122 JUN/JUL 2021
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Into The Void On the eve of new show Dark Matter, arc speaks with the creative minds behind WHITEvoid [D]ARC AWARDS REVIEW • WHITEVOID • BARBARA HORTON & CARRIE HAWLEY RETAIL FOCUS • LAM32 MINIMUMMAXIMUM REVIEWED • WOMEN IN LIGHTING AWARDS
Photo: blieske architects lighting designers
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038 WHITEvoid As WHITEvoid launches its latest exhibition, Dark Matter, arc speaks with the studio’s founder, Christopher Bauder, about its design approach, its immersive artworks, and its fascination with light.
Contents
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Editorial Comment Headlines Eye Opener Drawing Board Spotlight Briefing Snapshot IALD Column David Morgan Product Review New Products Manufacturer Case Studies Event Diary Back Page Bucket List
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048 Women in Lighting Awards The winners of the first ever Women in Lighting Awards, launched to highlight the achievements of women and those that support them in the lighting industry, are revealed.
060 Barbara Horton & Carrie Hawley Following the news of Barbara Horton’s retirement, arc sat down with Horton and her replacement as HLB CEO, Carrie Hawley, to talk about their illustrious careers and the importance of succession planning.
096 The Go-To Standard After achieving Crade to Cradle certification for its new Cascade Flex Vitality, Whitecroft Lighting break down the importance of such accreditation when it comes to environmental and social responsibility.
100 Lighting Design for the 21st Century Asst. Prof. Dr. Karolina Zielinska-Dabkowska discusses three key and pivotal research topics for the future of the lighting profession, with some examples where research has helped deliver outstanding results.
107 [d]arc awards review We take a closer look at all of the winning projects from the 2020 [d]arc awards, revealed during an online ceremony this April.
052 111 Piccadilly, UK A landmark building for visitors arriving into Manchester, 111 Piccadilly has been given a facelift with a new, dynamic lighting scheme designed by local firm Artin Light.
Pic: Gunner Gu
Projects
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070 Retail Lighting Focus To introduce our Retail Lighting Focus, Juan Ferrari, Associate Director at Hoare Lea, explores the relationship between retail, community, and lighting design.
072 Nanushka Flagship Store, UK Fashion brand Nanushka recently launched its flagship store in the heart of London - a high end location with a relaxed, welcoming feel. This is complemented by a simple yet well thought-out lighting scheme from 18 Degrees.
078 The Original Store, Thailand Inverse Lighting Design’s new scheme for Bangkok’s Original Store beautifully accentuates its clean lines and sharp interiors, while transforming the space into a glowing lantern after dark.
084 Browns Brook Street, UK At the new flagship Browns store on London’s Brook Street, Nulty has used light to enhance the luxury, boutique feel, creating a more tailored, comfortable retail destination for shoppers.
090 Retail Lighting Case Studies A selection of shorter case studies highlighting recent retail lighting design projects; including work from JPLD, Erco, The Light Lab and Tryka.
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EDITORIAL
Front cover: Bonfire, Dark Matter, Berlin, Germany (Pic: Ralph Larmann)
Editorial
Managing Editor Helen Ankers h.ankers@mondiale.co.uk Editor Matt Waring m.waring@mondiale.co.uk Contributing 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 Media Sales Executive Adam Syme a.syme@mondiale.co.uk
A new arrival... Welcome to the world, Daisy Mae Waring... If you’ll forgive me for taking a moment to be incredibly self
indulgent, the last couple of months since our last issue has seen my world turn completely upside down as on 25 March, my wife
Emma and I welcomed our daughter, Daisy Mae into the world. The
adjustment to parenthood and the transition from a duo to a threepiece has been an adventure to say the least, but luckily we’re both coping very well, and even managing to get some sleep!
It has meant that working from home to produce this issue has
suddenly become a lot harder as alongside interviews, meetings and deadlines, there are now nappy changes, feeds and general cuddles
thrown into the mix. It’s certainly true what they say about learning to do things one handed once you have a child!
I also want to take this opportunity to give a big shout out to my
colleagues Sarah and Helen for stepping in and holding the fort while I was on parental leave, and for helping out with some writing too. Onto this issue, and as you’ll have seen from our stunning front
cover, I was lucky enough to sit down with Christopher Bauder, the
founder and creative mind behind art and design studio WHITEvoid
Events & Marketing Manager Moses Naeem m.naeem@mondiale.co.uk
on the eve of the launch of its latest exhibition, Dark Matter. Bauder
Design
(winning two [d]arc awards in the process), so it was fascinating to
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
has produced some exceptional pieces of light art over the years
chat with him about his creative process and learn more about the history of the studio, and the new exhibition.
Speaking of the [d]arc awards, it feels like a very long time ago now, but back in April we were thrilled to reveal the winners of the 2020 awards in a special online presentation. Well done to Helen, Sarah
and Paul for your top notch hosting duties, I’d have been involved too
but was up to my eyes in nappies at the time! Huge congratulations to all of the winners (if you missed it, you can find out who took home the top prizes later in this issue), and a big thanks to everyone who
tuned in, submitted projects, voted, and generally got involved in the awards process. We love doing the awards each year, but it would be nothing without all of you!
We’ve already opened entries for the 2021 [d]arc awards too, so make sure to submit your latest and greatest works. Enjoy the issue!
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.
Matt Waring Editor
Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Proudly Supporting
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NEWS
Headlines New SLL President seeks increased representation in lighting industry (UK) - During SLL Presidential Address, Ruth Kelly Waskett calls for more diversity and representation.
Following her inauguration as Society of Light and Lighting (SLL) President, Dr. Ruth Kelly Waskett has called for an increased representation in the lighting industry. In her Presidential Address, delivered during the SLL AGM and Awards on 20 May, Waskett declared that the Society must represent the diversity of the industry that it serves. Echoing the comments of former SLL President Liz Peck during her address in 2015, in which she recognised that the strength of the Society lies in its diversity, Waskett hopes to build on this, saying: “I would like to honour my friend, by carrying forward her wish that the SLL
should be truly representative of all who work with light and lighting.” Waskett cited evidence from the 2019 Lighting Family Tree survey, carried out by Light Collective, which showed a near equal gender split between those who took part, compared to the current demographic of SLL members. She added: “Our membership is still overwhelmingly male. This does not reflect the lighting industry. So what are we going to do about it? “I would like to use my SLL presidential platform to highlight to women throughout the industry that SLL membership could be for them too. This is not about getting more members; this is about ensuring that our make-up reflects the industry that we represent.” Taking a lead from the Women in Lighting project, the Society will therefore work towards ensuring a 50/50 gender split between speakers at events as a means of improving representation and visibility amongst members. Alongside this, the team behind the Women in Lighting project will be publishing a selection of interviews and videos from women within the SLL. As well as improving inclusivity, diversity and representation for the Society, Waskett also highlighted the need for more conversations
[d]arc room to exhibit at Design London (UK) – [d]arc room set to join Design London with a popup event this September. Recognising London’s profound influence over Architecture and Design specification, [d]arc room pop-up @ Design London (previously 100% Design) is a new and enhanced event experience underpinned by the wealth of knowledge of both [d]arc media and Media 10, organisers of Design London. In previous editions of 100% Design, the lighting contingent was sporadically positioned throughout the exhibition. This year will see [d]arc room pop-up as an established lighting area within Design London giving lighting specifiers a destination within a destination. In addition, [d]arc awards installations will be displayed at Design London for the duration of the event with a [d]arc night party on 23 September. Featuring a highly curated selection of brands, [d]arc room pop-up @ Design London provides a unique in-person platform to meet with leading lighting designers, architects, interior designers, developers and retailers at what will be the must-attend event during London Design Festival and the first inperson lighting exhibition of the year in the UK. www.darcroom.com
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on the importance of daylight, as well as its responsibility in spreading the message about light and health. The SLL was recently joined by contributors to the Second International Workshop on Circadian and Neurophysical Photometry for a webinar discussion focusing on recommendations and practical applications for healthy daytime, evening, and night-time light exposure. The response from attendees demonstrated a clear appetite for more information and guidance in this area. This was followed by a collaborative article from Waskett and Dr. Karolina Zielinska-Dabkowska in arc, in which they highlighted why the lighting industry needs to provide guidance so that people can make informed choices with light. Wasktt added that she would like to build off this, spreading the message beyond the lighting industry to those who need to hear it: “We have been talking among ourselves about this for long enough. Now we need to engage with the wider construction industry and the public.” The SLL AGM, Awards and Presidential Address were held online on 20 May. Ruth Kelly Waskett took over the Presidency from Immediate PastPresident Bob Bohannon, who held office from May 2020. www.sll.org.uk
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Hundreds and Thousands UK Earlier this year, the latest installation from artist Liz West was unveiled on London’s Greenwich Peninsula. Wrapped around The Tide, an elevated walkway that offers spectacular river views, Hundreds and Thousands was commissioned by Greenwich Peninsula as part of an ongoing exploration of colour and scale. The installation aims to harness the power of natural light to bathe visitors in a myriad of colour. Officially launched on 25 March, Hundreds and Thousands creates a 700-metre, kaleidoscopic walkway, featuring a spectrum of colours, reminiscent of the symbol of hope and resilience demonstrated by the public over the past year. Through a new lens of undulating colours that change with the light as the seasons transition, Hundreds and Thousands forms part of a series of spatial light works based on West’s research into wellbeing, human colour perception and light fields. West has become renowned for the ways in which she uses bright, primary colours to transform architectural spaces and the public realm into vivid environments that mix luminous colour and radiant light. This is part of a drive to provide a heightened sensory awareness in viewers as they experience her work. For Hundreds and Thousands, colour panels transform the glass balustrades of The Tide, creating a rhythmic display of bright shades and luminous stripes used to augment and enhance the
Photography: Charles Emerson
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visitor experience, and cast the structure’s striking architecture in a colourful new light. Inspired by The Tide’s architecture and design, the installation provides an immersive visual journey that explores the subtle nuances of the changing light throughout the day. The multiple reflective glass surfaces are adorned with jewel-like multi colours, that reflect the surroundings and appear to undulate as visitors move around the structure. The result is a mesmerising vision when viewed from all angles, that pays homage to the Tide’s geography and proximity to the Greenwich meridian line by acting as a sundial. West said of the piece: “The experience of seeing my work as you move along and around The Tide gives visitors a multicoloured and rich visual experience that will hopefully trigger feelings of wellbeing and joy. Hundreds and Thousands unveils unexpected delights for the senses, much like encountering the overwhelming cacophony of colour and shapes when walking into a sweet shop; the multicoloured pattern never repeats itself; juicy reflections on nearby surfaces; a spectral sundial on a sunny day.” Several cultural events have been organised for the coming months utilising the installation, and it has recently been extended to remain in situ throughout the summer. www.liz-west.com
EYE OPENER
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La Lanterna di Ponti Sweden “La Lanterna di Ponti” is a new site-specific intervention at Stockholm’s Italian Cultural Institute, promoted by the C.M. Lerici Foundation. Designed to become permanent, the new, luminous narrative meets and completes the architecture, designed by Gio Ponti in the Embassy district of Stockholm at the end of the 1950s, giving new life to a design that spans over half a century of history. The Institute represents the complete expression of Ponti’s design philosophy, which favours floors over volumes, wisely exploiting light. A ‘consequent’ architecture, in which the façade, as well as in other buildings built in the same period, is considered as a two-dimensional surface to be modeled. For example, for the contemporary and equally famous Villa Planchart, built in Caracas in 1957, Ponti intervened by illuminating the entire structure, which almost seems to hover and fluctuate, and
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cadencing the interior spaces in a rhythm of succession and fusion. The Caracas building and the Stockholm building have many points in common. Thinking about the exteriors of the Institute, in fact, Ponti had designed lighting in many ways similar to that designed and built for Villa Planchart. This element, however, was never included in the final design of the Stockholm Institute, most likely due to the technical limitations of the time. “La Lanterna di Ponti” therefore takes up that reflection already imagined by Ponti, concentrating on that rational, important and definitive light that puts the volumes of an architecture in tension, that “simulates shapes, cancels certain perceptions of dimensions and distances because it has no depth, splits certain units into two, creating illusive aspects, cancels and transforms weights, substance, volumes,
modifies proportions… “as Gio Ponti himself writes in one of the passages of “Love Architecture - Architecture Is A Crystal”. Chiara Carucci of Okidoki Arkitekter now hopes to take that “luminous” suggestion proposed by Ponti in the initial design phase of the Institute and, in particular, reinterpret the idea of the light beam housed inside the corner niche of the building, which would have marked its entire height, running from the ground to the roof. A philological reinterpretation both from an architectural and cultural point of view, the new lighting proposal has been designed with sustainability in mind, both in terms of the environment and visual impact. The intervention will be finished off with the new lighting of the national and European flags, placed at the entrance to indicate the Italian territoriality of the area, and with a new lamp post designed to intersperse the wide outdoor area of the Institute with light beams. By leaving intact the magic of the large furnished window, with its texture of shelves and horizontal and vertical lines, passers-by will be able to glimpse, as in a theatrical dimension, the life that flows inside the building. www.okidokiarkitekter.se
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Fairmont Windsor Park UK Fairmont Windsor Park is the latest project from Arora hotels, and, like most of their other properties, sits just west of London. The sizeable property represents a major investment for the group; the hotel sits in enclosed private land, with a lake and woodland on the approach to the house. The building itself includes two grand ballrooms, a large spa split over three levels, several F+B units and many other spaces. Elektra Lighting has been tasked with creating a lighting solution for the new property. The design brief was to create a scheme appropriate to the Fairmont brand, one of Accor’s top luxury brands. The space projects a grandeur and an elegance, in keeping with its impressive, traditional architecture. At the same time however, Arora Group demand value for money at all points of the supply chain. The lighting concept is built around creating a space fitting and in keeping with the architecture, which is very traditional – think Georgian, moulded ceilings, coffers and marble flooring. Lighting therefore needs to accentuate these features. As such Elektra have used a lot of hidden lighting – for example there are no downlights in some areas, just concealed lights and low level decorative pieces.
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Lighting is also minimal where it can be, with limited quantities of pieces. For example, the footpaths through the woodland are lit minimally, with lighting only at focal points and changes of level – you can always see where you are going and see that its safe, but you are walking in darkness for much of the way. This has the benefit of creating a sense of anticipation and amazement when you finally break out of the woods and see the hotel in front of you. Much of the decorative lighting is custom-made as befits the grand, luxurious feel of this space. Using a lot of traditional materials (brass, wood) this was designed to blend seamlessly with the architectural lighting by use of coherent colour temperature strategy and high value CRI. Additional lighting is also included in the designs to create the correct ambience – accenting in particular to the key elements, and focal points using discrete hidden sources. A lighting control system (Mode) is currently being installed with full scene setting in all areas and Elektra is looking forward to a long programming session at completion. www.elektralighting.co.uk
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Das gute Licht. The highlight of the room.
Spotlight Zifergauz Russia The Gazprom Neft Digital Transformation Centre, Zifergauz, is a technological space for teams of industrial digital transformation developers. At this location, robots are assembled, drones programmed, equipment 3D printed, neural networks trained, industrial gadgets and telemetry sensors created and blockchain services for wireless networks developed. All these technologies are used at Gazprom Neft for digital geological exploration, plants automation, remote drilling management, logistic robotics and even for the company’s own icebreakers’ equipment. The architecture, design engineering, planning and interior design of Zifergauz, created by Vox Architects, is based on the idea of continuity from the past to the future, which lighting designers from QPRO tried to support. Built in mid-19th
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century, the building was originally designed to vertically store timber delivered for the Admiralty shipyards. Now, the site organically combines its historical architectural legacy with the cuttingedge functionality of a futuristic technical centre. The key idea of the project is to generate more free space, and to make the interior visually lighter. This new concept is conceived as an attempt to go outside the brick margins of the building, which are too tangible, frozen in time, and to fill the monotonous dark enfilades with fresh air and creative energy. It became possible to compensate the lack of natural light in the room with dynamic lighting and tunable white technology. An intelligent artificial lighting system managing human biorhythms helps to activate human resources, setting them up for productive work during the day, and in the
SPOTLIGHT
evening helps to relax and tune in to rest. The scenario of changing the colour temperature is the same for the entire space of the office, which makes the movement of people between work areas and public spaces comfortable while minimising the differences in colour and light contrasts. A new, comfortable working environment is also formed with balanced horizontal and vertical illumination. Massive luminous panels, as well as continuous light lines and light portals, contribute to breaking up the plentiful brickwork and the cramped and dark spaces, increasing their volume. A special decorative effect is created by a new multimedia system. Media panels that also absorb noise easily integrate into the interior and contribute to the creation of dynamic colour and light scenarios, images and impressions, which helps to shape emotions and invites building users to explore the surrounding space and pass in a workflow. The interior biophillic design concept developed by Vox Architects is also supported by a special lighting effect that simulates natural light passing through the tree crowns. www.qpro.info www.vox-architects.com
Pics: Daniel Annenkov
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Spotlight
Pic: Gavriil Papadiotis
Pic: Gavriil Papadiotis
Pic: Yiorgis Yerolymbos
Athens International Airport Greece The Athens International Airport (AIA) is an important landmark for the city, being one of the first experiences for visitors, and also the last as they leave. A new extension to the south wing of the airport’s main terminal building, designed by architects Tombazis and Associates and AVW Architecture, helps to boost this landmark status. The extension is a newly-completed end piece, revealed gradually while approaching the airport from the main road. This end piece is defined by a series of rotating louvers that reveal views from and to the building. The vision for the lighting here, designed by Eleftheria Deko and Associates, was to promote this architectural viewpoint to increase its attractiveness. This was done by illuminating the structure elegantly, without revealing the position of the light sources, and without the fixtures obstructing views into and out of the building. As such, Linea Light Group worked with the lighting designers to produce a custom version of its Paseo linear profile, the modules of which are RGBW and managed individually by a DMC control unit. The extra-large variant, dubbed Paseo Giga was designed by combining 253 modules, starting from the creation of an aluminium recessed casing to be installed inside the sunshades – this also enclosed the electrical wiring, allowing for it to be recessed. Made of polycarbonate, and with an IP67rating, the modules create a unique show by combining elegant white lines with coloured scenes, with static or dynamic effects.
