120 FEB/MAR 2021
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Down By The River Zenisk adds artistic materiality to Sandvika riverside promenade
PAUL TRAYNOR • LIGHT FOR LEBANON • PUBLIC SPACE LIGHTING FOCUS GREENLIGHT ALLIANCE • ZUMTOBEL VIVO II REVIEWED • DALI LIGHTING AWARDS
120 FEB/MAR 2021
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Down By The River Zenisk adds artistic materiality to Sandvika riverside promenade
PAUL TRAYNOR • LIGHT FOR LEBANON • PUBLIC SPACE LIGHTING FOCUS GREENLIGHT ALLIANCE • ZUMTOBEL VIVO II REVIEWED • DALI LIGHTING AWARDS
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Bamboo Pavilion, Taiwan
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The Musicon Path, Denmark
Aurora Experience, Finland
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VOTING IS OPEN: 1ST - 31ST MARCH With over 400 projects and products published online [d]arc awards is a great resource for lighting inspiration.
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Only independent designers and light artists are eligible to vote in [d]arc awards making it the only peer-to-peer lighting design awards. What’s more, everyone that votes automatically gets a free ticket to [d]arc night, the exclusive awards party.
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042 Paul Traynor Following his appointment as Head of Light Bureau, we sit down with Paul Traynor to talk about his career to date and his aspirations for the future.
Contents
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Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source David Morgan Product Review New Products Manufacturer Case Studies Event Diary Back Page Bucket List
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040 Certification is Serious David Becker, Chair of the Certified Lighting Designer Commission, speaks to lighting designers around the world about the importance of gaining proper certification.
052 Ever-increasing Circles In the first of a series of articles, the GreenLight Alliance outlines its objectives for a more circular economy in the lighting industry.
056 Light for Lebanon Following last year’s devastating explosion on Beirut, lighting designer Manal Kahale has been working with Light Reach on Light for Lebanon, an initative designed to bring light back to the city.
082 Landmark Status Rogier van der Heide examines the extra efforts to which lighting designers need to go to effectively and sensitively illuminate our heritage monuments.
114 DALI Lighting Awards The inaugural DALI Lighting Awards, organised by the DALI Alliance and held in association with arc and the IALD, reveals its winners.
E x p l o r a
S P E C T R U M
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064 US Olympic & Paralympic Museum, USA The US Olympic & Paralympic Museum has been designed to showcase Team USA’s illustrious history in an inclusive and accessible manner.
Projects
FEB/MAR 2021
074 The Halfway House, UK Fusing architectural lighting with theatre and public realm lighting, Satu Streatfield and her lighting team created an immersive, all-encompassing scheme for site-specific theatre piece, The Halfway House.
084 Green Heart, UK At the centre of the University of Birmingham campus, a new 12-acre green space provides a welcome social and educational hub for students, with a perfectly balanced lighting scheme from Speirs Major.
092 Óðinstorg, Iceland Lighting designers at Verkís worked closely with Basalt Architects to create a seamless, integrated lighting scheme for Reykjavík’s new public square.
096 Sandvika River Promenade, Norway Zenisk has created a beautiful bespoke lighting solution that brings an artistic materiality to Bærum’s Sandvika River Promenade.
102 Public Space Lighting Case Studies A selection of manufacturers showcase how their products have been used to bring public space lighting schemes to life.
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EDITORIAL
Have your say... Voting for [d]arc awards 2020 opens on 1st March... Front cover: Sandvika River Promenade, Bærum, Norway (Pic: Tomasz Majewski)
Readers of our last issue may recall a fascinating article where I
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
spoke with Colombian lighting designer Cristina Gil Venagas about her recent research project, The Nighttime Traveller, in which she
looks at how lighting designers can improve the nighttime urban
environment for women after dark. Following on from this incredibly interesting study, we’ve decided to use this issue to look closer at
some recent examples of public space lighting in a special project
focus. Public spaces have become integral to the way that we meet
up and interact with each other as life under lockdown continues, so
creating the right lit environment is absolutely critical to ensure that these brief moments of interaction are more enjoyable. Throughout the focus, which begins on page 84, you’ll find some great recent projects from the likes of Speirs Major, Zenisk and Verkís.
Elsewhere in this issue, following the news that he has been named as Head of Light Bureau, I was priviledged to sit down with Paul
Traynor to look back on his career to date, and discuss his ambitions for Light Bureau moving forward. I’m very also happy to welcome
the GreenLight Alliance to the magazine. This new association was
formed with a mission to create a more sustainable, circular economy in the lighting industry, and inside this issue they share the first of a series of columns explaining how we can do just that.
In other news, I’m sure many of you are eagerly awaiting the 2020 [d]arc awards. The entry window has officially closed now (thank you to everyone who entered - you’re all amazing!), and voting is
scheduled to open on 1st March; so be sure to mark those calendars and cast your vote when the time comes! This issue features a
plethora of awards entries, but you can check out every submission on the [d]arc awards website.
Finally, it gives me great pleasure to tell you about [d]arc media’s
newest venture, [d]arc sessions. Officially unveiled at the beginning of the year, [d]arc sessions is a new series of exclusive and intimate gatherings for lighting specifiers and suppliers. The first of which
will take place at the Royal Mykonian resort in Mykonos, Greece on
5-8 October 2021. We’re very excited about it, and can’t wait to share more details in the coming months. Watch this space!
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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However, if the need is for something more specific and unique to these, LIGMAN can offer custom optics to suit the precise need for project lighting distributions. With MicroVOS™ LIGMAN can combine optics to create custom solutions as well as offer additionally specialised optics if additional cut-off angles are desired, or have optics rotated 90, 180 or 270 degrees. The opportunities are near limitless. For the full MicroVOS™ service please contact your local sales representative with your project needs and we can look at what optics you require and quickly produce software IES optical files for the luminaires for you to model in your lighting design software. C
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NEWS
Headlines
Former President of SLL, Liz Peck, dies aged 46
(UK) – Peck served as SLL President in 2015, during the UNESCO International Year of Light. In January of this year, the lighting industry was shocked and saddened to hear of the passing of Liz Peck, Past President of the Society of Light and Lighting (SLL), former Secretary, and Fellow of the Society, who died at the age of 46. A popular and highly regarded figure in the lighting industry, Peck was President of the SLL between 2015 and 2016, and was one of the key figures behind the internationally renowned Night of Heritage Light. After encouragement from industry peers, Peck joined the lighting industry in 1999 in a customer service role at Concord Lighting. Working alongside Mike Simpson, she moved from Concord to Philips, becoming a senior lighting designer and with Simpson’s encouragement, joined the SLL in 2003. During this time, she was undertaking the Bartlett MSc in Light and Lighting; she was awarded the Worshipful Company of Lightmongers Student of the Year in 2003, and graduated the following year. In 2007, Peck established her own independent lighting consultancy, LPA Lighting, and worked on a number of high-profile, award-winning projects, such as Dover Castle, and more recently the Iron Bridge in Telford – a project that she worked on with current SLL President, Bob Bohannon. In 2008, Peck was awarded the SLL Lighting Diploma, and prior to being elected to the SLL Executive Committee, was the Society’s Secretary. Peck became SLL President in 2015, coinciding with the UNESCO International Year of Light – the third woman to take on the role and to represent the Society, its members and the lighting industry. In her time as President, Peck was one of the instigators and project leads of the first SLL Night of Heritage Light. Embracing and celebrating the UNESCO International Year of Light, SLL members lit nine UNESCO World Heritage sites across the UK on 1 October 2015. Alongside Simon Fisher, Dan Lister and Rhiannon West, Peck led this national event, which gained international acclaim, going on to win the Event award at the 2016 [d]arc awards. Rounding off the UNESCO International Year of Light, Peck travelled with SLL Coordinator Juliet Rennie to Mexico for the closing ceremony, where she spoke about the Night of Heritage Light as part of an international panel of lighting designers and advocates. Following a move from Brighton to Leeds, Peck started the Northern Lights initiative, which gave an opportunity for “Light Minded” people in the north of England to socialise and discuss the topics of the day – part of Peck’s ongoing passion, support and commitment to the lighting community and those working within it.
Liz Peck (right) pictured at the [d]arc awards 2016, where the SLL was recognised in the Event category for the Night of Heritage Light, a project instigated by Peck.
On hearing the news of her passing, SLL President Bob Bohannon said: “I will not be alone in hearing the news of Liz’s passing with shock and immense sadness. She was a dear friend and invaluable colleague, and she will be widely missed. I was constantly amazed by just how many people knew her and her ability to make friends of the teams around us. “But while mourning I want to celebrate the life lived for that is the Liz we all knew. Her humanity shone through, for example in the last few months she was volunteering as a deliverer for a Leeds food bank; it was hard work but she made people’s lives better. She was immensely proud to have beaten all the longevity odds after major heart surgery as a teenager. “Her passion for the work of the Society of Light and Lighting was a driving force in her life and her work on projects such as Dover Castle and the Iron Bridge at Telford were widely recognised as being at the leading edge of our profession. “We’ll miss you Liz.” Liz Peck 1974 – 2021
One of Peck’s most recent projects, Shropshire’s Iron Bridge, saw her gain plaudits across the lighting industry for the dramatic re-lighting of one of the area’s most iconic landmarks.
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www.cibse.org/society-of-light-and-lighting
Transmission Grimeton, Sweden Created by Aleksandra Stratimirovic, Transmission is a site-specific light artwork for the UNESCO World Heritagelisted Grimeton Radio Station in Sweden, commissioned by the Varberg municipality. Grimeton Radio Station is an early longwave transatlantic wireless telegraphy station built from 1922-24 that has been preserved as a historical site. It is the only remaining example of the Alexanderson alternator - an early piece of pre-electronic radio transmitter technology. Added to the UNESCO World Heritage List in 2004, it is considered an outstanding monument, representing the process and development of communication technology. “I visited Grimeton Radio Station for the first time, in connection with this assignment, and was taken by the site’s industrial beauty and its ingenious history,” said Stratimirovic. “My first thought was to create a piece that highlights the greatness of the station’s imperceptible history. I wanted to add an unexpected element, a surprising moment, that is perceptible from
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long distances, that makes the radio station’s invisible activities visible in a poetic and inspiring way.” The resulting installation, Transmission, consists of two laser projections mounted at a height of 127-metres, on top of one of the station’s colossal towers. Green laser beams make the radio station’s imaginary communication visible. Light movement in the form of varying frequencies transmits messages in slow rhythmic sequences, pulsating in Morse code. Broadcasting messages of peace, friendship, love, equality, diversity, respect and hope, Transmission uses beams of light to convey words based on UNESCO’s work, which encourages international peace, universal respect for human rights and equitable and sustainable development. Projections appear sporadically, once or twice a month, and are visible in the night sky over Grimeton Radio Station, and within a radius of a few miles. www.strati.se
EYE OPENER
Photography: Tomasz Zurek
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Pics: teamLab
teamLab Reconnect Japan Art collective teamLab is to open an unprecedented exhibition this year, combining the experiences of art and sauna. With teamLab Reconnect: Art with Rinkan Sauna Roppongi, planned to open in March 2021, teamLab has been exploring a new way to experience art, while simultaneously unravelling the historical background of Japanese saunas, such as the rinkan-chanoyu practice (rinkan sauna and tea ceremony). Running for a limited time of six months, the exhibition is comprised of a Sauna Area, a Cold Bathing Area, and an Art Submersion Area, where visitors can rest while immersing themselves in artworks. These areas are all interconnected to form a single, continuous experience in which visitors can “enter a sauna trance, immerse themselves in art, and reconnect with the world and time”. The idea behind teamLab Reconnect is for visitors to “experience art in their finest mental state by entering a sauna trance”, the art collective described. “When taking alternating hot and cold baths, visitors open their minds, experience ever-expanding physical sensations, and become one with the art. Recognising that the mind, body and environment are the wholeness of their being, visitors are reconnected to the world and time.”
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According to teamLab, a “sauna trance” is an exceptionally unique neurological state brought about by alternating hot and cold baths. When entering this trance, “the senses sharpen, the mind clears, the beauty of the surrounding world comes into focus, and what normally goes unnoticed can be experienced”. Through teamLab Reconnect, the art collective will unveil six artworks, including never-beforeseen pieces based on teamLab’s new art project, Supernature Phenomenon. This is a project that focuses on phenomena that defy the laws of nature and the resulting changes in perception itself. teamLab believes that when a person views this phenomena, such as the defiance of universal gravitation, this causes their perception to change, leading to a new cognitive experience that differs from that of everyday life. Ever since Mifuneyama Rakuen Park in Kyushu established its award-winning sauna in 2019, teamLab has been exploring new experiences combining art and sauna through the exhibitions teamLab: A Forest Where Gods Live and teamLab Ruins and Heritage: Rinkan Spa & Tea Ceremony, all while unravelling the historical background of art and saunas. In teamLab Reconnect, visitors go even
deeper by entering the sauna, experiencing a “sauna trance”, and becoming immersed in the art. Featured artworks within teamLab Reconnect will include Levitation. Here, a sphere will levitate in the space between the floor and ceiling, floating up and down as though transcending the concept of mass. The sphere falls to the ground and rolls away when people hit it, but if there is no external interference, it will slowly rise into the air again, as though restoring itself to its original state. “Life can be thought of as an order of energy that is continuous with the external environment,” explained teamLab. “Since the existence of life can be thought of as a supernature phenomenon that defies the laws of physics, when an order of energy is created within the artwork space, the sphere transcends universal gravitation, violating physics as life does. The sphere slowly levitates, becomes suspended in the middle of the space, and floats up and down in the air.” Another new artwork to feature within teamLab Reconnect is Proliferating Immense Life – A Whole Year per Year. This interactive, computer generated artwork pays homage to the lifecycle of flowers as they bud, grow and blossom, before eventually fading away. Created by a computer programme that continuously renders the work in real time, the interaction between people and the installation causes continuous change in the artwork: previous visual states can never be replicated and will never reoccur in this constantly changing artwork. teamLab Reconnect is scheduled to open in March 2021, and will run until August 2021. www.teamlab.art
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Coronado Bay Bridge USA A significant milestone has recently been reached in the journey to create a monumental new, signature artwork for the San Diego Coronado Bay region. Three of the 60-metre-high overwater columns of the iconic 3.4km Coronado Bay Bridge were illuminated in November 2020 as part of an extensive, environmental, programmatic and design testing phase. This large-scale mock-up represents an important step in bringing the collaborative efforts of artist Peter Fink of Studio Fink, lighting designers at Speirs Major, and engineers at Buro Happold to light. The delivery of this monumental light project is being managed by a partnership between the Port of San Diego and the California Department of Transportation, which has jurisdiction over, operates and maintains the bridge. A competition winning design, the bridge lighting has been designed to provide both cultural and artistic value, with a strong focus on environmentally sustainable design. The
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design seeks to illuminate the 32 bridge columns as a means of emphasising the role of the bridge as a nautical gateway, highlighting the dynamic connection between the San Diego and City of Coronado communities. Intended to be the flagship of San Diego Bay’s economic and urban waterfront renewal, it will create an aspirational marker that the designers hope will denote a world-class waterfront. Peter Fink commented: “Light for me as an artist is a cultural thing; not simply linked to the design of cities in only a functional manner but existing inherently as part of the light of people for whom this bridge was built. “The realisation of this ambitious testing programme during the Covid-19 crisis has afforded a new context for the bridge lighting project. Standing as a community ‘beacon of light’, it celebrates the quality of resilience as an ocean gateway to the world, and the connectivity vital for future economic and social recovery.” Mark Major, Principal of Speirs Major, added:
“Our collaboration with Peter Fink and Buro Happold began with our ground-breaking competition win. We are delighted that the Port of San Diego and California Department of Transport have continued to support such a major project despite Covid-19 to achieve this important milestone. “The over-water test not only acted as a valuable proof of concept, but also allowed the team to properly evaluate the creative possibilities of the lighting scheme more fully whilst studying both the technical and environmental implications. “Most importantly, it gave the local community a glimpse of the future. The test has proved the project can be delivered in a sustainable manner that brings positive benefits to San Diego and Coronado and their nighttime economies while minimising any harm to the ecology of the bay and its foreshore.” www.smlightarchitecture.com www.studiofink.eu
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Spotlight Grow Netherlands Artist and designer Daan Roosegaarde has unveiled his latest artwork, a sprawling, 20,000sqm piece entitled Grow. An homage to the beauty and importance of agriculture, Grow appears as a luminous dreamscape of red and blue lights that wash like waves over an enormous field surrounded by darkness. The artwork is inspired by science exploring how certain “recipes” of light can improve plants’ growth and resilience. “Most of the time we hardly notice the huge areas of the Earth that are literally feeding us,” said Studio Roosegaarde. “Grow highlights the importance of innovation in the agriculture system: How can cutting-edge light design help plants to grow more sustainably? How
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can we make the farmer the hero?” Grow consists of a design-based light recipe that shines vertically across 20,000sqm of farmland with leek (Allium porrum). Viewers experience the artwork as ‘dancing lights’ across the huge agricultural field. The light is poetic, and inspired by photobiology light science technologies, which have shown that certain recipes of blue, red and ultraviolet light can enhance plant growth and reduce the use of pesticides by up to 50%. Alongside the stunning installation, Studio Roosegaarde has put together a film, which is available to view on the Studio Roosegaarde website, that shows the development of this luminous dreamscape and how the beauty of light can help plants.
SPOTLIGHT
Pics: Daan Roosegaarde
“Grow can be good for nature but also send hopeful light to people. It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork,” the Studio commented. Grow is part of the artist-in-residence programme of the Rabobank. Daan Roosegaarde and his team of designers and experts developed Grow over two years, informed by expert knowledge sessions at Studio Roosegaarde, Wageningen University & Research, Springtij Forum, and the World Economic Forum in Davos. It is the first in a series of dreamscapes by Studio Roosegaarde that shows the beauty of combining art and science to create a better world.
Wiebe Draijer, Chairman of the Managing Board, Rabobank, said of the artwork: “It is really inspiring to work with an artist like Daan Roosegaarde on how to grow a better world together.” Roosegaarde added: “Grow is the dreamscape that shows the beauty of light and sustainability. Not as a utopia but as a protopia, improving step by step.” www.studioroosegaarde.net
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SPOTLIGHT
West Downs Campus, University of Winchester UK The University of Winchester’s West Downs Campus is a state-ofthe-art facility for learning and teaching, home to the school’s Digital Technologies, Computing, Business and Management programmes. The contemporary £50m design by architects Design Engine includes a drum-shaped, 250-seat auditorium, art gallery, café, food hall, shop, library, social learning areas and teaching spaces. The flagship development is among the first university projects in the UK to be registered to pursue WELL Certification – an accreditation scheme that recognises buildings that support and advance human health and wellbeing. Winchester is also the first university in the UK to secure Green finance for campus development, with a £30m loan from Triodos Bank, Europe’s leading sustainable bank. With a number of sustainable features, including a combined heat and power plant, heat recovery systems, rainwater harvesting, a green roof and solar photovoltaic panels, the building is also seeking to achieve a BREEAM ‘Excellent’ rating. Lighting for the new building was designed by Michael Grubb Studio, whose brief was to use light to create a welcoming environment that fosters wellbeing, celebrates the architectural characteristics of the building, and promotes use. The studio therefore set out to illuminate both the interior and exterior of the site with a lighting approach more in line with hospitality venues than educational facilities. Working to remove excessive light, flat uniformity and a cold colour temperature, the team sought instead to create a warm and inspiring experience for staff, students and visitors. The lighting scheme considered each space independently, in close collaboration with the architects, the client and design team. Michael Grubb Studio tested each type of luminaire on proposed materials and surfaces to ensure appropriate illumination both horizontally and vertically, to support the needs and use of each individual space.
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Combining efficient decorative and architectural lighting, each space is fully configurable via the lighting control system, to allow for change of use and atmosphere throughout the day. Areas such as the bar, café, lounge and dining room subtly adapt from functionally illuminated spaces during the day to warm and dimly lit, relaxed spaces for evening and event uses. Devised into two zones, the functional Library ground floor combines intelligent and efficient, integrated lighting to bookshelves, desks and seating areas, with high level lighting to offer a brighter functional space during both day and night use. The first floor comprises relaxed seating and individual desk spaces, which support daylight use through sensors and the lighting control system to only use functional artificial lighting when required. Lighting dims for evening use, with lounge style lighting provided by integrated desk, wall and ambient architectural lighting. The Auditorium, independently illuminated, is fully adjustable using preset and customisable scenes capable of providing functional lighting for lectures, dim lighting for events and presentations, as well as stage-only lighting for event use. Outside, consideration was given to existing ecologies and the dimly illuminated context. The exterior lighting combines warm white light with feature window colour-changeable lighting. Lighting to the fourth-floor terrace provides an impressive backdrop for events, using low-glare warm white spotlighting, intricately integrated within the building’s brise soleil. Ground level lighting provides subtle low level, functional lighting to seating, steps and access routes, while concealed architectural lighting illuminates the feature courtyard planting, colonnade structure and entrance mural, creating an entrancing external experience that invites you in. www.michaelgrubbstudio.com
Wood and aluminium are a stylish and practical combination: the BEGA system bollards with extremely durable wood bollard tubes set the standard when it comes to quality and create visual accents. The Accoya ® wood, from sustainable forestry, enhances any area where the luminaires are used providing the pleasant feeling of warmth and a natural ambience. BEGA Lighting UK Ltd · Suite 9 · Milton Heath House · Westcott Road Dorking · Surrey · RH4 3NB · UK · Tel. No. +44 (0) 1306 882 098 info-uk@bega.com · www.bega.com
Das gute Licht. For natural accents.
Pics: Crossrail
Paddington Station Elizabeth Line UK Paddington Station’s soon to open Elizabeth Line features an efficient, sustainable lighting scheme, developed by WSP. WSP has extensive experience working on mass rapid transit projects, including the London Bridge Station, in which it worked with Grimshaw Architects, and the lighting design team built on this experience when working with architects Weston Williamson on Paddington Station. The new Elizabeth Line is housed in a brand new structure, adjacent to an existing Grade I listed structure. This was an integral element of the project, as all involved sought to create a symbiosis between the old and new, creating new features and connectivity while providing a recognisable civic presence. Sacha Abizadeh, UK Head of Creative Lighting at WSP, explained the concept behind the new station’s lighting scheme: “Our lighting team’s initial scope of work for Paddington was the technical review of the concept produced by the architects, for which I was brought into at the detail design stage to develop the design, which included buildability, detail specification and coordinating with all stakeholders. “We saw opportunities to develop the lighting concept to be more sustainable and efficient, with a reduced carbon footprint, as well as creating a more pleasant environment for all users, be they passengers or the station’s workforce.”
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Abizadeh and the WSP team sought to create a lighting design that was “manageable, sustainable and energy efficient, while architecturally pleasant and eliminating any glare and shadowing, bringing the station into the 21st century.” The design, instigated by Weston Williamson and developed in detail with WSP and 4D Lighting, for the concourse and platforms was a ‘lily pad’ style, which provides a decorative and functional motif throughout the passenger-facing areas. The spun aluminium lily pads are bronze anodised to match the bronze cladding of the station, and incorporate perforations to provide vital acoustic absorption, such that the acoustics and the lighting work together to form a humane and comfortable experience. Each pad provides direct lighting to the passenger space, as well as discreet uplighting to enhance the circular coffers and visually raise the soffit. Careful design of the lily pad also ensures that no light sources are visible, only the effects of the lighting. The unique lighting system encompasses the architectural concept, structure, services and construction requirements into one simple design. The concrete structure of the floor slabs is exposed, as is the visual soffit; its dimensions complement the original Brunel station, and integrates the new station into the old while providing the station support structure. The soffit also incorporates cast-in conduit for all services, including lighting.
