
The lighting scenarios for the façade give a life to
The Kyobashi district is characterised by a grid-like
through a slow rise of energy, as light rises
century, while the architecture surrounding the
three different modes proposed by Ishii are all in
that began in the 19th century. Playing off the
between warm and cool white, a soft but colourful
architect came up with a cubic design for both the
and a ‘festive’ mode with three more vivid colours.
lighting was therefore guided by this cubic
and will be used according to the calendar.
across the façade.
Poetry’, using traditional Japanese colours, original
emanating from a discreet fixture – iGuzzini’s
composition inspired by local art to emphasise the
light spilling into the rooms. “Trick has a sharp-
After creating the initial lighting concept, Ishii
was not worried about light spill into the
façade lighting focus
5
6
7
client, we showed the effect through a mock-up. At
owner, they were astonished, because they never
architect prepared a window frame mock-up in
“Thanks to the lighting, each hotel’s presence is
unique effect to the client. Seeing is believing, and
context, thus its nightscape adds a specific
Ishii explained. She then added a sense of
anchored to its background in some way,” she
building to stand out further from its neighbours.
“The Ariake hotel, since it is in a developing new
Urban Rhythm’. Learning from our experience in
functionally and symbolically at night. Kyoto’s
rhythm in this project,” Ishii said. “This concept
previously sober and dim compared to the central
light, and elegant integration in architecture from
contributed to bring a modern feel to its
Integral to this concept were three different
light, while still being in perfect harmony in terms
movement of light up the building; the second sees
Since completing these three hotels, Ishii has
like a gentle urban heartbeat; the third is a
group, and is already in talks to illuminate two
moving at typical pedestrian walking speed, which
with many more still in the pipeline.
this business-oriented district of Tokyo, compared
communication between the lighting designer,
By taking a unique approach to each hotel, based
positive end result. She concluded: “It’s a great joy
urban composition, Ishii believes that the lighting
cooperative architecture firm with whom we can
location, particularly after dark.
good lighting project is surely a fruit of good
said. “Many of their clients arrive late and only see
www.icon-lighting.com
a very early stage of the lighting scheme, the
thought that their ‘main face’ was the night view.
which the fixture was integrated to present the
symbolically connected to its surrounding urban
at a glance, they were impressed and convinced,”
character to the neighbourhood while always
movement to the façade lighting, helping the
added.
“The concept for this hotel was ‘Light (e)motion in
quarter of Tokyo, became an urban ‘core’ visually,
Kyoto, I immediately wanted to talk about urban
added veritable colours to the area that was
contains underlining grids, a classy warm white
part of the city. In Kyobashi, the hotel certainly
the pedestrian perspective.”
prestigious streetscape with the movement of
dynamic lighting effects: the first a diagonal
of colour and intensity.”
the entire light levels dim up and down very softly,
remained in contact with the Daiwa Roynet hotel
movement of light from one side to another,
more hotels that are currently under construction,
Ishii noticed following some research was faster in
And she believes that the close collaboration and
to the more touristic old city of Kyoto.
architect and client, only helped in creating such a
on their local geography, history, culture and
to work with an understanding client and a
helps to create a bespoke branding for each
build a solid, mutual and continuous confidence. A
“The lighting creates their identity at night,” she
collaboration.”
the hotel by night. When they leave, they don’t
look back. When I reminded this fact to the hotel
lighting specified Ariake: Stanley Electric LEDS Focus Color Kinetics Color Reach Compact Powercore iGuzzini Laser Blade Panasonic NNY16919 Panasonic NNY24141 Panasonic NNY24392Z Panasonic NNY24397 Panasonic XY4130 Kyoto: Color Kinetics Color Graze Powercore Flos Li-Dia Endo Lighting ERS3139HA Kyobashi: iGuzzini Trick
www.arc-magazine.com
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façade lighting focus
Pics: Jason Findley
Avenue of Light Illumination Physics developed a custom lighting scheme to illuminate Shanghai’s L’Avenue shopping mall.
L
’Avenue is a high-class shopping mall and a major
concept, the company stuck with its normal technical approach,
The visual information of the building contrasts that
that fit into the façade’s metal fins and butted end-to-end to
landmark building in Shanghai.
of traditional architecture; transom lines rise and fall
organically, while the façade of the tower is not rectilinear.
As the expression goes, the devil is in the detail, and in illuminating the façade, Illumination Physics had to pay close attention to the bold design, which required uncommon skills.
Illumination Physics was handed the basis of the design, and the manufacturers then had to make it better; more practical, more
buildable, and able to be integrated into the process of construction. Fortunately, the lighting specialists were able to add their input to the metal design of the façade.
In the approach for this project, Illumination Physics say that it was positioned “someplace between artisans and mechanics”. One of
Shanghai’s most unusual façades, the lighting approach differs in
that the lighting systems became integrated into the structure as if they were an organic part of it, and not merely an afterthought.
The structure of L’Avenue was highly problematic for Illumination Physics, because of the need to account for wind loads and the
unstable nature of what would essentially be a flexible stratum of
plastic that would need to be bonded to the aluminium. Access to the LEDs for maintenance was also a problem with this approach, as was the ingress of water and grime.
Therefore, while Illumination Physics kept the essence of the visual
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which requires that the light fixtures be self-contained components form a continuous display with no visible joints. Each and every
fixture would be completely sealed against the elements and easily removable for maintenance, should the need arise.
Illumination Physics’ Peter Kemp and Simon McCartney worked
alongside Janine Dettki, a façade engineering designer from Josef Gartner in Germany. They collaborated around a virtual drawing board to create L’Avenue’s façade design.
One issue that they encountered was when they discovered that
every fin on the L’Avenue façade is a different length. As the task of creating many different custom lengths of fixture was impractical,
the manufacturers therefore explained to the building owners that they had set a pixel size of 100mm, so that the lengths could be
changed to 500mm, 600mm, etc. The team agreed on a compromise
that ensured there was no need to create endlessly varying lengths of the modular lighting system.
Illumination Physics is well versed in custom fixture design, so the complex bill of quantities could be accommodated within a factory designed to develop prototypes and technical products.