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With multiple scenarios able to be programmed, the lighting design team created 12 dynamic scenarios, ranging from three to seven minutes in length. These are looped during the night, with the different scenarios suitable for various occasions, from casual days to festive celebrations. During weekdays the scenes are based on black and white light transitions while during the weekends, colour is introduced. Deko and her lighting team also provided the airport’s management team static lighting combinations with the colours of all the countries’ flags for special occasions. “By creating countless visual scenarios, either discreet or eye-catching, we communicate through light different visual messages to the airport’s guests, highlighting not only the architectural creation but also the power of light as a universal means of communication between people,” said Deko. “Our intention wasn’t to create ‘flashy’ lighting for the façade, but a human-centric approach, where the visitor is welcomed to Athens or saying ‘au revoir’ through the lighting transitions, like a warm and colourful smile.” The less visible sides of the building have also been enhanced, with the installation of Linea Light’s 4000K, monochromatic Archiline Pro profiles, managed with DALI protocol, alongside a custom version of its linear profile, Thin66, with diffused light emission. This accentuates the details of the architectural features of the building, elegantly emphasising the façades. www.edeko.gr
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SPOTLIGHT
Pic: @fabolus_vienna © Bildrecht Wien
Pic: Jenni Koller © Bildrecht Wien
Himmelsleiter Austria Conceived by Viennese artist Billi Thanner for this year’s Easter celebration, Himmelsleiter is a stretching, neon gold ladder that climbs the south tower of Vienna’s St. Stephan’s Cathedral. The installation consists of two parts – the first an 18-metre piece inside the cathedral at the baptistery consisting 21 rungs, and the second running up the south tower, 36-metres in length with 33 rungs, reaching a height of 136-metres above the ground. Both ladders were custom-made by Thanner, together with a local neon company, constructed of aluminium and neon, and then painted golden yellow. With the piece exposed to the elements at the top of the south tower, Thanner designed the ladder in such a way that both spars taper off progressively towards the top, creating a narrowing effect. Inspired by Jacob’s Ladder – the celestial ladder that symbolises the ascent (or descent) between heaven and earth, the installation was intended to be a symbol of hope for residents in Vienna. Thanner explained the piece’s meaning in more detail:
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“The view from the bottom up is the first rung, itself only preparation for the preparation, and if you look more closely, it actually begins with the last rung. Humans often go beyond themselves in many ways, and each time they do so, they fill their very lives with meaning. “Jacob’s Ladder is a ladder of meaning, as many times as it takes for us to realise that the lowest rung is the same as the highest. To me, it means that we live life on different levels and ranks, but it teaches us also that it doesn’t matter which life we live, but on which level. No one needs to worry, but that may only become clear to us when we are standing on the upper rungs. “Looking up also means to give free rein to one’s longings, desires and hopes, to grant oneself courage, strength and perseverance, to recharge one’s batteries and confidence, to long for the best for oneself and for all, regardless of gender, age, religion and culture.” The Himmelsleiter will remain in place until 30 September 2021. www.billithanner.at
International Airport Athens Lighting project: Eleftheria Deko & Associates
253 custom i-LèD Paseo “Giga” modules, made of polycarbonate in IP67 able to withstand atmospheric agents, emphasize the main façade of the new South building, giving life to a spectacular lighting game: simple and elegant white lines alternated with coloured scenographies, creating static or dynamic effects which can be defined or faded, that light up and switch off. Main products: Paseo “Giga”, Archiline PRO, Thin66, Rada
SPOTLIGHT
Marshal Józef Piłsudski Bridge Poland Kraków is one of the oldest and most beautiful cities in Central Europe. Since the early Middle Ages, then the capital of Poland, it was one of the most important economic, scientific, and political centres in the region, alongside Prague, Vienna and Wrocław. Its heyday though, came at the dawn of the industrial age, at the beginning of the 20th century. It was then that the Marshal Józef Piłsudski Bridge was built. The oldest existing, still functioning road bridge in Kraków, it bears witness to the craftsmanship of its engineers and builders and featured in the movie Schindler’s List. The landmark bridge has recently been given a new lighting scheme by Polish lighting designers QLab Laboratory of Light. The primary task of illumination for the bridge was to highlight its historic value, sophisticated proportions, and original riveted steel structure. Instead of high-powered projectors, the designers opted for more small and medium-sized luminaires from Platek, optimally positioned to not be visible from average height level and precisely directed at the elements to be illuminated. The main superstructure is the most important and recognisable element of the bridge. Proper illumination of this element was crucial for the perception of the entire project. Impressive structural arches connected by a series of transverse trusses and ties are the most
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interesting elements of the bridge, making it stand out from other bridges in the city. Subdued and precisely directed lighting allowed the natural beauty of the structure to be emphasised with light, while the cool colour of the light complements the blue colour of the structure. The lower part of the bridge – the flooring and the edge of the pavement – saw QLab connect the two banks with a single line of light using fixtures from Doellken. This can function as an independent light scene where the road line is visible, while the unlit arches fade into darkness. The masonry pillars made of massive stone blocks have also been illuminated. However, due to their slightly different nature, a warmer colour of light was used to illuminate them, RGB spotlights from Schreder have been designed to enable the illumination of the pillars with different colours and create attractive light scenes that can occasionally be activated. In line with the original design, the bridge will be lit on a day-to-day basis with white light. With the new illumination, an interesting visual effect has been achieved. The bridge’s unique silhouette as a vital element of Kraków has been attractively exposed, placing the bridge as a permanent fixture in the city’s nocturnal panorama. www.qlab.com.pl
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zeplinn
BRIEFING
Chris Lewis Following his retirement in April of this year, arc spoke with Chris Lewis, the former Principal Designer at Lighting Design International, about his 38 year career in lighting. How did you get into lighting? I first became interested in lighting when I chose to design a light fixture at Ravensbourne College of Art and Design, where I studied furniture and related product design in the early 80s. I began experimenting with light and soon became fascinated with the play of light on surfaces. This was later augmented by a seminar on lighting design given by Janet Turner from Concord Lighting, who showed us examples of how a space can be transformed using light and how the right light can enhance a space and the materials within it. Can you give us a brief overview of your career to date? When I left college, an opportunity arose at a newly formed lighting design and supply practice called John Cullen Lighting Design, set up by John Cullen and Sally Storey. This was a foot in the door early on when lighting design as a profession was in its infancy in the UK. Sadly, John Cullen died in 1986 and the company split in two: John Cullen Lighting, and Lighting Design International (LDI). From 1986 through to 2021 my focus was always on running projects and achieving the best possible results for our clients and LDI, which at times involved a lot of travelling and time away from home. In that period the company expanded and in 2006 I became Principal Designer. With much water under the bridge, I have now been at LDI for 34 years and in the industry 38. How has LDI grown and changed over the years? LDI has changed massively over the years, starting with a few relatively inexperienced designers in a small office, through to there now being just under 20 people in a much larger premises, led by experienced Directors and Designers covering a broad range of projects both in the UK and overseas. At the beginning, all drawings and many presentations were prepared by hand but now everything is computer aided. Over the years we have seen staff come and go, but overall, we have done well at retaining people, which hopefully reflects how the company is run, the quality of the projects we undertake and the work we do. How would you say the lighting design profession has developed over the past 38 years? Back in the early 1980s there were few fee charging architectural lighting designers, with most lighting schemes being designed by the architect, interior designer, electrical designers or lighting manufacturers. However, with a surge in technology and the realisation that lighting could do so much more for architecture and interiors, the specialist lighting designer profession in the UK was established. In the 1980s there was a lot of hard work in convincing clients, project managers and developers of the value of an independent lighting designer, but now it is almost a given that any project of any complexity/value will appoint a lighting designer. Since then, many lighting design courses have become available for people wanting to enter the profession and as a result there are now many more lighting designers and practices. You have worked on many high-profile, award winning projects over the years. Is there one that stands out for you personally? I have enjoyed working on many projects, but one that stands out both technically and aesthetically is ‘Fifty’ St James’s back in 2004. ‘Fifty’
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was a casino/club owned by London Clubs and the main casino area had a 5.5-metre-high decorative ceiling that was listed. The challenge came when we received a client approved visual showing an array of pendants hanging over the gaming tables from the listed ceiling, with no indication as to how they may be supported. To add to this, we were told we could only use the three existing central chandelier positions on the ceiling to support the proposed lighting. We came up with a solution to run two innocuous-looking trusses from one end of the room to the other, on which we could hang the pendants. These trusses were supported by cables connected back to the old chandelier positions and to the side walls, and all the electrical cabling came in at the ends of the trusses. The system consisted of pendants that incorporated downlighters to provide illumination to the tables, dome cameras on the underside of some pendants, back lit shades, and a tray on top to house transformers and connections; and trusses that incorporated all cabling and control gear for the lights and cameras, spotlights to light features on the walls and ceiling, and emergency lights. The scheme was a big success, and the project won an award at the time. What have been the personal highlights of your career? I have lots of fantastic memories of people, projects, places, and incidents, but I think the main highlight was always seeing a project completed to my expectations and the client’s satisfaction, followed by the industry lighting design awards. When you first started out, what did you hope to bring to the world of lighting design? When I first started out, I aspired to design beautiful but functional lighting schemes using appropriate technology, and where necessary to design innovative light fixtures and details to create the look and effect required. Looking back, I certainly feel I have done all of these and added to many manufacturers’ product ranges in the process. How do you plan on spending your retirement? Even though I have been wedded to lighting design for the past four decades I do have many interests, not least, sailing, travelling and bird photography. There are also lots of projects to do around the house and people to catch up with, Covid permitting. Will you remain involved in the lighting industry in any capacity? I do not currently have any plans, but I cannot rule it out either. I will certainly stay in touch with what is going on in the design world, albeit at a distance. What do you think the future holds for the lighting industry? Lighting is so important to everyday life and the nighttime economy that I can only see it continuing to develop. In recent times it has been the development of LED and wireless technologies, which developed so quickly and are now mainstream, so who knows what new technology and opportunities will arise! www.lightingdesigninternational.com
KURV-Y
Helsinki Outlet, Finland Lighting Design: LDC Finland Image Credits: Inspiroiva Creative/Aatu Heikkonen, in cooperation with Audico Systems Oy Finland Partner: Highlight VALAISTUS
KURV-Y fully diffused flexible IP67 LED strip
VICTORIA JERRAM LIGHTING With a global portfolio across a variety of sectors, Victoria Jerram Lighting is a boutique lighting design consultancy founded 10 years ago to offer clients a bespoke service combining pragmatism and creativity. Eglon House London, UK Inspired by Pierre Chareau’s iconic Art Deco Parisian Masterpiece ‘Maison de Verre’, Eglon House is a work/live residence in North London designed by Chassay + Last Architects. Originally a stable block, the site has been a WWII war shell-casing factory, a dairy, a recording studio, and most recently the home of film director, Tim Burton. The modernist house incorporates 13,000sqft of living and work space across two structures facing each other across a private central courtyard, linked at basement level. The biggest challenge was to create a cohesive but flexible lighting system suitable for both home and work spaces that can be adapted to the different ceiling heights, while playing into its strong industrial aesthetic. A bespoke, museum-grade brass track and spotlighting system fitted the brief, its strong ceiling pattern echoing the grid structure of the façade, and the premium material provided a high-end finish that reflects the industrial elements of the interior scheme. Ambitious sustainability targets set by the client (BREEAM Excellent and Code for Sustainable Living Level 4) were achieved with the use of LED lamps, lighting controls with daylight and occupancy sensors as well as highly-efficient concealed LED strip lighting.
The Goring Hotel London, UK The Goring Hotel is a 100-year-old, boutique, five-star hotel just behind Buckingham Palace. Jerram was originally brought in by interior designer Russell Sage to help create a glamorous new look for the reception and lobby, and has been advising the hotel on its lighting ever since. Flow was an important factor, and it was also essential that the lighting complemented the distinctive interior design. Floor level uplighters were used in doorways and warm dimmable LED coffer lighting made for a discreet but flexible arrangement that welcomes and draws guests in. Similarly, lighting the hotel’s plasterwork walls required a sensitive and creative approach but having explored various possible solutions, Jerram decided to treat the plasterwork as a piece of art and used artwork spots, aimed and focused to bring its fine detail to life. The client’s desire to create drama by lighting the bar from above was challenging because of the concrete ceiling and the requirement for no visible fixtures so Jerram brought Jeremy Goring and his bar consultant, Gorgeous Group, together to demonstrate that lighting the cocktails from below with miniature uplights set into a drip tray could achieve the required sense of theatre. The garden wasn’t originally included in the lighting brief, but Jerram realised that the Orangery’s glazing would create a blackhole effect, sucking up all the available light at night. Upgrading the exterior lighting solved this problem and also offered an opportunity to optimise guests’ enjoyment of the hotel’s gardens into the evening.
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SNAPSHOT
Arches of Oman Muscat, Oman This water sculpture by Giles Rayner was commissioned by the Sultan of Oman as a backdrop for the Royal Opera House in Muscat. Two large stainless-steel tusks entwine themselves around one another to form a single 12-metre structure above a 25-metre pool. A seemingly simple sculpture, the shape is highly complex, matched in complexity by the interior housing 70 water jets within the tusks. This led to the decision at an early stage to light the sculpture from below and uplight the water jets. As the site is surrounded by an elevated highway, Jerram grazed the sculpture with close-offset floodlights mounted on the sculpture baseplate within the pool, to avoid glare. It’s a demanding site for lighting equipment with high temperatures, a wet location and a coastal environment. In addition, exacting requirements for beam angles (tailored to the sculpture), high light output (to reach 12-metres) and colours (RGB and pure white) meant an off-the-shelf specification was not available, so Jerram needed to find a supplier who could deliver all of this. Experience with materials was also key on this project. The artist had a very clear vision for the sculpture in daylight, achieved by a mirrored finish to the stainless steel, and wished to replicate the look at nighttime. Tests of various finishes convinced the team that a microtexture applied to the surface would deliver the required daytime look and effectively capture the artificial light at night.
Sofitel Brussels Europe Hotel Brussels, Belgium Jerram designed the lighting for the renovation of the five-star Sofitel Brussels Europe Hotel in 2019. The renovation included the creation of a new restaurant, a modern Belgium brasserie. Design, local culture and gastronomy are three of the four guiding themes of Sofitel, the atrium Lounge expresses two of them while the restaurant achieves the third. The fourth theme of comfort runs throughout the project with soft lighting tuned to the time of day providing light just where it is needed. At the heart of the hotel is a triple height glass roof atrium and lighting the Lounge below at nighttime was an interesting challenge. A handpainted arboreal mural by a local artist “grows”
Victoria Jerram Lighting up to the glass roof, and lighting this remarkable artwork was the starting point for the lighting scheme, which used many layers of light to create a warm, inviting space. Luscious planting continued the biophilic theme and created opportunities for touches of light to create playful shadows of the foliage. The introduction of a lighting control system and scene-sets created a more dynamic environment, able to vary the look and feel from diplomatic business lunches through to intimate dinners. Hotel projects typically run on tight timescales to minimise disruption to guests and this one was no exception with Jerram making finishing touches to the scene sets right up to the opening night.