SPOTLIGHT
Alongside this, WSP used a lighting control system to maximise the use of artificial lighting in the underground station areas, optimising the spaces while avoiding over-lighting. “We also integrated the lighting within the station features and structure to create a unique visual identity,” Abizadeh added. “The main challenge was in bringing the different lighting elements and performance requirements together within the space to achieve a balanced and uniform overall lighting solution. Iterative analysis and simulation techniques were used to create the optimum solution. We also worked closely with the lighting manufacturers to ensure the output LED luminaires were maximised.” Having previously worked on large-scale infrastructure and transport projects such as London Bridge Station, Abizadeh and WSP were able to use the skills and experience to create a workable solution here. “I had to bring my knowledge of LED technology, rail safety and standards,” he said. “The selection of luminaires from London Bridge experience helped me to apply and modify the luminaire types and maintainability for Paddington. “The technical requirements are generally similar, but with Paddington, clarity and collaboration was essential as different assets belonged to different stakeholders. This meant the lighting installation and electrical design had to comply with the
requirements and installation needs of different asset-owning stakeholders; these included Network Rail, who managed the main entrances and departures road standards; Crossrail, who were responsible for the main station; and Westminster City Council, which has control over the surrounding external roads and public realm area. “Where required, the team ensured the correct luminaires were specified and on the asset owner’s approved material list to avoid potential confusion, reduce project risk and meet their maintenance criteria.” Throughout the project, WSP worked closely with the architects and engineers, from the concept stage to completion, resulting in an allencompassing design that differs greatly from many underground stations. Abizadeh concluded: “The outcome is pleasing and unique. I feel proud of the project and the lighting team’s input, not only for a sustainable and efficient design but to see how the station has come to life and thinking back to how much it has changed for the better for all, compared to how it was. “The lighting brings Paddington in line with a modern 21st Century station where passengers and station worker experience is significantly improved, where the station is a place that they want to be.” www.wsp.com
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SPOTLIGHT
Pics: Tim Love
The Helix UK White City Place has opened the new year by unveiling a new interactive installation and creative space entitled The Helix, directly inspired by the structural spiral-like form of a DNA helix. Devised by White City Place and created by Studiotech, the multimedia tunnel immerses those that pass through it in colourful lighting and sound. The Helix is controlled by detecting motion passing in or around the structure, triggering built-in technology to transmute the light colour and ambient sound. Constructed of recycled steel and measuring 12-metres in length, The Helix is located in the Central Avenue at White City Place in London, connecting the MediaWorks and WestWorks buildings. Office and laboratory workers, residents, retail occupiers and the local community are able to engage with the orange powder-coated structure to experience its everchanging and unique cycle of digital colour and sound. The concept and design of The Helix draws inspiration from the innovative work undertaken by White City Place’s Life Sciences occupiers - Synthace, a team pioneering transformative ways of working
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digitally in biology; Autolus, a biopharmaceutical company developing next generation T cell therapies for cancer; GammaDelta Therapeutics, an immunotherapy company creating new approaches to treating cancer; Novartis, one of the world’s largest pharmaceutical companies, developing revolutionary medicines, as well as the neighbouring Imperial College’s White City campus. The Helix joins White City Palace’s wider cultural programme, following the recent success of the playful pedestrian crossing and murals designed by French artist Camille Walala, as well as the colourful transformation of a disused petrol station on Wood Lane by international design duo Craig & Karl, and Richard Wood’s Holiday Home in Television Centre. This latest digital installation will provide visitors the opportunity to experiment with countless moving light and sound sequences, bringing colour to the darker nights throughout the winter, with further plans to adapt and develop in the spring and summer of 2021. www.studiotech.co.uk
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SPOTLIGHT
Pics: Martín García Pérez
The Church of the Sacred Heart of Jesus Spain The construction of the Neo-Romanesque Church of the Sacred Heart of Jesus in Melila, Spain began in December 1901, but the church itself was not inaugurated until 17 years later, on 19 May 1918. The building comprises a main body, with a basilica floor plan and a transept, distributing access towards the central and side apses. The central nave has a barrel vault with transversal arches, while the side naves each have groin vaults. A renovation to the church’s electrical and lighting installations was carried out in 2019, prompted by the granting of aid by the Autonomous City of Melila. The lead architect for the renovation, José Antonio Fernández of Chacel 8 Arquitectura, brought together several professionals for the drafting of the project and project management. Among them was Javier Górriz from DCI Lighting Design, for the new lighting design. Together they formed a multidisciplinary team to create a comprehensive church lighting renovation. The church’s original lighting comprised obsolete light sources based mainly on metal halides, fluorescents and other discharge lamps, with high dazzle rates, high maintenance costs and high electrical consumption. The new lighting design sought to
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turn the artificial lighting into an additional element through which users or visitors could reinterpret the church’s architecture, feeling attracted by the light to contemplate the different architectural landmarks. Using a range of fixtures from Reggiani, Linea Light Group and Lluria, care was taken by DCI Lighting Design to ensure the lighting was integrated into the architecture as a means of bringing out the effect of the light, while concealing its sources. When the light source itself is inevitably visible within the observer’s visual field, the luminaires have been equipped with anti-glare slats that improve visual comfort. “The idea is to use light as if it were a brush to draw the different architectural lines, seeking the play of light and shadow, and thus emphasising any small details that could go unnoticed with the exclusive use of natural light,” said Górriz. With a lighting control system based on Bluetooth technology, DCI Studio were able to create different lighting scenes, depending on the needs of the church, and control the lighting in any part of the temple from mobile devices or tables and wireless buttom interfaces. www.d-ci.es
#70Y E A R S Z UM TOB E L
A R C O S III THE FINE ART OF LIGHT
A M A S T ER P I EC E O F L I G H T I N G | D E S I G N B Y DAV I D C H I P P ER F I EL D A RC H I T EC T S | Z . L I G H T I N G/A RCO S
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Pics: Gert Jan Van Rooij
Het Licht van Jan Netherlands The light installation Het Licht van Jan (Jan’s Light) sits in an industrial traffic underpass near Amsterdam’s city centre. In the artwork, created by Matthias Oostrik, passers-by activate surging light projections that illuminate the narrow sidewalk and weathered walls of the underpass. These undulating projections echo Amsterdam’s history, recreating the reflections of sunbeams on the water, now replaced by artificial islands. To create the dynamic projections that move with the passers-by, Het Licht van Jan uses a surprisingly simple arrangement of steel grates and widely spaced lights. Oostrik’s artworks enable new and unusual connections between people and their surroundings. Using digital technology, his installations respond to visitors with changing light, video, or sound, allowing visitors to reshape their environment. His works in public space are often also functional, contributing to a sense of security and are designed to last. An early and well-received example of his work is the Bijlmer Moodwall (2009), located in a pedestrian passage in Amsterdam. This interactive façade reacts to visitors with playful streaks of light that move alongside them. In the recent installation A Trail of Water (2020) in the Dutch city of Assen passing trains trigger a unique light composition: A waterfall of light cascading down over the concrete embankment and overgrown slopes of an overpass.
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Het Licht van Jan is activated by pedestrians who walk on the narrow sidewalks of the Kattenburgerstraat underpass. In the darkest parts of the tunnel, they trigger bright projections of light. On the aged tile walls, beams of light move along with the pedestrians, while on the sidewalk, waves of light gently sway towards them. The projections, three on either side of the road, are created by shining a row of ultra-bright lights through a series of custom-designed grates. The shadows of the unique grates interact to create moiré patterns, producing entirely different effects on both the wall and the floor. In stark contrast with the existing warm, almost orange streetlights, the projections use cold white light. Like so many places in Amsterdam, the underpass is located on a historical site, where several natural and constructed bodies of water existed before the railway was constructed on an artificial strip of land in the late 19th century. Het Licht van Jan brings back this past by reviving both the flow of water on the ground as well as the sunlight radiating through the railway tracks on the walls. Het Licht van Jan was developed in commission by the City of Amsterdam and supported by the Amsterdam Fund for the Arts. www.oostrik.net
RENEGADE DESIGN Working across multiple creative industries, Renegade Design draws from various disciplines to create immersive, striking works of light. Here, we look at some examples from across its diverse portfolio. London Philharmonic Orchestra - Autumn Season 2020 London, UK
London Philharmonic Orchestra Pics: James Wicks
Renegade was commissioned by Silent Studios to design a series of unique lighting schemes for 13 concerts on behalf of The London Philharmonic Orchestra for its Autumn 2020 season. Set in an audience-less Royal Festival Hall due to the Covid-19 pandemic restrictions, the shows were broadcasted weekly to a subscribing audience. The unprecedented historical and physical context of these performances presented an opportunity to break from a traditional visual narrative, creating additional layers of communication through the incorporation of colour and drama. Renegade moved away from classic brown and beige hues, saturating each show with a unique character and identity. The lighting aesthetic presented was bold yet intimate, echoing the visual codes of theatre and immersing the orchestra in a dimly lit, hazy, atmospheric concert hall. Due to the lack of audience, the lighting could
be positioned in unusual places alongside the existing Grade I listed light portals, providing the freedom to bring the architectural features to life. Creating a dialogue with the surrounding backdrop of the London Southbank’s brutalist buildings at night, interior elements such as the organ, the empty seats and boxes were elevated to key sculptural features by the lights. One challenge that Renegade had to face, was to utilise the Southbank Centre’s existing lighting inventory, which was distributed across their closed show spaces. This limitation was turned into an opportunity, pushing the studio to think outside the box focusing on changing the pre-determined role of each fixture for each individual concert. Pushing the comfort zone of the performers, the director and the DOP, Renegade reached low levels of light creating an unprecedented feeling of intimacy, unconventional for the visual codes of classical orchestral music.
Anya Hindmarch - Circulus SS17 London, UK The circle provided the backdrop and inspiration for the Anya Hindmarch Spring Summer 2017 collection with the seemingly formulaic circular stage transforming into beautiful moving set with subtle colour changes. Set in the imposing space of The Royal Horticultural Halls, Renegade worked on this large-scale installation with stage designer Stuart Nunn and show production company INCA. The longstanding relationship and creative bond between Anya Hindmarch and the team involved in the show design, consistently delivered impeccable results over the years. Starting as a cap to the runway space, the ceiling rose to a fixed tilted canopy, internally lit using Chroma-Q’s RGBW linear batons. Throughout the show the ceiling acted as a diffused light box embracing the whole space and alternating vivid coloured hues with cool white tones. The spiralled stage acted as the ideal surface for the light, allowing Renegade to throw long shafts of light enriched with shadow and textures. The lighting for the stage and the catwalk was installed around the perimeter of the show space, rigged inside 12-metre high truss totems. These LED wash lights from Martin Professional gave a soft, but bright output, whilst being small enough to conceal within the structures.
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Anya Hindmarch Pics: Neil Mason
SNAPSHOT
Paul Smith 50th Anniversary Show Paris, France
Paul Smith Pics: Paul Blind
The 50th anniversary show of the iconic British fashion designer took place in the historic music venue Élysée Montmartre in Paris. Renegade had already worked on several of Paul Smith’s catwalks over the years with show production company 6Up. Renegade was asked to design the lighting for different areas beyond the main catwalk space, including the dressing area within the theatre, which was then converted into to an elegant dining room designated to the guests’ after party. The lighting scheme for the catwalk had to be bold and clean to enhance the collection, whilst being versatile enough to complement the striking visual content opening the show. The bespoke video content was an homage to Paul Smith’s 50-year career and relayed highlights from his previous celebrated collections. Renegade presented a cool colour temperature palette for the catwalk next to rich blues and magentas for the pre-show, echoing the vibrancy and the established identity of the visuals. In the previous three seasons, Renegade had used Arri Sky Panels as the overhead lighting system, which have now become a key part of the design identity of Paul Smith’s shows. This choice provided a signature, stylistic continuity albeit the lighting scheme being re-designed each season to seamlessly integrate with the new show ethos and layout. Lighting for the photographers was from Ayrton Khamsin’s, an LED profile fixture with four blade shutters, beautifully rich colours and perfect CTO/B for balancing with the overhead lighting. In the backstage area, a sculptural installation lining the balcony of Arri Sky Panels was installed for precise colour temperature, matching the show lighting for both the makeup artists and dressers to work in.
After Dark London, UK Renegade developed a collection of temporary site-specific lighting installations articulating over different areas of Chiswick House & Gardens based on the ‘After Dark’ concept. Challenging the traditional ‘winter light’ visual approach, this outdoor exhibition was conceived as an escape from the city, an immersive visual journey designed to enhance the almost mystical experience of wandering through nature at night. Visitors could discover secret corners, light sculptures, temples and holograms whilst walking amongst secular trees and water streams. A bespoke design was created for each area of the journey, responding to unique natural and sculptural characteristics that appeared within the landscape. The diverse textures and reflective properties of the natural elements - such as wood and water - played a central role in the creative process, becoming an integral part of each individual installation, alongside the classic geometry of the architectural elements. The exhibition opened with a timecoded lighting sequence on Chiswick House’s main building, accompanied by an original music score by Kasabian’s Serge Pizzorno. Bespoke neon was chosen over LED to create sculptures made of salvaged wood from local fallen trees, which were commissioned by the client. Lasers were strategically positioned to pierce through smoke and branches and to create reflections on the water’s surface. The gardens themselves were ever changing from the moment the project was conceived and the initial planning in Autumn; by the time the installation was completed in winter, the season altered the natural colours, density of foliage, water levels and humidity. Occasionally, Renegade had to re-imagine and adapt some creative concepts to follow these natural changes and respond to unexpected scenarios.
After Dark Pics: James Wicks
Renegade Design Renegade is a Lighting and Production Design Studio based in London and Brighton, founded by designer and creative director Nicholas Gray in 2005. The studio operates internationally and across multiple creative industries including fashion, music, architecture, film and visual arts with a strong focus on innovative technical and aesthetic solutions drawn from different disciplines. Renegade’s work includes complex sitespecific installations, highly produced fashion shows, stage design for live music and bespoke brand experiences. The studio established its unique set of visual codes and distinctive design approach, hinging on the holistic understanding and integration of different creative languages. Renegade is renowned for distilling scenic and architectural elements into each project, creating an end product encompassing high design and in-depth technical knowledge. www.renegadedesign.co.uk
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BRIEFING
Emma Cogswell arc catches up with Emma Cogswell to find out more about her new venture - The Skills Army, which has been established as a tool to help young designers find their way around the lighting industry. How did you get into lighting? I was incredibly fortunate to have been taught lighting by the illustrious Mary Rushton-Beales. Lighting was a module on my interior design course, and this was a catalyst into my lighting adventures. What started out as a six-week trial saw me catapulted to Dubai in the mid 90s, where we worked on some of the early shopping malls and hotels. For the next decade we saw the desert turn into a metropolis, I was captivated. I also became interested in the effects of light on human health and the wider environment. This has since become a very hot topic with biophilic design assisting us to live and work in more healthy spaces for mind, body and productivity. In 2001 I was introduced to the IALD, which lead me to many new relationships. These became a rich source of inspiration as I met some of the worlds’ most famous architects, including Tadao Ando, Zaha Hadid, and Daniel Libeskind; not to mention being able to make friends with lighting nobility such as Charles Stone, Andreas Schulz, Rogier Van de Heide, Mark Major, Motoko Ishii and her wonderful daughter Lisa Ishii, and many more; each person explained their inspirations and passion for the job, it became infectious. Can you describe your lighting career so far? Fantastic! There can’t be many other jobs where no two days are the same? I am trained in architectural lighting but playing with lights at festivals and workshops has been a great way to learn. The privileges I have had are almost too many to mention, from lighting the Tower of London, to being at the top of a minaret at the Oxford Islamic centre. It’s been a voyage of discovery. The last few years have seen my work change towards a more educational bias - taking part in light festivals such as Lights in Alingsås. I’m also incredibly proud to have developed the 100W challenge with Simon Thorp at LAPD and Stuart Knox of LED Linear, where teams were invited to light a whole house using only 100W. Being able to be part of the SLL Masterclass was also hugely rewarding and enabled me to brush up on my presenting skills. What is the Skills Army? How was it created? The Skills Army is the culmination of all my experience and an open invitation to all the people I have met along the way to share their wisdom. To enable others to gain insight, have confidence and feel prepared to take that next step in their career journey, in lighting and the built environment. It was created from a conversation with a young architect who asked if I was able to help with a series of skills, such as writing a CV, interview techniques, social media tips and effective networking. I set about gathering information and compiling a series of links to available resources, to help people find their way around the lighting industry, to encourage them to look at lighting as a possible career option. What are your ambitions for Skills Army? What do you hope to bring to the lighting community? My aim is to deliver an aspirational platform that excites and informs. We need to show young graduates that there is an array of opportunity in the lighting industry. We now have a 50/50 men to women ratio - the new challenge is to open the doors to minority groups.
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Was it a difficult decision to set this up, especially in the middle of a global pandemic? Absolutely not. This is a great time for innovation and opportunity, to energise young people coming through education or to reboot people that have a change of circumstance. The pandemic is much like a forest fire, devastation can bring new life and resilience. Now is the time to grasp the nettle and be thought leaders. This industry is an integral part of the wider built environment and we need to tell other professionals why lighting is so important. Do you have a ‘Mission Statement’ or philosophy for Skills Army? The philosophy is to take it one step at a time. Grow confidence and help others achieve. Armies aren’t one person, they are recruits, sergeants, generals, a framework that supports. How can people get involved? Anyone can get involved. The easiest way is to visit our website. From there you can follow all our social media channels, which give current references to events and happenings. The involvement has many facets, if you are a professional you can upload your profile, for free. If you are a manufacturer and have a project or product you want to shout about, contact us. Maybe you are a designer or educator and like to bring information out of the archive, send us the link. Do you have a job vacancy? Use our handy portal to fill that that role. We are open and flexible to support the industry in any way we can. Since setting it up, what sort of reception have you had? How has the industry reacted to it? Overwhelming support has kept us going, from a simple a post on LinkedIn. Massive thanks to Eve Gaut and the team at Parrot PR and Marketing for their expertise in PR and Marketing. Manufacturers have stepped up as early supporters including Erco, iGuzzini, Lumino, formalighting and finally thank you to the lighting design companies that have agreed to allow access to archived and current educational material: Leni Schwendinger, Paul Nulty, Mark Ridler, Mary RustonBeales, Christopher Knowlton, and Marcus Steffen to name a few. The instant support from the industry associations SLL, ILP and LIA has been very heart-warming as well as multiple media providers. What have you got in the pipeline for Skills Army? What can we expect to see from you in the near future? We are looking forward to curating exciting and engaging events and making new relationships with the broader design communities. We are only at the beginning of building the Skills Army and welcome anyone who wants to lend their support. What do you think the future holds for the lighting industry? I am an optimist. I know things will get better as we live through the pandemic and come out of the other side. This is a great opportunity for us to reimagine how we want to live our lives for the next generation. If we work together as an army we will build support and resilience. www.skillsarmy.co.uk
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Certification is Serious (but don’t just take my word for it) David Becker, Chair of the Certified Lighting Designer Commission, speaks to lighting designers around the world on the importance of gaining proper certification.
H
aving been involved with the Certified
Lighting Designer (CLD) programme from its stirrings, initially as a member of the
Certification Feasibility Task Force and in
recent years as Chair of the CLD governing Commission, I’ve had the pleasure in
various ways and at various times to present
the value and importance of certification.
We are kidding ourselves, deluded even, if we blithely think our vocation can forever skirt the norms and standards expected
of other professional services. Fellow Aussie, Andrew Jaques,
CLD and Director of Australian and German firm, The Flaming
Beacon, underpins the problem of the profession: “Certification is a much needed and important step for the maturing of our
young industry, one that would help architects and clients to have greater confidence in us as professional architectural lighting designers.” Luke Ellis, CLD and Associate IALD, and Senior
Lighting Designer at EOS Lighting in Vancouver, Canada also
recognises the need for professional recognition: “I saw CLD as
the epitome of assessment for our unique and global profession, which would justify our role in the AEC industry.”
“The significance of certification is the unassailable fact that a mature profession must be able to define competence within its ranks. Yet whilst this is standard practice in other industries, it eludes architectural lighting design.” David Becker, Chair, Certified Lighting Designer Commission
Anyone Can Call Themselves A Lighting Designer
It’s simply untenable that anyone, without regard to talent,
aptitude or experience, can trade as an architectural lighting
designer. Sure, talented people eventually acquire a reputation, which defines their competency, but what about those who don’t possess talent? Isn’t that a risk to the profession? By
enabling unskilled people to masquerade as “professional”
lighting designers we promote the idea that anyone can do it and, therefore, it requires no expertise. David Becker, CLD, Associate IALD Chair, Certified Lighting Designer Commission
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Vladan Paunovic, IALD, CLD and Creative Lead Designer
at Ramboll Architectural Lighting Design, from a Danish
IALD
perspective, states the need for a credential to offset the flimsiness
designers, assessed by lighting professionals and independently
guy who just sells gobos in an online shop or someone working in
CLD has no territorial limits and is designed as a global standard. It
of “lighting designer” as a professional moniker: “This could be a
manufacturing, with no understanding of design,” says Paunovic.
“These people are doing nothing wrong; they are just being creative to commercialise their business positions. CLD has brought an elegant solution to this problem.”
“We need for a credential to offset the flimsiness of “lighting designer” as a professional moniker. This could be a guy who just sells gobos in an online shop or someone working in manufacturing, with no understanding of design..” Vladan Paunovic, Ramboll Architectural Lighting Design Paunovic particularly likes the unpretentiousness of the CLD
concept; it gives the necessary recognition to individuals who can
demonstrate skill through their portfolio regardless of scale, project type or budget. Tejas Doshi, IALD, CLD and Chief Design Officer of
Light & Beyond in India, reinforces the need for certification: “CLD
differentiates me from others because in India every Tom, Dick and
Harry calls themselves a lighting designer whether they are qualified or not.”
governed by an autonomous commission of lighting industry experts. measures proficiency through written responses submitted by the applicant to a published range of questions supported by portfolio
evidence. Spanish lighting designer, Marta Coda, CLD shares: “the value of certification is huge… only if we make lighting design
serious with certification will it be recognised as a profession.” Like all certification programmes, CLD requires continuing
education. Ta-Wei Lin, CLD, IALD of CMA Lighting Design from
Taiwan says: “CLD is a clarion call that our profession is as important as an architect, interior designer and engineer. It proves that I have
holistic knowledge of the practices of lighting design. It also means I have to keep educating myself with new information and training.” At our fingertips we have CLD, a system designed to deal with an existential threat. By contrast, licensure seems not only
inappropriate for the needs of the architectural lighting design profession but a distraction and unrealistic in any foreseeable timeframe. Rather than a mandatory academic test, CLD is a
voluntary assessment process that asks the candidate to respond to a standard set of questions using their portfolio as supporting evidence. It’s a system that defines proficiency through proven
experience. No written exam can capture proficiency in practice or artistic merit.
Why Licensure Doesn’t Work For Lighting Designers
The Fight To Maintain Relevance
a discussion of licensure. However, the world of licensing is a
are in a fight to maintain relevance in an ever-evolving industry,
In some quarters, this unsustainable situation has promoted
dramatic step that would have consequences many designers do not understand. Licensure is a compulsory regime that would
restrict trade to a specified territory (that’s what licenses do) and
would require passing a mandatory test or examination. Rosemarie Allaire, FIALD, CLD of RALD in the USA and Vice Chair of the CLD
Commission, highlights problems with a licensing model: “In the United States, a license would need to be issued by 50 different states and 14 territories,” states Allaire. “What would be the
licence requirements? An exam? Experience? Who would decide?
Undertaking and coordinating this huge process would take years. And what would be the costs to each state (and the individual)?
CLD solves this – it is a voluntary application not restricted to any particular jurisdiction. It’s a system of self-regulation developed
by the profession and assessment is undertaken by trained lighting
designers who understand the standards expected in the industry.”
Rachel Fitzgerald, CLD, IALD and Senior Associate at Stantec shines a North American light on the predicament: “Lighting designers
competing more and more with sales representatives and design/
build electrical contractors. Shouldn’t we have a metric for gauging if lighting designers are qualified and capable of doing this highly skilled work?
“CLD helps distinguish both myself and my firm’s lighting design services, demonstrating proficiency on the basis of evidence.
Certification is a true differentiator that can clearly identify qualified lighting design professionals.”
Other leading lighting designers around the world agree. Andreas Schulz, IALD, CLD and Principal of Licht Kunst Licht in Germany
conveys his enthusiasm for certification: “As CLD is the first global evidence-based assessment of proficiency in lighting design, I was
immediately convinced that I needed to be part of it. CLD is the basis to raise awareness and respect for our profession.”
In a licensed environment it would be illegal to practise as a lighting
The views above highlight a remarkable consistency of outlook
profession would have little or no control over, in terms of what
nature, only has currency when it achieves critical mass – there
designer without a license. Licencing would also be something our
constitutes competency and how it would be administrated – licences are typically managed by government appointed authorities, and all that that implies.
Created For Lighting Designers By Lighting Designers CLD is an initiative that steps into this void, a certification
programme that is voluntary, designed by architectural lighting
around the globe. But any certification programme, voluntary by must be a significant number of certified practitioners for the
system to have meaning and value. With a large representation
of certified lighting designers (CLDs) the credential will have real clout. Julia Hartman, CLD and IALD, Principal at Lightsphere in
Switzerland concludes: “the acceptance and recognition (of our
profession) can only work when we get a greater acceptance and awareness of CLD.” www.iald.org
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INTERVIEW
Head of the Table Shortly after he was named as Head of Light Bureau, arc sat down with Paul Traynor to discuss the career journey that led to this point.
T
he turn of the year saw the news break that
Paul Traynor had been named as Head of Light Bureau, returning to the top of the studio that he founded 22 years ago.
Established by Traynor in February 1999, Light Bureau merged with Scandinavian lighting
design consultants ÅF Lighting in 2017 – the
culmination of a journey that saw the practice grow from a small,
three-man team operating out of Battersea, UK, to an international studio of more than 100 designers.