L’Avenue is equipped with an Illumination Physics control system, which includes all software and hardware. www.illuminationphysics.com
eldoLED Webinar
Mastering The Human Centric Lighting Experience With eldoLED
Hosted by:
Gé Hulsmans | eldoLED Paul Drosihn | DALI Alliance January 14, 2021 | 2 PM GMT | 9 AM EST
façade lighting focus
Pics: Alessio Tamborini
Exalted By Light The operational headquarters for the Port of Genoa, Ponte dei Mille is cast in a magical light that pays homage to the site’s heritage, thanks to fixtures from L&L Luce&Light.
W
hen you arrive at the Port of Genoa, you are immediately
while remaining glare free for the people who pass under the
tales of mercantile life during the Middle Ages, when the
To meet these requirements, Stra 3.0 fixtures were selected with a
surrounded by reminders of its history, imbued with
porticoes and use the space every day.
powerful maritime republics dominated the waves. An
bespoke outer casing, designed with a slightly larger trim so that
atmosphere of romantic adventure conjures up fantastical scenes of
they could be adapted to the pre-existing cutout holes. Nighttime
The port remains a vibrant crossroads, a meeting point for
groups – with 14° and 30° optics – directed toward each pilaster. With
embarkation point for huge transatlantic liners and maritime
15mm thick tempered extra-clear glass, Stra 3.0 guarantees impact
also the last point of contact with the mother country for countless
with anti-vandal screws for their protection, precisely because of
fortunes in the Americas.
The lighting design further included the supply of RGBW fixtures for
headquarters for the cruise terminal. This building, completed in the
were selected with a glass cover and an AISI 316L stainless steel
melded with a Baroque-inspired design that is visible in the
positioned. The Moby P family of projectors is remarkable for the
up of three constructions characterised by a portico on the ground
maximum impact, scratch and corrosion resistance, while the body,
of the dressed stone of Classical architecture. The building details
dissipate heat very effectively and to protect the projector from any
Luce&Light fixtures strikes their surfaces.
31°x64° elliptical optics, were installed along the edge of the lower
by Studio Luce, the lighting specialist division of Gruppo Sacchi. The
are directed at the propeller, creating splashes of coloured reflections
in the central flowerbed, from which a huge ship’s propeller rises,
light to be selected for the two basins to create ever-changing scenic
purpose. The client required the building’s façades to be lit from
www.lucelight.it
everyday life from yesteryear.
lighting tests led to the choice of a fixture with two adjustable optical
exchanging a diverse breadth of human experience. Now it is an
an AISI 316L stainless steel trim treated to prevent corrosion and
transport, and a departure point for summer holidays, but it was once
resistance and is drive-over up to 5,000kg. The fixtures are also fitted
Italian emigrants of the past who departed these shores to seek their
their highly exposed urban location.
The maritime station of Ponte dei Mille is now the operational
the central fountain. For the two circular basins, Moby P projectors
1930s, recalls the rigour and rationality of Neoclassical architecture,
bracket with graduations so that the light emission could be precisely
decorative curves and reliefs of the pediment. The structure is made
robustness of its materials: the 12mm thick glass screen ensures
floor punctuated by white stone pilasters and columns, in imitation
made of thermally conductive technopolymer, has been designed to
become even clearer when evening falls and the light from L&L
corrosive substances present in the water. Moby P 1.1 fixtures, with
The station was the subject of a recent lighting project carried out
basin; Moby P 2.1 were chosen for the upper basin. Their 62° optics
project involved the courtyard’s three sides and the large fountain
that define the fountain. A touch panel allows different shades of
transformed into a sculptural reminder of the setting’s nautical
effects, producing a truly magical atmosphere.
existing lighting points in a way that highlights the walls uniformly
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façade lighting focus
Pics: Moritz Hillebrand © Erco
Second Skin Swiss property company SPG’s Geneva headquarters have been cast in a serene glow, with fixtures from Erco highlighting the building’s new architectural features.
T
he headquarters of the Swiss
workstations, as well as an improved energy
concealed from view, are mounted in the gap
Geneva gained a new ‘second
however still maintains a certain level of
45mm in some places. “Only the light effect,
offset glass fins as part of an extensive
out to the picturesque surroundings – the
observers,” explained Simos.
During the day, these shade the building and
possible.
high lumen-output and extremely narrow
climate for the workstations. While at night,
building with an unmistakable, elegant
and IP67 protection. Based on a catalogue
unusual and prestigious character within the
the contours of the building gain a
and 30cm were developed with six or nine
developed Erco LED façade luminaires.
illuminated, transparent shell and the edge
correspond to the dimensions of the glass
workplaces was a central factor for the
To realise the special effect of the façade at
and intermediate spacing. The housing
Originally built in the 1970s and consisting
Simon Simos as “the nocturnal signature
match the silver-anodised fixing brackets of
replaced the old glass façade with new
architects worked hand-in-hand from the
A narrow spot beam characteristic provides
layer consisting of almost 2,900 vertically
project during its early design phase, and
impacts onto the glass fins printed with
and squares. This ‘second skin’ envelopes
developed custom outdoor luminaires for
to create the almost unreal effect of the
that lends the building contours a blurred,
interplay of the façade luminaires with the
Simos explained: “Depending on the
from inquisitive views from the outside.
model with a size of several metres.
a type of blurring. The building seems to
protection during the day, and shade the
ultimately installed on three levels across
www.erco.com
property company SPG in
efficiency within the building. The building
between the glass fins, with a width of only
skin’ of light and vertical
permeability, and views from the interior
not the luminaires, should be visible to the
refurbishment.
mountains and Lake Geneva – are still
Erco ultimately supplied two variants of a
create high visual comfort and a good indoor
The new glass façade provides the
outdoor luminaire with a milled aluminium
the glass shell lends the building a highly
and representative character. At night,
product, variants with lengths of both 20cm
peripheral urban context, thanks to specially
blurred appearance behind the discreetly
LEDs configured in series. These two variants
Improvements to the quality of the
of the building appears to upwardly dissolve.
fins, which vary in terms of depth, height
refurbishment project.
night – described by project lighting designer
colour of the luminaires was also modified to
of eight floors, Giovanni Vaccarini Architects
of the building” – lighting designers and
the fins.
triple-pane glazing, and also added an extra
very beginning. Erco was brought into the
narrow grazing light that slightly laterally
aligned glass fins screen-printed with grids
lighting engineers from the manufacturer
small white squares. These reflect the light
the office block in a type of haze of glass
the new glass façade. The light effect and the
façade at night.
indistinct quality, and protects the interior
printed glass fins was tested on-site using a
viewing angle, an optical illusion is created,
The applied glass fins provide solar
A total of 290 LED façade luminaires were
dematerialise at dusk.”
offices, ensuring high visual comfort at the
the building’s eight storeys. The luminaires,
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PARQ Life Using fixtures from KKDC, Bo Stieber Lighting Design has created a dynamic, yet mature lighting scheme for the façade of The PARQ, a new commercial workspace in Bangkok, Thailand.