A Chartered Electronic Engineer with a Master’s degree in Light and Lighting, Jerram founded her consultancy a decade ago and has developed strong relationships with manufacturers, architects and clients alike. Her technical background is supported by meticulous attention to detail, an extensive product knowledge and a unique combination of pragmatism and creativity. She embraces a challenge and has built up a repertoire of innovative solutions over the last 10 years. Victoria Jerram Limited grew from a keen interest in lighting complex interior spaces and artworks, and now creates designs for a wide range of projects from residential and hospitality, through to commercial and landscape. www.victoriajerram.com
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One Year On: Impacts of Covid-19 on the lighting design industry Throughout the Covid-19 crisis, the IALD has carried out regular surveys of the lighting design profession to see how it continues to be affected by the global pandemic. Here, they present their most recent findings.
A
s the Covid-19 crisis extends into 2021,
lighting design firms continue to experience
ongoing challenges as the economy continues to react to the global reach of the pandemic. While vaccines are being distributed and
administered, rollouts globally have been
slower than many had hoped. Lighting design
firms and lighting designers have experienced a variety of effects from this pandemic based upon size, geographic location, and distribution of work across different sectors.
To better understand these challenges and gain insight into the pandemic’s ongoing impact, the IALD surveyed lighting design
business owners and principals about the Covid-19 crisis in May 2020 and October 2020. This survey was repeated at the beginning of 2021,
opening on 14 January and closing on 29 January, and posed questions for the January to March 2021 time frame. A total of 342 lighting
designers, representing 46 countries, responded to the most recent survey. Lighting design firm sizes ranged from solo practitioners
(22%); two to five employees (27%), six to ten employees (18%), 11 to 49 employees (25%); and 50+ employees (8%).
Lighting Design Firms Still Resilient
In May 2020, when the IALD first surveyed lighting designers, the results indicated that most lighting design firms were not
fully prepared for this crisis – not unlike many other businesses
worldwide. Though the majority of the respondents from this time
did not have a business continuity plan in place when the Covid-19 pandemic started, almost 30% of respondents did. While many of
us were hoping for 2021 to start off strong, the ongoing pandemic damped any strong recoveries. In 2021, survey results indicate
that less than 10% of firms reported no negative effect from the
pandemic, and most firms are largely maintaining the status quo since the October 2020 survey.
The full impact of the global pandemic remains unknown. In May
last year, most firm owners (54%) anticipated it would take between
one to three or more years before businesses return to pre-Covid-19 levels. In October, many lighting designers shifted the narrative
from when business returns to normal to how the lighting design
profession will look in the future. And in January 2021, many lighting designers recognised that the built environment will shift and there will be changes in how business is conducted.
Lighting Design Firms Maintain Status Quo Lighting design firms around the world continue to experience a
range of effects on prospective work. While only a small portion of
owners and principals (8%) have not experienced any negative effect on prospective work, most firms seem split among a minor decrease (29%), a moderate decrease (31%) and a major decrease (26%) in prospective projects.
Solo practitioners seem to have been hit the hardest and were among the largest segment of those who cited a major decrease (26%) in
prospective work. Firms with two to five employees were even split
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IALD
among minor, moderate, and major decreases. We start to see less
payments since May 2020. There have also been increases in
work as the firms (11 to 49 and 50+) increase in size.
uncertainty. However, neither of those issues are in the top three
negative impact – more moderate and minor impact – on prospective Lighting design firm owners’ and principals’ confidence in getting new proposals and signed contracts in the months of January to
projects getting financed and abnormally high prices due to market issues reported.
March 2021 is much higher (approximately 20%) from the first
survey in May 2020. While we still see an increase from October
2020 to January 2021, this minor increase equates 8% greater chance of getting new proposals and only 2% increase for signed contracts
for January to March 2021. This means that optimism has increased slightly since the end of 2020.
Despite the minor anticipated increase in new proposals, lighting
design firms predict an increase in revenue losses, up 6% from 32% in
October 2020 to 38% in January 2021. This indicates a slight downturn in revenue for the beginning months of this year.
No Change In Breadth of Sectors Affected
Many sectors in which the lighting design community works have been affected by Covid-19, with some experiencing growth and
When Covid-19 first hit, most firms (71%) put a freeze on major
expenditures. Freezes on major expenditures dropped from 71% in
May 2020 to 46% in January 2021. 60% of firms in May placed a hold on discretionary spending compared to 48% in January 2021. Hiring
has also softened indicating that 62% of firms are open to new hires.
others showing a decrease in activity. The sectors that are showing
The Positives for Lighting Designers
are in the following sectors: residential (41%), public/government
positive to negative about the impacts of the pandemic on the
the most promise have not changed since the last survey. Increases (20%), and health (19%).
While many lighting designers have a range of thoughts from lighting design profession, we also know that many lighting designers have seen positives outcomes as well.
Overwhelmingly, lighting designers and teams cited that they can effectively work remotely and be productive. There were threads
from lighting designers about how remote work allows for greater
freedom and flexibility. One respondent shared that as remote work became more acceptable, there was more empathy for designers
who had to juggle work and family responsibilities and demands. Another respondent shared that working remotely has changed the perception about being open to different working hours to
accommodate personal schedules. One lighting designer happily
shared: “I can maintain the calibre of work by working from home and I am still keeping my clients happy. I love the flexibility of As with the last survey, the same sectors that have been hit hard are
more public facing like hotel (59%), retail (58%) and amusement and recreation (55%). With a portion of the workforce still working from home, the office sector has also seen a strong decrease (48%).
However, most current projects (73%) are either moving ahead as
normal, or at a slightly slower pace. The January 2021 survey shows
little change since the October 2020 survey. January 2021 shows a slight increase in slowed or stopped projects compared to October 2020.
working from home.”
A second theme that emerged from working remotely is that many
lighting designers agreed that remote work cut down on unnecessary travel and expenses. This was especially true for lighting designers who travel internationally for client meetings and projects. One
designer was relieved and shared that working from home was very efficient and saved a lot of travel time: “With more international projects this is a huge relief.”
Lighting designers have had more time to reflect on how the pandemic has affected them and their colleagues. One designer shared that the pandemic showed them that their company really cares about their
employees. The staff had become closer on a personal level, and this
has increased the strength of the team. A business owner shared that the pandemic gave them the opportunity to learn more about their
employees and themselves. They already knew that they were able to operate remotely, and what they didn’t know they figured out. One
designer said they learned about humility – how important “the in-
between” is on all levels, adding that many high-end architects have “let their guard down” and become more “human.”
The pandemic also opened new business possibilities. Less travel
allowed for some firms to focus more time and energy on strategic thinking and planning. From diversifying markets, studying new
Top Covid-19 Related Issues the Same
areas, to exploring new business, the pandemic may have given firm owners the chance to reinvent and expand. While the pandemic has
Since May 2020, the top three issues have remained the same for
affected lighting designers differently, there is hope that the lighting
things are looking more optimistic. These three issues are: increases
value as a design team member is evident as our workload has not
projects; and difficulties in getting lighting equipment. Owners or
those still able to move forward with projects.”
lighting design firms, but their severity has decreased indicating that
design profession will emerge stronger. As one designer said: “Our
in project delays/projects on hold; stalled or stopped construction on
diminished. The value of lighting is clearly an important asset to
principals are seeing fewer issues with stalled projects and collecting
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Photography: WHITEvoid, unless stated otherwise
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INTERVIEW
The Wow Factor Following the launch of its latest exhibition, Dark Matter, arc speaks with WHITEvoid founder Christopher Bauder about the studio’s design approach, its immersive artworks, and its fascination with light.
F pandemics.
or those with a passion for light and design,
there is a hope that, as we finally start to see
signs of normality after 18 months under the
Covid-19 cloud, that we will see the return of
large-scale, immersive light-art installations, where we can lose ourselves in another world
of light and sound, beyond borders and beyond
As one of the leading names in such installations, this is a hope also shared by Berlin-based WHITEvoid. The two-time [d]arc award
winning studio has made a name for itself over the past 16 years for
the way in which it fuses light, sound, and technology to create vast, vibrant works of art. Following the opening of its latest exhibition,
Dark Matter, at the beginning of June, arc sat down with founder
Christopher Bauder to learn more about the studio’s origins, its inspirations, and how it creates its phenomenal works.
“I established WHITEvoid with a close friend of mine when we were both studying at art school here in Berlin,” Bauder explained. “Our professor asked us to do some interactive stuff for museums, and
to look a bit more professional, we thought that we needed to give
ourselves a name and look like we would be an agency, not just two students.
“When we were thinking of a name, we thought ‘what’s the basis of everything that we start with? A writer starts with a white piece of
paper, we don’t even have that, so it’s white nothing. And that’s how we called it WHITEvoid.
“We both studied interaction design, so the beginning was
mostly about programming, writing some software that was run on touchscreens, or some sensor-based systems for museums.
From there, we grew into spatial installations and more interior architectural projects.”
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1. The [d]arc award-winning Skalar, created in 2018, is intended to be a “reflection on the fundamental nature and essence of human emotions”. The combination of kinetic mirrors and perfectly synchronised moving lights with a sophisticated multi-channel sound system has become a staple feature of WHITEvoid’s most impressive works. (Pic: Ralph Larmann) 2. Created for Dark Matter, Bonfire consists of a five-metre high, three-dimensional arrangement of 162 light elements, with more than 20,000 individually controllable light points. The installation uses digital technology to create the illusion of sitting around a campfire under a starry sky. (Pic: Ralph Larmann) 3. One of Bauder’s first installations, Tonleiter uses sensors embedded in the rungs of ladders to allow users to create sounds, tones, or musical loops.
Alongside WHITEvoid, Bauder simultaneously
ladder, can create sounds, tones, or musical loops.
formed to create the automation systems, winches,
installation, what he would perhaps become best
established Kinetic Lights, a manufacturing arm and moving parts needed to bring his creative visions to life.
“So WHITEvoid is the creator of the ideas and
the production and execution on the design and
organisational level, and Kinetic Lights takes care of the hardware,” he said.
From the early days of developing interactive web and sensor-based audio-visual works for local museums, things quickly grew for Bauder and
WHITEvoid. “We did a lot of installations for very traditional museums, like the Jewish Museum
in Berlin, for example. But then, in combination
with developing the winch and light systems, we
moved into trade fair stands and designs, and a lot of brand-related installations, such as car shows for the launch of the new S Class Mercedes or
BMW. We did a lot of these, always in parallel with developing our art projects.”
One of the first art projects, which has been
resurrected for the new Dark Matter exhibition,
is Tonleiter (Tone Ladder). In this interactive installation, household ladders have been
transformed into musical instruments, where
users, by stepping on or touching the rungs of the
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Bauder’s first large-scale, kinetic light and sound known for, was Atom. Unveiled in 2005, Atom
features a grid of 64 balloons, each tethered to a small winch on the floor and illuminated via
dimmable super-bright LEDs. These balloons are intended to float in the space “like the atoms of
a complex molecule”. Here, Bauder worked with musician Robert Henke, with whom he would
collaborate on several other audio-visual works, to create a dynamic sculpture “composed of
physical objects, patterns of light, and synchronous rhythmic and textural sonic events”.
From there, Bauder has gone on to create a series of stunning, large-scale installations, each
continuing to push the boundaries of what is
possible with light, sound and technology; from
the [d]arc award-winning Skalar and Deep Web, to pieces such as Stalactite and Grid, which also features in the Dark Matter.
Through these huge works of art, Bauder is able to
get to the core of his focus as a creator. “I’m always after the “wow” effect,” he said. “I like it when people are amazed or mesmerised or moved.
“I’m not necessarily aiming for the new in terms of technology, but the new in terms of the effect
Interview
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that I achieve by creating something. Lately I’m
people and a bigger team to create the visions
trigger these, because on the one hand we’re very
agency, I was more interested in the teamwork
experimenting a lot with emotions and how to
sophisticated, thinking beings, but on the other
hand we’re also very primal and simple. We react to very simple stimulation like movement, light, colour intensity, music, and sound.
“So, by using those very abstract patterns, I’m trying to create basic emotions, and it seems
to work quite well because I get feedback from
people that they almost need to cry in a section
of the show. But why? What am I doing? I’m just moving lights and turning them on and off. But we’re working with your very primal receptors,
creating an experience that triggers something in you. This is what I’m after: the “wow” effect and playing with your emotions in a positive way.” Despite establishing WHITEvoid and Kinetic
Lights at an early age, Bauder explained that it
was never his intention to run his own company: “I tried some internships, and while doing
that I realised that it’s not for me to work in a
corporation with a hierarchy and stuff like that,” he said.
“I was always this artistic, free-thinking person, that I ended up having a company myself is
an accident, because I needed more and more
that I had. I never wished or planned to run an behind it, and it just happened.
“I was always interested in the scale, I like
everything that’s superhuman in scale, basically bigger than yourself. Because you have this
possibility to build something that’s bigger than you. But because of the large-scale, you need more people. You can’t do it alone.”
Similarly, Bauder added that it was never an end goal to work with light, despite a fascination
that saw him collect candles, matchsticks, and fireworks under his bed at just four years of
age. “I always had a fascination for things that
shine, and when I got into art school, I got more interested with the digital stuff, the software
and CAD, programming, and all that. But then I
started to connect that with light again, because you’re able to control light in a totally different
way using these software tools, so my fascination
came back, and I integrated that with the new life experience that I acquired.”
However, while Bauder has a long-standing
interest in the power of light, he is reluctant to class himself as a lighting designer or a light artist. At least, not in the traditional sense.
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1. The first of Bauder’s large-scale, kinetic installations, Atom, features a grid of 64 illuminated balloons that float in space “like the atoms of a complex molecule”. 2. Grid, one of the installations to feature in Dark Matter, combines kinetic motion, light and electronic music to create a giant sculpture that symbolises the merging of the digital and physical world - a tangible embodiment of a computer generated dynamic surface. 3. Premiering at Dark Matter, Inverse combines 169 moving black spherical objects into a seemingly living entity. Rising and falling, the form and character of the kinetic sculpture is continuously changing.
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“I don’t consider myself specifically being a lighting designer or
doesn’t because this technology that I’m using doesn’t exist off the
say I do more media art because my work can be different things.
Continuing the theme of what Bauder is trying to create through
light artist, even though I do part of those things,” he said. “I would Most of it happens to be light, but it can also be projection or pure kinetics without light, mostly something in motion.
“On the lighting side, a lot of people confuse the kind of lighting I
do with a classical lighting designer who designs light to illuminate something, or who knows about CRI values, colour temperature,
shelf. I’m trying to push the boundaries of that.”
his projects, he explained a little further the creative process when developing WHITEvoid works – a process that in some cases is extremely quick.
“The ideation process for some of the installations is sometimes 10 seconds,” he revealed. “For example, the Deep Web installation: I
etc. I’m not really a professional in that sense. I cannot light up
had the idea when I was in the actual space at Kraftwerk in Berlin,
something you do not really need, but it makes everything pretty.
visual festival called Atonal that happens every year. I was at that
your room. What I do is more decorative, the icing on the cake; it’s “People hire us to design their clubs, including all the lights and
so on, and I approach it more as if it was an art project. I don’t care so much about the exact specifications of the lamps or the lumen
outputs, I just look at it and if I like it as a light creation machine, I select it.
“Event lighting designers are closer to what I’m doing, but there it is also mostly about the effect. For me, it’s more about the texture and the material of the light,” he continued.
“I see light as a material, even though it’s ephemeral and you can’t really touch it. It’s hard to manipulate, to modify and bend and
change, and that’s exactly the challenge that I like about it: to do
with light what actually does not seem possible. With Skalar, I’m trying to bend the beam in space with a mirror effect. With Deep
Web, I use lasers, but I’m stopping the beam in the air in a magnetic
way.
“I’m trying to create a kind of vector drawing out of light, which
is dynamic. I’m trying to go where a traditional lighting designer
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where I later presented it. There’s a beautiful electronic music and festival, and I was thinking “this is all great, I love the big screen
and the lights, but this huge air space is completely empty”, so I was
thinking of filling it with lasers and kinetic balls to create a structure in mid-air that’s not using the wall or the floor, what we would
traditionally play with. That was a 10-20 second thought. It then took
another three or four years to make it happen as the creation requires testing and development.
“In parallel, I normally develop the storyboard – what story do I want to tell? Even if it is super abstract, we always have a concrete story
behind our work. The audience can realise it or not, it’s up to them for interpretation, but we’ll always have a story behind it.
“At the same time, we’re testing technology, because I always say we are building an instrument while we’re learning to play it. So that’s months and sometimes years of development to get to the point
where we have the machine ready, and then starts the second part of the creative process, which is to make the actual show, which I also enjoy very much.