It has been a long journey for Traynor, who despite not forming Light Bureau until the age of 32, has always held a fascination with light, dating back to when he was a child.
“I’ve always loved light. I remember I had a dartboard in my bedroom and it was really important to me to have the right light fitting,
with the right lamp source to illuminate it,” he said. “My dad was
qualified in the Royal Electrical Mechanical Engineers, and when we
were at home, he was always in the garage fixing stuff, making stuff.
So, inspired by him, I would take bits that were broken or thrown out, and make new things, and I made lights out of recycled things.
“I didn’t imagine a career in designing lighting in an architectural
sense, but I certainly felt that there was something that you could do creatively with light as a product.”
Indeed it wasn’t until his early 20s when Traynor, then working in
Electrical Engineering, became aware that lighting design was a career he could pursue after speaking to someone studying lighting at the
Bartlett School of Architecture at a Concord Marlin showroom party.
Before this, Traynor left school at 16 and took up an apprenticeship at
the project design office of Pfizer, where he worked as a draughtsman. “It was a really fantastic time, the people in the project office were
very enlightened and very culturally aware,” Traynor recalled. “I felt a really good connection with them, they were really inspiring and
fun, and I realised when I was doing that, that it was an environment where I could imagine spending more of my time.”
Following his apprenticeship, a 20-year-old Traynor looked to pursue his other passion – photography – by applying for a Diploma in
Photography at Medway College of Design. However, the course was
full, so instead he moved to London, where he planned on working as a draughtsman for a year before applying the following year.
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1. At the Greenwich Low Carbon Energy Centre, Traynor and Light Bureau collaborated with British sculptor Conrad Shawcross on the lighting of the chimney, creating The Optic Cloak. (Pic: James D Evans) 2. Completed in 2007, the lighting for Farnborough Business Park pays homage to the site’s history - the former Farnborough Aerodome dates back to 1912, and Light Bureau sought to showcase the architecture of the Grade I and II listed buildings. 3. After forming Light Bureau in the late 90s, Traynor was quickly able to build up a strong portfolio of projects through relationships that he had built up with architects over the years. 4. Alongside his work as Head of Light Bureau, Traynor is also heavily involved in the educational sphere, knowledge sharing on the Hochshule Wismar Master’s course, and acting as a guest lecturer at KTH in Stockholm.
It was a decision that proved providential, as it
By the time Traynor finished his degree at
interested in lighting as a career path, leading to
lighting specialist at Aukett, an architect-led
“Working in Electrical Engineering, I became
in a lot more projects here, he was also getting
the point that I always wanted to do the lighting,
projects – a bonus for him, but a potential conflict
was during this time that Traynor became more that fateful night at Concord’s showroom.
really interested in the lighting aspects of it, to I wasn’t so interested in the other parts of the
job,” he said. “So I took a job at architects RMJM
calls from former colleagues to consult on lighting of interest for his employers. This, coupled with
Traynor meeting his future wife, who also worked
at the company as an interior designer, led to him
at Earls Court, and had a lot of smaller landscape
lighting firm.
During this time, Traynor also enrolled in a four-
good jobs, but only one of them was actually
in lighting working there, and I did a little project
projects as well. So I developed my skillset there.”
leaving Aukett to look for a role at a dedicated
“I did the rounds and was offered at least three
year, part-time course at South Bank University,
offering some sort of significant career path to an
chance to gain a decent qualification, and expand
“But within a few months, it became clear that
on his knowledge and skillset further.
“It was a fantastic course,” Traynor elaborated.
equity or partnership level, so I took that.” He said. I had different limitations and obstacles placed
in front of me, because they were mainly active
“There was quite a lot about lighting on it, and I was
as design and supply. Working as a fee-based
too. But more than anything, it prepared me very
I decided I was going to have to go.
able to make a lot of my final year about lighting
well for becoming self-employed, because you have to be very resourceful to juggle a full-time job with
part-time study, and like any degree course, you’ve got to structure your time and your work really
carefully. So that gave me a lot of confidence in terms of how I could tackle my work.”
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multidisciplinary office. While he became involved
– Robert Matthew Johnson Marshall. I specialised
studying Energy Engineering. This gave him the
044
South Bank University, he was working as a
lighting designer was quite hard, so for that reason “But I had already done the rounds 10 months
before, trying other practices and seeing what they had to offer. I was pretty sure it wouldn’t have
changed that much, so I decided the only realistic opportunity was to set up on my own, so that’s what I did.”
Interview
“We’re very much about supporting the architectural and interior design objectives, coming up with something that is simple but beautiful, measured and considered, but not making it into a statement in its own right.”
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Paul Traynor
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And so, Light Bureau was born. From its inception,
coming lighting designer by the name of Paul Nulty.
portfolio of projects through relationships that he
Light Bureau, with the team expanding gradually
included projects such as Accenture’s headquarters
more projects, eventually reaching 12 people in
and a large ad agency at Greater London House.
fighting weight for us since then”.
Traynor was quickly able to build up a strong
had built up with architects over the years. This
in London, Sun Microsystems, BT in Sevenoaks, Despite this head start, Traynor said that his ambitions when establishing Light Bureau
From there things grew relatively organically for as the firm gained more momentum and won
2006, which Traynor feels “has been quite a good Indeed it was in 2006 when Traynor began to feel that he, and Light Bureau, had really “arrived”
remained relatively modest: “I wasn’t sure what to
on the scene. He recalled: “I was on a riverboat
was pretty much ‘I wonder whether if I set this up,
talking to Mark Major, and he was asking how
me, how will I do that?’ It was just a case of setting
‘well, you’re about the same size as us in London’. I
expect when I set up. There wasn’t a grand plan, it
will people give me work? If I need someone to help
cruise on some lighting industry thing and I was many people we had. I said 12 people, and he said
something up with an ambition for staying in
thought ‘wow, that’s incredible’. I hadn’t expected
However, after just two weeks, Traynor had to
“We also started getting big international projects
business more than three months or six months.” employ his first member of staff due to the rapidly growing workload. “At the time, you start off
that would be the case.
around 2006. We won a big master plan project in Moscow with KPF Architects and Lovejoy, which
as a generalist, so you’re designing, you’re the
was a really significant project that for me was
CAD, Photoshop and all of that,” he said. “But
and developed a reputation. We also won the
entrepreneur, you’re doing the invoicing, doing after a while you realise that’s an issue. If you
want to service your clients well, you need to get some help.”
This led to Traynor first recruiting a former lighting design colleague, and then his stepbrother, a
graphic designer, and eventually another up and
a great prize for having developed the business NATO headquarters in 2006 with SOM, which was another massive international project.”
Despite winning these larger projects, Traynor doesn’t believe that there was one particular,
stand-out project that put Light Bureau on the
map – instead he feels that the studio’s consistent
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interview
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1. Traynor speaking at PLDC 2019 in Rotterdam, Netherlands (Pic: Twelve Photographic Services, courtesy of PLDC and VIA-Verlag) 2. Taking influence from its location on the Cardiff Bay waterfront the façade of this multi-storey car park features an undulating form, designed to signify the washing waves of the bay. Light Bureau backlit this tensile fabric structure with a double run of fluorescent luminaires, creating a dynamic, striking visual. 3. The Twist, designed by architects Bjarke Ingels Group, saw a collaborative effort between Light Bureau’s UK and Norway teams. Here, Light Bureau created a sustainable lighting design that brings the optimum amount of light, exactly where it is needed, as part of a stunning overall design. (Pic: Tomasz Majewski)
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output of user-focused projects, regardless of size, is what has
audience, the public realm projects are the ones that we probably like
“I wouldn’t say that there was a groundswell and there was one
That being said, Traynor added that throughout Light Bureau’s tenure,
projects, like NATO’s headquarters, but the kind of projects that we
tool for the architecture, rather than light for light’s sake.
ones, but ones where we’ve managed to bring our values very much
just looked good as a concept, it was always about how rigorously
helped them to stand out.
project that did it for us,” he said. “There have been significant
want to talk about and are proud of, sometimes, are the really small to bear.
“For instance, a project that we talk about a lot is the Yellow Pavilion,
doing the most.”
the overriding philosophy has consistently been to use lighting as a “As a core philosophy, it was never about making something that it was detailed. I think because of my background in engineering,
resolving designs and working things out in a high level of detail,
which we did with Hall McKnight in 2016. It was only there for
that was always really important to me.
translated our design ethics into the lit result were things that we
having a nice idea, but coming up with something that is essentially
Centre in Leeds – again, it’s quite simple, it’s quite small, and the
consistent. We don’t want to make lighting the thing about the
a month, but the design experience of that project, and how we
really enjoyed about that project. And then recently the Maggie’s
“Light as craft, as we say, and that very much comes out of not just quite interesting. And I think our approach has remained quite
reason for designing the building that way, and why we designed our
project. Instead we use lighting to find the thing about the project
that’s an important project because it’s a community project.”
supporting the architectural and interior design objectives, coming
lighting in a corresponding way, was because of the user. So for us, This focus on community-oriented projects has led Traynor, and Light Bureau as a whole, to enjoy public realm projects that can
that deserves to be lit, that should be lit. We’re very much about
up with something that is simple but beautiful, something that is
really measured and considered, but not making it into a statement
be enjoyed by many. Traynor cited the master plan of the island of
in its own right.”
project for him. “It was a very unique site where you couldn’t take
Bureau becoming one of the most well-established, highly regarded
Svalbard in the Arctic Circle as a particularly interesting public realm the principles of the master plan of another public realm scheme as with the local conditions, it was very specific, so we had to design principles around that specific case,” he explained.
When it comes to public realm projects, Traynor added: “We want
to play to a wider audience. It’s all very well working on an amazing private residential project, but it’s going to be one person or one
family who gets to enjoy that. For us, if we want to play to a wider
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This considered approach no doubt contributed enormously to Light lighting design practices in the UK, until October 2017, when it was announced that the firm was merging with Scandinavian lighting design consultants ÅF Lighting.
Traynor explained further how this merger came about: “I met Kai
Piippo [ÅF Lighting’s Head of Design] about 24 years ago at a PLDA meeting in Prague. He had set his business up shortly before. We
became good friends, and when we met at lighting events, we would
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always compare notes, and he had the same pain
organisation – there are more responsibilities, but
salaries, accounts and billing, management and
did improve.” And while the UK office remained
when you start a design practice. He struggled in
operating as a self-sufficient, separate business for
ÅF in 2013, which I was really surprised about.
of collaboration across the offices.
him about it, he said how frustrated he was. He
a limited way. What has been good is that there’s
Sweden, one of the best in Scandinavia, but I felt
explained.
Ford Mondeo. The lights go green and I put my
UK in the summer, but there was not so much
this Ford Mondeo sails past me’. He wanted to
parts of the project to Stockholm, just to deliver
support, and was allowed to focus on the creative
on projects from Oslo when they were overrun.
“Every time I saw him after that he was looking
work to others has been very successful.
he said that they were thinking of acquiring a
business kind of culture and start to find big
good way of getting into international business.
whole company objective.”
thought ‘if it’s worked for him, then this looks like
to Traynor at the time of the merger was its
Since the merger, which was finalised in October
formally knowledge sharing already on the
Light Bureau in 2019, Traynor feels that he has
lecture at KTH in Stockholm too, so for me,
very comforting about being part of a big
my future,” he explained.
points as me – things like managing staff and
a lot of the things that I was hoping would improve
admin, which is not really what you sign up for
relatively separate to the rest of the ÅF team –
the same way that I did, so he sold his business to
the past three years, there has been a strong sense
“I saw him at PLDC in Copenhagen and asked
“We want to go international, but we are doing it in
said ‘I had the best lighting design business in
been a strong cooperation between the offices,” he
like a sports car sitting at a traffic light next to a
“For instance, we were overrun with work in the
foot down but my wheels are just spinning while
happening in Stockholm, so we were giving
be somewhere where he got the structure and
the background work on that. We’ve also taken
part of the business and on design.
Sharing work between the offices and off-handing
increasingly relaxed and fulfilled, and in 2016
“But the plan now is to fully embrace that one
business in the UK, because they felt that it was a
international opportunities. It’s all about the
I was interested for the same reasons as Kai. I
Another area of ÅF Lighting that stood out
something that I could get involved with.’”
educational avenue, the ÅF Academy. “I’m
2017 and eventually saw ÅF Lighting rebrand to
Hochschule Wismar course, and do an occasional
noticed a difference, saying: “there’s something
knowledge sharing was a really important thing for
INTERVIEW
“The kinds of projects that we are proud of are the ones where we’ve managed to bring our values very much to bear.” Paul Traynor
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“One of the reasons that I was keen to get involved
was finding it difficult to make any meaningful
know if I wanted my role to remain the same as it
his first business, so he flagged me as someone
it was important to me for the sake of succession
“So I had a meeting, which turned into an
through without me being a blockage. It was also
job. My first reaction was ‘I don’t want to do it. I
something that was more central, and the ÅF
on working on projects.’ But having got over
“We implemented that at the end of 2018, and I
a great opportunity if I wanted to do something
giving lectures and doing design exercises. It was a
opportunities for me to tie the cultures together
very positive.”
really important.
Bureau recruited KTH Programme Director Rodrigo
and now 100 designers, but there are quite a lot of
strong structure and backbone to the programme.
local differences, I think it’s good to have local
pandemic, and Scandinavia recovers from a
think an overarching culture is really interesting, so
the forefront of his campaign in his new role as
Other aspirations for Traynor include addressing
The opportunity for this new role, a position
as more clients seek to become carbon net zero.
towards the end of last year, as Traynor explained:
to stop being responsive. We need to take more
on the role as Head of Light Bureau overall. But
these things, we’re not in a situation where we’re
vibrations business, Efterklang, and I think he
and this manifesto of our own so that when clients
with AFRY was that, getting into my 50s, I didn’t
headway with Light Bureau, as well as trying to run
had for the past 19 years. I wanted to develop, and
who could take over.
within the business that other people could come
interview, and I was surprisingly offered the
important to me that I could develop my role into
don’t want to become a manager, I want to carry
Academy seemed like a good way of doing that.
the initial surprise, I thought that this could be
started to travel around to the different offices,
that was more central, and it also opens a lot of
really good experience, and the feedback has been
between the offices, something that I think is
In a move to take the ÅF Academy further, Light
“There’s a lot in common between all of our offices
Muro on a part-time basis to develop and create a
differences as well. I’m not trying to iron out the
And while the world has been rocked by a global
identities and different ways of doing things, but I
recession, Traynor has the ÅF Academy firmly at
I wanted to start bringing those things together.”
Head of Light Bureau.
the increasing demand for sustainable solutions
previously held by Zlatan Idnert, came about
“I think we’re in a position now where we need
“I never had any expectations that I would take
steps forward so that when clients are asking for
Zlatan Idnert was also running AFRY’s sound and
having to look into it. We should have these values
1. As part of an overall lighting masterplan at Porto Montenegro, Light Bureau illuminated several signature landmarks, including The Crane, which serves as a key monument for the resort. 2. In 2002, Traynor worked with former colleagues at Aukett Architects to design the technical and aesthetic lighting of the conference, office space and public areas of the Diageo headquarters in London. 3. Traynor has regularly been involved with the PLDC conferences, delivering a number of lectures over the years. Here, he delivers a presentation at PLDC 2013 in Copenhagen. 4. At the recently completed Maggie’s Centre in Leeds, UK, Light Bureau looked to create a warm, welcoming lighting design that was complementary to the architecture of Heatherwick Studios, bringing a sense of comfort and relaxation to visitors in the process. (Pic: Hufton + Crow) 5. The Monument to the Fire of London on Pudding Lane required a delicate and sympathetic lighting design. As such, bespoke, low energy luminaires were sensitively integrated throughout, highlighting key architectural features while respecting the integrity of the historic landmark. 6. The Boiler House pavilion at Royal Holloway Univeristy saw Light Bureau use light as a means of presenting the architecture in an open and airy manner, accentuating the key architectural features of the site.
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Interview
talk to us, they have an understanding of what we
Looking to the future, Traynor believes that
things that we regard as important.
grounds in terms of its credibility as a standalone
and more responsible in what we do. I would like
This is thanks, in part, to the significantly
really has purpose, rather than something that
designers starting out now.
“I think now, with all the disruption surrounding
were available to me 22 years ago, there weren’t
of working, there’s a chance to rewrite the script,
that the lighting industry is in a good position
a really good opportunity.”
think that is because of the foundation laid by the
that is really important for Traynor going forward,
knowledge that we have now, and it’s way higher
approach is what it should be judged on, rather
“When I was hiring people 18 years ago, you
“A lot of people talk about the scale of the
background in lighting education, but now it’s
talk to one another about how many employees
become much more established and people are
we’ve got more people – I think that’s wrong. It’s
career that they’re getting into earlier. Where I was
good way, you’re doing good projects, the culture is
crude skill set, I think I probably would have been
more important to be good than to be big.
opportunity earlier.”
want to grow so that we can cover more territories
Light Bureau, Traynor will hope to use his position
we will grow, but we will only grow once we’ve
and positive approach for the lighting designers of
in a really good way and working really well as a
www.lightbureau.com
can do for them and how we would work, and the
lighting design as a profession will continue to gain
“I would also like to see us being more accountable
profession, or as part of a combined profession.
to see us doing more serious work, something that
increased opportunities available to young
makes someone’s project look pretty.
“When I look at some of the opportunities that
energy, sustainability, the pandemic and our ways
that many places where I could go and work. I think
and to be able to do that as Head of Light Bureau is
now because it’s become so well established, and I
Instilling this strong sense of culture is something
early protagonists. You take the level of skill and
as he believes that a company’s attitude and
than it was 20 years ago.
than its size.
wouldn’t expect to hire someone with a formal
business, but I don’t think that we should ever
quite unusual that you wouldn’t, because it’s
we have, and think that we’re important because
recognising sooner that lighting design can be a
much more important that you’re working in a
starting my business at the age of 32 with a fairly
really strong, the beliefs are all healthy; it’s much
better by 10 years if I recognised that it was a career
“I think because we’re a large organisation, we do
Nevertheless, as the newly appointed Head of
and open the doors to more marketplaces. I think
to foster a strong culture, healthy environment,
got a common direction and we’re doing things
the future.
cohesive unit.”
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One of the projects that Traynor is most proud of, the Yellow Pavilion, was created as part of the Irish Design 2015 initiative for the London Festival of Architecture. Designed with distinctly different daytime and nighttime identities, Light Bureau used discrete, linear light sources to reveal the pavilion’s geometry against a glowing, saturated core. (Pic: Luke Hayes)
Ever-increasing Circles In the first of a series of articles following the activities of a growing number of sustainability practitioners within our industry, arc introduces the GreenLight Alliance: a new organisation with a mission to move towards a more Circular Economy.
A
s chairman of the GreenLight Alliance I recall
fondly regular evening discussions with fellow lighting designers and some like-minded
manufacturers, component suppliers and
clients turning into a more solid organisation in the second half of last year. Through our personal concerns and client requests for
information on products’ environmental impacts, we quickly reached a consensus on what we found lacking in our industry and how this should be addressed.
What?
“The stakes on climate change couldn’t be higher than they are
right now,” Biden’s climate envoy, former Secretary of State John Kerry said in January 2021. Every day evidence is mounting. The communities we serve are demanding change (a recent UN poll
concluded that 2/3 (even higher in EU, Canada and Australia) of
the global population consider it a “climate emergency” and would support significant changes). The Circular Economy is pivotal.
What do we mean by Circular Economy? The predominant economic
model illustrated in figure 1 is one of ‘take, make, waste’. This linear consumer model is known to be a large contributor to the climate crisis we find ourselves in the middle of.
Why?
The imperative on our industry to seek out the optimum balance
between cost, in-use energy, aesthetic and ergonomic designs is already accepted. There is some way to go, particularly when it
comes to harvesting the latest benefits of controls and sensors, but
this is territory we are relatively well versed in and able to quantify. Emilio Hernandez, Chairman, GreenLight Alliance emilio@greenlight-alliance.com
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When it comes to the Circular Economy, understanding the impacts of embedded carbon, mineral finality, obsolescence avoidance and
Comment
Figure 1. RIBA design stages (Brief through to In-use) set out next to the Linear Economy and Circular Economy principles as they currently stand. The process only enables a product orientated process such as maintenance, re-use and recycling. More engagement is needed between partners (contractors, designers and developers) to enable circular design considerations at briefing, design stages and their expanded uptake.
service logistics we are still in the foothills.
towards a metric that is universally recognised, trusted and sought-
legislation coming, like the Commission Regulation (EU) 2019/2020,
or any one country. Anything that can be done to accelerate the
There are some standards in place like the EN 4555x series and some which lays down eco-design requirements for light sources and separate control gear. There are some excellent independent
initiatives: the Lighting for Good Charter and the Society of Light
after. The clock is ticking. The issue is bigger than any one company
resolution of a common checklist and move to global adoption of the Circular Economy must be a good thing.
and Lighting’s Circular Economy Assessment Method (CEAM) in
What Can You Do?
name but two. But for lighting equipment and scheme designs, there
social media and email. Better still, engage as a GreenLight Ally.
their forthcoming Circular Economy Technical Memorandum to
is no single or agreed metric that one can direct a client, specifier, engineer or manufacturer towards. There is no universal measure that can be taken or a score of good or bad practice.
So how does this help a lighting designer illustrate to their client that a serviceable luminaire design is more environmentally responsible than one that isn’t? How does this help a luminaire manufacturer know if they should use the locally made plastic component or
the recycled aluminium one flown in from overseas? How does a
Facilities Manager know how to handle a luminaire at end of life?
How do they avoid replacing when they might upgrade instead? How does the end client demonstrate to shareholders or customers that
Get involved. At a basic level, as a supporter. Click and follow our Indicate your interest and join our forum. Regular meetings include
updates from specialists and industry bodies. Hear early on the latest news from movers in this area. Most importantly: share your own
experiences, your contacts, concerns and help us to shape the story. Help us to get to the right destination as early as possible and make
the Circular Economy work for the lighting industry. It is an industry that collaborates better than many. We have an opportunity to do
some real good. Lead by example. Raise the bar. But there is work to be done.
they are building as responsibly as they can?
Our Mission Statement
possible, accelerate the creation of a broad, deep, rigorous and fair
lighting sector understand their role in adopting and promoting the
comradely exchanges between the different ongoing initiatives, even
We will work towards industry standards that are universally
raise awareness, to fact check and question. To stress test existing
discussion and education in circular lighting design & the circular
world. To applaud and promote vanguard examples and to be
www.greenlight-alliance.com
The GreenLight Alliance see its primary role being to aid and, if
The GreenLight Alliance will work together to help everyone in the
measure that can be universally applied. We envisage unilateral,
circular economy.
to nudge them where needed. To learn, collaborate and share. To
recognised, trusted and sought-after. We will also provide a hub for
initiatives, to scrutinise Circular Economy application in the real
economy.
watchful of cynical green-washing.
The goal is to avoid a drawn out, staggered and differing array of
metrics. Instead to ensure the best chance of optimising the journey
www.arc-magazine.com
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comment
Figure 2. Different segments of the lighting industry working together toward a common goal.
The moment is now. Our industry is alive to the urgency. Dave Hollingsbee, Stoane Lighting: “It’s leaning on an open door from a client point of view. We have recently had numerous requests for visibly worthy equipment. Not lm/w or Power Factor figures - customers that want to skip paint or have mismatched colours in order to convey to their clients that they put planet first. It’s vital that we seize upon this opportunity to drive genuinely better design and product and ensure it’s not just a brief era of lazy greenwash. “‘Visually honest, avoiding susceptibility to fashions and built to last. Designed for the Circular Economy’. This sort of mission statement should not be exceptional. It should be an assumption. No, of course we don’t suggest there is no room for fun and flair but never must we throw out equipment simply because its look went out of fashion.” Greta Smetoniute, Michael Grubb Studio: “My grandmother was a geography teacher and a farmer. Since I was little she taught me about our intertwinement with nature and our dependency on its resources. She taught me to respect and to appreciate the world. During my career I’ve had the opportunity to learn about the ins and outs of the building industry, which currently go in the opposite direction to the system of nature. I feel grateful to have had the chance to work alongside some clients in developing not only lighting products made from recycled materials, but also to establish a closed loop supply chain. I hope that, with the help of the GLA, we can share the experience learned so far and infect the world with circular economy buzz.” Mark Ridler, BDP: “Having delivered a project that has the potential to be maintained sustainably, and at end of life, dismantled and reused, then someone at the end of the project needs to dismantle it and reuse it. There is no point having done all the spade work for it to be eventually binned. And this is a non-trivial problem. There needs to be institutional will, not only in capital projects but in operation too.” (From SLL Light Lines Jan/Feb 2021) Hilde Sofie Olaisen, Zenisk: “The key approach to a more sustainable society is to reduce consumption. I believe we need to aim for creating “classics”, that look good and are so pleasant and functional to use, that no one wants to exchange them or throw them away. Understanding the lifecycle and environmental impact of products is high complicated. The way impacts of, for example, raw material extraction is not communicated or talked about at all, is a warning sign. If one fixture can be kept in use for 10 years, instead of five, we can be sure to have halved its production impacts. That is a good and simple place to start!” Carla Wilkins, Lichtvision Design: “Lighting designers are well placed between clients and the lighting industry, communicating with both to find sustainable solutions.” (From arc 119) Bob Bohannon, Lux Rapide & President of Society of Light and Lighting: “The Linear Economy model has two problems: one, it assumes we have infinite resources to extract; two, it assumes we can throw stuff away and that the earth has infinite regenerative power. “We do this because this is what we have done for the last 200 years and because resources really did seem infinite. Importantly we do it because we don’t account for any environmental damage, without addressing that side of the balance sheet, it appeared to be the cheapest way to make and use products. To quote Mark Carney, ‘Why do financial markets rate Amazon as one of the world’s most valuable companies, but the value of the vast region of the Amazon appears on no ledger until it’s stripped of its foliage and converted into farmland?’ “We have to change this, thus in answering calls to ‘build back better’ I propose that lighting’s new mission will be Minimum Energy, Minimum Resource, and Maximum Comfort.” Gé Hulsmans, eldoLED: “I fully support this initiative. Great to see that the lighting community gathers around lightening the impact on planet Earth, as resources are just not endless.”