C
reated as an environment to promote wellness, The
to feature, the crown lighting needed to achieve a certain required
workplaces that facilitate an enhanced quality of life.
504 fixtures. Because of the building’s LEED certification, the light
PARQ in Bangkok, Thailand, delivers commercial
The office spaces are LEED certified, and supported by
complementary and vibrant amenities, including a curated retail offering to match everyday needs.
Designed by P&T Group, the ambition for The PARQ is to reconnect
busy urban lives with nature – biophilic design principles that satisfy the inherent human needs to be embraced by natural elements are incorporated throughout. This includes natural light, healthy air, natural materials and green spaces.
While offering plentiful natural light throughout building, The
PARQ’s façade features a dynamic lighting scheme, created by Bo Stieber Lighting Design and utilising fixtures from KKDC.
The initial concept for the lighting design was to achieve a soft
media façade capable of displaying some simple media or graphics to convey messages to viewers, with seamless design, where the façade lighting is concealed within the architecture itself. The intention
was for the façade to be “mature”, with static colours as opposed to any colour-changing lighting, while also standing out from its surrounding buildings and environment.
Building on this design concept, the lighting also needed to accentuate the architecture of the building.
The highlights of the façade are the top crown and lower podium
battens. For the top crown, where the soft media façade was intended
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pixel and pitch. Here, KKDC supplied its MoMo Cluster and MoMo source’s efficiency needed to be qualified as power consumption
levels were restricted. In the end, power consumption for the crown lighting is two thirds of the standard KKDC product model.
The podium however, proved more challenging for the lighting suppliers, as the design intention was to create a full, dynamic
movement of light in a single colour, while concealing all hardware, including any cables, cable trays or equipment. KKDC opted for the
Tayo Micro Spot in this instance. Each single fixture on each batten of the podium had to therefore be controlled individually, with no
connecting cable between each batten. Instead cables only run inside the batten to a remote hub.
While the crown of the façade features messages and graphics, displayed through light, these are complemented by some soft
movement on the podium, creating a lively environment, while staying true to the “mature” goal of the lighting designers.
“From our perspective, we are proud to work on such a graceful
design, and we think we provided exactly what the designers were looking for,” said KKDC. “Even without any colour-changing
fixtures, the façade has a lot of potential, and we’re working with the building management to explore the full potential of the façade.” www.kkdc.lighting
façade lighting focus
Welcome to the Show With lighting courtesy of LED Linear, the South Entrance of Messe Düsseldorf now creates a welcoming space for attendees to congregate.
W
ith a new lighting scheme designed by
off by an aluminium frame. After dark, the fabric
Jurek Slapa has created a prestigious
more clearly visible.
German practice Köster, local architect entrance for the South Entrance of the
Messe Düsseldorf.
Situated on the banks of the Rhine, with a view of the city, the new-look entrance extends towards the river. Standing 20-metres high, supported by 19 slender concrete columns, the 7,800sqm entrance consists of 94 rhombuses made of
a fibreglass fabric on the upper side. On the
underside, a translucent polyester fabric allows daylight to shine through. Depending on the
weather, this membrane roof offers protection from either the rain or the sun.
At 170-metres long and 93-metres wide, the
South Entrance offers plenty of space for guests of trade fairs and congresses to gather outside. The roof also combines several different functions, from the forecourt to the light-filled foyer and the new exhibition hall, while also integrating
the neighbouring CCD South Congress Centre.
The result is a sensitive transition to the existing architecture. The rhombus-shaped fibreglass
cushions give it a lively structure, which is closed
is illuminated, and its exciting materiality is even More than 1,500 LED Linear fixtures, each two-
metres long, form the basis of the rhombus shape. The colour temperature was deliberately chosen to be 4000K, and the IP67-rated fixtures used
include the latest LED luminaires from LED Linear, including the Hydra LD10.
The sophisticated lighting concept convinces
with its enormous luminosity. Depending on the
event, mood lighting or lighting scenes can also be programmed.
The complex cabling management, with a simple pluggable solution, was the responsibility
of Wieland Electric, and the project had an installation time of just three weeks.
Following completion, the next steps for the
project will involve the installation of steel sheets to optimise the current lighting concept, which will additionally convert the light into indirect
light, illuminating the membrane of the roof even more homogenously.
www.led-linear.com
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Pics: Aatu Heikkonen, Inspiroiva Creative
Life Lines A dynamic, artistic lighting scheme from Lighting Design Collective, implemented with Audico Systems and Schnick Schnack Systems, brings the façade of the new Nova Hospital in Jyväskylä to life.
T
he Nova Hospital in the city of Jyväskylä, is among the
been taken into consideration by investing in modern automation.
hospital in the country to be built in the 21st century, it
a patient-oriented approach was a core focus when the lighting for
largest hospital projects in Finland. The first central
is also the country’s largest public investment. Situated
in the Kukkumäki area of the city, the hospital was completed in late 2020.
Nova represents a new kind of hospital architecture and state-of-
the-art hospital technology in Finland. The cost of the new site, and its equipment, has been estimated at around €500million, and the hospital’s lifecycle has been calculated to be 100 years.
With a surface area of around 106,000sqm, most of the hospital’s facilities are reserved for special care use, while the rest is for
Jyväskylä’s primary health care. The function of the hospital has
been divided into four parts: the hot hospital, the office, the hotel
and support functions. The hot hospital includes operating rooms,
emergency rooms, intensive care and diagnostics. The office area has reception rooms and nursing staff workspaces, while patient beds
are located in the hotel. Laboratories, equipment maintenance, the pharmacy and logistics are located in the support functions.