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1. Deep Web, a winner at the 2016 [d]arc awards, is one of WHITEvoid’s most iconic works: a monumental, immersive audio-visual installation that weaves 175 motorised spheres and 12 high power laser systems into a 25-metre wide, 10-metre high super-structure. (Pic: Ralph Larmann) 2. The first installation within Dark Matter, Liquid Sky consists of more than 800 indivudal light points that together form a coherent surface. Housed in a mirrored room, the installation creates an endless light horizon that sparks like a starry sky or a river surface by moonlight. 3. Since its launch in Berlin in 2018, Skalar has been taken on the road and displayed in Mexico City, Amsterdam and Zurich to more than 200,000 people. (Pic: Ralph Larmann) 4. Appearing at first as a decorative chandelier, Circular is a hypnotic ballet of three rings of light that perform a weightless dance in the void of darkness. The rings are intended to represent a feeling of freedom and connectedness in a contunous interplay of unity and independence.
“I like to have the first idea, then there’s a
software companies to push their boundaries and
that I’m actually not that fond of, I have to manage
their technology, which helps them to push ahead
four weeks to work on the actual show. So, the two
However, his approach, and his development of
the whole project, the rest is managing the teams
and copycats. But rather than getting annoyed
painstaking process of development in between
it, and then comes the short time span of two to
creative parts of the whole process are maybe 5% of and the development.”
Throughout his career, Bauder has been a pioneer
kinetic fixtures, has led to a number of imitators at this, Bauder instead relishes the added
competition. “You have to start competing with them,” he said. “An uneducated outsider does
Lights or adapting existing technology to suit
doesn’t matter anymore. You need to continue to
guiding the projects, he explained that it is more
the first one”.
kinetic fixtures needed for his projects via Kinetic his needs. However, rather than the technology
not know, and at some point, it’s fair to say that it prove yourself. It doesn’t help to say, “but I was
a case of developing what is needed to bring his
“In the beginning, I was always angry if someone
“I’m more about what shape or what kind of
think it’s a very human thing. I think that’s how
ideas to life.
to create, and then on the second thought I’m
tried to create or do something similar, but I
development and progress works – a very small
group of innovators who have the real new ideas,
thinking about the technology that I might be able
and then a much bigger group who pick up those
for the right application,” he explained.
initial guys who came up with them – that’s a
to use for that. It’s more looking for the right tool “I use existing event technology – or abuse it
maybe, using it in a different sense than it was originally meant for. We will modify it, take it
apart and add some stuff in, or add a different layer of control to it, or combine different technologies. We’ll also work with lighting fixture companies or
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and make their products.”
of new technology, whether that’s developing the
experience or what kind of environment I want
044
ask them what is possible and what we can do with
ideas and advance them much further than the
very important way of how everything develops in the world.
“Of course, the competition that we respond to
makes it harder for us to exist on the market, so
you need to continuously evolve and innovate and develop to keep up with all of this. You have to
INTERVIEW
“I see light as a material, even though it is ephemeral and you can’t touch it. That’s the challenge I like about it: to do with light what does not seem possible.” Christopher Bauder, WHITEvoid
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4
prove yourself again and again and again, and
when I meet people, sometimes it’s hard to
“I also like what others are doing now with this
if it’s in Berlin, I say “did you see Lichtgrenze?
that keeps your thinking fresh.
kind of technology. They’re inventing things
that I have not thought about. Sometimes I think “Why didn’t I think of that?” But it’s interesting to see how it lives a life of its own now and is
becoming a standard in the events industry – everyone knows what kinetic lights are, and
this is what we started. I’m proud of it, and it’s interesting to see how it develops.”
Looking back on his portfolio of projects and installations, alongside the award-winning
Skalar and Deep Web, Bauder referenced
Lichtgrenze (Border of Lights) as another stand-
out favourite.
A step away from what could be considered
WHITEvoid’s “signature” aesthetic, Lichtgrenze
was created to commemorate the 25th
anniversary of the fall of the Berlin Wall, and saw the installation of 8,000 balloons of light along
explain what I actually do. Now, and especially That’s what I do.” I think that will be one that will stick with me forever. I still love it very much.” Going forward, Bauder and WHITEvoid’s latest exhibition, Dark Matter, finally launched on 4
June, after a number of delays and pushbacks. The show, which features seven different installations of varying size and scope, is
described by Bauder as “a journey through different kinds of emotions”.
“It has a couple of different layers: in general, it’s a parallel world of light, sounds and motion, and
at the same time, it’s a journey through different kinds of light-art, from pure white light to static
light, animated light, kinetic light and projection mapping and so on.
“At the same time, it’s also an exhibition of the
history of WHITEvoid works and works of myself, from the 20-year-old Tonleiter to the newest
the 15.3km border that once divided the city. Over
one, that we created just for this occasion.
people visited the installation, making it very
way walk through the exhibition. It’s pitch black
the course of three days, more than two million special to Bauder.
“It was one of the biggest public events in Berlin’s history, so it will always be the one that stands
out and defines me, which is very helpful because
“It’s a very abstract journey as people take a oneinside, and pitch black outside, so it deprives you
of the natural influences that you normally have.
It’s totally artificial in that sense, and we’re using
this emptiness of your senses to charge you with a
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Interview
completely new experience and take you on a
the “wow” effect, we want to have a crazy
While Dark Matter is the first exhibition for
about and I really like being a part of that.”
journey to different emotions along the way.” WHITEvoid in the aftermath of Covid-19, Bauder is already looking ahead to what
is next in a post-pandemic world. “We’re getting into club designs a lot, not only
the light part but the entire club, which is
extremely interesting for me because I am a club kid,” he said.
“My education happened in the clubs of Berlin in the 90s and 2000s, so I really
come from these environments, and I’m
interested in DJ culture. So for me to design the surroundings that I know in detail as
a person who goes there to party, I always
wanted to be involved in the design of these spaces. It’s almost the most artificial place you can design, there’s nothing natural
about it. It’s humans at their most extreme, so it’s very interesting to design for this kind of application that allows for crazy
creativeness, because there’s no limit to
that. What needs to work is that the DJ is
presented well, and that it encourages people to drink, but apart from that, it’s about
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experience one night, that’s what it’s all
Bauder added that alongside the move into club designs, there are still firm plans to
continue with the large-scale, immersive
installations that WHITEvoid has become
known for, the success of which he is very humbled by.
He concluded: “Doing more of our own
shows has become really successful over
the last two to three years. During Corona we obviously had a big break, but the year before we played our own shows to more
than 200,000 people. That’s a big audience, almost like a touring band. I can see that
when I was dreaming for many years that
this would become something for the general public, it’s happening now, and it’s really possible to perform something where the visuals, not a musician, is the centre of
attention, and I take great pride in that.” www.whitevoid.com
www.darkmatter.berlin
www.kinetic-lights.com
One of Bauder’s favourite projects among WHITEvoid’s portfolio is Lichtgrenze. Created to commemorate the 25th anniversary of the fall of the Berlin Wall, the installation features 8,000 balloons of light placed along the 15.3km border that once divided the city. The installation, one of the largest public events in Berlin’s history, welcomed more than two million people over its three-day running. (Pic: Ralph Larmann)
SCAN TO SEE THE PRODUCT ON PROMOTION-LIGHTING.COM
Winning Women Launched on International Women’s Day, the Women in Lighting Awards aims to shine a light on the achievements of women and those that support them in the lighting industry. Here, Women in Lighting’s Sharon Stammers reveals the winners of the inaugural awards.
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e are delighted to finally announce the
Entries opened on 8 March, on International
Lighting Awards.
were made. This resulted in 141 nominees from 36
winners of the first ever Women in
Women’s Day and a total of 180 nominations
There are many international awards
countries. Our three panels have deliberated, with
programmes in the lighting industry, and they all
two winners selected for each category.
wider world and driving up professional excellence,
was extremely difficult; Sharon Magnaghi from
the things they achieve on an everyday basis.
respected nominee likely had to overcome
awful for everyone, we took inspiration from the
achievements and make these remarkable
the WiL Awards, to seek out and celebrate women’s
who inspire us all to just keep at it.”
support them.
new ideas and initiatives that sit alongside the
never come our way before in 2020. But despite
lighting profession forward or use light to help
great things happen.
consider originality, unity, service, benefit, and
large or small, for people that did something
The project Equity in Lighting, with its active goal
Achievement, Initiatives and Supporters. The aim
community; Melissa Mak’s Let There Be Light
allow us together, to acknowledge their successes.
Manson’s new festival of light in Stockholm,
out specific high achievers, top supporters, and
course taught via WhatsApp in Brazil; and Kelly
in more detail but in truth everyone nominated is a
in the USA were runners up in this category but
play their part in promoting light and lighting to a
Deciding which nominations were more favourable
but none of them are specifically about people and
WiL supporter formalighting said: “Each highly
With that in mind, and after a year that was truly
various challenges to reach such professional
Maya Angelou Poem, “Still I Rise” and established
contributions to the industry. Exemplary talents
achievements and the achievements of those who
In the Initiative category, we wanted to highlight
In 2020, we had to deal with issues that had
lighting industry, celebrating ideas that push the
adversity, we were still able to achieve and make
in the wider community. We asked the jury to
Nominations were invited for accomplishments
scalability when looking at the initiatives proposed.
special in 2020 under the categories of
to increase diversity in the New York lighting
was to give the nominees some recognition and
photo initiative to bring joy on LinkedIn; Alexandra
Some of our ambassadors created a panel to pick
nobelweeklights; the educational Light Drops
favourite initiatives so that we could honour them
Roberts, a driving force behind the amazing WILD
winner and we celebrate you all.
the two winning initiatives were Light for Lebanon
women in lighting
and Light Reach, led by Manal Kahale and Nathalie
with a special recognition.”
with each other.
lighting initiative by lighting think-tank PhoScope,
in August 2020, Lebanese lighting designer Manal
and play, and to boost the wellbeing and economic
initiative Light Reach to launch “Light for
As well as supporting Lebanon, they have also
solar lighting model, the programme supports
a WiL partner, and any profit from the sale of WiL
practical, social or cultural, both indoors (with
The next category enabled us to celebrate
security lights and solar streetlights for building
consider impact, inspiration, challenges and how
playgrounds and public spaces).
a personal level. Top level scorers included Agneta
already afforded the purchase of almost 1,500 solar
school of KTH in Sweden, have inspired and turned
to the Beirut Fire Brigade and distributed solar
book about 50 Mexican artists on light and dance;
address immediate safety and security issues.
online academy in Iran; skilled designer and role
to grow into an impactful lighting initiative.
Arup; Kristina Allison in the UK for her work at the
that she too would be nominated for this and
circular economy; and Henrika Pihlajaniemi for her
whose social engagement and dedication to the
Despite education being a highly prized
is an inspiring young woman in the lighting
are both women with long careers in lighting,
Rozot respectively. Both of which are intertwined
Light Reach was set up by Rozot, and is a solar
Shortly after the devastating explosion in Beirut
designed to leapfrog over utility grids to light work
Kahale partnered with the global charitable
growth of underserved communities worldwide.
Lebanon.” Using Light Reach’s three-tiered
worked on projects in Puerto Rico. Light Reach is
residents’ everyday lighting needs, whether
T-shirts is forwarded on to help fund its projects.
portable solar lanterns) and outdoors (with solar
achievement - big or small. We asked the jury to
entrances, streets, historic building façades,
the nominated initiative resonated with them on
To date, Light for Lebanon has raised US$75K and
and Jan Ejhed who, within the innovative lighting
lights. Kahale’s ground team has provided lighting
out many futures designers; Jesica Elizondo for her
lanterns to residents plunged into darkness and to
Armaghan Ahmadi Venhari, founder of Light-Life
Spearheaded by Kahale, the programme continues
model, Florence Lam, global leader of lighting at
Nathalie Rozot nominated Kahale without realising
Society of Light & Lighting and her passion for the
her previous work with Light Reach: “Kahale,
for work in light education on Finland.
sustainable rebuilding of Lebanon is exemplary,
achievement in this category, the two winners
profession and she fully deserves to be celebrated
incredible designers, and a massive inspiration
Manal Kahale (left) and Nathalie Rozot (right) were the two winners in the Initative category for their work with Light for Lebanon and Light Reach respectively.
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049
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to female lighters everywhere. We are proud to
Ishii also kindly supplied a quote for the WiL
highlighted achievers. Barbara Horton retired a
say to all the people who are engaging in lighting
designer, rising to CEO of Horton Lees Brogdon,
mythology is a Goddess called Amaterasu. She is
owned company in the USA during her tenure. She
over the world. Please read Japanese mythology
announce Barbara Horton and Motoko Ishii as our few months ago having spent 40 years as a lighting and enabling it to become the largest female-
has mentored many young professionals, is a Past President of IALD and one of the founders of the
the Goddess of Light and her power is falling all and recognise women’s power.”
These two women and their incredible careers continue to inspire us all.
lighting design have somehow broken the glass
have helped us in our lives – people who enable
own destiny, starting their own firms and being
or supported us in some way. We asked the jury
ceiling in many parts of the world by creating their
The last category shone a spotlight on those who us to keep moving forward and have mentored us
recognised for their achievements. With more
to consider the nominees impact, influence, and
can continue to educate and support those who
judge, we had to rely on what stories resonated the
awareness, communication and mentoring we
still struggle and ensure future generations will
continue to succeed in lighting design and other
level of support. An almost impossible category to
most with our jury. Top scorers included UK-based Mary Rushton-Beales, nurturer and mentor to
parts of the industry.”
many lighting designers; Liliana Gonzalez for her
Tokyo on 1 October, 2020, when she was named
Aghassan, fundraising ambassador in support of
Motoko Ishii was accorded the highest accolade in as a Tokyo Honorary Citizen and commended by
the Tokyo Metropolitan Government as someone
who has contributed to the rise of Japanese social culture. She has had a 52-year career in lighting
and has achievements too numerous to mention in short, she is a lighting legend.
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business that the highest position of Japanese
Women In Lighting Design (WILD) movement.
When we started WiL, she said to us: “Women in
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website when we launched: “I am very glad to
support to all women in lighting in Mexico; Tina
Light for Lebanon; Giacomo Rossi for his support
of the WiL project and women in lighting in Italy;
and Thomas Schielke for his continuous dedication to education and mentoring.
The people the jury chose to highlight in this category are Chiara Carucci, Italian lighting
women in lighting
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4
designer based in Sweden; and Lisa Reed, a lighting
WILD across the USA and is a passionate advocate
Founder of the IALD Nordic chapter and, together
Presidential Award for her work with Emerging
group “Italian Lighting Design promotion
of the top 20 women in construction in St Louis.
of light and promoting lighting design in Italy,
Leave Design and how to Keep Them and presented
designer in the USA.
with Giacomo Rossi, founder of the Facebook
group”, which is aimed at spreading the culture Carucci also supports and publishes WiL events
on social networks and collaborates with the WiL
ambassador in Italy in the organisation of various initiatives. These are some of the comments
nominees said about her: “She welcomed me and
believed in me, supporting me but also letting me fly.”
“Chiara is always there when one of us needs help,
always available to answer questions or send useful material, very competent and very helpful.” “Chiara has always been supportive, ready
to encourage and celebrate my first steps in
the lighting design world. She’s a giver, a real mentor!”
“One of the most caring and willing to help
people in the industry, especially in the time of a pandemic.”
Lisa Reed has an extensive professional resume of
for diversity in lighting. She received the 2014 IES Professionals and in 2020, she was named as one
Lighting design icons Barbara Horton (1) and Motoko Ishii (2), were honoured in the Achievement category for their stellar careers in lighting design, while Chiara Carucci (3) and Lisa Reed (4) won in the Supporters category.
She also co-authored the survey Why Women the results at IALD Enlighten 2018.
Nominees said of Reed: “You know a person is
special when you remember the exact moment you met them. Lisa Reed is one of those people. I first met Lisa over 7 years ago at an IALD conference and was instantly inspired by this vibrant,
passionate woman who had young kids, her own
thriving lighting business and yet still volunteered in the community and enjoyed running. At the time I was a new mom, struggling to find my
identity as a working mom and lighting designer.
She was so kind, considerate, and inspiring and not only gave sound advice, but she was actively role modelling that advice. Whenever I have needed advice, she has made time to listen and provide unparalleled support and advice.” www.womeninlighting.com
awards and is known for her altruistic character and dedication to helping others. She founded Ladies of Lighting in St. Louis, helped expand
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051
PROJECT DETAILS 111 Piccadilly, Manchester, UK Client: Bruntwood Works Lighting Design: Artin Light, UK Interior Design: 3D Reid, UK Photography: Gunner Gu
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project
Welcome to Manchester A landmark building for travellers arriving into the UK city of Manchester, 111 Piccadilly has been given a facelift with a new, dynamic lighting scheme, designed by local firm Artin Light.