Kevan Shaw, EFLA | KSLD: “Beware: If we are not watchful or engaged enough, a poor standard, a de facto proprietary accreditation will become established. An opportunity missed and potential millstone for all of us. As the knowledge and experience of us all in understanding the full environmental impacts of products we make, specify and use is growing and our knowledge changing, any standard must be flexible and regularly updated to reflect the changes in knowledge and the variation in market demand allied to other regulatory changes on this topic.” James Morris-Jones, Lucent: “We’re really excited to see a coming together of likeminded professionals across the industry and with the work we have done over the last three years with ‘Lighting for Good’, have proven that with considerate design and careful selection of materials, it’s possible to make fixtures with a high efficiency and low percentage of plastic, which can easily be recycled and replaced during the lifetime of the luminaire or project. “What we really need is for designers, contractors and end-users to challenge us on this and ensure this type of product isn’t niche or custom but becomes a standard. We need to stop talking circular and start acting circular! As we have demonstrated, it is possible to deliver authentic, transparent and accessible circular lighting solutions today.” Tim Bowes, Whitecroft Lighting: “We need to stop talking circular and start acting circular! As we have demonstrated, it is possible to deliver authentic, transparent and accessible circular lighting solutions today. To do this we believe in three key step changes: 1. Work with the supply chain to design and manufacture products to circular principles with third party accreditation; 2. Support the user to optimise the health and wellbeing benefits of light and ensure it is delivered throughout its life; 3. Through smart design and tools such as material passports the ‘circular hierarchy of re-use’ becomes the clear and obvious choice. “To minimise the risk of greenwashing clients this has to delivered through collaboration, support and openness throughout the entire value chain.” Matt Waugh, Michael Grubb Studio: “When working with project managers, we do ask what their intentions are for lighting equipment at the end of a project. We talk to clients about reusing, rather than disposing. This can help businesses form closer bonds with project teams and clients.” Leela Shanker, Flint Collective NYC & Carbon Leadership Forum New York: “There is more to climate conscious lighting practice than reducing operational energy. To accurately measure the impact of lighting systems across their full life cycle, ‘embodied carbon’ needs to be included as a critical metric. We must work together to: identify gaps in data and policy; gather reliable information to facilitate informed creative and business decision-making; and adopt an internationally-recognised best practice approach to measuring and valuing our impact on our shared environment: built and natural. “Momentum behind carbon conscious practice is coming from many sectors of construction. As a collegial, innovative, adaptable, global community, lighting has the potential to set a leading example in becoming a climate competitive industry.” April Mitchell, Xicato: “At Xicato, we pride ourselves in creating quality products that offer complete end-to-end solutions that embrace today’s circular economy, however, there is much more work to be done. The GreenLight Alliance is a fantastic way to bring us all together with a single focus to provide a sustainable environment with industry standards for everyone at each step along the way, no matter the role of the organization/individual. We are in complete support of the GreenLight Alliance mission.”
This series will be curated by Roger Sexton of Stoane Lighting, roger@mikestoanelighting.com
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Right for Light Following last year’s devastating explosion in Beirut, lighting designer Manal Kahale has been working with Light Reach on Light for Lebanon, an initiative designed to bring light back to the city. She tells arc’s Sarah Cullen all about the project.
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ince the devasting explosion in Beirut in August 2020, which has been noted as
the most powerful non-nuclear blast on record, lighting designer Manal Kahale has been working relentlessly to bring
light back to the communities of the city to aid in its healing and repair.
arc Assistant Editor Sarah Cullen found out more about the
lighting initiative, Light for Lebanon, from Kahale and how
the journey to restoring power to the people of Beirut began. Kahale first became interested in a career in lighting after
the desire to pursue numerous different career options as a
student. It wasn’t until a close family member sparked the idea of lighting that she investigated an education in the field. “In the 3,980 possible professions I wanted to pursue, none were loosely associated with lighting design. But that started to
change when my father began sharing article after article about how lighting design was making an impact on the world,”
explained Kahale. “The simplicity of it was so mesmerising. You didn’t need a sea of concrete or a massive overhaul to
create something beautiful. All you need is a light and an angle. “I went to a French school growing up in Lebanon, then to
the American University of Beirut for my Bachelor’s degree in Landscape Design and Eco-Management. After that, I went to New York City right away where I had applied to Parsons
[School of Design | The New School], hoping with every bone of my body to get in so I could be in the city of lights learning
about lights (as cheesy as it may seem now that I look back).”
After getting accepted at Parsons, during the summer between her two-year Master’s programme, Kahale worked a two-
month back-to-back window to gain more experience in the
lighting industry. It was during this time she was eager to “get
a sense of where I wanted to practice lighting after I graduated: in the US or in the Middle East”.
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“It’s only when you get into the world of design that you pay attention to the layers of design. Some of them, such as lighting, are an intangible aspect, malleable and adjustable to our wildest imagination.”
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Manal Kahale
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Her first work experience placement in lighting
playing with the idea of expanding the expertise in
interned for a month. Immediately preceding this
professional lighting design. They taught me how
was with Lumascence in Dubai where she
placement, she took an internship role at One Lux in New York for another month, before classes at
Parsons resumed. “Even if I didn’t have my answer yet, it made me feel good to have had a taste of
both lighting worlds as I finished my last year at Parsons,” she reflected.
After gaining her work experience in Dubai, Kahale understood that “Dubai had bigger plans for
itself than Beirut or any other Lebanese city, and it inspired me to urbanely modernise my home country someday as well.
“Honestly, it’s only when you get into the world of design that you pay attention to the layers of design. Some of them, such as lighting, are an
intangible aspect, malleable and adjustable to our wildest imagination. So, why not pursue a career that will help me materialise my imagination?”
Prior to her graduation at Parsons, Kahale became acquainted with Stephen Lees of HLB Lighting,
who helped her gain an insight into their offices
and work ethics. This was shortly followed by a job offer: “I quickly took the job at HLB’s office in Los
Angeles, where I spent four years with a great team working on over 25 projects.
“During my last year on the job, I was very lucky
having three mentors in the firm – Teal Brogden,
Tina Aghassian and Azusa Yabe – who each opened me up to new ideas and endeavours. I started
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the Middle East, where I knew there was a need for to study this kind of project, but circumstances made it that upon my return to Lebanon, the
revolution started and shifted my career path entirely.”
Kahale continues to receive help and support from
her mentors, including Aghassian’s involvement in Light for Lebanon as a fundraising ambassador. “HLB is not only a high profile and reputable
studio, but also a school for lighting designers who wish to push the boundaries and improve each
other’s presence in the industry. Being my first
permanent position, it set the right benchmark for my future endeavours,” she explained.
Aghassian is also noted as one of Kahale’s top four lighting heroes she seeks inspiration from, not
just in professional circumstances, but in personal
too: “[She] is the heart. It’s all about the heart and
how far it can take you.” She also notes three other
female inspirations in the industry: “Teal Brogden: The feminine leader. Being around her is enough
to learn how to talk about lighting and how to earn respect as a woman. I still catch myself asking ‘What would Teal do?’.
“Azusa Yabe: The Brain. Watching her juggle
between life, work and still be on top of everything has always inspired me that we can have it all and still make the best out of it. And Nathalie Rozot: The Rebel. Challenging the normal attribution
1. As Kahale began rolling out the Light for Lebanon project across Beirut, she worked closely with the local fire department, installing solar powered streetlights in affected areas of the city. 2. Kahale and a team of volunteers who worked with the fire department. (Back L-R: Elizabeth Boulos, Ramzi Kahale, Mazen Deeb, Manal Kahale, Wael Ghawi, Sasha Abela, William Wehbe; Front L-R: Bilal El Hajj, Jad Mesheki, Ihab Farran)
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to the lighting world and showing me an entirely
trying to help residents feel safe at night without
needs as much attention.”
electric infrastructure, a collapsing economy and a
different world aside from the corporate one that The blast in Beirut last year that led to the
destruction of numerous buildings in the heart of
the city ignited a movement of younger generations to help those affected by the disaster. “The blast impaired the city’s electrical infrastructure and
plunged it into complete darkness after sunset,”
remembers Kahale. “It was only when I was heading down to Beirut along with all the young generations in Lebanon to try and save families, friends and
cultural heritage from the damage that I started
seeing young professionals create groups amongst themselves to give back to our country. This active
independent thrive we all felt inside inspired me to help out with lighting.”
As a direct effect of the loss of electricity, local
communities were facing safety and security issues, with citizens deprived of street lighting and public
space lighting as well as domestic interior lighting. “I reached out to my former thesis professor at
Parsons, Nathalie Rozot, remembering how her
global charitable initiative Light Reach had supported communities in areas of disaster with a replicable solar lighting model. Within hours, we set-up to
collaborate on a new Light Reach programme - Light for Lebanon - to help revive Beirut.
“And ever since, we have been working full-time
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having to rely on a broken system, with a broken pandemic to top it all off.”
Using her educational experience, Kahale
incorporates all aspects of her Landscape and
Urban Planning techniques when approaching
new projects. “I like to look at the macro-scale
- analyse the context to create a solution unique
to the building, its community and the end user. Then I get into the micro-scale, studying closely
the programme of the space, the wayfinding layer
as well as the materials and the different effects it
can receive, to finally proposing a layout that would make sense to the site itself, connecting fields involved in the project, in a uniform way.”
Light for Lebanon’s most immediate goal is to
procure solar lighting to residents directly affected by the explosion. In addition, solar streetlights
and solar security flood lights will be implemented in phases across the city’s affected areas. These
steps will help lay the groundwork for the team’s long-term plans for solar lighting products to be
repurposed and integrated into wider urban lighting masterplan initiatives and contribute to broaden the use of solar power throughout Beirut and in turn, Lebanon.
“We hope to achieve this by showing people that with all that’s going on, whether economically,
women in lighting
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“With all that’s going on, whether economically, politically or health-wise, there is always a solution to having a right for light.” Manal Kahale
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politically, or health-wise, there is always a
on the ground in workshops or installations would
community involved helps create workshops that
have all our ducks in a row to take on a few different
solution to having a right for light. And keeping the allow residents to understand the models applied and hopefully replicate in other cities, making a larger impact when it comes to sustainable design and
economy solutions with a fossil fuel-free system.”
At the beginning of the initiative’s implementation in the community, Kahale noted their momentum
was slowed due to the lack of efficiency in the public sector, but once they yielded positive results, there
was something tangible to present to the residents. “This helped us in picking up the pace of our
operations, as more and more neighbourhoods flocked to us for assistance.
“We measure our success by the number of smiles we put on people’s faces during hard times, and
we are fuelled by the potential positive changes to
come. We hope to lift 1,000 homes out of darkness by Spring, paralleled by the objective we have for lighting up streets and entryways.”
Looking forward to 2021 and beyond, Kahale
encourages fellow lighting colleagues to support
the project, whether through funding or spreading awareness.
“We need all the support we can get to make it
happen with an impact. The biggest contribution would definitely be in helping us raise awareness
and funds. And after that, having individuals help
be something we would be looking for as soon as we locations in Beirut.”
Commenting on the current world of lighting design and her predictions for how the industry is moving forward, she said: “The lighting design world will become a necessity instead of a luxury.
“The complex layers of lighting will be changing
so fast, adapting to the world and the fast-growing
1. Kahale testing the solar floodlights in Ashrafieh. 2. Alongside the fire department, Kahale (left) worked with the military to help distribute solar lanterns to those in need. 3. One of the immediate goals for Light for Lebanon is to provide solar lighting for residents directly affected by the explosion. 4. Volunteer William Wehbe distributes solar, portable lanterns in Gemayzeh (Pic: Sasha Abela). 5. Kahale and a team of volunteers also delivered solar lantarns in Mar Mikhael (Pic: Tala Kahale).
technology. We will be going from IES to LTD plugins to fully immersive virtual reality programme
plug-ins. But this is the easy part in my opinion. The challenge would be standardising lighting design to
be able to cater with one set of progressing tools, the developed, as well as the underdeveloped countries. “As lighting designers, we are mediators between what the end user wants and/or needs, and the
product demand; having the power to establish
trends. And the future seems to be heading towards a conscientious trend, hopefully (post 2020-21 disasters).
“The entire world has gone crazy, but crazy inspires
solutions and allows room for something new; this is what I am focused on.”
www.lightreach.net/light-for-lebanon @lightreachnet @lightforleb
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Still I Rise In preparation for International Women’s Day 2021, and its second anniversary, Women in Lighting has announced the launch of its inaugural WiL Awards. Here, they tell us more about the awards, and how you can get involved.
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020 was a year like no other. We
celebrate the things you achieved in 2020.
The Awards will launch as part of the WiL
never come our way before. We
to know and share them with the world. We
will be held on 8th March. The virtual event
schooled, we were unable to see our friends
did something special in 2020 under the
day to include three separate time zones.
take holidays. We dealt with illness and the
Supporters.
session, an Action session and a Social
had to deal with issues that had worked from home, we home
and family. We were unable to travel or
pandemic from our homes. We tried to keep our jobs and our loved ones afloat and also
They may be large or small but we still want want you to nominate people that you think categories of Achievement, Initiatives and Maybe it’s someone who supports you,
someone who inspires you, someone new to
- International Women’s Day event, which
will take place in three parts throughout the There will be an Inspiration session, a Project session to finish. The format will repeat in all three parts with different speakers. We have
ensure that our mental health didn’t suffer.
lighting, someone who had a great idea or an
changed our logo for this special event to
things in 2021.
and nominators can be from any gender
suffrage: purple, white and green.
We were inspired by this text from the
WiL project. Let’s get these special people
how to register can be found on the Women
Some of us are still dealing with the same But still we rose...
initiative that made a difference. Nominees
identity - as long as it fits the ideology of the
International Women’s Day 2021 website:
some recognition and together, acknowledge
own thoughts and actions - all day, every
Some of our ambassadors have agreed
“Individually, we’re all responsible for our day. We can choose to challenge and call out gender bias and inequality. We can
their achievements.
to create a panel to pick out some high
achievers, top supporters and favourite
choose to seek out and celebrate women’s
initiatives that we can honour in more detail.
an inclusive and more gender-equal world.
nominations to honour further, everyone
achievements. Collectively, we can create From challenge comes change, so let’s all choose to challenge.”
The WiL project continues to challenge but we also want to celebrate.
The WiL Awards are specifically to highlight the achievements of the WiL community
and its supporters. We want to seek out and
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Remember, although we will choose some
nominated is a winner. If you are nominated, you have made a difference in someone’s life and we celebrate you.
Tell us who rose above the challenges of
2020 and did something unique. Submit
your nomination online from 8th March International Women’s Day.
reflect the colours used to present women’s More information on the programme and in Lighting website.
www.womeninlightingcom
Pixy Authentically magnetic
PROJECT DETAILS US Olympic & Paralympic Museum, Colorado Springs, USA Client: The US Olympic/Paralympic Committee Exhibition Lighting Design: Available Light, USA Architectural Lighting Design: Tillotson Design Associates, USA Architect: Diller Scofidio + Renfro, USA Architect of Record: Anderson Mason Dale Architects, USA Exhibit Design: Gallagher & Associates, USA Photography: Nic Lehoux
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project
Olympic Spirit The recently opened US Olympic and Paralympic Museum has been expertly designed to showcase Team USA’s illustrious history in an inclusive and accessible manner. Lighting designed by Available Light and Tillotson Design Associates helps to create this inclusive atmosphere.
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1. The US Olympic & Paralympic Museum is wrapped in more than 9,000 folded, anodised, diamondshaped aluminium panels, each unique in shape and size. Tillotson Design Associates illuminated the façade in a soft light, allowing the building to glow against the Colorado landscape. 2. Rather than using big washes of light, Available Light opted for large numbers of “small paint brushes of light”, to effectively direct light where it was needed, without intefering with the exhibits themselves. 3. In the atrium space, Tillotson Design Associates hoped that the brightly lit walls would help to emphasise the building’s fluid architectural shape. 4. In instances where the exhibits feature video projection, the lighting designers at Available Light worked to create a complementary scheme that would not interfere.
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ituated at the base of the Rocky
anodised, diamond-shaped aluminium panels, each
and Paralympic Museum is a
wraps four overlapping, petal-like volumes that
Mountains in Colorado, the US Olympic
unique in shape and size. This aluminium “skin”
monumental tribute to the efforts of the
spiral around the internal structure. Each metallic
United States’ Olympic and Paralympic athletes.
panel is animated by the extraordinary light quality
designed by Diller Scofidio + Renfro Architects, with
and shade that give the building a sense of motion
Associates, will act as an anchor for Colorado
This is complemented by an artificial lighting
a new axis bridging the city’s downtown district to
were brought on board by Diller Scofidio + Renfro.
Inspired by Team USA’s inclusive values, the
Design Associates, explained the design concept for
nation’s achievements in both Olympic and
challenged the design team to create a connection to
accessibility in mind - its dynamic, spiralling form
Beautiful Park as extensions of the museum site.
continuous path. This structure and form means
unique form of the building, we knew we wanted the
in the world, ensuring visitors with and without
also knew we wanted the building to have a subtle
This experience, with 20,0000sqft of museum
recognisable nighttime presence while also being
lighting design by Available Light - looks to
site.”
competition through the lens of the athletes who
path through the exterior site, which resulted in
exhibit design team that the experience will “forever
team sought to make the path seamlessly blend with
dedication, motivation, determination and sacrifice
they faced.
Externally, the museum is a glowing, angular
the view from Vermijo Ave, across the site and to the
Spanning 60,000sqft, the inclusive, accessible site
in Colorado Springs, producing gradients of colour
architectural lighting designed by Tillotson Design
and dynamism.
Springs’ new “City of Champions District”, forming
scheme created by Tillotson Design Associates, who
the America the Beautiful Park.
Megan Trimarchi, Senior Associate at Tillotson
museum is the first to be dedicated solely to the
the building’s striking exterior further: “The brief
Paralympic Games, and has been designed with
Vermijo Ave, the bridge, and the America the
allowing visitors to descend the galleries in one
“After seeing the selected façade material and
that the museum ranks amongst the most accessible
building to have an overall soft glow at night. We
disabilities can share the same common experience.
lighting effect, resulting in an iconic and
exhibits designed by Gallagher & Associates - with
mindful of the relatively dark context around the
immerse visitors into the intensity of high-level
The continuous ramp also doubled up as the egress
have trained, competed and won. It is hoped by the
very specific light level requirements, as the lighting
change people’s perception and appreciation for the
others on the site – one of the main challenges that
that all Olympians and Paralympians share”.
“The architect also had a strong desire to maintain
structure comprised of more than 9,000 folded,
mountains beyond. This meant keeping certain
project
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areas clear of light poles, so pole locations
Sculpturally this is where the spiralling
employ very low light levels. The
make this happen.”
space, so we wanted our lighting to
level dimming to achieve the required
façade detailing lent itself to a soft
“We also wanted to conceal fixtures so that
“For a museum like this with such an
found that the aluminium panel façade
was visible and not the fixture itself. This
that there are different lighting practices
softly floodlit from a distance, so we
because the walls are sloping in two
enjoy collaborating with other teams, and it
mast poles on each side of the museum to
atrium walls are highly visible from the
Available Light to bring this project to life.”
“The challenge was that the site boundaries
the space.
stretches across three floors, visitors take an
locations, so we had to get creative. In some
washer track heads mounted on the
spiralling sequence of galleries takes them
street lighting poles.”
straight down despite the sloping mounting
Paralympic Games, while a number of
worked very closely with the architect
also helped minimise views into them while
to try their hand at the various training
given the freedom to come up with their own
walls. The effect is a truly magical space, and
through over the years.
striking piece of architecture. Trimarchi
The atrium was also an area where
New York studio explained the lighting
light fixtures into architectural details
that of Available Light, who developed the
“Because of the very nature of the Paralympic
architecture rather than the light fixtures, so
Trimarchi explained further how the two
was to create a world-class visitor experience
detailing, is essential.”
cohesive lighting experience: “We had
and accessibility techniques and guidelines.
Tillotson Design Associates worked on the
transition zones between public space and
also interested in creating an environment
continued: “We wanted the atrium to be the
our lighting required a sensitivity to the
the high energy and intensity common to the
and heights were constrained in an effort to
architectural forms culminate to one central
architectural lighting required excellent low
Closer to the building itself, the unique
emphasise that.
flexibility on site during programming.
illumination, as Trimarchi explained: “We
when looking up, only the light on the wall
extensive exhibit component, it is typical
material captured light beautifully when
was particularly challenging technically,
working on different aspects – we always
arranged LED floodlights mounted to high
directions and the upper ceiling of the
was certainly a pleasure working with
achieve this effect.
gallery floor viewing platforms overlooking
On entering the museum space, which
and areas within key views limited our pole
“For this reason, we used individual wall
elevator to the atrium’s “peak”, where a
cases, we even mounted façade floodlights to
clerestory windowsills so that we could aim
through this history of the Olympic and
Trimarchi and the Tillotson design team
surface. Tucking the fixtures up in this spot
interactive exhibits give visitors the chance
throughout the project, although they were
still allowing the light to spill down the
methods that Team USA athletes have gone
schemes that would complement such a
we are really proud of how it turned out.”
Ted Mather, Principal of Available Light’s
continued: “Our designs typically integrate
Tillotson’s lighting design overlapped with
concept for the sprawling museum spaces:
whenever possible, so the emphasis is on the
lighting for the museum’s exhibition spaces.
movement, one overarching goal of the client
working closely together, particularly for
studios worked together to create one
presented with state-of-the-art inclusivity
Alongside the remarkable building exterior,
several discussions, mainly about the
The US Olympic/Paralympic Committee was
lighting for the interior atrium. Trimarchi
gallery space where our scopes meet. All of
that was uplifting, inspiring, and reflected
heart of the project with brightly lit walls.
adjacent exhibit spaces, which typically
best athletes in the world.”
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“We wanted the building to have a subtle lighting effect, resulting in an iconic and recognisable nighttime presence.” Megan Trimarchi, Tillotson Design Associates
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Available Light therefore hoped to design a
create a scheme that was suitable for the
clean, bright white light throughout – with its
integral” to the wider building design. “Diller
height, etc, while using saturated colour in the
daylight into the exhibit spaces and allowing for
and excitement”.
Colorado landscape,” Mather continued.
brought to life, mainly through crisp and clean
uplifting. Creating an environment that gracefully
“Because many artefacts were light sensitive, we
video projection was used, or light sensitive
and tight beam spreads; by creating contrast with
challenging, but was ultimately very successful.”
reflective of the power of sport, was made possible
building’s angular structure and constantly
Accessibility was also a key parameter for the
that such unique geometry made his job harder, he
taken by the lighting designers to ensure that the
demand your best effort, and force you to come up
environment. This was done, Mather said, by firstly
“It’s Occam’s Razor – find the simplest way to
“Objects and graphics always reflect light and
done the right thing.”
angles, consequently we are sensitive about where
the building architects to create a lighting system
directed away from where visitors’ eyes are likely
unfolding exhibit design, while they also
a lower level – in a wheelchair, for example – had
integrating lighting into exhibits where possible,
Throughout the project, Available Light worked
building infrastructure did not align with the
Associates, as well as Diller Scofidio + Renfro to
As Mather described, the museum space comprises
lighting scheme that created “the appearance of
exhibition spaces, while also remaining “highly
connotations of honesty, transparency, truth,
Scofidio + Renfro had a strong interest in bringing
periphery to emphasise passion, diversity, energy
views to the outside and the extraordinary
Mather continued that this inclusive concept was
“The interiors were meant to be light, airy and
application of colour and angle. He explained:
transitioned from daylight to darker areas where
used a limited number of fixtures, at sharp angles
artefacts were displayed, was complex and
the background, the impression of intense light,
This challenge was complicated further by the
without causing undue damage to the artefacts.”
shifting angled ceiling planes. While Mather felt
project as a whole, and as such extra measures were
added: “But like a lot of great art, challenges
lighting was tailored to a more inclusive, accessible
with very thoughtful solutions.
being “aware of this critical point of view”.
solve a complex problem, and you’ve probably
cause glare when viewed from certain incident
Mather explained that Available Light worked with
a fixture is located, so the resultant glare is
that was flexible enough to accommodate the
to be. In this case, the point of view of someone at
collaborated with Gallagher & Associates on
to be regarded as a high priority.”
particularly in instances where the geometry of the
closely with exhibit designers Gallagher &
exhibits.