Jyväskylä has officially been appointed as Finland’s “city of light”,
which was a strong factor in why the hospital has also been equipped with high-quality lighting. For example, energy consumption has
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This is reflected in lighting that works through motion sensors. Also, patient rooms was designed.
Externally, a noticeable feature is the hospital’s metal façade.
Lighting Design Collective (LDC) designed the artistic lighting for the
metal sections of the façade, with Audico Systems responsible for the technical implementation of the lighting.
The façade lighting is intended to be an element present in the everyday life of the hospital, emphasising the exterior of the
hospital, and bringing the façade to life calmly, with themes of
nature and water. The light is intended to soften the view of the hospital, especially after dark.
The façade’s lighting elements were executed with the Custom
Outdoor Profile System from Schnick Schnack Systems. LED profiles are equipped with RGB colour mixing and 100mm pixel pitch. Each column is driven by one output from System Power Supply, and a Pharos VLC series controller was used to do pixel mapping from Skandal Technology’s POET media server video output. www.audico.fi
www.ldcol.com
façade lighting focus
Theme Hotel CLS LED utilised its Revo fixtures to cast bold lighting onto the façade of Europa Park’s new Krønasår hotel.
I
n May of 2019, the new Europa Park hotel Krønasår was
officially opened. Based in Rust, Germany, Europa Park
is the second largest theme park in the whole of Europe. The four-star Krønasår is modelled on a natural history
museum, and is the sixth themed hotel for Europa Park. Alongside
276 themed rooms, the hotel displays a range of unique and historic artefacts, while guests are welcomed by a mystical and imposing skeleton of a huge sea snake.
Dutch lighting manufacturer CLS LED was approached to illuminate the façade of the hotel, paying tribute to its classical design.
A range of CLS LED’s Revo fixtures – Basic, Inground and Micro – were used to light up the hotel’s façade, alongside various other public spaces within the hotel.
Extremely compact and IP67 rated, the Revo fixtures are ideal
for illuminating façades, gardens, landscapes, art objects, accent
lighting, and all other applications where a compact fixture with a surprisingly high light output is required.
CLS-LED worked with local distributor Becker-Lichttechnik, and by
doing so, the two were able to combine their respective strengths and qualities in order to offer Europa Park the best possible lighting for the new Krønasår hotel. www.cls-led.com
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Empathic Design While the adoption of ‘Human Centric Lighting’ looks at the physiological impact of lighting, what about its emotional impact? Communication Consultant and kindness advocate Bronwen Rolls asks if lighting designers can take a more empathic approach?
I
was waiting to receive results of a medical test
in a brightly lit, cold, windowless corridor a few days ago and, as the adrenaline and cortisol
pulsed through me I realised it wasn’t the results that were making me feel so extremely anxious, it was the environment I was sat in that was
compounding it. Bright, cold overhead light pulsed
about and reflected and bounced of every white surface, flickering and
agitating the space. I began to think back to all the people I have spoken
to in lighting about its effect on our wellbeing and I realised that whoever had designed this specific space – or more likely had not – had never themselves had to wait for a medical test result. Or, worse still they
had been through the exact same scenario, but had not then used their
understanding of how people feel in that moment, in that environment, to improve their design.
This got me to thinking: are feelings too subjective for lighting design to consider? Should or could lighting be empathetic? Could it care more? I want to start a discussion about this.
2020 was unprecedented, a genuine game changer for pretty much
everyone around the world. When any seismic shifts happen things can go either way. We adapt, we innovate and we move forward or we falter and panic, make rash decisions and we ultimately stop functioning.
Observing the changes in society reminded me of the changes I have seen in the lighting. LEDification and digitalisation were light’s revolution. It was a massive disruption to everything, one that removed certainty
and created shareholder unrest. What has followed are years of teetering uncertainty, of how to adapt, innovate and move forward.
When faced with the potential of LED technology and digitalisation, I
think it has been too overwhelming, too competitive, driven too hard by
the “let’s make it - because we can” reflex. It has seemed that for over a
decade everything was prefixed with ‘Smart’, whether it was or not. Then we had connectivity - your lights could tell your fridge to tell your TV to send you a WhatsApp message saying that you needed to buy milk, and this service wasn’t cheap. In contrast to the smart/connective drive we
saw the rise of Human Centric Lighting, #Betterlight, healthy light and
an awareness of our own circadian rhythms. People were standing up and demonstrating intelligent scientific evidence that light affects us, that
lighting manufacturers and designers have a responsibility to consider the people they illuminate in relation to their physical and mental wellbeing. But, despite all this incredible potential nothing so far seems to have
given lighting the equilibrium it needs to be confident again. I am not for one minute suggesting I know the answer because no one does, because there isn’t one answer. What there is, however, is a chance to reframe how light uses all its potential, and that is where I believe the idea of empathy and caring comes in.
A few home truths for you: user adoption of light as a service model is
slow, a lot slower than the industry predicted or hoped. The requirement for smart projects is few and far between. Design projects are under
increasing pressure to deliver as budgets become smaller and now we all face a possible recession. Light as light will always be the priority, and
that is it. Lighting is still considered just that by the masses: a source of light. But maybe those in lighting seem to have forgotten this? Maybe
lighting needs to revisit its roots and address light not only as a smart or
intelligent service or product, but also as a vital source that could be more caring, could be empathetic.