S
tanding on Station Approach, the main
impact and make it a key gateway building.”
Manchester for travellers into Piccadilly
creative lighting scheme for the building’s façade, this
thoroughfare in and out of the city of
Station, is 111 Piccadilly. Formerly known as
Rodwell House, the high-rise development, owned by
Bruntwood Works, was first opened in 1965, and has long been recognised as one of the first buildings commuters and visitors see on arriving in the city.
The building, defined by its sharp, grid-like geometry, has
recently been given a new lease of life thanks to a dynamic new light art installation from Artin Light.
Brought in by Bruntwood Works via a connection with
architects 3D Reid, Artin Light was appointed to transform and enhance the building’s architecture, bringing a sense of movement and vibrancy to its vertical and horizontal
lines and turning it into a defining landmark for the city. “Bruntwood Works was looking at the external lighting
design, and they felt that there was a big opportunity to do something out of the norm, particularly as the building is fundamental in terms of the gateway into the city,” explained Luke Artingstall, Director of Artin Light.
“I met with them and pitched a number of design ideas,
trying to think out of the box in terms of what we could do with the building to show the potential that it has and what we could do with the lighting, the main body of
which was focused on how we can illuminate it to have an
With Bruntwood Works already open to the idea of a
opened up a host of possibilities for Artingstall, ranging from traditional architectural lighting, through to more intricate and dynamic ideas, all centred around adding
something awe-inspiring to this busy area of Manchester. “I wanted to do something a little bit more unusual,
something more dynamic that wouldn’t necessarily be static over time,” he added. “The design team’s initial
thoughts, prior to Artin Light being appointed, were to
uplight the building and focus on the vertical aspect of the tower, whereas the way that I looked at it was to look at
both axes. If you strip back the geometry of the tower, it’s
very simple and clean, so we looked at the vertical aspects and how we can play on the height of the building itself, and then also flipped that on its head, using the strong
geometry of the horizontals to slice and intersect it in a way which is slightly different to what they first considered.
“Once the client and design team considered the way light
could be used on the building in a more dynamic way, their aspirations for what we could achieve grew from there.”
As such, Artingstall was able to develop the concept from a simple façade lighting scheme into something more
artistic, that would alter the way the building was perceived.
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053
project One of the first buildings that travellers into Manchester’s Piccadilly Station see on entering the city, Artin Light worked with Studiotech to develop a dynamic lighting scheme that transforms 111 Piccadilly into a moving, fluid landmark.
“From that point onwards, it wasn’t about illuminating the building
On a technical level, the content generated for the exterior lighting
art piece that we could use in a way that would completely transform
success. “The building has the potential to be beautiful, intricate and
use light in a graphic format.
it was fundamental that the design of the bespoke visual content
geometric, linear infused forms that would transition from one form
the concept and artistic vision and direction for the bespoke
smooth, natural animations that were inspired by several forms of
specialist motion graphics studio.
of particles in the air; and architectural traffic, defining the
don’t utilise it to the full potential, it doesn’t matter how good the
This concept saw Artingstall approach the building in a three-
really basic product and visually make it look absolutely exceptional
forms and structures across each of its elevations, “using the angles
developing content that was completely unique and designed
building is transforming into different geometries, but using that as
Ed Vickery, Director at Studiotech, added: “We can use control
two.”
lots of money delivering beautiful schemes but the content creation
local specialist integrators Studiotech, who developed the lighting
“The content was the driver for this, and was how we could create
the scheme, opting for Osram’s Ecue lighting control system. The
skill and ingenuity and unique aspect comes from the marriage
generated through specific hashtags on social media to be translated
makes this a unique, game-changing scheme.”
based forms, essentially turning 111 Piccadilly into a canvas for one of
of 111 Piccadilly was not without its challenges though, as Artingstall
“Studiotech also presented a number of digitally addressable
consider when we were designing the original scheme, one of which
requirements,” Artingstall added. “And the technology behind what
that we couldn’t necessarily perforate. We had to look at ways in
the three kilometres of linear LED on the façade, we can control every
but do it in a way that is designed and didn’t look like it was stuck
or creating an external façade scheme, it was about creating a digital
scheme is something that Artingstall believes is integral to its
the nature of the building and how it was visualised, where we could
elegant if the visual content is developed in the right way. Therefore,
“Our vision was to blend fiction with reality, creating a range of bold,
animation sequences were developed for the building. We developed
to another. Each transition was meticulously designed to deliver
animations, which were then developed in collaboration with a
movement: generative flow; wind and water, the natural movement
“Creating buildings with dynamic installations is great, but if we
transitions in vertical and horizontal movement.”
actual architectural install is, or what kit is used. We could use a
dimensional manner, using light in a pixelated format to create 3D
with the right content, so we put a fundamental importance on
of the buildings and the façades to create the perception that the
specifically for this building.”
the backdrop to the darker sky and creating a contrast between the
systems to collaboratively create magic. A lot of the time, you spend
To help bring this dynamic concept to life, Artingstall worked with
is forgotten.
controls and content generator for the live data streaming element of
something truly magical. The architecture is fairly simple, so the real
system works on an open API format, which allows for live data,
between our EQ programmer, and Luke, who is an artist. That’s what
into specific visuals of light, mirrored across the façade in particle-
Adding this new, dynamic lighting scheme to the existing framework
the largest live data streaming visual artworks in the world.
explained: “There were a number of key things that we had to
products that we could potentially use to achieve our design
was putting this dynamic lighting system onto an existing building
is happening in the software and control of the pixels means that of
which we could feed power and data into each floor of the building,
125mm of the actual LED profile.”
onto the building.”
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project
1
“We wanted this to be a landmark project, representing Manchester’s vivid, colourful, and diverse culture and celebrating our city’s community and progression.” Luke Artingstall, Artin Light
2
Artingstall therefore looked to use a bespoke
project, I see it as a celebration of creativity and digital
existing ledges above and below the windows – this
city. For me, it’s a reflection of the city itself and the
well as the drivers and power supplies, and has been
Vickery added: “111 Piccadilly is a special project for
that they naturally blend into the building without
of lighting, it also represents a shift that we’re so
“We also had to look at a surface-mounted channel
lifeblood of our country, and we need them to be
all the way to the top, and that was where we obviously
“Bruntwood Works showed real courage in investing a
of it. That was probably, without getting into the
believe it will have paid off for them, They have
power and data to the fittings in a way that didn’t
Manchester, which will have a massively positive
Throughout the design process, Artingstall was in
“Largely because of the sheer scale, the project has
providing reassurances to the client about the
rewarding. Our hope is that this will act as a catalyst
bring to the city.
lighting; the power of which cannot be overstated.”
behind the approval of the scheme – one of the
was also asked to develop the lighting for 111
done this in Manchester to this scale. Particularly the
“yin and yang scenario”, the mixed-use, co-working
complexity and impact with lighting.
might consider for a working environment.
we presented the importance that this could have to
Reid, they wanted to speak to me about the interior
and what it gives back on a cultural level.
client they’ve been moving a lot more in this direction
architectural trunking system that sat underneath the
art and doing something new and innovative for the
trunking system incorporates the lighting fixtures, as
direction we’re going in.”
finished in the same colours as the window frames, so
us. Not only does it stand as a real beacon of the power
changing its visual fabric.
excited to see happen. Our towns and cities are the
system, which then went from the base of the building
supported in order for them to thrive once again.
got the power and data in terms of the control aspect
significant amount of money in this feature and I
installation, the key technical element – getting the
brought such life and vibrancy to this area of
detract from the existing architecture.”
impact.
close communication with Bruntwood Works,
been incredibly complex to deliver, but equally
benefits that such a vibrant, dynamic scheme could
for further investment in dynamic and architectural
“There were multiple conversations and meetings
Alongside the exterior lighting scheme, Artin Light
biggest things about it was the fact that no one has
Piccadilly’s interiors. Described by Artingstall as a
client had never got into the realms of this level of
space needed a lighting solution atypical to what one
“One of the turning points in the decision was when
“When I was approached to work on the project by 3D
the city centre, how it would potentially be perceived
because they wanted it to have a hospitality feel. As a
“I don’t necessarily see this as being a lighting design
with their interiors, the way the space is used and the
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1. Artin Light also designed the interior lighting, creating a lit environment atypical to what one might expect in a workspace environment. This was offset by an abundance of greenery in communal areas. 2. The new façade lighting was integrated seamlessly onto the existing building framework architectural trunking systems sit above and below the windows incorporating the lighting fixtures, drivers and power supplies, while blending into the window frames themselves.
project
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way people socialise and use the space – it’s not just
After a tumultuous year working amid the Covid-19
“With my hospitality background, that was the
to share, and Artingstall believes that the new
design was very much a different kettle of fish to
projects for Artin Light – has turned the building
complement each other well.”
Manchester, and a celebration of its rich cultural and
lighting is designed around the multiple uses of the
“For a number of personal and professional reasons,
Optelma, XAL, Lumenpulse and iGuzzini are offset by
so to see it complete and to see the reaction that the
Northern Lights to create a warmer, more relaxed
“I know in terms of technology that has been used
for the lighting to transition from day to night,
necessarily created something new, but what it has
“Moving away from the traditional, commercial-
designers and artists, particularly in the north.
five to 10 years ago, it is very much about mood,
worldly characters. We’re so culturally rich, and
and that was just as exciting for me getting involved
it celebrated, but we need to be pushing it more, and
Artingstall continued that he believes workspace
buildings or murals.
format going forward. “People want to be more
representing Manchester’s vivid, colourful, and
said. “There will be an increase in flexibility in terms
and progression. I believe that 111 Piccadilly is much
the lighting design needs to work around that. I feel
of progression in the creative arts, and how it can
we’re going in a different direction now, which is a
and socialise in.
“We still need to adhere to some of those key aspects
inspiration in the world we live in and adapt this to
environments, but then there’s also that element of
accustomed to. Manchester is becoming a smart city
traditionally, which is more driven by this hospitality
this movement.”
about work, it’s about creating a mini community.
pandemic, the project is finally complete and ready
original driver for getting involved, and the interior
lighting for 111 Piccadilly – one of the first major
what happened on the exterior, but I still think they
into a landmark piece of art for the city of
With a focus on the hospitality aesthetic, the interior
creative heritage.
space. Architectural fittings from Precision Lighting,
this project has been a very emotional rollercoaster,
decorative elements from Marset, Santa & Cole and
client has had, has been truly humbling.
ambiance, while architectural scene settings allow
and the way things have been done, we’ve not
giving the client an added flexibility.
done is shone a light on what we can do as creative
based lighting design that we may have envisaged
Manchester is such a vibrant community built on
warmth, contrast, highlight and making things pop,
creativity is a big part of that. We’re starting to see
in the interior aspects as it was the exterior.”
part of that is seeing digital art or illuminated
design will develop into a more fluid, mixed-use
“We wanted this to be a landmark project,
flexible now than they ever have been before,” he
diverse culture and celebrating our city’s community
of how people use spaces, and from that perspective,
more than an external lighting design; it’s a symbol
historically, we probably overlit spaces, and I think
enrich our experiences in the cities we dwell, work,
good thing.
“We need to continue to be positive and create
of lighting design for office and working
the times of change and technology we are so
looking at it a little bit differently and more un-
pushing innovation, and 111 Piccadilly symbolises
feeling. It’s finding that balance between.”
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1. Using Osram’s Ecue lighting control system, Artin Light and Studiotech created a content generator that allows for live data, generated through hashtags on social media, to be translated into specific visuals, turning 111 Piccadilly into a canvas for one of the largest live data streaming visual artworks in the world. 2. Inside, Artin Light looked to use light to create a more relaxed ambiance that was driven by warmth, contrast, highlight and “making things pop”. This is done through a mixture of architectural and decorative lighting fixtures creating a relaxed feeling. 3. With a desire to bring a “hospitality feel” to the interiors, scene setting within the architectural lighting allows the light to transition from day to night, while giving the client more flexibility.
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Passing The Torch Following the news of Barbara Horton’s retirement, arc sat down with Horton, and her replacement as HLB CEO Carrie Hawley, to talk about their illustrious careers and the importance of succession planning.
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n March of this year, it was announced that Barbara Horton, Senior Principal and co-
CEO of Horton Lees Brogden Lighting (HLB), was to retire after 41 years with the firm,
with fellow Senior Principal Carrie Hawley assuming the role of sole-CEO. Throughout her career, Horton
has been one of the core figures in the international lighting design community, serving a term as IALD
President from 2014-15, and acting as a mentor and leader both within her own firm and the design world as a whole.
With a background in interior design, Horton first
became fascinated with light during her studies at FIT (Fashion Institute of Technology) in New York City, where lighting design pioneer Jules Horton was teaching a class. Eager to continue learning from the greats, she also took some classes at
Parsons taught by James Nuckolls and Bob Prouse, where she developed her “first foundation of
understanding some of the basics of lighting”.
From here, she was invited to join Horton’s studio, Jules G. Horton Lighting Design – the firm that
would later become HLB Lighting Design – initially for three weeks. “Three weeks turned into three months and three years and 30 years,” she said. “I was inspired by the fact that I could still work
with interior designers and architects, but now I had a new knowledge, and I brought something
to the table that my colleagues didn’t really fully understand – they thought of lighting as circles
and squares on a piece of paper, and now we were thinking of it more as a way to paint the space.
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1. At the Akamai Technologies Global Headquarters in Cambridge, MA, lines of light extending through the project point to the company’s various locations around the world, connecting each satellite office to the central hub. (Pic: Andy Caulfield) 2. Horton and Hawley have regularly spoken at events, from IALD Enlighten conferences to [d]arc room livestream 2020, about the business of design, from how to market your firm, to succession planning. (Pic: IALD)
“But then I also got more intrigued by the science
Hawley, who first joined HLB’s New York studio in
proven, as opposed to interiors. That’s what
the ranks, spearheading the formation of its
of lighting, where it was less subjective and more propelled me to stay in the business, and then as my career advanced, I moved more into the
business side of things, and really enjoyed that part of my career.”
With this focus on the business aspects, Horton, alongside Stephen Lees, was able to grow the
practice and turn it into a thriving studio. “Jules
Horton was one of those pioneers, alongside the likes of Lesley Wheel, Jim Nuckolls and Howard Brandston, who saw this as an opportunity as a profession.
“Stephen and I were just the next generation who
wanted to see the company succeed and have a good reputation, but also have sound financial footing to make sure that we could survive and get paid.”
During the early stages of building the company,
Horton and Lees worked with external consultants for professional guidance on the various business
aspects, as, according to Horton, “you don’t go to a car mechanic to have your teeth fixed”.
“The two of us realised that we were trained as
designers, no matter how much we might have
learned about marketing or accounting, we needed guidance from a professional to help us guide
our business strategy. Of course, we wanted to
maintain some design notoriety, but also at the
same time make money, which the first generation of designers were maybe not as interested in.”
As well as bringing a sense of business acumen to the firm, the external management consultants
also introduced the strategy of succession planning and looking to the future – something which has
become a core facet of HLB’s philosophy ever since. This is evident by the career progression of Carrie
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1995, and has over the past 26 years risen through Boston office and becoming Principal of the firm
in 2007, joining the Board of Directors in 2011, and now, becoming sole CEO.
Hawley’s journey into lighting was similar to
Horton’s, in that lighting was something that
she “discovered” halfway through her studies.
A student of architecture at Miami University in Oxford, Ohio (not affiliated with the University
of Miami in Florida), during her sophomore year, a professor that was a daylighting specialist
noticed that Hawley had a particular interest in
the lighting effects and encouraged her to pursue a
specialism in lighting design. “He said that there’s lighting everywhere in architecture, you need to
learn about it, so I took one class and was hooked right away. I spent the rest of my undergraduate
degree doing some specialised lighting coursework and independent studies, before going on to the Lighting Research Centre at Rensselaer
Polytechnic Institute (RPI) to get my Master’s of
Science and Lighting. Like Barbara I was originally drawn to lighting by the art, and then I got fascinated by the science.”
This roundabout journey into the profession for
both Hawley and Horton is something that Hawley believes stemmed from a lack of educational
opportunities available to them when they were starting out – something they hope is changing
for the better. “At the time Barbara and I started getting involved in lighting, there were little to no educational programmes available to
undergraduates. Now it’s becoming more and
more exposed, but it’s still a very niche market, particularly in the States,” said Hawley.