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1. In many instances, Available Light integrated lighting into exhibits, particularly in locations where the geometry of the building infrastructure did not align with the exhibits. 2. Throughout the project, Available Light worked closely with exhibit designers Gallagher & Associates, as well as architects Diller Scofidio + Renfro to create a scheme that was suitable for the exhibition spaces, while remaining “highly integral” to the building design. 3. The overarching goal in the design of the museum, both architecturally and in the lighting design, was to create a worldclass visitor experience presented with state-of-the-art inclusivity and accessibility techniques and guidelines.
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“It is about using a large number of small paint brushes of light instead of big washes. Those smaller strokes allow us to direct focus to what is important.” Ted Mather, Available Light
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1. Tillotson Design Associates found that the aluminium panel façade material captures light beautifully when softly floodlit from a distance. 2. An integral component of the lighting design was for it to be in keeping with the inclusive and accessible nature of the museum. For Available Light, this meant being aware of incident angles and resultant glare, with the point of view of people at lower levels - for example, wheelchair users - regarded as a high priority. 3. The building’s angular structure and constantly shifting, angled ceiling planes provided a challenge for Available Light when illuminating the exhibition spaces. But while the unique geometry was a challenge, Mather believes that such challenges can lead to more creative, thoughtful solutions.
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a range of light sensitive artefacts, as well as
into fewer trips. It also greatly delayed the site
matters for the general exhibit lighting, however,
followed months after the interior was finished
overcome this. “Control is key. It is about using a
Despite these unforeseen constraints, both
instead of big washes. Those smaller strokes
were able to create a combined lighting scheme
surfaces, control light levels on artefacts, and
museum, and the building itself.
high level of lighting control brings a sense of
effects evolved over time, our initial objective of
As with any project from the past 12 months, the
exterior and brightly lighting the central atrium
completed at a very unusual time in our history,
through to the final design,” said Trimarchi.
have been able to work and interact with each
both inside and out, which was our primary goal
This was certainly no different for Available Light
Mather added: “I think we were quite successful
their own struggles in working through the
effectively supported the content. The spaces
“The impact we felt was mostly on executing the
distinct in character. The balance between
worked in shifts from 2pm to midnight for focus
exhibit elements is refined and graceful.
end of the day, we would take photos of our
architectural and exhibit design teams challenged
comment, since they were not yet on site. That
thinking designs that brought all our skills and
a night, since the camera sees light very
required to execute the design truly honoured the
what it looks like in person, not the way a digital
www.availablelight.com
areas with video projection. This can complicate
and façade lighting portion of the project, which
he explained how the design team was able to
due to delivery delays.”
large number of small paint brushes of light
Tillotson Design Associates and Available Light
allow us to strategically avoid video projection
that showcases both the exhibits within the
direct focus to what is important,” he said. “This
“While the detailing and execution of the lighting
drama and gravity to the moment.”
softly lighting the striking structure from the
US Olympic and Paralympic Museum was
as the genesis of the spiralling form carried
with Covid-19 impacting on the way that all of us
“The lighting emphasises the architectural form,
other.
for this project.”
and Tillotson Design Associates, who each had
in creating a sense of drama and energy that
pandemic.
flow well visually, but different galleries are
final on-site design work,” Mather said. “We
artefacts, projection surfaces, graphics, and
to reduce overlap with other contractors. At the
“Necessity is the mother of invention – the
progress and email them to the client for
us with innovative technologies and forward-
required Photoshopping about a hundred pictures
talents to bear. The coordination and cooperation
differently than your eye – I would adjust them to
Olympic spirit!”
sensor sees light and colour.”
www.tillotsondesign.com
Trimarchi added: “Covid certainly complicated
our final punch listing and focusing, which ended up being done remotely and condensing our work
lighting specified Alphabet/Ledra Brands Zeta750 Bega 7068 Bega 77639 Bega 88064 Bega 99853 Birchwood Lighting Kelsey BK Delta Star Chroma-Q CHCONE100RGBA Erco Optec ETC Source 4 Mini LED Feelux Monorail track with spot and flood system Gammalux GB34 Ganton GT12 Ganton GT56 Ganton PR16 Ganton PR26 Juno Lighting Pendant track Juno Lighting T844 track head LED Linear Hydra Linear LED LF Illumination 9801 Litelab Jewelers Series AR111 Lumenwerx SQUPD Luminii RGBW Tape Light Lumisheet Donbu Lightec LLP12 Luxam LED track Luxam Mini fixture track head LSI Pendant track LSI Recessed track LSI 260 track head LSI 230 track head Martin Rush MH Beam FX Pinnacle Converj Prescolite A2LED PRG/RHA RHA-LED.P.120 Selux Avanza 600 Soraa SR111 Targetti Keplero Mini Zoom USAI B4RAF USAI F32FC1
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The Halfway House Fusing architectural lighting with theatre and public realm lighting, Satu Streatfield and her lighting team created an immersive, all-encompassing lighting scheme for the site-specific theatre piece, The Halfway House.
A
lthough the link between theatre
Shows and performances are developed using
design is a well-worn path, with many
runs months of dance, improvisation, role-play
lighting and architectural lighting
in the architectural lighting design
world starting their careers in stage lighting, it is rare that the two typologies overlap in one all-encompassing project.
This was the case for Satu Streatfield and her team
when it came to illuminating The Halfway House, a
‘devised theatre’ techniques, while Ayllon also
workshops and theatre games with performers in situ to gradually develop their characters and the
narratives. Research into the history of the site, its urban context, and past uses and users, heavily
influences the role-plays and the narratives. This means that the story is tailored to, and emerges
site-specific, immersive theatre piece that was
from, the building and its history. In the case of
campus on Southampton Row in Holborn, London.
much of the conceptual, physical and logistical
devised and staged in the old Central Saint Martin’s The piece was created by Persona Collective – a group of creatives led by theatre director Rocio
The Halfway House, Covid-19 inevitably drove
aspects of the performance too.
The narrative for The Halfway House revolved
Ayllon – who were invited by arts charity The
around three storylines – The Porter, The Maids
at their Koppel Project Campus, which was
Halfway House, a fictional hotel. The building and
Koppel Project to develop and stage a theatre show conceived as an experimental, cross-disciplinary education and arts facility in the former Central Saint Martin’s college.
Ayllon established Persona Collective in 2017 as a
not-for-profit community interest company that would serve as a vehicle for creative practitioners from design, art, photography, film-making, music and theatre to collaborate on cross-
disciplinary, site-specific theatre projects. The collective seeks to involve local communities, including both amateur and professional
performers, in co-creating its shows, while also using buildings and spaces that are either
overlooked or at risk of slipping from living memory.
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and The Resident – each unfolding in the titular its residents are stuck between two worlds,
paralysed by nostalgia and slipping into real and fabricated versions of their past, but equally
seduced by and drawn into the absurdly ill-fitting and new reality of a ‘luxury’ hotel, which is in the process of being constructed but already feels extremely makeshift, seedy and tired.
The three storylines run concurrently, overlapping as audience members follow each story in and around the building.
Streatfield explained further how the lighting concept for such an immersive, interactive
performance was created: “The piece was site-
specific, so lighting-wise the first thing we did was
spend a lot of time in the building, exploring inside
project
PROJECT DETAILS The Halfway House, London, UK Client: The Koppel Project Lighting Design Leads: Satu Streatfield, UK; Jack Wates, UK Lighting Design, Operation & Technician Team: Laura Arroyo, Gaia Crocella, Steve Lowe, Luciana Martinez, Tom Wheeler, Alice Wilson, Thomas Blackburn (The Storm Room) Show Director: Rocio Ayllon, UK Photography: Karolina Burlikowska & Finn Boxer
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1. The site-specific show transformed the former Saint Martin’s College into an immersive theatre, staged around a hotel known as the Halfway House. 2. The show began on the surrounding streets, and utilised a lot of the existing public realm lighting, along with architectural and theatrical lighting elements that were hired, donated, or purchased second hand from eBay. 3. Audience members followed three separate storylines throughout the building, in many instances observing scenes through windows.
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and out, sketching, photographing and filming it
juxtapositions not only for the designed lighting
labyrinthine place and, during our first couple of
through the workshops.”
she said.
lighting team kept their ideas “pretty loose and
made – that we found in some of the rooms and
particular ideas in the knowledge that they could
no lighting at all, or glary bulk-head lights that the
such, Streatfield sat in on performance workshops
their building works. But even those spaces were
around with basic effects of light and dark, colour
place was a real Frankenstein’s Monster of
the performers would respond”.
building itself as a real character and major
involved just playing and improvising with light as
From here, Streatfield started to formulate rough
[Ayllon] and our photographer, Karolina
even arrived ‘on set’. One of the key elements that
art, photography, music, architecture, and in
both interior and exterior lighting.
mindset, atmosphere-wise, as the narratives
down onto the street that we really wanted to make
Most of the real lighting design work, Streatfield
involve scenes both inside and outside, with views
process, once the narratives had almost taken
realms.
and following the performers through their scenes
was the light spilling into the historic Lethaby
building upon those early ideas inspired by the
streetlights pouring through windows and filtering
lightscapes emerged in parallel, feeding off and
these all formed really important inspirations and
exciting way to work – listening to the soundtracks
at different times of the day and night. It’s a huge,
effects but also for certain narratives that emerged
months there, it was almost completely empty,”
In the early design process, Streatfield and the
“The lighting effects – both natural and man-
minimal”, not getting too attached to any
corridors were already beautiful. Other spaces had
change as the stories and characters evolved. As
construction company had introduced as part of
to gauge the progression of the narrative and play
really inspiring because they were so jarring – the
and focus “to see if they felt right, or to see how
atmospheres, details and styles. We saw the
“It was a very fluid, iterative dialogue and really
protagonist in the show.”
part of the workshops,” she recalled. “Rocio
ideas for the lighting, before the performers had
Burlikowska, would feed us references from fine
she sought to incorporate was the combination of
particular cinema, to get us all in the same kind of
“There were really striking views from the building
started to take shape.”
use of, so we decided early on that the show should
continued, came towards the end of the workshop
between exterior and interior, public and private
form. “At that stage, it was really about watching
“One of the most inspiring existing effects on site
to develop and refine the lighting concepts,
Building from Southampton Row. The light from
existing architecture and context. The sound and
in through trees, car headlights flashing past –
supporting each other. It was a really inspiring and
project
“Dressed in black, wearing our face-masks, hiding in doorways and glancing at stopwatches, it sometimes felt more like taking part in a heist than doing theatre show lighting.” Satu Streatfield
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in situ, even without any performers, was a
in the historic, listed Lethaby building that
character of light that could emerge.”
almost intimidating,” Streatfield continued.
really powerful catalyst for envisaging the
Throughout the performance, the variety in
scenes and storylines called for a broad range
of lighting scenarios, some relatively natural,
became that landmark and common
“It was so spectacular that it really
narratives unfolded.”
demanded a lot of love.”
The Storm Room was conceived as an
and others more abstract or ethereal.
artificial lightning storm that would occupy a
dialogue and were conceived as more overtly
Lethaby’s iconic glass dome as a “mediator
“Some scenes involved very little or no
dreamlike spaces, with light creating an
amorphous perception of space and evoking characters’ moods or echoing the
movements,” Streatfield explained. “In
others, we kept the lighting very naturalistic and still, putting all the focus on the performers’ subtlest expressions, movements and dialogue.
“In other rooms, we started with
unremarkable-looking light from familiar sources, which would then be oddly
juxtaposed or begin to distort somehow to give that sense that everything was a bit
off-kilter and unstable. A makeshift hotel
room was lit with floor-standing lamps, but these were supplemented with fill-light filtered through a fan, which we slowed
down at points to give the light a subtly-
central space in the building, positioning
between body and storm”. “The concept was to produce a piece of magical realism as a
place in which a storm was forever raging.
The immaterial characteristics of the storm – rain, thunder and lightning – would
become permanent features of the room,” Wates explained.
The “storm” was designed to give the sense that it was continuously moving –
approaching, departing, and climaxing in moments where lightning would strike directly overhead. The lightning, and
associated thunder, was programmed with a randomiser to ensure that each strike was unpredictable, so that no one – actors or audience – could predict when it would strike.
“The Storm Room was a really important
nauseating, shuddering quality.”
part of the show,” continued Streatfield. “It
was the Storm Room, a stand-alone light and
space, but also be visible from other rooms
The central focal point of the performance
sound installation created by fellow lighting
designer and light artist Jack Wates. “On our first visit to the campus there was one room
creating landmarks. The Storm Room
we found so beautiful and magical that it was
needed to be a really powerful, immersive
and corridors around the building complex. “In urban design we refer a lot to Kevin
Lynch’s ideas about mental mapping and
reference point, around which the different The Halfway House as a performance
spanned across the building and surrounding
streets, with a myriad of locations and spaces that needed illuminating. This variety meant that the performance became one of the
most “logistically complex” projects that
Streatfield has worked on. Add on top of that a very small budget, and the impact of
Covid-19 and it became a very challenging experience.
“In all there were around 35 different spaces to light, some with a number of different scenes and transitions,” Streatfield
explained. “The campus is large and its layout complex. It has been disused for years, so some rooms had no existing
lighting in them, and others just had a single or no working power outlets. Our theatre
lighting technician/designer, Steve Lowe, did an amazing job running cables and getting lights where we needed them.
“We had to be very resourceful and creative with the existing lighting. We started by going through every space and filtering,
blacking-out, shielding and re-directing
existing lighting to transform those spaces
without having to add any new lighting at all. We then added accents where needed, and
designed a lot of the spaces that the audience
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project
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wouldn’t necessarily walk though, but would
applications were also used, from existing public
building, seeing them through windows or slightly
theatre lighting.
“We then put our main resources, equipment-
coherent show is something that Streatfield feels
would spend more time, and some of that kit had
we engaged people from different lighting
full use of it.”
different experiences and understandings of
wasn’t possible for the lighting to be pre-
“It wasn’t straight theatre, because there was no
any scenes requiring lighting transitions needed a
course all the tech, cues, transitions and response
plain sight, dressed as a member of the cast, and
was an immersive, promenade show, but we
“All of the lighting operators had their own
we were working within a very strong, existing
with some staying put and operating one or two
“Principles of architectural lighting – including
scene to another via back routes and stairs to avoid
became crucial in creating a strong sense of space
“Every show would open with two of us
Streatfield added that the building’s urban context
box on the corner of Southampton Row and
show opens in the street, where public
the building, we would have about three minutes to
the flashing lights of police cars and ambulances
opposite side of the building, ready to light another
This then extended for scenes inside the building
hiding in doorways and glancing at stopwatches, it
spill-light through windows from the surrounding
than doing theatre show lighting.”
Utilising the surrounding urban lighting, along
also meant that a multitude of different lighting
building, proved to be essential, as the lighting
nevertheless experience on their route around the
realm/urban lighting, to architectural lighting and
open doors.
However, fusing these various typologies into one
wise, into the main scenes where the audience
came “very naturally”. “Aside from the fact that
to travel between rooms during the show to make
backgrounds, there was a demand for each of these
On a technical level, the location also meant that it
light,” she said.
programmed for each performance, meaning that
clear stage, backstage and auditorium, but of
lighting operator in situ – sometimes hidden in
to narrative needed theatre lighting sensibilities. It
other times hiding under tables or in corners.
weren’t working with a blank, black-box space –
choreography and timelines through the space,
architectural context.
rooms throughout, and others ducking from one
Richard Kelly’s elemental qualities of light –
crossing the audience’s path,” Streatfield recalled.
and context.”
spotlighting a character on the street, by the phone
also became an integral part of its character. The
Theobalds Road. As soon as the audience entered
streetlighting and the passing lights of traffic and
pack up and quickly and quietly rush to the
became fundamental components of the lighting.
scene. Dressed in black, wearing our face-masks,
as well, with lighting designed around that
sometimes felt more like taking part in a heist
environment.
The various elements and locations of the show
with what existing lighting there was within the
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1. As lighting wasn’t able to be preprogrammed for each performance, any scenes requiring light transitions needed a lighting operator in situ - either dressed up as cast members or hiding behind furniture, to illuminate the scene. 2. The central focal point of the performance was The Storm Room, a standalone light and sound installation created by Jack Wates. 3. Because of a minimal lighting budget, Streatfield and the lighting team had to become very resourceful, utilising existing lighting where possible, and only adding accents where needed.
project
team had an incredibly small budget to work
wonderful virtual sketchbook of initial ideas,
were either donated or, as Streatfield explains,
collages and music compositions, all based on
crew’s homes, eBay and even Poundland”.
historic texts and research.”
from Enliten, who donated a lot of colour and
the show was able to go ahead. And while the
fanciest bit of kit we used – an ETC D60 – as well
with the audience after each performance,
without which we would have had very clunky
very positive feedback.
“One of our brilliant producers and lighting
she said. “Many commented on really enjoying
works at Shakespeare’s Globe, so they very kindly
buildings. One man and woman were moved to
fittings. Stoane Lighting and iGuzzini also very
However, at the moment there aren’t any plans
and old samples and donated various luminaires,
measures are eased, and due to the site-specific
“I also bought an old 2000W follow-spot, which
show will be transported to another venue.
stand and spare lamps, which I was pretty
from the place, the performers involved and the
Alongside the minimal budget for lighting
it won’t be repeated,” Streatfield concluded.
implemented in March of last year severely
volunteered hours by a fantastic team, and we
show. Theatre workshops had to be moved
it. We did film each route and scene, however, so
film several hours of footage on site on the eve of
open it up to a much bigger audience. Rocio is
videos and tasks that participants could respond
spin-off for one of the show’s characters too.
our ways of working and try to devise site-
but we will have to find a suitably interesting
mean the group collectively built a rather
www.personacollective.co.uk
with. A large portion of the lighting fixtures used
videos, dances, films, photographs, texts,
“borrowed, bought and scavenged from cast and
these video-glimpses into the site and various
“We owe a real debt of gratitude to Paul Simon
It’s all the more impressive in that respect that
diffusion gels and blackwrap. He also lent us the
production team was not able to properly meet
as several Alpha Pack Zero 88 portable dimmers,
Streatfield revealed that they did receive some
transitions.
“A lot of people said it was like being in a film,”
operators, Alice Wilson, knew someone who
the way the show allowed them to experience the
lent us some filters and redundant tungsten
tears, which I think was a big compliment.”
kindly had a rummage through their warehouses
for a repeat performance when lockdown
lamps and components.
nature of the narrative, it’s unlikely that the
we nicknamed Mable, for £90 on eBay, including
“The show’s narrative and scenography emerged
chuffed with!”
very particular circumstances of the pandemic, so
equipment, the lockdown measures
“It was a huge amount of work, with hundreds of
hampered the planning and development of the
were gutted that relatively few people got to see
online, while show director Rocio Ayllon had to
there will be a film released this year, which will
lockdown, just so the production team could post
also hatching plans for a short film – a kind of
to. “It was a very difficult process – to reinvent
“There will be another new show eventually too,
specific theatre, without being on site. But it did
venue first…”
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The show culminates with the spectators walking out onto a stage to find the cast members sitting in the audience, observing them.
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210115_Publicite_Technilum_MondoArc.indd 1
15/01/2021 17:19:46
Landmark Status Rogier van der Heide examines the extra efforts to which lighting designers need to go to effectively and sensitively illuminate our heritage monuments, with some striking examples.
S
ome call them “monuments”, others say
“heritage” or simply “historic buildings”. Either way, they are part of our cities and
villages and they link our understanding of the present to our collective memories of the past. Monumental buildings form a critical part of
the cityscape. They are often beautiful to look
at, they provide your city with uniqueness, charisma, and character, and many of them still function remarkably well, making them a testimony to sustainable building.
Those historic structures, that simply seem to have been there
forever, are important for a city to make its citizens feel at home, to
create destinations and navigational beacons, to get attached to and to be fond, or even proud of. Who will ever forget the expression of
devastation on the faces of the eye witnesses when the Notre Dame
of Paris was on fire? For many people, a piece was ripped out of their
heart and it was not the cathedral that caught fire, but a whole nation. The economic relevance of monumental buildings is obvious, too. In European cities – the capitals of the “Old World” after all – historic buildings form a key attraction. A major experience that delights tens of millions of visitors in every city, every year. Their images
– by day and night – are broadcast all over the world on Instagram
and in the digital photo albums of people everywhere. Chances are
slim that Apollodorus of Damascus – the architect of the 2,000 year old Pantheon in Rome, would have thought of that! Good historic buildings may change their function over time, but they remain relevant. It is this relevance that deserves great, imaginative
illumination, so those structures can perform their much-needed role in today’s society.
Fortunately, there are more and more lighting schemes of historic
buildings that recognise all of the above. Lighting that links historic
buildings to their environment rather than detaching them. Lighting
that is like a narrative, telling you what you see, by highlighting details and unexpected elements of a façade. Lighting that demonstrates
respect to a building that has been watching the city grow and change, and that proudly endures, and stands the test of time.
Eleftheria Deko’s lighting of the Acropolis is a fine example of that.
Though it was featured in much greater detail in the previous edition of arc magazine, it is worth mentioning again that Deko’s lighting is fantastic.
The iconoclastic poet Kostas Karyotakis wrote in 1920: “The
Acropolis, as a queen up there, wearing the scarlet sunset...” If you have visited Athens you’d agree it’s nothing less than that.
To me, the Acropolis tells the story of civilization. What better could the lighting designer do than connecting the Acropolis’
most important building – the Parthenon – to the city of Athens
as it is today? And how she did! By lighting the rock that elevates the Parthenon over the city, a genius gesture that is intuitively
understood by all. The result of unconventional thinking, but more importantly, of a profound understanding of the nature, the story, and the cultural relevance of the monument at hand.
Another recent example of outstanding lighting of a historic site
is Charles Stone’s illumination of the historic façades of the Bund waterfront in Shanghai. A collaboration between Fisher Marantz
Stone and Uno Lai, the scheme aims to be “light for the people” as Stone explains it. What he means is that while the lighting clearly
shows the history of the site and its 1930s façades that all remarkably survived, the whiter light firmly positions the Bund in the future of Shanghai. The lighting designers also wanted to show the different kinds of stone of the 27 façades, and reveal those through subtle
shifts in colour temperature. It is light that tells a story: the story
of a harmonious waterfront, where delicate differences contribute Rogier van der Heide, Lighting Designer (Pic: Erik Hijweege)
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to a holistic approach, as a juxtaposition to the “visual density”
and chaotic cacophony of the Pudong district that is for many of us “Shanghai as we know it”.
Comment
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1. The Palais Hansen in Vienna, Austria. Here, van der Heide praises the lighting design by Dan Hodgson of acdc, for bringing an “incredible subtlety” to the façade, without it becoming lost in the wider streetscape. (Pic: Faruk Pinjo) 2. The monumental re-lighting of Shanghai’s Bund district by Fisher Marantz Stone pays homage to the classic 1930s façades with a warm white light that “juxtaposes the visual density and chaotic cacaphony of the Pudong district.” 3. Designed by Eleftheria Deko, the new lighting scheme of the Acropolis of Athens is an excellent example of lighting being used respectfully to showcase the cultural significance of landmark monuments. (Pic: Gavriil Papadiotis) 4. By creating a “less monumental” lighting scheme for the Netherlands’ Rijksmuseum, van der Heide’s lighting scheme better embeds the “building image” of the museum into its wider environment. (Pic: John Lewis Marshall) 5. The beautiful façade of Milan’s “Palace of Post” received a makeover from Niteo, highlighting its intricate details and revitalising the building as it was renovated into a Starbucks.