The shared unrest and sometimes suffering experienced in the recent months has brought with it a collective moment of kindness. The Bronwen Rolls, Founder, The Doing Collective
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antidote to human suffering is always human kindness. We, as a society
have begun to look around and realise that we are all in the same boat and
Comment
The lighting for the University of Sheffield concourse, designed by Arup, seeks to re-engage people with formerly unloved parts of the university campus. By taking an empathetic approach, Arup has used lighting as a means to tun an underused area into a new outdoor social space that is safe, inclusive, and attractive. (Pic: Midi Photography & Arup)
with that shared understanding we have become empathetic. Empathy
So, then we went on to the subject of Human Centric Lighting. I wanted
term in design and some businesses for decades. Multiple pioneers
or should lighting tackle the emotional situations of people?
created formulas to follow in order to design user focused items that
design for daylight first because there is an aura with natural light that
What I’m considering is can this now understandable tool of empathy
light source and its use introduces a dynamic aspect to light, which is
empathetic, but also care? After all, there is more to being human
(for example in deep plan workspaces), HCL may help the human body
it’s how this person is feeling in a lit environment. In lighting we are
and sense of vitality that daylight brings is not replaceable by HCL
I wanted to explore this idea and get a few more experts to discuss it
spatial variation and contrast are techniques one can use to stimulate
could comment with confidence on the role of empathy in built
Of course, emotions are extremely subjective so there might not
There is research into empathy and built environments - architecture
emotional understanding of their clients, the use of Empath
So, I went to a lighting expert who is known for her ability to care
“In my view, experiencing architecture is multi-sensory: it is as
“Light is fundamental to our social infrastructure as it connects people
play. Light characterises a space through the quality, colour and even
and expressions; and it enhances people’s experience and encourages
like a scene in a play or film. Most importantly, it warms the human
the start of the creative lighting design process.
features of architecture cannot. This interaction of light is how we
understand how people would use and interact with the space we are
is properly recognised by designers and embedded into the design
I went on to ask Lam about what she believes to be the advantages of
I believe the conversation has just got going, so too has the design
“We need to understand the intrinsic relationships people have with
where it could take light and lighting design I also don’t know, but I
embracing empathy in design is to unlock the emotive potential of
associated with empathy is a potential way improve lighting designs,
atmosphere and manipulating the sense of space.
in the industry again.
health and wellbeing, which in turn impacts our performance,
them, but maybe this is the year lighting starts to care more.
intuition with evidence and knowledge to create lighting solutions that
www.thedoingcollective.com
now has visible, tangible value to a lot more people. It has been a buzz
to know is HCL as it stands today enough (circadian/mood support/etc)
of design and innovation adopted user observance techniques and
“We need both. At Arup, our lighting design philosophy is always to
meet unknown user’s demands. They used empathy as a tool.
artificial light can never replicate. Daylight is inherently a variable
create a new generation of lighting designers who are not just
tuned to our circadian system. When interior daylight is inadequate
centric, it’s not the lamp, it’s the person. It’s not circadian rhythms,
stay aligned with the natural world. However, the lighting quality
on the right path, aren’t we?
as a technological solution alone. Using layers of light to create good
with me. However, not one university or research centre I approached
visual interest and enhance sense of wellbeing.”
environments or lighting. It’s just so subjective, too subjective maybe?
be a simple answer, but could lighting design benefit from greater
focuses on it, and has done for a while - but not yet in light or lighting.
Consultants for example...?
about the people she designs for. I spoke to Florence Lam of Arup.
much about ‘feeling’ as it is about ‘seeing’ and light has a key role to
with space. Light has the ability to convey atmospheres, ambiences
absence of light, which provides context for the architecture, much
social interaction. Therefore, empathy needs to be considered from
soul through interacting with the subconscious in ways that other
“As lighting designers, we need to undertake contextual research to
make sense of places and our experiences; it is important that this
designing, as well as how light engages with the architecture.”
process throughout.”
empathy and caring more when creating a design:
work and the research. Where this conversation will go I don’t know,
light, which can be both personal and emotional. The advantage of
do know that empathy, caring, kindness and understanding that is
light in narrating a space. It directs movement and attention, creating
manufacture lighting solutions and create that balance that is needed
“We also know that light can also impact our physiology, physical
2021 comes weighed down with the expectations and I hate to add to
behaviour and mood. We therefore need to balance any empathetic
Join in the debate. What is your experience of empathy in lighting?
are not only beautiful and inspiring, but safe and healthy too.”
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Complete Control After a fascinating workshop session at [d]arc room livestream, David Morgan checks in with RCL to take a closer look at the DRX1 range, and the iPad-based RCL Control system.
I
t is unusual to find a lighting company founded by an engineer who wrote and published a
successful series of books on how to gain entry to medical and dental school. Joe Rustonâ&#x20AC;&#x2122;s
engineering degree from Cambridge University and experience as a Weapons Engineer in the
Royal Navy probably also helped when building
Remote Controlled Lighting ( RCL ).
Based in London, RCL currently shares facilities and staff with
sister company Precision Lighting and both companies focus on the specification lighting market. RCL grew out of a custom product request to Precision Lighting in 2001 for a remote controllable
motorised lighting system for ballrooms. The group has grown from two to 34 employees since 2001 with more than 100,000 fixtures installed worldwide.
The self-evident benefit of being able to aim and focus projector
luminaires without the need for cherry-pickers, scaffolds or ladders
has become more important due to increasing workplace health and safety legislation. These requirements have significantly increased the costs of manually aiming multiple luminaires in larger spaces. Conversely, the production costs of remote-controlled luminaires have fallen as the various enabling digital technologies develop, which in turn has widened the market opportunity.
Although the first recorded example of remote-controlled,
motorised lighting dates back to the 1920s, RCL has developed and
refined the concept. The most recent launch is its state-of-the-art RCL DRX1 range.
This new range includes options for remote control of all key
functions including movement â&#x20AC;&#x201C; pan and tilt, dimming, colour
temperature control and focus so that, once installed, there is no need to touch the luminaires except for maintenance. David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk
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The DRX1 range includes a wide variety of options for light engine type, including both COB and high-power LEDs, lens type and control protocol.
To accompany the new luminaire range, a new control system has been developed, appropriately named RCL Control. While earlier
DAVID MORGAN
RCL systems were based on wired DMX, which is still available as
tuneable white light engine, the beam angle options are 14° and a
a low-power mesh networking technology developed for all kinds
The DRX1 range offers lumen output of up to 1,474 lumens with
of companies including Apple, Samsung, Nest and others and is
The variable focus feature uses the LensVector liquid crystal lens
– an important requirement for this type of motorised luminaire.
without increasing the size of the luminaire. The technology,
original RCL hand controller, it seems likely that most projects will
University in Quebec City, Canada, aligns liquid crystal molecules to
via WiFi to the RCL Mediator, which can control up to 200 luminaires,
field, the nature of the lens, and therefore the illumination effect,
the same space, at some point in the future. The user-friendly RCL
The control system includes a very neat scene setting capability so
select a setting for very fine control of dimming, colour temperature,
scenes stored in a memory within the luminaires as well as centrally.