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1. Noted by Horton as one of the most moving projects she has worked on, the World War II Memorial in Washington DC showcases how lighting can be used to bring out the best in architectural design, without becoming the focal point in itself. (Pic: Brett Drury) 2. Horton and Hawley speaking at IALD Enlighten Americas 2017 in Denver, USA. (Pic: IALD) 3. The King Open Elementary School in Cambridge, MA saw HLB work with architects William Rawn Associates. The school was designed as both an educational facility and community space for local residents. Direct and indirect layers of light create a cohesive experience in public areas and replicate daylight conditions in the evening, providing exceptional visibility for community use and events after sundown. (Pic: Robert Benson) 4. Part of HLB’s drive to branch out overseas, the Xiqu Centre in Hong Kong features a remarkable lighting strategy, designed to pay homage to the rich heritage of Chinese culture. Subtle illumination to the façade and hidden linear fixtures in the interior allow the Centre’s striking architecture to shine. (Pic: Ema Peter)
“There wasn’t even a degree programme when I got
and find ways to realise the ideas that the architect,
that we’ve been thorough advocates of supporting
“I think about how we use light to move people
involved,” added Horton. “And I think because of education to architects and interior designers
because it has to start there, they have to understand what it is we do.
“Technology is changing all the time, but the
fundamentals of light aren’t, so I think if we can
get that across to architects and interior designers, we’ve done a good job.”
Using these fundamentals of light, Horton and
Hawley have amassed a vast and diverse portfolio of
projects at HLB, ranging from workspace, hospitality and transport facilities to monuments, cultural
landmarks and wider urban regeneration schemes. Across this broad scope of work, Hawley doesn’t
believe that the studio has a distinct “aesthetic” within its work. “We’re here to serve our clients
and help them discover the best within their design thinking, not create our own style or influence them. We have a more collaborative, design-
centric approach to projects, where it’s about what the client is trying to achieve. The thing that we
consistently strive for is to produce excellent high visual quality, and we like to take our clients on a design exploration, so they see a lot of different possibilities.”
Horton added: “We gravitate more to people that want us to be collaborators. One thing that I can
say is overriding is that we don’t necessarily make
the lighting the feature. We come in and look at the architecture, we look at the interiors and landscape
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landscape architect or interior designer had.
through a space, the colour or type of light that we
use. Now that we can apply our craft to psychology or physiology, it’s really exciting to think about all that we do. Lighting design has become so much more than those original circles and squares on a piece
of paper, it’s now the whole science of how we see, how we experience a space, and how we maximise all of that knowledge into creating a really great environment.”
With more than 40 years’ experience at HLB,
Horton has crafted many great environments through light in her time, but while she has
several personal favourites, she can’t pinpoint one specific ‘landmark’ project. “I think it’s really the
collective,” she said. “But on a personal level, there are projects that were rewarding for a number of
reasons, the ones where we’re giving back to the
public; certainly, any of the exterior park projects or the monuments where we understand their history and how they impact people’s lives, those are the
things that are exciting and rewarding for me – how we can make a space, and make people feel good
in that space or use it in a better way, those are the projects that really make a difference to me.”
Hawley concurred: “I think it’s the people-based projects, the ones where you feel like the design
team just nailed it, that stand out. Sometimes you
see projects and you’ll think ‘that was so easy’. We
strive to make it look effortless because that’s when
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“It was pretty early on in my career that I said we have to mentor women. I don’t want to sit at a table and be the only woman in a room with 30 men.” Barbara Horton
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the architecture and the space comes alive
there for a long time, you have to think about
really matter in the long run.”
When you hit that moment on a public
exciting, I like doing it for other reasons and
projects, one of the areas in which HLB
and they’re transformational emotionally. project or one that’s really focused on people, it’s extraordinary.”
Hawley cited two projects that stand out in this regard, the Temple Beth Elohim
synagogue in Wellesley, MA, and the Sean Collier Memorial at MIT. Temple Beth
Elohim saw HLB work with William Rawn Associates in what Hawley describes as “an epitome of daylight and the visual
experience”. She explained: “It has a lot
of technical elements, and it looks really
easy, but it was probably one of the hardest projects I’ve ever worked on.
“To this day I’m extremely proud of the
results that we pulled off, it was a really harmonious project with all of the right visual sensibility associated with it.”
The Sean Collier Memorial, constructed in
memory of the MIT Police Officer who was killed by the Boston Marathon bombers in
April 2013, is another landmark project for Hawley. “That one meant a lot to me, and
the way it came together was amazing, as it
represents a tragic moment, but we were able to take that tragedy and find the significance of it and come up with a design concept that had a really strong sense of meaning, and it looks great.
“The fact that these projects are going to be
that. The disposable, trendy architecture is
it can be really fun, but I think these are the most meaningful long term.”
To that end, Horton added that the World War II Memorial in Washington DC was
another incredibly moving project to have worked on. “Living through Jules’ history
through World War II, getting a first-hand view of it, and then having a client who
were participants and hearing their stories from Auschwitz to the Pacific, and then to understand the meaning of each of those components of the monument and the longevity of it was really powerful.”
The lighting here, designed by Horton and
Stephen Lees, incorporates a subtle, warmcoloured, almost imperceptible light that emanates from the features, so as not to
take away from the other monuments on the National Mall – a stark contrast from the floodlighting the architect initially
requested. “It immediately proves the point that lighting shouldn’t be the first and
most important thing here, it’s about the monument,” Horton added.
Hawley continued: “How do you work with light and materials to really connect with people and give them a strong visceral
response, so they feel engaged when they’re there? Those are the projects that I think
Alongside their impressive portfolio of
has really stood out amongst its peers is
the emphasis it places on the business of
lighting design, and in particular the notion of succession planning. This is an area that Horton has regularly spoken about, both at IALD conferences, and at [d]arc room livestream in 2020, and it is an interest shared by the entire firm.
“Once people enter the profession, one of
the things that our firm has been committed to is educating the industry at large in the business of design. Nearly nobody in the industry has a business degree – a lot of
people can be fantastic designers, but don’t really know how to run a business, how
to mentor their teammates, understand
insurance requirements and contracts and so on,” said Hawley.
“Barbara and Stephen were amazing in
recognising this early on. In the transition through Jules’ retirement, they learned a lot and became committed to long
range planning, and they nurtured whole
generations of lighting designers who now
understand the power of strategic planning, of having a strong financial understanding and how to mentor people long term.”
Such was this long term, forward thinking that there is a running joke at HLB that in
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“I have three daughters, and they have had a lot of visibility in terms of seeing women in their lives succeed at a high level. They don’t see any limitations and that’s a really great thing.” Carrie Hawley
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Hawley’s first interview with the firm, Horton
Achievement category of the first ever Women
replacement – a joke that it transpires, wasn’t too
conscious decision on the owners’ part.
was already thinking about her as a potential far from the truth.
“You’re always looking to hire your replacement, that’s the way that it should be at all times,”
Horton said. “So, you look at certain candidates and what attributes they have, certainly the
confidence level, even if they have no idea what
they’re talking about yet, if they feel good in their own skin you know you’ve got lots to work with. “Carrie was one of those people, there are many
in the firm just like that, but she persevered and
proved herself, which is how she got to where she is today.”
“I never envisioned taking Barbara’s job, I was
just enjoying learning the whole way,” Hawley
added. “It wasn’t until eight years ago that we even started talking about it in very loose terms.”
“Frankly, Carrie expressed the interest. We posed the question to several people, and she was the
only one who said she’d like to take a shot at it. It has to start with an individual who has the interest. You can always teach the skills and
techniques, but having the interest to start with is extremely important.”
With the growing success of the Women in
Lighting initiative and the recognition of female
designers in the lighting industry, HLB has been
leading the way with its proud status as a womenowned practice. However, Horton, a winner in the
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in Lighting Awards, explained that this wasn’t a “When I started out, the only two prominent
women that I can think of were Lesley Wheel in the United States and Motoko Ishii in Japan; they were stand out lighting designers, strong women and people who in some ways influenced me.
“I don’t know that we ever made a conscious
decision to be a women-owned business – we had two male partners, so I was outnumbered. But it
was pretty early on in my career that I said we have to mentor women. I don’t want to sit at a table
and be the only woman in a room with 30 men, it
was uncomfortable, and it took a long time to gain respect, so it was a move to elevate the industry,
hire the right people, mentor them and get them to be leaders in their own right.
“We’re not the only firm that has done that, but I think we’ve been successful in that now more
than 50% of our principals, our owners, are strong
women leading offices, with long standing careers, who are now mentoring the next generation.”
Both Horton and Hawley cited the role that their
parents played in encouraging them to pursue their goals. Hawley explained: “I feel very fortunate
because I grew up with parents who never gave me a reason to doubt that I could do anything.
“I met Barbara at the beginning of my career,
and she continued that approach, alongside Jules and Stephen, so it never crossed my mind that
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3
I couldn’t do something. And now, I have three
never complain.
terms of seeing women in their lives succeed at a
in me is that it’s better if I can build an army of
daughters, and they have had a lot of visibility in
high level. They don’t see any limitations and I think that’s a really great thing.”
“I look at my mom’s generation and she struggled to be recognised as somebody with intelligence
and abilities and everything else,” Horton added. “And just like Carrie is promoting her daughters, my mother was really supportive, pushing me to
education, and I think that influenced me to say that I’m no different to a man, I can do the same things. But when I got into the world of business, I realised that I was the only woman at the table, so I wanted to make sure that women got a fair chance. I think
we’ve definitely succeeded from that point of view, but there’s still a glass ceiling out there.”
When asked if they had any advice for any young female designers entering the industry, Horton
cited IALD associates Anna Sbokou and fellow WiL
award-winner Chiara Carucci as inspiring examples, adding: “You have to be strong and maintain your
integrity. You should never go into a meeting with a chip on your shoulder. You need to be smarter than the other people in the room, but not arrogant; I
think that humility goes a long way, but also being
strong in your convictions about what you’re doing and standing up for yourself in those situations.” Hawley continued: “I think a lot of women feel
like they have to be all things to all people and do everything, manage everything seamlessly and
“One of the things that Barbara has really instilled people around me that can help support the vision,
learn to delegate and let someone own it, let them be that champion of something. Barbara automatically goes out of the gate trusting people, assuming that
they’re going to do a great job. And then she’s there
if they’re struggling, but she gives you an ownership on something so that you can really take it and run with it.”
“I think the most important thing is to give
designers an opportunity,” Horton added. “Trusting people to do the right thing and to be invested in
what they’re doing means that they own it, and you have a great success.
1. Light reflects endlessly through the 525,000sqft, polygonal campus of the Nvidia Corporation in Silicon Valley. This project is notable for the use of virtual reality modeling software for visualisation of the architecture and lighting during the design process. (Pic: Elise Gasper) 2. Noted by Hawley as “an epitome of daylight and the visual experience”, the lighting of Temple Beth Elohim creates an almost celestial glow with the synagogue. Although it looks easy, Hawley says that this project was “one of the hardest I’ve ever worked on”. (Pic: Bruce T. Martin) 3. Constructed to honour the memory of MIT Police officer Sean Collier, who was killed by the Boston Marathon bombers, the Sean Collier Memorial is one of the landmark projects in Hawley’s career - a project with significant meaning to her personally for the way it conveys a strong sense of meaning and symbolism. (Pic: Iwan Baan)
“Any advice that I would give to somebody who has
a small practice, is just starting out or even a couple
of years into their career: think about when you were sitting at that desk for the first time and what you didn’t know, and how you incrementally added to
your toolbox to get to where you are now. Reflecting on where you started from and what it took for you to get there gives a certain amount of humility and
helps with the expectations of everybody else around you. Having that perspective is really important.”
Because of the strong emphasis that HLB places on
mentoring the next generation and having succession strategies in place, Horton explained that while the
news of her retirement broke earlier this year, it has been on the cards for a long time.
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women in lighting Perfectly embedded into the surrounding nature, the Audain Art Museum in Whistler, Canada features an abstract, wooden-clad design. HLB used lighting to complement this architectural design, with warm and small scale fixtures selected to integrate into the architectural wood slat details and create a welcoming and cozy, hospitality feel. (Pic: James Dow)
“I saw the first generation of lighting
for her.
but what becomes more fulfilling later
without a real plan. Most of them were single
I want to go sailing,” she said. “We’ve had
mentoring rise up, do great things and get
designers in the US fade and close their doors ownership companies, including ours, so it struck me that there was an opportunity to create a legacy,” she said.
“Teal [Brogden], Stephen and I developed
that ownership transition plan very early on. We had a strong belief in sharing what we
had inherited and making sure that we had a long-term vision.
“I always anticipated that I wasn’t going to be 80, with people saying, ‘we need to get
rid of her’. I wanted to go out gracefully and
with honour, and Stephen felt the same way. I also think that, seeing how the industry
has evolved and the technology has changed, lighting design is so much more than when I first started. I think having fresh ideas,
new team members with different expertise, helps the company grow and become more viable and relevant. There is a time in your
career to say you’ve got to step down because there are people that can do this better than you, and for me that came this year.”
Far from having a clean break though,
Horton will continue to serve her term on the Board of Directors until the end of the year, ensuring a seamless transition. She also
hopes to continue her involvement with the IALD, something that is still very important
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“And then on a personal level, Stephen and that in our blood for 20 years, we’ve finally got the right boat that can get us where we
want to go. All the work and experiences that we’ve had over the years, we’re now ready to take that big adventure and just enjoy life.” As part of the company’s succession
strategy, Hawley has been working alongside Horton as co-CEO for the past year, which she feels has helped make the transition
as easy as possible. “People ask me if it’s
much different and frankly it’s not because I’d already been getting ramped up for the last couple of years and Barbara has been
very graciously transferring things over and mentoring me, she’s been fantastic.
“I have some really good executive members alongside me too, which is wonderful. Teal Brogden, our President, and our COO Beth
Nilsen, so I’m definitely not alone. We have a lot of shared leadership, which is great.”
Hawley continued that she is looking forward to this new chapter of her career, and of
nurturing the next generation of lighting designers. “There are pivotal moments in your career; you get to a point where
you’ve been successful as a designer, maybe you’ve won some awards and served on
some committees and had that recognition,
is watching the people that you’ve been that recognition themselves.”
As a business, Hawley continued that HLB
has started to put together its “aspirational” new 10-year target, what she calls their “Big
Hairy Audacious Goal”. “It’s about designing with purpose and making an impact on the world,” she said.
“We’ve been very US-centric in our first 50
years, but now we want to open up and have
a greater voice in the design industry, period. Lighting design needs to be a best practice
and a basic practice everywhere in the world, not just in these privileged countries. It’s about people now.
“Everybody at the firm is really jazzed about
what we can do when we put our minds to it, and having it be about purpose and people
and making an impact on the world is really exciting. I think we have a great ride ahead of us.”
So while Horton may be taking a step back from HLB Lighting, the special attention
paid to nurturing and mentoring talent, and having a strong succession plan in place,
means she can rest easy, knowing that the firm is in good hands.
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The New Retail The way that we interact with retail environments has changed; Juan Ferrari, Associate Director at Hoare Lea, explores the new relationship between retail, community and lighting.
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s a dictionary definition, “retail” is a crude and
commercial way of describing how we purchase our goods, but we all know is has become much
more than that. It has been part of our social and
entertainment activities, it has been talked about as a “therapy”, but most importantly to all of us a way of communicating with others. Whatever
form of retail, that being a single shop, the high street or a mega
shopping centre, all of them have been forming communities on the back of social human interaction.
When thinking about lighting design for retail spaces the first thing that springs to mind is that it is probably the closest architectural design gets to theatre, not only from the visual requirement of conveying a
narrative but also from a temporal point of view, as retail design has
been, up to not that long ago, a seasonal event. The design goes up and
comes down quickly, giving many of us lighting designers a playground
to test technology and look for a short-term life with quick turnaround, not necessarily driven by the community.
As we slowly emerge from Covid-19, it is good that things are getting
back to what they used to be, it’s good to go out with friends, it’s good
for our kids to be back to school and its good for us to go back to our dayto-day activities. We all know things have changed and probably one of
the most notable changes accelerated by the pandemic has been the way we “retail”.
Retail has been suffering for a while now, aside from the now normal
pandemic mode we still live in, it has also been impacted by the changes in consumer habits. As we saw this coming, we started to consider what
retail means to us and what we ca do in terms of lighting to help the retail experience be reborn from the ashes.
There are two critical elements to retail. The first one is the commercial
side, it seems that this factor is losing its battle to e-commerce, so money transactions are moving away from the real world to the virtual world.
The second one is its social side, a platform to meet friends, make new ones, talk to strangers, creating community while at the same time
learning what the commercial world has to offer to us. Currently this
side of retail is being revitalised in the most beautiful and romantic of ways. We are in need of socialising and all platforms, especially those perfectly tailored for us, are welcomed.
If retail is fully taken by e-commerce, we will lose a fundamental part of the relationship that we have as a community and of generating social interaction, that unique characteristic that make us human. Let’s not
be so melodramatic: retail is not disappearing; it is transforming and as lighting designers we are fundamental part of that transformation. Digital platforms will never be able to replace human interaction
and therefore that is what we, human beings, will always be after.