These two projects demonstrate that the lighting of historic buildings
beautifully. And moreover, just like their previous function, their
effort to learn, and to discover the true meaning, function and role of
The Milan “Palace of Post” has a gorgeous façade, and the lighting
lighting engineers and project managers. And once you understand,
contrast and sparkle, to give the building a makeover after it became
to the imagination of the viewer. That is the magic of great design:
say: I have been rejuvenated! It’s anti-aging at its best. It requires
is not about floodlights and wall mounts but all about making an
the building at hand. Poets and historians will get you further than you’ll decide what to emphasise, what to tell, and what to leave up to show just so much that the viewer wants to discover more. Our experiences are fuelled by curiosity.
new role is most likely not forever anyways.
by Jason Edling’s Niteo from Seattle plays with theatrical tricks, with worn out by its long service for the Italian Post. It is as if it wants to a great sense of detail and again, a profound understanding of the client and the role the monument plays in society.
When we illuminated the façades of the National Museum of The
An even better example of such a redevelopment is perhaps the
detail, using less colour, creating lower contrast and embedding the
who designed it as a hotel for the World Expo of 1873. Two years
The building’s night time appearance has become more welcoming,
neo-classical façade, the Palais Hansen has defined this part of
Netherlands (the Rijksmuseum), we shifted to revealing greater
“building image” much better in the Museumplein environment.
Palais Hansen in Vienna. Named after its architect, Theophil Hansen, later, it was converted into an apartment building. Being a purely
less monumental if you like, and truly a destination of everyone and
the “Schottenring” avenue. The government sold the palace to
the end of the 19th century. The fact that other European fine art
original Greek-inspired splendour.
for everyone – much like how it was intended when it was built at
museums of that time used to be palaces that put private collections on display, while the Rijks was built on purpose, with public money
Kempinski, who committed to renovating it and emphasising its With a lighting design by Dan Hodgson of acdc, the façade obtained an incredible subtlety without disappearing from the streetscape.
that funded both the building and the collection, is truly remarkable.
The monochrome lighting – that actually leaves many areas of the
presents itself at night. That’s how a governmental strategy some
the trademark of Kempinski. It works out perfectly on this classic
And it is more than worth interpreting in the way the building 130 years ago inspires a lighting design today.
Buildings and their purpose change over time. An important trend is the refurbishment of existing buildings, giving them new, often
commercial, purpose. Think Milan-Post-Office-becomes-Starbucks. Despicable? Not at all!
Often, these commercial investments are the only way for historic buildings to survive these days. Many of them are restored
façade in dimmed illumination – symbolises understated luxury:
façade. The statue of Nike – the Greek goddess of victory – at the top of the façade receives a well-deserved highlight, telling the story of Hansen’s inspiration, that he got when he worked in Athens.
The lighting of historic façades and buildings is great fun, but a great responsibility too. It is like Howard Brandston said: “when you start to have an awareness of the world, it is a richer experience”. www.rogiervanderheide.com
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PROJECT DETAILS Green Heart, University of Birmingham, Birmingham, UK Client: University of Birmingham Lighting Design: Speirs Major, UK Landscape Architect: Churchman Thornhill Finch, UK Photography: James Newton
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public space lighting
Heart of Grass At the centre of the University of Birmingham campus, a new, 12-acre green space named Green Heart provides a welcome social and educational hub for students and faculty, with a perfectly balanced lighting scheme from Speirs Major.
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1. As part of a desire to “maximise opportunities for serendipitous encounter”, the lighting design sought to create clear and intuitive circulation routes, together with areas of light punctuation providing atmospheric places to congregate and socialise. 2. The highest lighting intensities occur on the primary pedestrian and cycle routes, at the many changes of levels across the park, with lighting from Lumino integrated into handrails and balustrades. 3. Alongside providing wayfinding lighting on the pathways and staircases, Speirs Major illuminated select trees and foliage with iGuzzini’s Light Up fixture, emphasising the natural character of the site.
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n the built-up environs of a
Part of the overall design concept for the
essential for planners,
serendipitous encounter”, creating a space
university campus, it is
architects and designers to
linger and spend time outside of class.
switch off from the every-day stresses of
helps to facilitate this approach: “We made
faculty can find time to relax, recharge, and higher education. The University of
Major explained how the lighting concept
sure that circulation routes were clear and intuitive, and punctuated these with
striking new 12-acre public park that
atmospheric places to congregate and
campus with student residences.
The new Library Square’s central lawn is
Churchman Thornhill Finch, with lighting
combines with the lighting of the main
connects the school’s historic Edgbaston Designed by landscape architects
socialise.”
surrounded by a glowing halo of light that
designed by Speirs Major, the new green
circulatory routes to make the interlinking
“promoting interaction between students,
tertiary routes cut through the darker
space was created with the ambition of
staff, visitors and other users” to create a
“safe but pleasing ambience and identity”.
spaces of the park legible after dark. Softly lit centralised pockets, with strong highlights
to objects such as benches and architectural
Lighting was a key pathway to achieving this,
features.
Major, explained: “The concept was to
darkness, that creates a sense of drama and
as Mark Major, Senior Partner of Speirs
achieve a sensitive and sustainable balance of light and darkness across this important social and educational hub, facilitating
freedom of movement while enabling richly varied opportunities for interaction and outdoor learning after dark.”
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where students and staff would wish to
create break-out spaces where students and
Birmingham offers this in Green Heart, a
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space was to “maximise opportunities for
The result is a delicate balance of light and ambience, while also allowing for aspects such as wayfinding and security.
“We employed a carefully considered
hierarchy of light intensities, managed
through the lighting control system, to
ensure safe passage and a good sense of
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public space lighting
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1. The 12-acre green space connects the University of Birmingham’s iconic Edgbaston campus with student residences. 2. Aubrilam’s light poles have been fitted with WiFi, enabling 100% internet coverage across the site so that it can be used as an academic space as well as an area of relaxation, while lanterns and projectors from Thorn and Meyer provide sufficient general lighting. 3. In the darker landscaped zones of the park, routes are revealed through lowlevel, linear lighting. 4. Alongside the general pole lights, additional architectural lighting flourishes come courtesy of fixtures from Stoane Lighting and Simes. 5. The lighting equipment throughout the space has been scaled accordingly to reflect the character of the different elements of the scheme - light poles range in height from four to 12 metres in height.
security, while enhancing the character of the
University Square to the south of the site,
energy consumption,” Major continued.
With the project spanning across 12 acres, Speirs
landscape, protecting its ecology and minimising “The highest lighting intensities occur on the
primary pedestrian and cycle routes, and at the many changes of level across the park,” added Philip Rose, Associate Partner of Speirs Major. “The bridge features integrated balustrade
lighting, creating a dramatic lit effect on the bridge floor. Concealed lighting within the handrails
highlights the staircases and selected pathways, and creates the halo effect to the sloping grass
banks that surround the central lawn – which acts as an additional area of informal social and study space.”
Meanwhile, located at the top of the sloped bank between the new Library Square and existing
University Square, the retained and relocated
heraldic shields have been lit as a feature, using ground recessed lights.
The scheme by Speirs Major also emphasises the site’s natural character. Glowing tree canopies announce the primary pedestrian entrance
gateways, while rows of illuminated trees frame
the views from the amphitheatre, creating a sense of enclosure. Further key trees are uplit in the
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facilitating social encounters beneath them.
Major worked very closely with the landscape
architects and the wider project team to ensure
that there was a “seamless integration of lighting into the wider design of the campus”, while
creating a sense of coherence and consistency throughout the park. “With the sheer scale of
Green Heart, it was important to determine what to illuminate and what to leave unlit,” added
Major. “This allowed us to develop a targeted
approach that focused on supporting access and
routes, along with defined areas of dwell space.” All circulation routes, planting and “areas of encounter” are lit in a consistent colour
temperature – a warm white 3000K that evokes a
relaxing character akin to an outdoor living room.
The only exception is the water feature’s cascades, which are enhanced using a tonally
complementary, cooler white light.
The choice of lighting equipment itself reflects the character of the different elements of the scheme, as Rose explained: “The hierarchy of light
intensities is consistently applied sitewide, and the mounting heights of the lighting equipment are
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similarly scaled. The main routes adjacent to the
sense of security after dark. Major continued: “The
10-metre timber columns, with multiple spotlights
that provides a highly legible, safe and attractive
university buildings have taller, eight and
to help reduce the quantity of columns overall.
“For the internal pedestrian routes, four-metre
timber columns provide a more human scale and a natural aesthetic that complements the park
design. In the darker landscaped zones, the routes are revealed through low-level light only.
“The use of timber for these columns allows them to be more sympathetic to the landscape also,
which helps to make it feel less like an urban or regeneration project.”
The scheme also enables 100% internet coverage across the site, so that it can function as an
academic space as well as an area of relaxation.
This technology was incorporated into the lighting columns, helping to reduce clutter. “Innovation
was also incorporated into the project by installing the 13sqm Pavegen, just before the bridge,” Rose added. “Here, footfall actually powers the USB charging points at the nearby workbenches.”
Indeed the efforts made by both Speirs Major and
the wider design team have contributed to creating a communal space that is both pleasing on the eye, interestingly and creatively lit, while retaining a
overall impression is one that is well-considered, after dark environment – simple and elegant.”
While Speirs Major has worked on numerous public realm and external lighting projects, the lighting
designers commended the university for creating
this new, green space in the middle of the built-up academic setting.
“It was brave of the client after building a new library and demolishing the old building that,
instead of redeveloping the site with a further
building, they chose to retain and develop a large, open landscape,” concluded Major.
“Historically, there was an intention to create a formal open space in the middle of the campus,
however the old library did not allow this. Green Heart reinstates the original 1920 axis that runs north to south, and opens up the campus, providing a unique public green space.” www.smlightarchitecture.com
lighting specified Aubrilam timber columns Helvar Lighting Control System iGuzzini Light Up Lumino Vector Meyer Monospot LED projectors Simes Mini Lobby Professional Simes Mini Skills Square Stoane Lighting Bespoke Indehandrail Module Thorn Avenue D LED Lantern
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Everything in its Right Place Lighting designers at Verkís collaborated closely with Basalt Architects to create a seamless, integrated lighting scheme for Reykjavík’s new public square, Óðinstorg.
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iterally translated as Odin’s Square, Óðinstorg
However, the lighting strategy from Verkís was not of
of the Icelandic capital of Reykjavík.
for the night, whereby lighting was based on the elements
is a new public space introduced to the heart Previously mostly used as a parking lot, the
square is the end result of an urban design competition, in which Basalt Architects and lighting designers at Verkís sought to regenerate the square so that it could fulfil its true potential as a liveable urban space.
The design team proposed that this space would place a special emphasis on winter and darkness – owing to
Reykjavík’s location as the northernmost capital city in the world. This meant that the nighttime scene was
integral to the design concept, both architecturally and in terms of lighting, from the very beginning.
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illumination, but rather a “more holistic vision of this area composing the urban and landscape design, with fixtures
becoming integrated into these elements where possible. The purpose, Verkís believe, is to create an inviting atmosphere, even in inclement weather.
Darío Núñez Salazar, Lighting Design Leader at Verkís, explained the lighting concept further: “The idea is
always to create the most adequate atmosphere, while being coherent with the architecture and landscape
concept. In this case we tried to minimise the use of light poles or luminaires that are perceived just as an added isolated element.
public space lighting
PROJECT DETAILS Óðinstorg, Reykjavík, Iceland Client: The City of Reykjavík Lighting Design: Verkís, Iceland Architect: Basalt Architects, Iceland Landscape Architect: Auður Sveinsdóttir, Iceland Urban designer: Edda Ívarsdóttir & Anna María Bogadóttir, Iceland Photography: Darío Núñez Salazar
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1. The lighting for the square was developed in close collaboration with Basalt Architects, as it was the intention of the design team for the lighting to be an extension of the urban and landscape design. 2. Lighting throughout the square is very minimal, with luminaires and light poles incredibly discreet, where used. 3 & 4. As part of a deliberate move to reduce the number of visible luminaires in the square, Verkís used a range of integrated and embedded fixtures from iGuzzini and LightGraphix in the various landscape elements, such as handrails, seats, ramps and bollards.
“We rather wanted the light to flow ‘naturally’
luminaires, that don’t compete with other urban
light poles and luminaires would have to be as
The design competition for Óðinstorg was
with the future changes that the city of Reykjavík
Architects were commissioned by the City of
the city. We wanted to bring light to the area,
the square in 2018. With the project completed in
from the landscape features. And if really needed, discreet as possible. This is also to be coherent
is making regarding the master lighting plan for without luminaires.”
As the square sits in the middle of a built-up area,
Reykjavík to further develop a detailed design for
2020, Núñez Salazar said that the rapid turnaround time was a slight challenge for the lighting design team, but it didn’t hinder an otherwise enjoyable
precautions had to be taken to ensure that any new
“As with many other things in Iceland, things
these buildings. “That’s why it was so important to
good time. Especially since most of the concept
lighting wouldn’t become obtrusive or invasive to
project.
needed to be done quite rapidly, but we did have a
avoid new outstanding visual features,” he said.
work was done during the competition phase,” he
character to take form by itself, and then it was all
“I don’t remember this project as a much-suffered
“We wanted to give some room for a natural about using the new landscape features and
finding every opportunity to integrate light.”
said.
one, at least for the lighting. Perhaps the electrical plan was a more complicated story, as during the
As such, the lighting designers called on recessed
project we had to switch from conventional
iGuzzini, which were embedded into benches,
also needed to be future-proofed.”
or integrated linear fixtures from LightGraphix and handrails and steps. This decision, Núñez Salazar believes, allows the light to “flow through the landscape and architectural or landscape
features,” while avoiding “conventional” luminaires.
Where needed though, area lighting was solved by discreet poles fitted with iGuzzini’s Palco InOut
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launched in late 2015, while Verkís and Basalt
Núñez Salazar was keen to include the surrounding buildings within the scene, but as such, extra
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elements.
lighting controls to smart systems, and the project Various future-proofing methods were
implemented by Verkís; all luminaires are digitally addressable to allow for future connectivity.
Meanwhile the current programming setup runs
different scenes depending on the season and time of day.
Throughout the project, Verkís worked very closely
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“We wanted the light to flow naturally from the landscape features... We wanted to bring light to the area, without luminaires.” Darío Núñez Salazar, Verkís
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with Basalt Architects – a practice that is
a special character to the square: “I think
light in its work. This meant, according to
everything now feels in its right place. The
of respect to qualified lighting designers”.
to the square, without taking too much
whatever you want though. They have a clear
the area. Even though this was a significant
well known for knowing and thinking about Núñez Salazar, that the architects “give a lot “That doesn’t mean that you can do
vision, not really about the final lighting solution, but about the experiences they
once we finished tuning all the light sources, integrated lighting brings a special character attention from the things already existing in transformation for the space, things feel like they belong there.”
want to create, and then they are open to
Although completed in the midst of the
lighting designers.”
have become integral to facilitating mental
concept stages right through to completion,
feels that Óðinstorg is no exception. “This
hearing the ideas or thoughts from the
This close collaboration, from the initial
Covid-19 pandemic, open-air, public spaces health and wellbeing, and Núñez Salazar
is an aspect that particularly stood out to
square was meant to provide a welcoming
lighting from the very start. “It is a
a transitional space,” he said. “I have walked
Núñez Salazar, as was the attention paid to completely different story when the architects and urban designers start
atmosphere both as a place to mingle, and as around it in darkness before and after the
restrictions, and I would say that even now
discussing the nighttime vision from the
that it could look a little ‘empty’, the lighting
installation merely needed to illuminate the
again happen there for the better.
very beginning, and not left as an space during the night.”
This approach has resulted in a space where lighting feels like an integral part of the design and a key aspect of the intended
ambience, rather than an afterthought that was retro-actively implemented.
Núñez Salazar added that the lighting brings
features inspire optimism that things will “I know that many other things will not
change back after the pandemic. I just hope we don’t take a step backwards and become
again afraid of the night and darkness. Even
so, I believe this square will always invite you to stay a little longer.” www.verkis.com
lighting specified iGuzzini Palco InOut iGuzzini Platea RGBW iGuzzini Underscore LightGraphix LD42 LightGraphix LD170
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PROJECT DETAILS Sandvika River Promenade, Sandvika, Norway Client: Bærum Municipality Lighting Design: Zenisk, Norway Architect: Dronninga Landskap, Norway Photography: Tomasz Majewski
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public space lighting
Riverside Walk Lighting designers at Zenisk have created a beautiful bespoke lighting solution that brings an artistic materiality to the Sandvika riverside promenade in Bærum, Norway.
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1. Zenisk opted for 12-metre-high lighting columns to provide functional light to the promenade with precise and shielded beams. 2. Low-level lighting was used to bring focus and attention of the pedestrians to floor level in a move to enahnce their experience through the space. 3. Integral to the deisgn was the custommade Sandvikslykta bollard - developed with Hadeland Glass and Rebel Light, the bollard operates both as a functional light source and a light art object. 4. The original proposal was for the Sandvikslykta to be placed in the most prominent part of the promenade, but the municipality decided to extend its placement to cover the whole stretch of the river. 5. A key priority was to keep the space clutter-free from excessive lighting columns, instead giving the promenade an “exclusive warmth”, with just the necessary amount of functional light.
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ocated just outside Oslo, Norway,
“Our main goal from the beginning was to enhance
Sandvika river at the meeting point of
the new promenade, revealing it as one continuous
Bærum is situated on either side of the a fjord. Sandvika Municipality has
recently increased its focus on urban quality and
decided to develop its riverbank into a recreational promenade that will allow locals to take full advantage of the surrounding nature.
The public space project was opened for entries to landscape architects, lighting designers and
engineers, with entries evaluated on a point-based system: a third of points evaluates the team’s competence and previous portfolio of work,
another third goes to the understanding of the project brief and the final third is given to the budget proposal.
Lighting design firm Zenisk was awarded the
project, along with Dronninga Landscape practice, a firm it has previous experience and a good
working relationship with, after submitting its initial lighting proposal in 2016.
arc caught up with Kristin Bredal, Director of
Zenisk, to find out more about their involvement in the promenade development and the customdesigned light fixture created for the project.
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the materiality and quality of the wood decking of space and visually separated from the rest of the area,” she explained.
“Keeping it clutter free from lighting columns was
also a priority. The idea was to give the promenade an exclusive warmth and give the necessary functional light for the street.
“Creating a new, comfortable and pleasant
pedestrian experience in this fragmented space interrupted by many bridges was the main idea behind all the design solutions,” she added.
For the general lighting, the team suggested using 12-metre-high lighting columns, which provided functional lighting, both to the street and to the
promenade, with precise and shielded beams. In
order to balance the look, Zenisk added a low-level mounted glowing bespoke fixture, that would
“bring focus and attention of the pedestrians to the floor level and enhance their experience
through the space”. Furthermore, Bredal noted
that it was easy to hold a good balance of light in
the area due to a lack of competing light interfering from neighbouring installations.
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Bredal and her team was encouraged to design
To start off with, the team created a 1:1 model
lantern of Sandvika.
study the shape and size. Based on this model,
a custom fixture inspired by the historical “We have a long and good collaboration
history with Dronninga Landscape. They not
only respect our ideas, but they encourage us to be brave and inspire us to create. Having
their support is precious to us, and what true collaboration and teamwork is about. We
interfered with each other’s disciplines all the time during the concept phase, with ideas and feedback, and this elevated the design, blends the disciplines on top of also being great fun. “This custom bollard [the Sandvikslykta] is
in-between being a functional light source and a light art object,” she explained. “The initial concept was to have the light twinkle
constantly like a flame of a candle. Dark
winter days are long in Norway, but so are
bright summer days. We wanted this to be a jewel that also sparkles in daylight. This
meant designing the light source inside hand blown crystal glass to catch the twinkle from the LED inside and the sparkle from the sun and daylight outside.”
of the lantern from wood and plexiglass to
they progressed to a 3D render to adjust and finalise the design.
Together with Rebel Light, Zenisk developed a special DMX LED luminaire from Radiant. The
luminaire has 16 LED light sources in different colour temperatures distributed over four DMX channels.
“Apart from a construction that needs to be
sturdy and available for maintenance, a lot of consideration went into the proportions and
shape. We wanted a timeless, stylised shape to enhance the effect of the light and the crystal.
“When the first conceptual drawing was made, Hadeland Glass and Rebel Light were chosen for further collaboration based on the input
solutions they offered. Handblown glass with air bubbles captures the light from the LEDs with varying colour temperatures,
programmed in a dynamic scenario with DMX controls.”
The original proposal for the scheme had
incorporated the Sandvikslykta to be placed in
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One of the main objectives for Zenisk was to “enhance the materiality and quality of the wood decking of the new promenade”, revealing it as one continuous space that is visually separate from the rest of the area.
the most prominent part of the promenade, but it
analysis phase, giving them options to evaluate,
placement to cover the whole stretch. “This gave
exploring how the act of seeing and feeling safe is
make the best use of it along the whole
our sense of belonging and identity,” explained
sizes, we were able to integrate it all nicely with the
For this particular project, she reflected on the fact
was decided by the municipality to extend its
us a great opportunity to explore how we could promenade,” said Bredal. “With two different
landscape and furniture design, giving the whole promenade a rhythm, enhancing the experience
competent and understanding client in the Bærum
granted to realise the Sandvikslykta design true to
are gone and it is pitch black and wet, or white with
“We feel very fortunate to have had the chance to
and power of light, and the freedom they were its original design concept.
snow, you need that little spark, twinkle or glow
work on this great project. Norwegians are big on
Norwegians are light deprived during winter, so we
nature. However, this does not always happen in
crave it both physically and mentally.
“As a general note in regard to lighting and the
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that they were particularly grateful to have a
winter, Bredal clarified that it is important to have
that gives you visual stimuli and an experience.
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Bredal.
municipality, that comprehended the importance
well-designed outdoor lighting. “When the leaves
Erco Beamer Erco Compact downlight Erco Compact wall wash Lightconstructor Solid Cluster Radiant Architectural Lighting Water Effect 150 Lighting System
so closely connected to our social behaviours and
through it for pedestrians and cyclists.”
Given Norway’s long spells of darkness during the
lighting specified
showing them what each layer of light does and
outdoor activity and spending time outside in
our cities, which still have a lot of potential in the dark, where public space is mostly used for
pandemic, this winter lighting was high on the
circulation,” she said. “There is a change
lots of temporary installations all over the cities.”
opportunities within the urban fabric. Our hope is
municipalities agendas all around Norway, with
Typically, challenges teams face when working on projects with new clients include ensuring the
client is able to clearly understand the vision and see the whole picture of a potentially brave and bold concept. “We find that the best way is to include the client as much as possible in the
happening in our cities, with more dwell time
that by activating this promenade with special
lanterns in the dark, we will encourage residents to spend more time here and make it their own space,” she concluded. www.zenisk.no
THE DIFFERENCE IS IN THE DETAIL High-power product updates We have introduced a series of new LED engines, refreshed our datasheets with more performance data, in addition to adding black trim glass and new machined finishes to uplights. Further in-house paint finishes are now also available across surface mounted products. Visit www.lightgraphix.co.uk for more information.
Pics: Tomasz Majewski
Rest and Relaxation Along the E6 highway in Norway, Light Bureau and Tehomet have collaborated to create an inviting, enjoyable rest stop at Strandlykkja.
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he E6 is a one of Europe’s main highways,
variation and visual stimuli increases wakefulness
southern tip of Sweden at Trelleborg, into
road authorities sought to increase driving safety by
stretching more than 3,000km from the Norway and through almost all of the
In line with this, light Bureau has, since 2008,
need for rest stops, and while these can often be
encompass lighting of scenographic elements and
unwelcoming, unpleasant spots, this is not the
case in Strandlykkja, approximately 70km north of
been developing roadside lighting solutions that visual roadside “events”, in addition to purely functional elements.
Oslo, where Light Bureau and Tehomet - a Valmont
The overall concept for this road lighting design is
enjoyable.
characteristic features along the motorway – both
housing neat and comfortable facilities, the
rhythm, while drawing attention to the pulse of the
company, have created something much more
Characterised by a series of red, igloo-like “pods”
called “Pulse”, and it involves the illumination of
natural and man-made – in a move to create a natural
Strandlykkja rest stop is more akin to a scene from a
journey through the landscape. The aim is to provide
On the rampart between the rest stop and the
mind refreshed and in the right frequency, but also
science fiction movie than a rest stop.
road, an avenue of massive wooden poles has been
installed, itself becoming a landmark for travellers,
the road user not only with stimulants to keep their to improve traffic safety and facilitate road user
anticipation for landmarks such as tunnels, bridges
while adding an attractive element to the harsh
and mountainous terrain.
Each of these poles is inclined at an individual angle,
to good lighting of the fairways, with an emphasis on
Nordic landscape both during the day and at night.
creating the shape of a fan, while also following the
meandering highway between the surrounding fjord and mountains.
The Strandlykkja rest stop is part of a wider
lighting concept developed by Light Bureau, which stretches 100km from Oslo’s Gardermoen airport
to the municipality of Biri. Research has found that
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including “eventfulness” in any road development.
country, to the Arctic Circle and Nordkapp.