and the control system is two-way so that the actual position of the
within the same space to help reduce commissioning time. The
own on-screen interaction mode. Beam angle control is achieved via
integral laser pointer, when pairing them to the RCL Control light
joystick and jog wheel interfaces. Colour temperature is controlled
It is understood that the development of the DRX1 range and the
The DRX1 sample kit I was given to test was well presented and
years by the joint RCL and Precision design team, with Joe Ruston
set to both narrow and wide distributions. The colour temperature
Apparently, the reaction to the DRX1 range and the RCL Control
controlled from 0.1% up to 100%. The colour temperature ranges
positive, particularly the ease-of-use design features of RCL Control,
Beam angles for the DRX1 range with a fixed colour temperature light
this market area.
beam angle ranges from 8° to 16°, 5° to 55° and 10° to 55°. With the
www.lensvector.com
an option, the new system is based on the wireless Thread protocol,
variable 15° to 54°.
of IoT products. Thread has so far been adopted by a wide variety
centre beam value of up to 56,646 candelas.
understood to be highly secure and to have a very fast response time
system; this produces a zoom lens without any moving parts or
While all functions on individual luminaires can be controlled by the
developed by Dr. Tigran Galstian and his research team at Laval
be controlled by the iPad-based RCL Control system. The iPad links
a shaped electric field to create a digital lens. By changing the electric
and the plan is to be able to control luminaires from other brands, in
can be manipulated.
Control interface has some nice features, including the ability to
that individual luminaires and groups of luminaires follow pre-set
beam angle and position. The communication between the luminaire
Luminaires can be programmed by multiple iPads and controllers
luminaire is displayed as it moves. Different functions have their
RCL hand controller is used to identify individual luminaires via it’s
a pinch to zoom action on the iPad, while movement is controlled via
plan, which also simplifies the whole process.
via a slider.
RCL Control system were largely undertaken in house over several
worked without any problems. The beam quality was good when
providing the driving force behind these projects.
mixing was also effective across the range. Dimming is finely
system from customers and lighting specifiers has been very
from 2200K up to 4000K.
and they are both likely to help the company to prosper and grow in
engine range from 4° to 34°. Adding the LensVector gives variable
www.rclighting.com
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Holiday Specials
A look at some of the latest products and innovations to hit the market from across the lighting industry.
Vivo II Zumtobel A versatile platform for all architectural requirements, Zumtobel’s new Vivo II has a host of accessories to meet the demands of today’s spotlight world. Suitable for ceiling heights of up to 10-metres, this powerful, ultra-flexible luminaire enables brand, product and space presentation tailored to the target group and application. Vivo II has three different optical systems - highly efficient reflectors for powerful accent lighting with minimal glare, high-precision lenses for exact light distribution without any light scatter and a manual zoom lens for flexibility. www.zumtobel.com
ZTA.50 Stoane Lighting ZTA is an idea that embodies the core values of Stoane Lighting. Equipment is designed to last, to be repaired, upgraded, and eventually recycled. The range is structured around a modular approach allowing for interchangeable and adaptable specs. Stoane Lighting commit to carrying out this repairability and upgradeability for 25 years, and can do this with full confidence due to its largely local resource ecosystem and designed-in repairability. The simple aesthetic should preclude waves of fashion undermining its circular economy ethos. www.stoanelighting.com
Overlap Illumination Physics A project required a new family of aimable linear fixtures with varying lens and power options; allowing a continuous homogeneous and curved illuminated footprint to be produced by a noncontinuous plot of compact 300mm fixtures – an economy in cost and energy. The lens and power options allow the designer to overlap the beams exactly without using expensive continuous linear lighting. The illumination Physics Linear Graze Overlap Mono, DC, CV – DMX is the answer at just 7.2 watts each. www.illuminationphysics.com
DUALdrive 20W LED Driver eldoLED eldoLED’s DUALdrive 20W LED Driver allows you to maximise the human centric lighting experience and compose the exact shade of white at the right intensity level with excellent dimming performance. The perfect tunable white shades — achieved with DALI2 DT8(Tc) and eldoLED’s intuitive LightShape colour temperature and intensity control technology — complement retail products, support office productivity and create a welcoming atmosphere in a hospitality environment. www.eldoled.com
Trigon Lumo Tubo Trigon is a triple-arm LED luminaire with an innovative and simple shape – typically suspended horizontally but also wall and ceiling mounted. It is an individual lamp as well as a modular system – connected in parallel and optionally with an additional light profile-connector allowing the shift of surfaces by 90°. Then it creates an extraordinary network of connected luminaires with a breath- taking effect on a large-scale advertising and other applications. www.lumotubo.pl
FL20 Family Siteco The wide beam floodlight is characterised by outstanding asymmetry and individual light distributions. With its four sizes: mini, micro, midi and maxi, the high lumenoutput Floodlight 20 is extremely flexible in application. The design as a wide beam floodlight with 0% light spill up to a 15° upward inclination guarantees maximum glare control and the avoidance of light emission. Optimised thermal management and the high protection rating (IP66) enable reliable operation even under adverse weather conditions. www.siteco.com
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new products
Legatus Viso 2 2F Bright Special Lighting Legatus Viso 2 2F magnetic 48V track system is a new, flexible system to design lighting. An extruded brass tracklight equipped with the latest LED technology connects and powers via a magnetic core.With this magnetic fixation, luminaires can be installed, repositioned and switched in the profile easily, without the need of any tools. Different types of connection modules and luminaires provide maximum flexibility in projects that run along walls, ceilings, or a combination of both. Creativity should not be limited through situations. www.bright.gr
DALI Enhanced Solutions Lumascape Lumascape has announced the enhancement of DALI to its range of façade and architectural lighting solutions. This new feature offers best-in-class performance for any façade lighting application. With DALI control, Lumascape’s architectural luminaires offer more than premium LEDs, optics, and thermal management. Users get the most robust, reliable, and easy-toinstall luminaires in the industry, now with additional opportunities for power and control. www.lumascape.com
LED Light Sheet Applelec Created to bespoke specification, Applelec LED Light Sheet is a UK manufactured light panel. Removing creative restrictions, Applelec LED Light Sheet is an extremely versatile LED unit, helping to push design boundaries and enable unique and inspired lighting features to be achieved. Delivering superior illumination, Applelec LED Light Sheet is a highly reliable light panel and has built a reputation as the go-to backlighting solution within the design industry www.appleleclighting.co.uk
Madrix Aura Madrix Madrix Aura provides amazing capabilities for dynamic lighting. It is the central stand-alone controller for simple recording and largescale lighting control. Run sophisticated light shows and effects independently from this energy-efficient unit with fully customisable scheduling. Designed for continuous operation, it was built to meet the different needs of today’s illumination projects. Made in Germany, it is the powerful yet compact playback unit for creative LED lighting. www.madrix.com
LD155 LightGraphix The LD155 900lm adjustable uplight from LightGraphix has received a technical upgrade, with the addition of black rimmed glass and increased light engine options. Designed for interior and exterior applications, the LED optic rotates 360° and can be tilted at set increments up to 25°, to give designers ultimate flexibility. A removable inner bezel allows quick onsite adjustments with no need to remove the product from the mounting surface. www.lightgraphix.co.uk
Custom Outdoor Profile System Schnick Schnack Systems No two outdoor projects are alike, each one presents different requirements. That’s why Schnick Schnack Systems’ UL-listed and CE-approved Custom Outdoor Profile System offers not only the most current cutting-edge technology, but also promises enormous variability: U or H shaped, housing colour, individual length, pixel pitch, colour of potting and mounting options - there are thousands of possibilities, no matter your requirements. www.schnick.schnack.systems
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Case study
21st Century Broadcasting Zumtobel has helped to create a modern broadcasting environment at the new studios and headquarters for BBC Wales.