The unique and non-reproduceable random experience of humans
interacting with each other. As a quick conclusion, if I have to back the efforts of what will keep retail alive and kickin’ it will be our human need to interact. Therefore, let’s look at our retail spaces and what transformation they are experiencing.
We have experienced the revival of the high street; the pandemic
revitalised the way we interact in our local community and gave energy to the importance of the old and beloved high streets. We have also
noticed that aside from the seasonal Christmas lights, most councils pay little attention to the street lighting systems that illuminate our
town centres. This leaves a very bleak and uninspiring canvas for our
high street during nighttime hours, a place that we don’t feel invited to Juan Ferrari, Associate Director, Hoare Lea
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or even secure when circulating through.
Those old and tired shopping centres and retail parks have lost their
retail focus
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3 1. Talk To Me is an interactive artwork by Steuart Padwick with lighting and sound developed by Hoare Lea’s lighting and AV teams to raise awareness on mental health and assist wayfinding to Design Junction - Kings Cross. (Pic: Dan Paton) 2. Hoare Lea’s inhouse creative media community (Lighting & AV teams), brought a multi-disciplinary approach to our senses by producing an engaging light and soundscape design at Lakeside Shopping Centre (Pic: Kevin Luckhurst) 3. Hoare Lea worked closely with Portsmouth City Council in the reillumination of the Spinnaker Tower, making sure that the iconic nature of this contemporary structure remains relevant and remains a beacon for the people of Portsmouth, and most importantly to its harbourside, where local businesses are bubbling. (Pic: Andy Hornby) 4. The architectural restoration (Barr Gazzetas) and a new lighting system (Hoare Lea) of market spaces and surrounding areas at Greenwhich Market allow for a pleasant ambiance during nighttime use. (Pic: Redshift)
anchor stores and as such, many other stores, making the fabric of the
will probably become second homes in human terms.
they have made monumental changes to their fabric, allowing for
to the new retail, which will be our new community and this will be
space less vibrant and inviting. Still on its last gasps of investment
more playful and experiential spaces to attract people. At the same
time, they open their doors to smaller local business to trade in their empty spaces.
The outlet concept has flourished and clearly has taken away the lead role from the shopping centres, seen footfall increase, and made the investors keen to create more attractive spaces for people to dwell. Local markets, especially outdoors ones, have become the go-to place especially during the pandemic, but the offer of nighttime
markets has fallen behind, which shows a lack of infrastructure in lighting teams to support their operations.
All-in-all what we have noticed is that perhaps in retail
environments we have been concentrating on the shops and forgetting the environment that the shops are located in,
which is where community ‘happens’. We as lighting designers have the potential to influence social spaces aesthetically,
emotionally, physiologically and ecologically. We also carry that as our responsibility. Retail spaces are no different to any other
environments that we design and therefore it is time to give back to the community, to give back to retail and most importantly to take
care in the appropriate manner of the areas that we use for leisure. We cannot do this on our own; clients and architects alongside all other specialisms within the construction industry need to work
together to create these destinations, or bring quality and flexibility to the existing ones. We need to taking care of these spaces as they
The synergy of different built environment specialists is giving birth defined by the creative nature of the spaces we inhabit.
So, if we are looking at the spaces as we know them then surely the high street should become a more pleasant space to be at night, a
place that allows longer activity times and for people to enjoy the
surroundings. It is not about creating a new high street, it is about
refashioning what already exits, and what a better way of doing this than through the careful and creative use of lighting?
Shopping centres can be seen as places devoid from the possibility of creating a healthy community space – they still might become the ultimate community space: a place where we come together, enjoy activities together, play together – and why not shop together.
We can use our analytic creativity to understand and resolve our
problems and we can keep designing in the same way until, like now, the market trends change and we find that retail has disappeared. Or we can embrace retail and overlay the word to the fabric of our own community and by doing this revitalise both retail but most importantly our community.
In this constant world of change, retail has been reborn, not with a
display and shopping heart but a community and social interaction
heart. We should celebrate the new retail, and as lighting designers
contribute to it in building social structures for better communities. We have some exciting and creative times ahead. www.hoarelea.com
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Home Shopping Fashion brand Nanushka recently launched its flagship store in the heart of London – a high end location with a relaxed, welcoming feel. This is complemented with a simple yet well thought-out lighting scheme from 18 Degrees.
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PROJECT DETAILS Nanushka Flagship Store, London, UK Client: Nanushka Lighting Design: 18 Degrees, UK Interior Design: Festen Architecture, France Architecture: Hyphen, UK Photography: Tom Lee
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1. Throughout the store, 18 Degrees looked to use light to celebrate its Grade II listed status, highlighting the classical niches and ceilings. 2. A key parameter for 18 Degrees was bringing a soft diffuse light to the entire store, creating a relaxing and welcoming atmosphere. 3, 4 & 5. The lighting strategy was divided into three elements, each designed to work within the historic fabric of the building: Reggiani’s track lighting provides diffuse light to the ceiling; spotlighting adds highlight and visual hierarchy; and special feature lighting integrated into display units or decorative features. 6. To the rear of the store is a coffee bar, situated in a glazed atrium space and external courtyard, driven by a desire to host events and experiences at the store.
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ontemporary fashion label Nanushka,
we didn’t remove all other light. Giving a soft,
success grow across its flagship stores
flattering light for shoppers and also make the
founded by Sandra Sandor, has seen
in Budapest and New York. The label’s
latest opening is the recently completed flagship store in Mayfair, London.
UK-based architect Hyphen approached long-time collaborators 18 Degrees to work with concept
designer Festen Architecture on the lighting design of this Grade II listed retail space. Christopher
Knowlton, Director of 18 Degrees, sat down with arc to explain his team’s involvement and the
design decisions taken to create this simple, yet effective scheme for the fashion brand.
“Representing the biggest project for Nanushka in
their portfolio so far, we joined the team to develop a lighting language for the space as well as gain
heritage approval,” said Knowlton. “In the early
stages of the project, we worked with the client and team to understand the quality of light required
within the space. Retail design often enjoys high
contrast providing visual hierarchy,” he continued. “It was important that while providing hierarchy
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diffuse lighting element is a good way to ensure space social media friendly. An ever-important element of store design.”
Taking inspiration from the label’s focus on
sustainability and importance in supply chain
transparency, the lighting scheme was designed to evoke an openness that would reflect these
company values. “We wanted to balance the
daylight, diffuse light and focused light to make
the space feel light and airy,” said Knowlton. “The store needed contrast to give some structure, but we didn’t want the clothes to look different once
out of the display and in front of the mirror. This is a key element of supporting the sales process,” he added. “Often, products look great on the rack or shelf until the customer interacts with them,
taking them off the display and the appearance
changes. The result of this effect can be lower sales and therefore it’s important to manage this in
concert with the sales choreography used by the brand.”
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Breaking down the space, the lighting is divided
undocumented changes to the building through
sensitively within the historic fabric of the
“These considerations and the requirement to gain
into three elements, each designed to work
building. “Firstly, a lightweight track provides soft diffuse light to the ceiling. This enhances the large floor-to-ceiling heights in the space,” explained Knowlton. “It also gives a good fill light when
looking at products or in the mirrors. The track also facilitates spot lighting to add highlight.
Increasing the intensity of the product gives visual
hierarchy without the overall space feeling gloomy. “The final element is special features. Lighting
integrated into display units or decorative features. While mostly diffuse sources, these highlight the visual appearance of the space.”
Working within a listed building also brought with it structural placement issues for the team to
consider when planning the fixture positions.
“Architecturally we needed to be sensitive to the historic fabric,” said Knowlton. “Cutting lots of
holes in a historic building is fraught with danger. The unknown structural timbers, fibrous plaster clinging to timber laths from the 1700s and the
its history.
heritage approval led us to the track system.
Minimal architectural intervention with flexibility in cabling locations. In locations where we wanted to use downlights, investigations were made to check if it was possible and adapted as we went through the construction phase.
“Historic buildings always throw up surprises and so designing flexibility is key!”
18 Degrees worked closely with concept designers Festen Architecture and Hyphen to develop a
lighting scheme that would work cohesively with the brand and the environment. “It was a really collaborative effort and there were a lot of
influencing factors on the design,” said Knowlton. “This is also Nanushka’s first UK store and one of the largest globally, so we needed to make sure
that the design worked for them and the way they wanted to use the space.
“At the start of the project, we met the design
team and client onsite. It was freezing cold, but you
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could feel a sense of energy about this incredible
light is critical in retail, so to match the Reggiani
that the world as we knew it would change
“The interior feels almost residential by design.
building being re-imagined. Little did we know
beyond belief. The global pandemic took hold and suddenly our client and concept architect were
unable to travel to site. We couldn’t even meet up with our UK collaborators.
“Testament to the client, design and construction teams, we got back to it as quickly as we could.
While the online video conferencing platforms
are now a daily staple, the signing off materials and lighting tests are both logistically and
visually difficult when the team is unable to meet in one place,” Knowlton told arc.
Further to the demands of completing this project, 18 Degrees used its status as an
independent designer to its advantage, utilising
the freedom to select equipment from its chosen suppliers. Knowlton continued: “In this project, we needed equipment quickly to satisfy the
programme. We also knew that physical form
would have a big impact on the aesthetic of the
space. The 48V system from Reggiani lent itself
well to the installation and the team always work hard to ensure the product arrives on time and assist the contractor when needed. Quality of
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spotlights we used Lumino for our linear lighting. Nanushka want people to come to the space and
With a design approach that is almost residential, the idea for Nanushka’s flagship UK store was to create a space where customers would feel comfortable interacting with both the merchandise on display and also the staff.
feel comfortable interacting with the clothing
and also the staff. The coffee bar at the back of
the store is located in a glazed atrium space with an external courtyard. This isn’t a space you come purely for the transaction of buying a product,” he added.
“The look and feel were also driven by the desire to host events and experiences at the store.
“Everyone has been very impressed with the way in which the products look and how the space feels. The design is simple; it relies on solid
well-considered principles rather than flashy
equipment or gimmicks. The space in person feels very comfortable day and night and the ability to
dim either the uplight or the track means it can be used for a range of activities.
“Overall, I think the design is successful in
balancing the retail objectives against a space that feels comfortable to spend time in,” Knowlton concluded. www.18degs.com
lighting specified iGuzzini Laser Round LEDFlex Micro Side View Neon Lumino Vector Flex Lumino Vector V20S Lumino Zen Reggiani Track Reggiani Yori Evo
Original Design Inverse Lighting Design’s new lighting scheme for Bangkok’s Original Store beautifully accentuates its clean lines and sharp interiors, while transforming the multi-use space into a glowing lantern after dark.
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PROJECT DETAILS The Original Store, Bangkok, Thailand Client: Central Group Lighting Design: Inverse Lighting Design, Thailand Architect: Vincent Van Duysen Architects, Belgium Interior Design: Vincent Van Duysen Architects, Belgium; Tripster, Japan Photography: DOF Skyground
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The Original Store in Bangkok, Thailand is a multi-storey, mixed-use space that features a retail store, café, library, temporary and permanent exhibition spaces, as well as a fine dining restaurant.
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ituated on one of Bangkok’s very first
asked us to get involved in the project. Also, with
Central Group, is a multi-storey,
was even more exciting for me as my first project
roads, the Original Store, owned by mixed-use facility that combines a
retail space and café with a library, temporary and permanent exhibition spaces, as well as a fine dining restaurant, spread across five floors.
Designed by Vincent Van Duysen Architects (VVDA), the Original Store is striking for its crisp, sharp
lines and exterior terracotta brickwork – a sharp
contrast to the surrounding neighbourhood. This
contrast is accentuated further by a sleek lighting scheme, designed by Inverse Lighting Design.
Inverse became involved in the project after having previously worked with Central Group on a number of other projects in Bangkok, but Bangkok Studio Director Bernhard Bstieler revealed that he had been a longstanding fan of the Original Store’s notable architecture.
“This project, located in Bangkok’s “Creative
District”, is just a few steps away from our studio.
We passed by this charming building every day and saw its great potential,” he said.
“Although we worked on several projects for the Central Group like the Central Embassy, Open
House and Park Hyatt Bangkok, we did not know this building belongs to them until the client
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Vincent Van Duysen as the concept architect, it in London was the Designer room at Selfridges with the same architect.”
With the space having a number of different uses across its five floors, the lighting design had to
serve multiple functions, from retail lighting, to
schemes suitable for exhibitions and fine dining. Such variety was noted in the brief, as Bstieler explained: “As the programme of each floor is
different, the brief called for a coherent lighting solution that expressed the architectural design language, while supporting the function and enhancing the atmosphere of each space.
“Another objective was to transform the retail
space to provide a more relaxing atmosphere in the evenings when Aksorn, the restaurant owned by
chef David Thomson, and the Siwilai Soundclub are operating. The displays and merchandise should
radiate a soft glow as a ‘lantern’ to guide the guests to the two venues.”
Meanwhile, the main staircase connecting each
level was another key architectural feature within the project; with a large roof light at the top, the
stairwell is filled with natural light during the day,
but Inverse sought to use artificial lighting to create
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a more dramatic feel to the primary connecting space after dark.
For such a clean-lined, sharp scheme, Inverse took great care and
for curated product arrangement. In the evening, these are then
explained: “We explored the possibilities and developed a detailed
In the main building, the architect created a series of glass vitrines transformed into the lantern-like objects desired by both the lighting designer and client.
“The main concept was a combination of flexible lighting in the
ceiling and integrated lighting within the vitrines, which provided accent lighting to the merchandise on levels one and two, and the exhibition on levels three and four,” Bstieler continued. “The
integrated lighting within the vitrines was essential to provide
sufficient illumination and minimise possible shadowing on the
merchandise. At the same time, the lights can be dimmed in the
evening, when the vitrines are closed and act as a glowing lantern, providing a warm and soft backdrop for evening guests.” The integrated display lighting, courtesy of Pro-Light, is
complemented by formalighting’s Zero Compasso track-mounted spotlights, which illuminate the free-standing displays and the
exhibition and event areas on the upper floors. All sources have a high colour rendering to ensure a true render of colour for the exhibition area’s merchandise and objects.
Along the central staircase, Inverse looked to provide indirect
lighting concealed along the perimeter walls for the stairwell in a
move to highlight the contrast between the terracotta walls and the concrete staircase. The use of hidden fixtures creates a gradient
lighting along the walls, guiding customers from the entry level all the way to the roof level.
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attention to ensure that the lighting was just right. Bstieler
design using many tools, including lighting simulations, physical
models and mock-ups on site. For example, we built some ceiling
and furniture details 1:1 in our studio to test the lighting effect and coordinate the architect’s details. We also studied whether
continuous indirect lights along the perimeter wall in the stairwell were sufficient for the guest to walk up and down.”
As the Original Store comprises a number of different spaces, each
with their own unique lighting requirements, Bstieler explained how
the lighting was modified to suit each need: “We tailored the lighting specifically for each area by using spotlights with varying beam angles mounted onto the track, allowing us to create different ambient and accent lighting levels for each location.
“In addition, concealed lighting within the shelving of the vitrines and fixed counters create another layer of lighting defining, for
instance, the store and library. In the restaurant, we used indirect ambient light, and decorative lighting on the walls and tables, creating a pleasant atmosphere.”
Stepping outside, the building’s clean lines are accentuated and
highlighted with a carefully integrated lighting solution. Lighting here is provided from internal vitrines that light up the façade’s openings. The terracotta finish on the outside, matching the
terracotta tile work in the internal staircase, is gently uplit from each floor level’s ledges, with fixtures from Clear Lighting providing a
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very smooth gradient to the outside of the
ceiling spotlights within troughs to maintain a
inside, the entire building is lit up and, from a
beam structure and the cooling strategy of the
building. Combined with the soft glow from the distance, appears as a large lantern, which gives a
subtle illumination to the historic neighbourhood.
And Bstieler is hoping that the crisp façade lighting
will inspire others in the neighbourhood, leading to an improved nighttime ambiance in the district.
“The surroundings are rather dark at night, so our subtle exterior lighting seems to stand out,” he said. “We hope that this project opens up an
opportunity and sets an example of good lighting
for other historic buildings in the area, which would enhance its unique identity at night.”
Throughout the process, Bstieler continued,
Inverse worked in close collaboration with VVDA to “discuss all the possible options to ensure the
function and aesthetic”. “Inverse and VVDA were developing detailed designs to ensure seamless
integration of the lighting into the architectural details,” he explained.