Such a long stretch of road will invariably have
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and concentration in drivers; as such, Norwegian
In rest areas therefore, special attention was also paid comfort through attractive lighting. This was done through the use of lower lighting levels in central parking areas, giving the impression of a calmer,
less bright space. Similar attention has been paid to
reducing glare for road users, without compromising on the lighting on entering and exiting these junctions.
public space lighting
At Strandlykkja, Tehomet’s sturdy, 12-metre wooden poles line the edges of the rest area. These are equipped not only with Erco LED spotlights to provide general illumination to the space, but also
with DMX-controlled LED Matrix luminaires that bring an added accent lighting.
Embedded within the poles themselves behind 10 glass mirror
windows, this accent lighting proved a challenge for the design team, as each pole had a cross section of just 420x420mm. The distance
of the source from the mirror surface was critical, as the uniformity of the light distribution in the area required a sufficient distance
from the mirror surface. Eventually, the decisive millimetres were
introduced by installing the LED matrix luminaires in a customised metal sheet structure. This brought added benefits as it allows the entire element to be replaced in the event of a fault.
At dusk, the accent lighting repeats the rhythm of the road user
as they pass by, in line with Light Bureau’s “Pulse” concept, while
from a distance, it creates the illusion of the sun setting behind the mountains.
The column structures are aimed at a long lifecycle and maximum service interval, taking into account the demanding conditions of
the site. In its material choices, the client took into consideration, amongst other things, the stresses caused by the proximity of
the water and the busy highway. In the case of the wooden poles,
strength-graded glulam (glue-laminated timber) was selected as the
raw material to ensure a longer service interval. The steel parts of the columns were also hot-dip galvanised and painted according to the
requirements of the most severe environmental stress class defined in the standard.
Part of the general lighting in the area was implemented with LED spotlights mounted on six-metre-high poles made of brushed
stainless steel. Red LED lights were also installed on some of these poles to accentuate the bright red colour of the comfort facilities.
“This project holds a special place in my heart and I am very proud
of the result,” said Morten Jensen of Light Bureau Norway. “We have used only the best materials and it has been great to both design the lighting and the massive wooden poles. We have created a unique
experience for those driving by and a place to rest and enjoy nature.” www.valmont-woodenpoles.com www.lightbureau.com
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public space lighting
Moments of Calm Fixtures from ADO Lights bring a sense of calm in the heart of Dijon, illuminating the Cour Bareuzai area.
C
our Bareuzai is situated in
An LED-Voute in combination with an LED-
ensemble of carefully renovated
travelling to the next courtyard. Light lines
the heart of Dijon. It is an courtyards and mansions
from the 17th and 18th centuries, in which
Chapman Taylor created 2,300sqm of spaces for retail, catering and offices.
The architects also brought a little greenery into the city centre with their ideas. From a turbulent and busy street you enter a quiet
courtyard through a passage designed with plant walls, illuminated with ADO Lights’ LED-Hayat fixtures. The luminaires have
been equipped with lamps that support and facilitate growth.
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LightLine illuminates the way for passersby integrated into the floor can also be found, which elegantly enhance the contrast between the old building and modern architecture.
ADO Lights’ LED-Drainlight with wall
washers have also been integrated into
façade drainage channels, which let the
walls of the mansions shine in the courtyard, creating an additional atmosphere. www.ado-lights.com
LIGHTING WATER
Conrad Maldives Rangali Island Lighting Design: Bo Steiber Lighting Design, Singapore Photo: Sebastian Posingis, Adam Bruzzone
Your water will shine constantly at the highest level. More at www.wibre.de
MADE IN GERMANY. SINCE 1919 | WWW.WIBRE.DE WIBRE Elektrogeräte GmbH & Co. KG · Leingarten/Germany · +49(0)7131 9053-0 · info@wibre.de
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PIONEERS IN IP68-LIGHTING U N D E R WAT E R L I G H T I N G | E X T E R I O R L I G H T I N G
20.01.21 16:09
public space lighting
Sport For All The Kløfta sports and activity park in Ullensaker, Norway, features bright, accessible lighting, allowing the space to be enjoyed by all into the evenings. This is made possible thanks to luminaires from Siteco.
K
løfta sports and activity park is an
benches and tables that serve as meeting places for
Ullensaker, a municipality north of
Siteco has made a strong contribution in making this
impressive multi-purpose facility in Oslo in Norway. The park is centrally
located by the primary school, secondary school
and three kindergartens, which each have a unique
opportunity to use the park during the day, as well as the nearby retirement homes.
“Kløfta sports and activity park has become compact and we have obtained many different facilities within a limited area,” said Haakon Struknæs
Fjone, Advisor of Parks and Sports in the Ullensaker
municipality. “It is open to everyone and can be used at any time. Our focus is to get children and young
people to engage in physical activity and to use the park for this purpose. We have not had anything
similar in the municipality and this is the type of
facility that should be possible to realise for many municipalities.”
The facility consists of a seven-a side pitch, two
11-a-side football pitches and three tennis courts. It also has an area for athletics exercises, running
track with long jump pit as well as a handball court and sand volleyball court. A variety of exercise
equipment, table tennis and a climbing tower in
addition to a 1km jogging path makes the facility
suitable for many types of activities. There are also
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those wishing to meet outdoors.
area attractive to visit in the evenings. The area is
well lit, and the lighting creates a beautiful overview of the different parts of the park. The lighting
solution also gives a great impression of the activity areas, as well as walkways and parking lots.
DALI control with dimming is utilised on the tennis courts amongst other areas. The lighting has an intelligent app-based control solution, which
selected supervisors such as coaches and managers can control. Each sport has its own individual requirements, also in terms of lighting.
In order to achieve the best possible light, various luminaires by Siteco have been installed to create optimal training conditions.
Sveinar Hoff, Daily Manager at electrical contractor Nordengen, performed installation work on the
site. He said: “We have collaborated with Siteco for many years. We know what they stand for and they
always deliver quality and we get help when needed. The sports and activity park has become a fantastic facility. Not many have something similar.” www.siteco.com
Individual LED solutions – for interior and exterior matching the architecture above: LED-LIGHTLINE – for accent lighting and wayfinding Straight and curved – following your design
®
by TTC Timmler Technology
T +49 2255 921 200 E info@ado-lights.com www.ado-lights.com www.led-luc.com www.ttc-technology.eu
TTC-ADO_AZ_mondo_2102_RZ.indd 1
01.02.21 12:26
Project Lead: Graeme Massie Architects / Photography: Alex Bland
Hall of Columns A series of vast, 25-metre light columns from Valmont Structures bring light to the recently completed Centenary Square, a new civic space in the heart of Birmingham.
T
he redevelopment of Birmingham’s
sought to create “a room in a city”, which would
by Graeme Massie Architects, in
of poles, each fitted with Schréder luminaires at
Centenary Square, spearheaded
association with AECOM, has seen the
introduction of a bright, welcoming new civic space in the heart of the city that will provide the setting for some of the city’s most important public
buildings and planned new development sites. Spanning just under 20,000sqm, the square is
one of the largest civic open spaces in the city, and is bordered by the Library of Birmingham,
Rep Theatre, Birmingham Municipal Bank, the
International Convention Centre, Symphony Hall
and Paradise Forum, among other local landmarks. The redevelopment of the square looked to
create a clear spatial identity within the varied
urban environment. A key element of this is the introduction of a ‘Hall of Columns’ – a grid of
slender, 25-metre columns, created by Valmont Structures, that give the space a strong sense of
presence within its eclectic urban environment, while its canopy of lights creates an urban
landmark at night and during the winter months. The vast poles were integral to the architectural design concept, as Graeme Massie Architects
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be defined “through light and structure”. The grid a height of eight metres, are also tipped with LED
lighting in a move to define the square by day and
appear as a “ceiling of stars in the sky” after dark. During the development process of the Square, the architects discussed a wide range of pole
variants with Valmont, before eventually opting for galvanised steel option with specialist
finishing to assist against vandalism. These were
manufactured in France, before being shipped over to the UK, where they were finished and inspected by the main contractor Bouygues UK, before being delivered on site in different phases.
Although each of the 47 poles stands at 25-metres
in height, the uneven, sloped surface of the square meant that Valmont had to manufacture poles at 37 different heights, to ensure that there was an apparent uniformity in height when looking out
on the square from the Library of Birmingham. To
achieve the uniform column heights, and uniform light levels, across the sloping site, each column was uniquely coded and individually scheduled.
Schréder’s Focal luminaires, mounted at a height
public space lighting
of eight-metres, provide an even downlight to the
as Network Rail assets, building basements, and
pedestrians travel through the “Hall of Columns”,
Completed in 2019, Valmont was on hand,
square, contributing to the huge sense of scale as
while helping to create a placemaking focal point for Birmingham city centre. These luminaires
are mounted in bespoke shrouds, matching the
aesthetic requirements sought by the architects.
Valmont was selected for this project because of a
number of technological benefits that it was able to bring, both in the manufacture and maintenance
of its poles. Typically, in the manufacture of light poles, manufacturers are limited by the length of
the galvanising bath, needed to chemically “seal” the metal poles. The standard length of these is 13-metres, however with Valmont’s patented
Seamless Weld Technology (SWT), it was able to comfortably create poles at the required height.
congested urban utilities.
supporting for the Birmingham Centenary Square from 2015, and spent four years developing a
customised, bespoke variant of its lighting poles.
The brand worked very closely with Graeme Massie Architects, Bouygues and AECOM throughout the project to create a welcoming new public space in the centre of Birmingham. Previously a site that
was merely passed through, Centenary Square has
now become a spot where passers-by will stop and linger, becoming a destination in its own right. www.valmontstructures.eu www.uk.schreder.com www.aecom.com
Given the enormous height of the poles, the project called for a lot of special measures
below ground also. The lighting columns are all individually mounted on bespoke screw-piles, fabricated by Valmont, that are drilled up to
five-metres underground. In specific instances,
below-ground transfer structures were employed to accommodate subterranean obstructions such
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public space lighting
French Chic Designed by Agence ON and Alain Gilles, a new avenue of light poles from Technilum now line the La Croisette promenade in Cannes, bringing a stylish functionality to the space.
C
hic tailor-made lighting structures have been installed
For this, special projectors equipped with LED and focusing lenses
Cannes, France. Imagined by lighting designer Vincent
Beyond offering a distinctive and revealing lighting, the wish of the
along the world-famous La Croisette promenade in
Thiesson of Agence ON, and Belgian designer Alain Gilles,
the structures were developed and manufactured by French company Technilum, and now mark the entryway to Cannes’ beachfront.
Created to enhance the public realm, this elegant lighting furniture is also integrated with 10 additional smart features, including dynamic and texturised lighting, alongside signage, CCTV, speakers, menuholders and mailboxes.
Agence ON designed a stylish lighting scheme, intended to create a
strong identity along the entire bay of Cannes. Like the architecture of the new beach restaurants on La Croisette, the lighting structures are
modernist inspired, while showcasing streamlined Art Deco details to echo the façades of some of the promenade’s famous hotels.
At nightfall, the LEDs placed on the mast draw a dotted line, like a topstitch. These light points create a visual identity between all of the beach entrances along the promenade and highlight the particular curve of Cannes’ bay. Distinctive dynamic light
scenographies can be scheduled to accompany the different events that the city celebrates, such as Bastille Day, Cannes Festival, St. Patrick’s Day and Christmas.
In addition, each beach entrance is illuminated with additional soft,
textured lighting that seeks to evoke the sun’s reflection on the sea.
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have been developed by Agence ON, Alain Gilles and Technilum.
City of Cannes was to take advantage of the masts to provide multiple functions. By incorporating numerous technologies into one pole,
the planners were able to drastically limit the amount of furniture needed along the promenade, which has in turn helped to reduce public space congestion.
The 6.5-metre poles are tailor-made out of aluminium, meaning that they have a lower carbon footprint and are indefinitely recyclable, while being entirely weld-free also avoids any risk of corrosion. Comprised of 230 parts, all of them developed, manufactured
and carefully assembled in Technilum’s factory in the south of
France, the lighting structures have benefitted from the skills of a
multidisciplinary and experience team, guaranteeing an impactful
result that meets the top-level requirements of the City of Cannes. Special attention has been given to create a distinctive design that offers the right proportions, with all required functions
harmoniously integrated within the pole itself. The simplicity of
the shapes and the quality and thickness of the material give the
masts an opulent and timeless look – perfectly in keeping with their luxurious surrounds.
www.technilum.com
Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced
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DARK SOURCE
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1
Creative Control The inaugural DALI Lighting Awards, organised by the DALI Alliance and held in association with arc and the IALD, has revealed its winners.
L
aunched in 2020, the winners of the inaugural DALI
In the Small Indoor Project category – projects involving up to 64
in January.
Renovation at the Chicago History Museum. Morlights was tasked
Lighting Awards were announced in an online ceremony
luminaires – the winner was Morlights for the Crown Lunchroom
Organised by the DALI Alliance (DiiA) and held in
with redesigning the lunchroom into a space that could be used for
association with arc magazine and the IALD, the DALI Lighting
social gatherings, plus an immersive theatre setting. In such a large
Awards aim to celebrate the best use of DALI control solutions in
room with low ceilings and a partial wall, with no focal point, this
quality illumination to clients and end-users.
used to provide general lighting, while a star-shaped chandelier of
projects linked with DALI technology were nominated, with entries
DALI digital controls allow for the deep dimming that theatrical
four different categories across indoor and outdoor lighting
synchronised with presentations. The space uses eight DALI-
outstanding use of Zhaga-D4i products.
fixtures. Here, the judges felt that the lighting design and dimming
Technical and Certification Manager for the DALI Alliance; Tad
combined use space of a theatre and a public cafeteria, with DALI
liaison group; and arc editor Matt Waring.
integrated in a very straightforward manner.
international projects, as well as recognising the value of delivering
was a challenge. However, low-glare, deep-recess downlights were
A broad range of commercial, architectural and industrial lighting
linear LED fixtures creates drama.
spanning across the globe. The competition saw winners named in
spaces require, and enable show lighting that is perfectly
applications, alongside a separate category for projects employing
controlled zones, 45 DALI-controlled light fixtures, and 48 non-DALI
Judges for this year’s DALI Lighting Awards were Scott Wade,
control to achieve multiple lighting schemes was on point for a
Trylski, an active member of the IALD and former chair of its industry
shown to be a control protocol to allow extra infrastructure to be
The winner of the Best Use of DALI in Outdoor Lighting category was
The winner of the Medium Indoor Projects category – projects
Rome, Italy. The monument tells the story of the Madonna of the
work on the Leonardian Auditorium at St. Leonard’s College in
Human to Divine, and with lighting designed by Franceca Storaro,
and wallwashing, to featuring accents to wall panels, the auditorium
DALI system was used to produce soft, warm, 3000K light, diffused at
such needed different light scene settings. A key requirement was
five projectors beaming bright 5700K light up the column, removing
darkness without perceived steps. This was made possible through
from Erco, twinned with dimmable fittings controlled by the Helvar
smoothly, down to 0.1%. With many fixtures installed in difficult to
overall system is connected to an external digital clock for time-
features were also important aspects of the DALI installation.
Helvar for its work on the Column of the Immaculate Conception in
featuring between 65-500 luminaires – was Schuler Shook for its
Immaculate Conception on her journey from Earth to Heaven – from
Victoria, Australia. With illumination ranging from general lighting
the project set out to characterise the story through lighting. The
is used for different events, from theatre shows to lectures, and as
the base in a circular pattern, rising up the monument to 4000K, with
high-performance dimming from full brightness to pre-show
any shadows and creating a highlight in the skyline. DALI luminaires
the use of eldoLED DALI control system, allowing the lighting to dim
Imagine system, enable precision dimming throughout, and the
access locations, the asset management and predictive maintenance
scheduled recall of specific scenes.
“This project also stood out for its lighting design,” added Trylski.
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dali lighting awards
4 2
3
5
6
“Achieving this level of uniformity from limited
a more pleasant environment for travellers, which
in design and luminaire specification. Subtle
The final category – the Best Use of Zhaga-D4i –
contrast in the panelling, the wallwashing working
District Road 51 Tengs – Bjerkreim in Norway. This
of the lighting designer in a space like this, but the
from Signify. The luminaires are equipped with
on, switch off performance – not the most
doppler-radar motion detectors. These pass
often overlooked and is very important.”
road ahead, providing full light for vehicles,
was given to Laing O’Rourke for the Manchester
The judges felt that this was an excellent example
delivers a dynamic lighting control system
including fast installation of the controller, while
system to maximise energy savings across a
typically 70% at night.
the ability to standardise control aspects across all
reserved special praise for Belzner Holmes und
more than 3,000 sensors and over 500 application
Fibre and Wood Pavilions in Heilbronn, Germany.
Specifically, DALI is used for features including live
didn’t pick up a win in any of our designated
flight is due at a gate for arrival or departure, and
triumph for its scale and imaginative
provides a better user experience at the airport
What at first appears to be randomised pulsating
specific events, providing dimming and colour
sophisticated lighting project controlling more
example when a football team is landing, or to
is constantly under tension and plays the desired
The judges were impressed by the sheer scale of
The judges very impressed with how many
with other features that boost the overall user
effect in a small outside space. They added: “We
Waring added: “I love the idea of creating a more
and outright beauty, supported by remarkable
Airports can be particularly stressful places, even
all this with DALI was just a bonus.”
mounting positions shows a level of technical skill
should certainly be commended.”
touches like the low-level aisle lighting, the
was awarded to Comlight for its work on the
together with that contrast, all confirm the value
project is a 13km district road with 275 luminaires
standout aspect here is the attention to the switch
light controllers from Comlight with integrated
glamorous part of a lighting design, but it’s so
messages to the next luminaires to light up the
In the Large Indoor Projects category, the award
cyclists and pedestrians.
Airport Terminal 2 Extension and New Piers, which
of Zhaga-D4i in practice, with some great benefits
integrated with an existing building management
significant energy saving is also achieved –
24-hour operational building. Here, DALI offers
Alongside the five award categories, the judges
airport areas, with nearly 20,000 DALI drivers,
Partner Light-Design for its work on the BUGA
controllers on one converged network.
The judges explained: “Even though this entry
updates of set points to increase light levels if a
categories, the judges felt this submission was a
reduce them when no flight is present. DALI also
implementation of scene setting.”
through changing themes and colours according to
light play in a wood pavilion is actually a
control to achieve desired lighting schemes, for
than 700 light modules via DALI. The light control
mark key dates in the calendar.
programmes until they are changed.
the system, and the colour-control aspects, along
luminaires have been controlled to achieve the
experience.
felt this was a standout project for its aesthetics
user-focused, interesting lighting experience.
photography. The technical achievement of doing
at the best of times, so the dimming and colour-
www.dali-alliance.org
control in play here really go a long way to creating
1. The winner of the Medium Indoor Projects category, the Leonardian Auditorium at St. Leonard’s College in Victoria, Australia, featured lighting designed by Schuler Shook. 2. Morlights’ work on the Crown Lunchroom renovation at the Chicago History museum saw them win the Small Indoor Project category. (Pic: John Cahill Photography) 3. In the Best Use of Zhaga-D4i category, Comlight was successful for its work on the District Road 51 Tengs - Bjerkreim in Norway. 4. Alongside the five award categories, special recognition was given to Belzner Holmes und Partner Light-Design for the BUGA Fibre and Wood Pavilion in Heilbronn, Germany. (Pic: Conné van d’Grachte) 5. In the Large Indoor Projects category, Laing O’Rourke was successful for its impressive work on the Manchester Airport Terminal 2 Extension and New Piers. 6. The Outdoor Lighting category was won by Helvar for its work on the Column of the Immaculate Conception in Rome, Italy.
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C’est La Vivo Late last year, Zumtobel unveiled the Vivo II range - its latest collection of versatile spotlights for the architectural lighting market. In this issue, David Morgan takes a closer look at the range.
A
s one of the largest global luminaire
companies, Zumtobel has played an important role as a technical innovator and partner for
architects and lighting designers for more than 70 years.
The company was founded by Dr Walter
Zumtobel in 1950 in Dornbirn, Austria, as a
manufacturer of ballasts for fluorescent lamps. Fluorescent lamps
had been developed and commercialised in the USA during the 1940s. Dr Zumtobel spotted the commercial opportunity in Europe for this emerging sector of the lighting market. Very quickly, the company
moved into the production of complete fluorescent luminaires and this was the foundation for the growth of the company for decades to come. Dr Zumtobel was keen to produce innovative luminaire
designs and the company pioneered a number of industry ‘firsts’
while collaborating with leading architects, product designers and, latterly, artists.
The company has sales offices and partners in more than 90
countries and 13 plants on four continents, including the new
Tridonic component factory in Serbia. It has over 6,000 employees with more than 550 staff involved with R&D and nearly 5,000
patents; innovation is fundamental to the Group’s staying power.
From the outset, Zumtobel has pioneered the development of energy
efficient lighting systems and has more recently committed to a fully sustainable approach to all operations.
With its four main brands, Zumtobel, Thorn, acdc, and Tridonic
the company has been able to work with a variety of distribution
channels in the lighting market, from wholesaler distribution to specification by architects and designers.
The Vivo 2 is one of the latest new product ranges from Zumtobel.
The range is modular and includes three sizes of interior projectors developed for a wide variety of retail display and architectural
lighting applications. Apparently, there are more than two million
options available across the range. The three sizes of luminaire body can be mounted onto tracks, on surface plates, semi recessed into
ceilings, or suspended as pendants. All versions use a COB LED as the light source and a series of reflectors, fixed angle lenses and zoom lenses can be attached and removed from the spotlights without
the use of tools. The lens versions, which will be released later this
year, have a specific light engine configuration so that the lens and reflector versions will not be interchangeable.
The Vivo 2 samples I was given to test were all of the reflector type and produced a nice, clean distribution with all the reflector beam
widths. The twist lock reflector mechanism worked well. I was rather surprised to discover that there was no protective window over
the COB LED which could be vulnerable to damage during reflector changes or the build-up of dirt over the years of use.
Dimming is via DALI and a wireless option based on Casambi is also available.
The smallest size – 75mm diameter – produces up to 2,800 lumens with a 4000K, 80 CRI light engine; the mid-size (95mm diameter)
produces up to 4,400 lumens; and the largest size (115mm diameter produces 6,400 lumens with an efficiency of over 100 lumens per 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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Watt at 63 Watts with a 4000K, 80 CRI LED light engine.
To achieve the maximum lumen output for the largest size in the
range, an exposed driver integrated track adapter is the only option due to thermal management requirements. However, for the lower
output versions of this size, and for the smaller diameter spotlights,
DAVID MORGAN
there is a fully recessed driver integrated track adapter version
for limiting the replacement of the LED to one change is that the
The luminaires are available in nine colours and finishes and a front
capacitors, which will tend to fail within this timescale. However,
The detail design of the Vivo 2 range is very well-executed to
cost-effectively changing both LED and driver to further extend the
wherever possible, which has the added potential benefit of making
over the next 10 to 15 years, so by that time driver life may be much
In each spotlight’s body assembly, there are only four screw fixings,
The Vivo 2 development took two years to complete. The Viennese-
two more to clamp the hinge joint. All the other components are held
Zumtobel on a variety of previous projects, were responsible for
polycarbonate with vacuum metalised finish twist into position in
engineering team. In a product promotional video presented by
the need for tools. The moulded front ring holds the reflectors and
how many of the components of the product range can be either
voltage driver used in the larger sizes slides neatly into place from
frequently discussed topic at the moment with many manufacturers
connection between the driver PCB and the contacts on the COB LED,
wondered how easy it would be to recycle the polycarbonate reflector
encloses the driver-snap fits neatly into place in the body casting.
It was also suggested that the body castings could be reused as part
computers that are designed for a large number of folding cycles
again I wondered if, in 15 years’ time, retail spotlights will need to
product life.
aluminium heat sinks of these dimensions, given the continuing rise
circular economy model and this has clearly affected many of the
Nonetheless, the Vivo 2 range is a very well-designed and soundly
To extend the product life, the COB LED is designed to be easily
and customers, with orders from a number of European retailers
extend the product life to 100,000 hours. I assume that the reason
www.z.lighting
available. The large and medium sizes offer an integral driver option.
driver life is likely be around 100,000 hours as it includes electrolytic
trim ring can be fitted in contrasting or matching colours.
the ease of driver replacement would seem to open the possibility of
minimise assembly time costs and eliminate screw fixings
product life. It is likely that driver design and technology will develop
disassembly at the end of life quick and simple.
longer than it is at the moment.
two to hold the COB LED holder onto the body casting heat sink and
based product design company EOOS, who have worked with
by snap fits or twist lock details. The range of reflectors moulded in
the design, with development being undertaken by the in-house
the spotlight body and can be easily removed and replaced without
Harald Gründl, one of the founder designers of EOOS, he explains
can also accept anti-glare and other accessories. The integral mains
reused or recycled as part of a circular economy model. This is a
the back of the spotlight and the LED holder makes a direct electrical
promoting their circular economy credentials. In this instance I
while also locking the driver securely in place. The back cover that
mouldings used in the Vivo 2 range with their aluminium coatings.