Z
umtobel luminaires have made
interiors. In terms of lighting, colour
Available as a spotlight and wallwasher,
sustainability credentials of the
some areas of the site, due to the nature of
accented lighting with wide coverage.
an important contribution to the new digital broadcasting studios
and office headquarters of BBC Wales. The
manufacturer has provided a wide selection
of featured and functional luminaires for the project, helping to make an inspiring and creative statement throughout the site.
The BBC Wales headquarters, located in
central Cardiff, is an impressive, modern digital broadcasting house, and contains
workspaces for more than 1,000 people, as well as radio and TV studios.
The large facility has a full-height atrium
that is configured as a â&#x20AC;&#x2DC;public streetâ&#x20AC;&#x2122; at its base, and stretches upwards across fivestoreys. The floorplan is predominantly
open plan, with only 30% of workspaces
as traditional fixed, sit-down desks; the
remainder range from high-stool bench workspaces to less formal upholstered
seating in more relaxed areas. Acoustics are constantly manipulated to support the function of the space in question,
and battens and panelling feature in the
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rendering was an important consideration in the operational side of the building.
To fulfil the brief, Zumtobel worked closely with the BBC and its design team, which
resulted in a specification of a wide range of the manufacturerâ&#x20AC;&#x2122;s fixtures. For the
reception area, Slotlight Infinity, Ondaria, Vivo and Arcos luminaires were installed. Slotlight provides a continuous vein of
light and is available in a choice of lighting and control gear options that deliver a truly integrated, low-energy solution.
Ondaria is a family of circular ambient luminaires with an ultra-thin profile,
direct/indirect distributions, and excellent detailing. Optical lens offerings include
the Luminance-Reducing Optic (LRO) for
office environments, and soft Opal Optic for multiple applications.
Vivo LED spotlights stand out thanks to their high colour rendering index and extremely uniform light distribution, while the Arcos
LED spotlight system makes an impression
through minimalist design and clear shapes.
it provides a consistent balance of finely Ondaria has also been used to illuminate
the corridors throughout the building, while variations of Slotlight Infinity, including
bespoke variants of Slotlight in criss-cross and rectangular patterns, illuminate the modern, open-plan offices.
Supersystem and Ondaria have also been installed in the breakout areas, while
Supersystem was used in the tea-making area. The kitchens have been illuminated using Clean cleanroom luminaires, with emergency lighting provided by the
strikingly elegant Puresign luminaires.
For the meeting rooms, Panos Evolution
downlights with a 4000K colour temperature provide an outstanding light quality and consistently excellent colour rendering (CRI>90).
Elsewhere, the combination of Panos
Evolution and Supersystem illuminates the radio studio, while Supersystem is used in the BBC Wales meeting rooms. www.zumtobel.co.uk
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CASE STUDY
Bright Stars Lighting fixtures from Hacel further enhance the inclusive, imaginative ethos of Bidfordâ&#x20AC;&#x2122;s Bright Stars nursery, illuminating the school in a vibrant and stimulating manner.
B
idford Bright Stars is an all-inclusive
Micro modules in varying lengths were randomly
learn, and features creative LED
To further enhance and support the nursery ethos
nursery redefining the way children
lighting designed and manufactured in
colours to produce bespoke luminaires for the
focuses on developing imagination through
both aesthetically and technically. Infinitas Micro
inspired learning and play, the new building was specifically designed to provide inspiration and
project, delivering artistic LED products equipped presents superior photometric performance and exceptional lumen outputs alongside maximum
stimulation. Each classroom was created to suit
energy efficient functionality.
that children are proud to be part of and provide a
for general lighting. Small in size, but powerful in
The environment is bright, vibrant, and
remarkable function and capability. The luminaires
the age of its occupants; forming inventive places strong basis for their ongoing education.
In support, Hacelâ&#x20AC;&#x2122;s Midi downlighters were utilised performance the Midi recessed downlighter offers
encouraging; all the elements you need to
feature precision die cast and injection moulded
Hacel was at the forefront in producing artistic
The project was completed in a very short period,
stimulate and make learning fun and inclusive. custom colour luminaires offering high
performance, energy efficiency and uniform
construction with discreet detailing.
taking just 18 months to design the building,
progressing into detail and build. Luminaires
lighting to enhance and support the architectural
designed and manufactured by Hacel contributed
Upon entering the nursery, the exclusive
building that has been produced. The desired
surroundings.
Explora Halo LED pendant by Hacel is artistically displayed. Offering direct and indirect lighting,
the luminaires were displayed in different sizes
to create a dramatic, inspiring, and sophisticated focal point. Throughout the nursery, the concept was characterised by colour. Individual Infinitas
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of stimulation, Hacel matched a selection of RAL
the UK by Hacel.
With the Bright Stars philosophy in mind â&#x20AC;&#x201C; which
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suspended at different heights to dramatic effect.
to and supported the outstanding, creative
outcome has been achieved above and beyond
expectations and Bidford Bright Stars nursery is set to ensure children thrive in such an encouraging and enhanced environment. www.hacel.co.uk
Studio 14 is open. rbb rearranged their studio in the 14th floor of the rbb-Fernsehzentrum in the city center of Berlin, Germany. Intended to be a studio as well as a club, a restaurant, an eventlocation and a large scale meeting room, the Studio 14 invites people to be closer to heaven. Depending on the purpose of the room furniture and the lighting can be changed between fun and functional. Our rgbw-tiles D50 are used in clusters to lighten the room with an outstanding lightquality and to connect the ceiling to the sky.
Pieces of Heaven stay connected schnick.schnack.systems /SchnickSchnackSystems @schnick.schnack.systems 2020_12_Arc Magazine_ILDS_150x210.indd 1
#LEDmadeinGermany #LEDplayedinBerlin
Photo by KOY + WINKEL FotograďŹ e 17.12.2020 12:08:38
ADVERTISERS INDEX Acevel...............................................9
formalighting................................ 33
Lumascape.................................... 95
Alto................................................. 29
GVA Lighting....................................8
Madrix ........................................ 125
Applelec....................................... 111
IALD............................................... 46
Proled............................................ 37
arc TV........................................... 129
Illumination Physics..................... 75
Radiant Architectural Lighting........127
Bright Special Lighting............... 127
Insight............................................ 67
RCL................................................. 41
Climar.......................................... 123
Intra Lighting................................ 17
Schnick Schnack Systems.......... 125
CLS-LED............................................6
Jonathan Banks Photography... 126
Seoul Semiconductor.................. 99
Colours.............................................7
KKDC.............................................. 23
Siteco................................................2
[d]arc awards.............................. 4, 5
LED Linear................................... 132
Stoane Lighting............................ 85
Eldoled......................................... 107
LightGraphix............................... 131
Targetti.......................................... 11
ELR............................................... 109
Lightly Technologies.................... 97
Unilamp......................................... 35
Erco................................................ 13
Ligman........................................... 27
Wibre........................................... 103
Feelux............................................ 71
Lucifer Lighting............................. 15
Zumtobel..........................................3
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
Radiant is operating normally now, with the production team back in Highgate. We are delivering orders but lead times may be longer than usual due to supply chain delays. Let us know if you need any information or samples and we will respond as quickly as possible. Stay safe.
Sandvikslykta, Norway Lighting design and luminaire design by Zenisk Winner of â&#x20AC;&#x2DC;Best special productâ&#x20AC;&#x2122;, Nordic Lighting Design Awards 2020 Photo by T.Majewski, Fovea Studio www.radiantlights.co.uk
arc ad Dec2020-Jan2021.indd 5
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+44 ( 0 ) 208 348 9003
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Water Effect Light System IP65 Exterior DMX controlled, dynamic LED effect lighting system Water Effect Light fixtures with custom light-engines and dynamic lit effects, run by integral DMX-controllers, were incorporated into the Zenisk-designed luminaires david@radiantlights.co.uk
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All products designed by
14/12/2020 17:08:52
of e tim ge* Event DIARY t n a ct cha e r or t to c c es bje t a u ll d n. S A E: atio T O lic *N ub p
Event Diary Industry events to note in your diary for the months ahead. [D]ARC AWARDS Spring 2021 (DATES TBC) London, UK
INTEGRATED SYSTEMS EUROPE 1-4 June Barcelona, Spain
LED MIDDLE EAST EXPO 26-28 August Cairo, Egypt
www.darcawards.com
www.iseurope.org
www.ledmiddleeast-expo.com
LIGHT SYMPOSIUM WISMAR 10-12 March Wismar, Germany
GILE 9-12 June Guangzhou, China
PLASA 5-7 September London, UK
www.lightsymposium.de
www.guangzhou-international-lighting-
www.plasashow.com
exhibition.hk.messefrankfurt.com
INALIGHT 30 March - 1 April Jakarta, Indonesia
LEDUCATION 17-18 August New York, USA
EUROLUCE 5-10 Sepember Milan, Italy
www.inalight-exhibition.net
www.leducation.org
www.salonemilano.it
LEDTEC ASIA 21-23 April Ho Chi Minh City, Vietman
LEDFORUM.21 19-20 August São Paulo, Brazil
BIEL 8-11 September Buenos Aires, Argentina
www.ledtecasia.com
www.ledforum.com.br
www.biel-light-building.ar.messefrankfurt.com
LIGHT 19-21 May Warsaw, Poland
STRATEGIES IN LIGHT 24-26 August Santa Clara, USA
ARCHLIGHT SUMMIT 21-22 September Dallas, USA
www.lightfair.pl
www.strategiesinlight.com
www.archlightsummit.com
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THE BACK PAGE BUCKET LIST Curated by
#18 mldlab / Lisa Marchesi “Planet is a word that comes from the Greek and means wandering star.” Margherita Hack
What: The light of sunset that filters through the clouds and envelops the archaelogical site after a rainy day. Where: The 15th-century Inca citadel Machu Picchu, located in Perù and one of the new seven wonders of the world. The exact spot to sit: near the Temple of the Sun, waiting for a rainbow. How: Visit without technological tools. Take only a compass, a good book and a travel notebook to write thoughts and make sketches. When: During the winter solstice, when a flickering light gradually illuminates the city at dawn, making it even more majestic. Then wait until sunset comes, followed by night and the stars. Why: Because archaeology is our history and our culture and admiring it during the rising and the sinking of the sun connects us to our past.
Photo: Tranquilidad, Machu Picchu, Peru by Sebastian Tapia Huerta on Unsplash
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www.mldlab.com
Photography: Gavriil Papadiotis (www.gavriilux.com)
Project: Kimpton Fitzroy Hotel London Lighting Design: Lighting Design International Visit www.lightgraphix.co.uk for more info
Products: LD10238, â&#x20AC;&#x2039;LD151, LD51, LD56