The hinge mechanism is an industry standard type used in notebook
of complete new products, which may well be possible. However,
without losing strength or friction and thus providing an extended
be as physically large as the Vivo 2 range or if they will even need
It is understood that the Vivo 2 has been designed to fit into a
in LED efficiency and safe operating temperatures.
detail design decisions made during the development of the range.
engineered range and has already been well received by specifiers
removed and replaced with only two fixing screws. This is said to
already received.
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Spring Sales
A look at some of the latest products and innovations to hit the market from across the lighting industry.
Arcos III Zumtobel Zumtobel’s Arcos III is the third generation in the Arcos family. Developed for art galleries, museums, and the constantly changing requirements of exhibition spaces, Arcos III is a highly flexible lighting solution that brings artworks and exhibits to life using a highly innovative and intuitive zoom focus lens. Through the use of tunableWhite technology, Arcos III provides high colour rendering Ra > 96 for stable white and a low colour shift (MacAdam2) enabling exhibits to be seen in the best possible light. www.zumtobel.com
LED-Drainlights ADO Lights The LED-Drainlights with grating cover is a forward-looking solution, connecting aesthetic aspirations and practical requirements. Suitable for exterior and interior applications, it combines stainless steel drainage channels with an impressive LED illumination for buildings. Beautiful and useful, it allows rainwater to be reliably drained away through stainless steel draining channels, while the integrated LED illumination, which has an angle that can be individually determined, works whatever the weather. www.ado-lights.com
Protozoa Stoane Lighting Stoane Lighting’s tiniest spotlight is no taller than a Lego figure and is ideal for extremely discreet, close work such as museum showcases and jewellery retail lighting. As well as the surface mounted version, there is a height adjustable stick mounted version, two recessed types and also a single, double or triple LV track mounted version too. If needed it can be adapted for bespoke applications too. The whole family uses the same adjustable head with a zoomable lens, offering a generous 13° - 60° beam range. www.stoanelighting.com
Sidu LED Ansell The Sidu LED pendant is an aluminium bidirectional suspended pendant with a black polycarbonate micro reflector design, which helps achieve UGR<6. Compatible with the OCTO connected solution, offering tailored lighting to only illuminate desks that may be occupied, dimming for customised light levels, or pairing with smart sensors. www.anselluk.com
Jeny Technilum Singular in its style and applications, Jeny has a triangular shape profile and is equipped with three technical grooves that facilitate accessorisation. In tribute to Jenny Holzer, innovative artist in word expression, Jeny can be coupled with “LittleWords” from Technilum: an integrated LED screen allowing the interactive diffusion of messages or animations thanks to a dedicated application. www.technilum.com
Outdoor Link System Acclaim Lighting The IP67-rated Outdoor Link System quickly and easily links Acclaim Lighting’s Dyna Drum and Dyna Accent series fixtures, while eliminating excess hardware for lighting projects. The system allows the linking of up to 32 fixtures from a single power source without the need for a connection point at every unit. The system includes T junction, link cable, feed cable and end cap connection points, and performs in temperatures from -40°C to 80°C. www.acclaimlighting.com
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new products
Berica L&L Luce&Light The Berica family combines minimalist design with the practical functionality of a built-in power supply, making the double-beam, wall-mounted fixtures ideal to discreetly blend into the wall it is installed on. Available in three sizes – a 120mm square, and two rectangular options at 340mm and 620mm long – Berica offers a choice of three different styles of cover: convex, flat and concave, with a slim body starting from just 30mm. The range uses light sources with a CRI>90 for better quality, while the rectangular options are available in a dimmable version that uses the DALI protocol. www.lucelight.it
Customised Wood Poles Valmont Bespoke wooden light poles from Valmont Structures offer exquisite design for spaces demanding solutions that are both innovative and functional. These advanced poles bring style to any project and are customisable in heights up to 25-meters, with detailed dimensional and capacity information calculated on a per-project basis. Sustainably sourced and treated for longevity, Valmont’s light poles are as brilliant as your ideas. www.valmontstructures.eu
LED Light Sheet Applelec Celebrating 15 years of its UK-manufactured LED Light Sheet, Applelec’s bespoke light panel has brought light to hospitality, retail and office space designs. The company continually modifies the engineering of its light panel, improving its capabilities and incorporating more advanced LEDs such as its new RGBW options, to consistently deliver a superior backlighting solution. www.appleleclighting.co.uk
DL 50 Siteco DL 50 is a technical and decorative solution as a mast and catenary luminaire. The DL 50 LED is available not only as a mast and catenary luminaire but also comes in two sizes. Different lumen packages and three light colours provide additional flexibility in application. HD faceted reflectors ensure precise light control and glare-free lighting. www.siteco.com
Light Engines LightGraphix New light engines are now available across LightGraphix high-power LED products delivering up to 900lm, beam angles between 10° to 65°and colour temperatures of 2200K to 5000K. Data sheets have had a complete refresh, with added performance data including UGR, LOR, TM30, peak intensity ratings and lifetime values set at an industry leading L90B5 at 90,000hrs. Toughened, black trim glass and new in-house paint finishes will enhance the existing high quality machined bezels. www.lightgraphix.co.uk
Explora Star Hacel The Explora Star LED luminaire is an artistic choice for producing a unique lighting statement. As part of the Explora Range, the Explora Star showcases a translucent yet reflective design, offering direct and indirect lighting. The luminaire can be easily linked to create an array of imaginative configurations, delivering up to 5,460 lumens and efficacies of up to 88 lm/W. Complementary pendants and colour changing options complete the range. www.hacel.co.uk
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Respectful Light When creating the nighttime illumination for Philadelphia’s Laurel Hill Cemetery, The Lighting Practice called on fixtures from Acclaim Lighting to cast the cemetery in a respectful glow.
T
he nighttime illumination of the historic monuments
illuminate the cemetery monuments in a respectful manner. Both
Philadelphia have reinforced an emotional connection
of use in applications where it may have been difficult to run control
and natural landscape of Laurel Hill Cemetery in
with the city and community, while strengthening
visibility and honouring the past.
“Lighting is a way to showcase the beautiful architecture found on
our property,” said Nancy Goldenberg, President and CEO of Laurel
Hill and West Laurel Hill Cemeteries. “It’s also a way to highlight our
grounds. We are proud to be a certified arboretum and want people to come in and see all that we have to offer.”
Established in 1836 and serving as the first cemetery in the United
States to be designated a National Historic Landmark, Laurel Hill is
the final resting place of Civil War heroes, titans of industry, artists, architects, scientists, and civic leaders. The cemetery has been
honoured for its preservation of historic monuments and gardens and, in combination with its sister cemetery West Laurel Hill, has been certified a 265-acre Level II arboretum.
The nighttime illumination was designed by The Lighting Practice
(TLP) in Philadelphia and installed by Miller Bros. of Conshohocken, Penn. Laurel Hill utilises long-life, low-energy, high output Dyna Drum and Dyna Accent LED floodlights from Acclaim Lighting for precise optics that eliminate glare and lighting trespass and to
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fixtures feature the Aria Wireless DMX system that allows for ease
wiring. As a result, the lights are easily turned off nightly at 1:00am
to preserve normal day/night cycles for wildlife and provide minimal disturbance to trees and plants. The light system provides uniformly
white colour but has colour-changing capacity so that Laurel Hill can participate in seasonal and special civic celebrations.
Now the more than 31,000 cars, 650 bikers and multitude of walkers who pass by Laurel Hill can enjoy the cemetery day and night. The lighting will offer visual gateways into the grounds after sunset,
providing a new way of seeing and experiencing the landscape. The
lighting design will also bring a heightened sense of place and safety to the site and the surrounding neighbourhoods, while increasing opportunities and options on the cemetery grounds for evening
programmes, including walking tours and artistic performances.
“By lighting Laurel Hill, we are sharing the message that we’re more than a cemetery and that this is a place for living as much as a place of eternal rest,” Goldenberg said. “When we turn on the lights, we are telling people that we’re here and welcoming them to visit and discover what a treasure we have.” www.acclaimlighting.com
case study
Contemporary Credentials Specified by John Robertson Architects for the renovation of London’s Bracken House, fixtures from Zumtobel contribute both to the building’s design criteria, and its sustainability credentials.
J
ohn Robertson Architects recently enlisted the help of
vein of light with no shadows that complements the unique design
Bracken House, as part of a bigger refurbishment.
arrangement of the central office floorplates seen from street level.
Zumtobel to improve the office lighting at London’s
Working with a complicated brief to supply luminaires
in keeping with the interiors of the Grade II listed building, the
selection of Slotlight Infinity, Caela and Panos Infinity luminaires
were important in meeting the design criteria for the renovation and contributing to the building’s sustainability credentials.
Bracken House is now a contemporary workplace with an enhanced
street presence, business lounge, state-of-the-art office floors, and a spacious roof terrace. The previous architectural interventions
have been unified, and by working with heritage consultants, the
team was able to provide thoughtful additions that built upon earlier works, creating internal courtyards linking the main building and
wings, and increasing natural daylight throughout the atrium. The offices have been completely modernised to create 200,000sqft of
Grade-A office accommodation with a custom office lighting system developed by Zumtobel.
The office uses the Slotlight Infinity linear LED fittings, together
with modular suspended metal ceilings arranged in a grid that aligns with the building’s exposed structure. With its linear design and
high precision illumination, Slotlight Infinity provides an elegant
and architecturally sophisticated solution, providing a continuous
of the spaces. The lighting arrangement accentuates the structural
In the historic wings, Caela, a modern version of the original bespoke circular light fittings, illuminates all office floors to maintain the original aesthetic in these areas. Pendant, surface mounted and
recessed Caela LED luminaires provide decorative highlights and
adjust to the ambience of a particular space, adding an elegant and
sophisticated touch to the new offices. The ceiling levels have been raised to improve the floor to ceiling heights.
Panos Infinity luminaires blend into the architecture, providing a light approaching natural daylight, with pleasant colour
temperatures and the option to adjust to an individual’s preference. Zemien Lee, Project Director at John Robertson Architects,
commented: “The success of the project lies in sustaining a 20th Century icon, bringing it up to the quality standards of the best contemporary buildings, by carefully balancing conservation
and progress to keep the original spirit of the design alive. The
collaboration between JRA and Zumtobel on the office lighting has been an essential part of bringing new life to Bracken House, and creating a headquarters for the future.” www.zumtobel.com
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Pics: Aatu Heikkonen / Inspiroiva Creative
Shared Moments At the recently opened Helsinki Outlet, Lighting Design Collective worked with Audico Systems and Schnick Shnack Systems to create bold, dynamic lighting installation, Moment Magnet.
H
elsinki Outlet, which opened
think out of the box,” added Haltia, starting
November 2019, is the first
installers and other partners.
its doors on the first day of
with Helsinki Outlet’s builders, suppliers,
outlet shopping village of its
One of the main draws for Helsinki Outlet
kind in the Helsinki metropolitan area. The
is its green areas and lighting. The lighting
extensive experience in the outlet worlds.
Collective, while Audico Systems acted as its
long time until it was found on the border of
Schnick Schnack Systems used in the final
“Lahdenväylä” highway and Ring Road III
Lighting Design Collective’s Jari Vuorinen
The stores of Helsinki Outlet are connected
lighting is designed to guide the customer
store can be accessed separately via its own
“The client wanted a tool for indirect
Outlet is gray and box-like, but the courtyard
Outlet did not want video screens or other
with pine trees growing and light art rising.
asked if we would come up with something
comfort and experience.
way”. The end result is a light artwork called
Norwegian owner of the center, Fortus, has
has been designed by Lighting Design
In Finland, the right space was sought for a
technical implementer, with fixtures from
Helsinki and Vantaa, at the intersection of
installation.
(Kehä III).
explained that Helsinki Outlet’s basic
by a shared outdoor space, from which each
path and support the outlet’s logo theme:
entrance. When viewed from the outside, the
communication and marketing. Helsinki
reveals a lush and elegant outdoor oasis,
traditional AV communications, but we were
Helsinki Outlet has invested in customer
that would drive the same thing in a new
“Different is the word that we’ve cultivated a
Moment Magnet.
Haltia, director of the shopping centre. “We
surface of the Helsinki Outlet live according
lot in the design phase,” explained Johanna want to produce a different, pleasant and
experiential shopping experience for people. Scandinavian linearity and a sense of space with a European twist!”
As the premises managed by Helsinki Outlet are mainly in the outdoors, the traditional shopping centre expertise is not enough for its subcontractors and contractors.
“Our partners must be able to stretch and
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During the day, the copper tubes on the gray to the weather, reflecting sunlight. In the evening, the work seeks its impetus from its surroundings, and even from current events, but instead of sunlight, it then
makes spectacular use of visual means. “A
work retrieves and utilises different data,” continued Vuorinen. “For example, the
direction and speed of the wind can affect what is shown in the work. Of course, you
can also manage it yourself, and the outlet mall can react quickly to a hockey win,
for example, through Moment Magnet”.
Vuorinen also sees the possibility of inviting different video artists to create their own
works via Moment Magnet as a delight for Helsinki Outlet visitors.
Audico Systems acted as subcontractor to LDC in the project “There are only a few
actors in Finland who can do such work. With Audico involved, it is known that things will go to the finish line,” Vuorinen added.
LDC designed Helsinki Outlet’s lighting concept and appearance, which Tapio
Järvinen from Audico translated into a
technically feasible package. “A project is more efficient and sensible when the lighting designer involves a technical
partner in the design at an early stage. This way, the installation and technical aspects
are always kept in mind and the result is in
accordance with the plan, and not just some kind of technically possible version of the artistic idea,” Järvinen added.
In general, the magic of Helsinki Outlet’s lighting is in the details. Järvinen
continued: “It’s not just steady light,
but contrasts. Round wedges of light are
projected to direct the gaze’s attention to beautiful things like plantings.” www.schnick.schnack.systems www.audico.fi
www.ldcol.com
case study
Smart and Stylish For the lighting at Nairobi’s five-star Ole-Sereni II hotel, contractors specified a wide range of fixtures from Ansell Lighting, alongside its Octo smart technology solution.
O
le-Sereni II is a five-star hotel in Nairobi,
Octo powered devices throughout a wide range of
warm hospitality. Located near Nairobi
This technology is not restricted to interior spaces
Kenya offering serene views with
National Park, the hotel is a perfect blend
applications including commercial and hospitality. alone. Octo can transform outdoor applications with
of service excellence, quality accommodation and
intelligent features that allow users to alter colour
When building the luxury Ole-Sereni II hotel,
atmosphere. The hotel has benefited from a great
outstanding conference facilities.
Architects AR. Parijat Misra wanted a wide range of
lighting to be both practical and aesthetically pleasing
temperature and dim brightness to create the perfect number of features the solution has already been able to deliver.
on the eye. Illuminating both the interior and exterior
The products installed in the hotel included the
sleek and create a feature. Project contractors Power
There were more than 3,000 Unity LED downlights
Lighting as their preferred supplier.
Gimbal, Unity 125D, Unity 150D, Unity 150DHP and
of the building, the lighting needed to be modern,
Engineering International Limited selected Ansell
Concho LED strip, Twistlock and Unity downlights. installed in the hotel including Unity 80, Unity 80
A wide range of Ansell products were installed outside
Unity 175 Wall Wash. The Unity range was chosen as
car park, whilst inside, bedrooms, meeting rooms
range of downlights. With a Die-cast aluminium
the hotel, including the entranceway, gardens and and the large reception area were also illuminated
with the Ansell range. The installation has created a
it is a compact and high performance, professional
construction and powder coated finish, the fixtures boast an anti-glare design that helps create a
warm, welcoming, and relaxing space throughout the
stunning and relaxing space.
Ansell’s highly efficient LED fittings, but its smart
pleased with the fit out of the hotel. They were
hotel for staff and guests. Not only did they choose technology solution Octo was also selected. Octo
has a comprehensive range of features that interact
flawlessly with smart devices and smart accessories. All products in the Octo smart lighting range
communicate with each other seamlessly, forming a Bluetooth mesh that enables users to control all
Overall, the team at Ole-Sereni II was extremely impressed with the quality of Ansell products, as well as the value for money. They were equally impressed
with the easy and intuitive commissioning of the Octo solution and the many new smart features the hotel has benefited from.
www.anselluk.com
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case study
Magic Kingdom During the renovation of the Disney-esque Botaniq Castle in Tura, Hungary, fixtures from L&L Luce&Light create a dramatic finish to the building’s striking façades.
“O
nce upon a time...” – those
out by 3F Project. The Budapest-based
castle’s walls.
opening of so many fairy tales
by L&L Luce&Light to fulfil the client’s
Project also used several 2.0, 3000K, 16W Siri
story full of nostalgic episodes depicting
emphasising the castle’s architecture and
DALI version. The fixtures are directed at
for the Botaniq Castle in Tura, Pest County,
L&L’s lighting fixtures were used in different
adorned with stone coats of arms, on the
familiar words that mark the
immediately evoke a romantic
times gone by. This concept is a perfect fit Hungary. This Disney-esque castle has
been returned to its former glory after a
lighting design studio used lighting solutions desire to accentuate the entire building, surroundings with light.
areas in the structure, starting with the main entrance, where customers are greeted by
The team of lighting designers from 3F
projectors with 40° optics in a customised
the circular windows, with curved cornices first floor of the structure housing the
restaurant. Other L&L fixtures, such as the
restoration that involved transforming the
an imposing arched entrance. It is flanked
3000K, 3.5W Bright 2.8 recessed uplights
residence into a modern luxury hotel.
of rectangular windows along its whole
close to the walls on the first-floor terrace,
when Sigmund Schossberger, a local sugar
entrance and the tower, and on those of the
asymmetrical optics pick out the steps
entire building from an erstwhile aristocratic The castle’s story begins in the 19th century,
by a tall, cylindrical tower with a series
height. On the sills of each window in the
with 41° optics, tiltable ±15°, were installed while Step Outside 6.3 step lights with
magnate made a baron by Franz Joseph I,
arched dormer windows, 3000K, 7W Lyss
leading from the front courtyard directly into
residence in 1883 and equipped it with
frosted optics create a semi-circular blade of
The renovation also extended to the
built this magnificent neo-Renaissance
state-of-the-art amenities. Over the years,
Schossberger Castle was passed down to the
1.0 projectors were installed. Their 20°x180°
light that emphasises the windows’ internal profile.
the restaurant.
extensive park, made up of more than 10 hectares of greenery framing this
baron’s heirs until, after World War II, the
The castle complex includes a building with
magnificent hotel. The project aimed at
until 1973; it then had several owners who
Each side is further embellished by three
form of an English landscape garden, by
castle was nationalised and used as a school neglected the building’s upkeep, so that it had fallen into disrepair by the end of the 20th century.
In 2016, the decision was taken to completely renovate the building and restore it to its
former elegance. The restoration included a
new lighting design for the exteriors, carried
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a square floor plan that houses a restaurant. large windows overlooking the terrace
and outdoor pool. To emphasise the stone
balustrades that mark the contours of this
building, Trevi 3000K linear profiles with 40° optics were used, in different lengths. The
same lighting solution was adopted to light the other stone parapets that outline the
restoring these grounds to their original planting new trees and renovating the old
paths that used to cross the lawns. To light these paths, 2.1, 3000K, 12W Plin bollards were installed at regular intervals. These
feature a 90° tilted head that holds the light source with diffuse asymmetrical optics. www.lucelight.it
ILLUMINATING THE POSSIBILITIES Created to bespoke specification, our premium light panel has built a reputation as the go-to backlighting solution, bringing light to beautiful, exciting and inspired lighting designs.
Find out more about our Applelec LED Light Sheet advancements and customer support: www.appleleclighting.co.uk sandi.moolman@applelec.co.uk 07714 168 382
ANNIVERSARY OF APPLELEC LED LIGHT SHEET
1 Page collage 3.indd 2
03/02/2021 17:02:05
Radiant is operating normally now with most of the production team back in Highgate. We are delivering orders but lead times are 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.
St. Michael and All Angels, Blewbury, UK Project designers were Rachel Phillips and Linda Norris Images by Dave Thrower
www.radiantlights.co.uk
|
Euclid 40 System IP20 LED linear lighting system with high-power LEDs and elliptical beam lenses Up to 5,000 Lumens per Mtr
+44 ( 0 ) 208 348 9003
|
david@radiantlights.co.uk
|
arc ad aug-sept 2020.indd 1
All products designed by
05/08/2020 13:02:26
ADVERTISERS INDEX Acclaim Lighting........................... 69
formalighting................................ 31
LumoTubo .................................. 127
Acevel............................................ 13
GHM-Eclatec............................... 129
Proled...............................................8
ADO Lights.................................. 107
Hacel ............................................. 11
Radiant Architectural Lighting.. 126
Alto ................................................ 35
Illumination Physics..................... 55
Recolight..................................... 131
Ansell............................................. 79
Insight............................................ 47
Seoul Semiconductor................ 111
Applelec ...................................... 125
Intra Lighting................................ 63
Siteco................................................2
Bega............................................... 27
KKDC.............................................. 39
Stoane Lighting............................ 87
CLS-LED............................................6
LED Linear................................... 132
Technilum..................................... 81
Colors...............................................7
LightGraphix............................... 101
Unilamp............................................9
[d]arc awards.............................. 4, 5
Lightly Technologies.................... 51
Valmont......................................... 17
Erco...................................................3
Ligman........................................... 15
Wibre........................................... 105
Feelux............................................ 59
Lumascape.................................... 23
Zumtobel....................................... 33
ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
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
GILE 9-12 June Guangzhou, China
PLASA 5-7 September London, UK
www.darcawards.com
www.guangzhou-international-lighting-
www.plasashow.com
exhibition.hk.messefrankfurt.com
LIGHT SYMPOSIUM WISMAR 10-12 March Online
LEDUCATION 17-18 August New York, USA
EUROLUCE 5-10 September Milan, Italy
www.lightsymposium.de
www.leducation.org
www.salonemilano.it
LEDTEC ASIA 21-23 April Ho Chi Minh City, Vietman
LEDFORUM.21 19-20 August São Paulo, Brazil
ARCHLIGHT SUMMIT 21-22 September Dallas, USA
www.ledtecasia.com
www.ledforum.com.br
www.archlightsummit.com
LIGHT 19-21 May Warsaw, Poland
STRATEGIES IN LIGHT 24-26 August Santa Clara, USA
[D]ARC ROOM 22-25 September London, UK
www.lightfair.pl
www.strategiesinlight.com
www.darcroom.com
INTEGRATED SYSTEMS EUROPE 1-4 June Barcelona, Spain
LED MIDDLE EAST EXPO 26-28 August Cairo, Egypt
LIGHT MIDDLE EAST 28-30 September Dubai, UAE
www.iseurope.org
www.ledmiddleeast-expo.com
www.light-middle-east.ae.messefrankfurt.com
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O YA
Responsible lighting solution
x x x
Dimming Video
Programmable
Power Pilot Detection
Diagnostic
Bluetooth
Network
www.ghm-eclatec.com
THE BACK PAGE BUCKET LIST Curated by
#20 333 Luxes / Elías Cisneros What: Witness the seven triangles created by the shadows projected onto the façade of the building in this unique architectural-astronomical event. Where: At the Chichen Itza archaeological site, located in the Yucatán peninsula, one of the most important settlements of the Mayan civilisation. How: Only 40 minutes from Merida, my home, I invite you to join me on a pleasant journey and, upon arrival, we will enjoy a majestic astronomical display of light and shadow. When: Precisely at the spring equinox on March 21 and in autumn on September 21, where the alignment of light and architecture will create this architectural-astronomical occurance. Why: Astronomical observation allowed the Mayan civilisation to calculate the seasons of the year when the sun and the earth aligned to create this ancestral effect of shadows and lights. The Mayans also used these occasions to celebrate creativity, fertility and the provision of peace.
“We build with light and shadow: a space within space.”
Elías Cisneros
Photo: Laura Pardo
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www.333luxes.com
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FREE
FREE LAMP RECYCLING BATTERIES & ELECTRICALS
FREE collection and recycling and FREE container for sites collecting over 1000 lamps each quarter. As a non profit organisation, Options available for smaller Recolight can offer a low cost quantities. recycling service. Giving you a complete WEEE service.
WEEE GUIDE YOU A team of WEEE experts to help with your paperwork. All consignment notes are FREE.
info@recolight.co.uk
WE COVER THE UK Recolight operate the UK’s largest collection network for fluorescent and LED lamps.