This meant that early on, the lighting designers
needed to modify their original interior concepts,
but such was the collaborative nature of the project that this was a simple hurdle to overcome. Bstieler explained: “The initial idea was to conceal all the
clean ceiling appearance. But due to the existing space, the air handling unit between the existing beams occupied most of the area.”
“However, coordination between the services led us to a consistent solution in all the floor levels,
having track recessed on either side of the AC unit, while keeping the correct distance to provide sufficient lighting to the display units.”
Bstieler continued that it was through this
consultation and collaboration that he found most
reward while working on this project. “I appreciate the most how the design develops with all the
1. The Original Store’s sharp, angular façade is highlighted by crisp lines of light. The terracotta finish is gently uplit from each floor level’s ledges, with fixtures from Clear Lighting providing a smooth gradient to the outside of the building. 2. Integrated display lighting, courtesy of Pro-Light, is complemented by formalighting’s Zero Compasso trackmounted spotlights, which illuminate the free-standing displays, as well as the exhibition and event areas on the upper floors. 3. In the building’s central staircase, Inverse provided indirect lighting, concealed along the perimeter walls, to highlight the contrast between the terracotta walls and the concrete staircase. 4. Integrated lighting within the display cases is dimmed in the evening to create a ‘lantern’ effect, guiding visitors to the restaurant and event spaces on the upper floors.
constraints and problems you face on site,” he
said. “With a great team effort and collaboration with other consultants, the result is very
satisfying, and we feel that lighting is an integral part of the architecture.
“The most rewarding thing in this project is the
close collaboration between the client, architect, local team and operator, with all the cultural
differences and expectations, to create a project that everyone can be proud of.
www.inverselightingdesign.co.uk
lighting specified Clear Lighting C-FR-F22 formalighting Venus formalighting Zero Compasso 66 Global DALI track Philips Dynalite Pro-Light LED series 5.1 Unilamp Dot Square Ramp
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PROJECT DETAILS Browns Brook Street, London, UK Client: Browns Lighting Design: Nulty, UK Interior Design: Dimorestudio, Italy Photography: Bozho Gagovski
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Luxury Lifestyle At the new flagship Browns store on London’s Brook Street, Nulty has used light to enhance the luxury, boutique feel, creating a more tailored, comfortable retail destination for shoppers.
L London.
uxury London retailer Browns has recently been
projects, Nulty was chosen by Browns as the specialist
lighting schemes with its newly completed
explained Alagna. “They knew that the interior designers
added to the Nulty portfolio of beautiful retail
lighting designer. “They wanted an expertise on lighting,”
flagship store on Brook Street in central
are very forward thinking with their designs, but also very
attached to traditions and the historical part of the design.
Browns has been a staple of British fashion for decades
But to bring everything up, Browns wanted a lighting
inception in 1970. This store is located in a Grade II* listed
During initial meetings, the team established a common
identity, whether expressed through its architecture, size or
that the lighting scheme was to be flexible according to the
intimate areas across the various floors.
together with Browns, they wanted to have a very flexible
style had to be accounted for in a changeable approach that
on the third floor, where they have the VIP changing rooms.
needed to adapt to these variations in style and so a mix of
shopping experience from the other levels,” Alagna
were needed to illuminate the items on display. The lighting
event space, so it became a focal point for the entire project,
day or nighttime scenes, whilst spotlights and integrated
depending on the events that were happening,” she added.
various events or parties.
challenges for lighting placements. During these initial
was important to the concept. A breathtaking
important for the team to address the structural issues that
Dimorestudio, graces the atrium with neon-like LED light
that the majority of fixtures would be integrated into the
contemporary ambience.
architecture. Pieces such as LEDFlex’s Ultimo Neon, LED
arc to explain the historically conscious lighting scheme.
miniature LED profiles are integrated seamlessly within the
housing some of the greatest designer labels since its
designer, so we got involved straight away.”
building that dates back to 1720. Each room has a unique
design approach to the historic structure and understood
colour scheme, and there is a mix of spatial and more
individual uses of each space. “From the first meetings
Flexibility was key in the lighting design, and each room’s
space, especially in areas like the Yellow Room and The Club
retains the identity of each space. The lighting design
In these locations, customers have a completely different
integrated lighting in hanging rails, shelving and niches
elaborates. “The Yellow Room, for example, turns into an
schemes can be altered throughout the spaces to recreate
and Browns really wanted this space to be changeable
direct and indirect light can be changed to accommodate
Working within the historic building also brought
Evoking a modern twist within the plush historical setting
meetings to determine the lighting scheme, it was
floor-to-ceiling light structure, by interior designers
would prevent certain luminaire placements. It was decided
tubes from Encapsulite, creating a stunning focal point and
furnishings rather than permanently fixed to any
Martina Alagna, Lighting Designer at Nulty, sat down with
Linear’s Lyra Hyrda, DGA’s Mini Tini spots and Folio’s Tiny
With an already well-established portfolio of retail lighting
furniture within the store.
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1. Owing to the building’s grade II listed status, Nulty were unable to make any structural changes to the building - instead lighting elements had to be integrated into furniture. 2. The VIP changing rooms feature touch screen mirror displays, allowing shoppers to browse products, select sizes to be brought to the, and also adjust the light settings, with eight different lighting scenarios to choose from. 3. Tunable, dynamic lighting in the VIP changing rooms allows for the lighting to switch from warmer tones to cooler colour temperatures. 4. The store’s central staircase features a grand, modern chandelier, designed by Dimorestudio and fitted with LED light tubes from Encapsulite. A contrast to the heritage staircase, the central illumination brings out the fine architectural details of the listed building.
“The feeling when you walk in is very different to a
solutions to make sure that it had other
specific to certain elements, whether it’s the
the spot and the accent lighting on it. For example,
traditional store. The lighting is more tailored and merchandise or the architectural detail, or a
historical part of the building. Whereas, usually if
you walk into a different store it’s more focused on the merchandise and the architecture itself is not really part of it. This was absolutely one of the
nicest elements about the project as well – for example, the staircase that is original to the
building has been painted gold but all the nice
details are there, and having this lighting structure in between also highlights all the little elements
that you can see through the staircase. The major element is the handrail that goes all the way up, which is a very unique part of the staircase.
Illuminating this from the centre to the outside
means that you can appreciate the heritage part of it a lot more than you would through traditional spotlights or wall-mounted luminaires.”
She continued: “To create this level of lighting within retail, you definitely need to have some ambient lighting, focus and accent lighting on
merchandise, and any other elements that you want to bring attention to.
“In this case, we couldn’t create the ambient light in a traditional way. We had to find alternative
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illumination around the merchandise and not just Dimorestudio had some lighting panels that
created a silhouette of the merchandise, with mini
adjustable spotlights to illuminate. But, it wouldn’t be sufficient to have just these elements in the
room – they needed to have some ambient lighting and general illumination to make sure that there was not too much contrast.”
Nulty integrated uplighting elements within the furniture to illuminate the vaulted ceiling and
bounce back the lighting within the store, while
highlighting the architectural features. This was offset with floor lamps, an addition not typically seen in retail environments. “No one would
usually include floor lamps in their specification, but Browns was happy to have these ‘out of the box’ elements that would create a more
comfortable environment for people,” explained Alagna.
“It has more of a boutique, tailored feel, instead of being in a big store where everything is brightly illuminated. It was nice to tailor the levels
depending on the heritage building elements. There are pockets where the ambient lighting
drops a bit to purely focus on merchandise and
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architectural elements, to let these stand out.”
amongst each floor. “It’s definitely unique as a
lighting within the furniture because it was so thin
elements that are repeated several times within
“On a few occasions we couldn’t include the
or so delicate, so we had to seek other solutions.
For example, in the jewellery rooms we wanted to have a line of light integrated into the profile of
the cabinets, but we couldn’t. Instead we went for miniature spotlights [DGA’s Maestro] at the perimeters of the cabinets to shine onto the jewellery.”
In order for the design team to achieve the overall, luxury boutique feel in the store, a lot of time and
consideration was put into the choices of furniture and finishes. The same dedication to specification
was translated into the lighting fixtures and Nulty choreographed a series of fittings that worked
perfectly in each space. Speaking of her experience
working with the interior designers, Alagna said: “I really enjoy working with studios with clear ideas
and high standards because it makes our work even more appreciated. In instances where things weren’t possible, we had to find a different
solution because we needed the light there. We
tried and tested together, and I think the result comes up pretty well,” she added.
While the store has specific lighting scenarios on each level, there is an overarching continuity
general approach but at the same time, there are each floor,” explained Alagna. “It is very
interesting because for a lot of heritage buildings
in the UK, the higher you go up in the building, the shorter the ceiling gets, so it’s not just ambient in
terms of the space around you, but also the height of the ceiling changes quite a lot.
“Every space is definitely unique, all of the rooms have different shapes and different sizes, and we had to play with the lighting. We knew what elements we’d have in the room, and then
depending on the size of it, we could change and
adapt and move things around in the structure, or
have a floor-standing lamp to boost the light levels a bit – it was great fun.”
Elsewhere, an interesting design feature in the VIP fitting rooms was the technical mirrors. Not only
do they perform as a regular mirror, but they also
have integrated screens that allow the customer to select clothes to be brought to them, and even the option to pay for an item. Within the third floor
VIP fitting and lounge rooms there is no natural
daylight. To recreate day and night scenes, Nulty
chose dynamic white lighting panels on the ceiling to create a unique shopping experience for the
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user. “There are eight different scenes, from the
was captured. I think in the end it came out really
that are able to reach the candlelight colour
explained.
through to daylight scenes with brighter, cool
challenging yet successful one for Alagna. She
etc.,” Alagna told arc. “There are also smaller
because it was so different to anything else that I
‘night out’ scenes with warmer lighting effects
well and they were happy with the result,” she
temperature, typical of restaurant lighting,
The final impression of the project was a
lighting to reveal the richness of the fabrics,
said: “It was very challenging in the beginning,
lighting elements around the room, such as
have worked on. There were so many different
within the shelving – all these different elements
with the Italian interior designers. Of course we
shopping experience that you want to have. If you
the client’s response will be. But, we did our best
might have the lighting that matches the
creating these little pockets of different
outfit instead, you can tailor it to a daylight
“It’s a very comfortable space where you walk in
temperature.”
like you’re entering into someone’s house and
Alagna, and the brand shone with its willingness
on in the space. It’s also really nice how it is
order to create the beautiful scheme. “The
courtyard, which is all part of our design too. You
project, so of course there was a lot of pressure,
and then you go to the restaurant for a relaxing
elements from the beginning. So, by the end of
personality – it doesn’t make you buy something
reviewed things extensively together with
store.”
processes and meetings. They were really present
www.dimorestudio.eu
integrated hanging rail lighting or elements
elements, and different collaboration elements
within the room change depending on the
know what we’re doing, but you never know what
have an evening dress for a special occasion, you
to make the different areas stand out, while also
situation to see how it looks. If it’s a daylight
experiences to bring that boutique feel.
setting, where it’ll be a cooler colour
and you don’t feel like you’re in a store. It’s more
Working with Browns was a great experience for
trying to find the little pockets of what is going
to be involved and be as flexible as possible in
connected with the restaurant area and the
lighting was a really big support for the entire
might have your very nice shopping experience,
but we thought of all these little necessary
meal with friends. The inviting space is full of
the project, we had discussed so much and
and run away, you want to spend more time in the
Browns, who were always part of the design
www.nultylighting.co.uk
to review everything and make sure the concept
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On the Menswear floor, the recurring motif of hanging lamps is complemented by linear lighting embedded into the clothes rails.
lighting specified Delta Light Bowie Clip DGA Maestro DGA Mini Tini Micro Encapsulite 24v RD Twin Stick Flos Kap Surface Round Folio Extra thin LED lighting panel Folio Tiny miniature LED linear profile LEDFlex Nano Pro Profile 8810 LEDFlex Nano Pro Profile 8809 LEDFlex Pro Profile Surface 1099 LEDFlex Pro Profile Surface 4409D LEDFlex Ultimo Neon SV LED Linear Lyra Hydra HD LightGraphix LD51 Orluna Cero Orluna Curved Panzeri Gilbert Zumtobel Supersystem Linear compact LED
COMPACT NEW COMPACT DOWNLIGHTS Introducing our range of single colour, 2-tone, fixed and adjustable compact downlights, rated IP65 for interior, exterior and marine applications. Bezel diameters start at just 46mm with a powerful output in excess of 420lm. Colour temperatures range between 2200K-5000K and beam angles include several medium and a super tight 10° narrow. A single deep recessed optic ensures ultra-low glare, superior beam shape and no multiple shadows. From left to right : LD780, LD790, LD782 & LD792 www.lightgraphix.co.uk
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Pics: Olof Thiel, courtesy of JPLD
Natural Mystic Taking inspiration from the Aurora Borealis, James Poore Lighting Design worked with Pharos Controls to bring a touch of the ethereal to Stockholm’s Arlanda Airport.
S
tockholm Arlanda Airport is the larger of two airports
a natural look. To ensure the randomised look of the show, the tempo
Uppland, the airport is a key gateway for international
intended to be very fast, building drama, while others are slower and
in Sweden’s capital city. Located in the province of
of the lighting changes is set to vary, with some of the lighting runs
air travel and serves as a major hub for Scandinavian
more ethereal.
Airlines and Norwegian Air Shuttle.
To deliver this ambitious and visually spectacular lighting effect,
within the airport, lighting designer James Poore, founder of JPLD,
yet reliable, robust and workable control system for the project.
implement a lighting scheme for the new walk-through duty-free
each of the large number of luminaires was essential. To ensure a
As well as illuminating the general retail background, and the
controllable luminaires with multichannel colour change ability
sense of place. The link between Scandinavia and the Aurora Borealis
was DMX. With the high number of DMX addresses and universes
went through several evolutions, developing in scale and ambition
approach, although a permanent lighting desk or similar would not
sweeps the ceiling of the retail space, creating an inviting atmosphere
Pharos specified 2 LPCs (Lighting Playback Controller) and 1 TPC
This gigantic lighting installation consists of a series of undulating
ideal for themed entertainment installations. The TPC is an elegant,
65-metre length of the shop. The lighting has been set to run as a
capacitive touch panel. By bringing these solutions together, Pharos
This represents the solar cycle that runs for 11 years and affects
permanent or bulky lighting desk. The system is completed with a
11-second dark period, where the lighting pauses, before the light
The resulting light show has become a must-see feature of the
The full 11-minute show begins with low-level. subtle lighting
look more natural, with the choice reflecting the most recognised
speeds up twice, with a grand finale, before fading out for the pause.
www.jpld.co.uk
As part of a refurbishment project and the addition of new amenities
James Poore enlisted the help of Pharos, which delivered a complex,
was approached by Swiss-based travel retailer, Dufry, to design and
To deliver the vision for the installation, the ability to control
store within Terminal 5.
smooth, quick flow of lighting control, encompassing individually
products that were for sale, part of the brief was to create a strong
across RGBW which was essential, meant the obvious answer
was the perfect inspiration for this. The concept for this illumination
involved, the control system required a theatrical or stage lighting
until the final structural installation. The result is a sea of colours that
suit the needs of the project.
that also nods gently to one of the area’s biggest spectacles.
(Touch Panel Controller). The LPC is an all-in-one control solution
four-metre high chainmail curtains, snaking through the entire
touch screen lighting controller with a customisable 4.3-inch
‘show’ with the overall programme designed to be 11 minutes long.
ensured the flexibility to control the project without the need for a
the Northern Lights. This visual symbolism continues through the
Pulsar 642 Chroma AR111.
show recommences.
airport. The palette of lighting colours has been carefully chosen to
activity before gathering in pace and ferocity. It then slows down and
colours and hues of the Aurora.
This is a purposeful configuration, designed to be as accurate as
www.pharoscontrols.com
possible to the shift and speed of the phenomenon, while delivering
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Pic: Lucy Knott
Come One Come All A dynamic new lighting attraction from Tryka has been designed to draw in shoppers to Glasgow’s St Enoch shopping centre.
L
ocated in the heart of Glasgow city centre, the St Enoch
convenient and scalable solution, providing Ethernet-distributed
destination in one of Scotland’s most popular cities.
add physical DMX ports to Pharos controllers. This is one of the first,
shopping centre is a crowd-drawing retail and leisure Following a high spec redesign, an LED-based façade
now sits above the centre’s entrance on Osborne Street, home to
the Vue cinema. The installation provides dynamic lighting effects in a move to entice more visitors to the centre from Dunlop Street.
Creative architectural lighting designers Match Lighting Studio were responsible for detailing this impressive feature, and they turned to Tryka to bring it to life.
To complete the effect, more than 3,000 individually controlled RGB diffused LED pixels have been installed in panels that are mounted
above the entrance 60 pixels high and 105 pixels wide. The pixel array
is comprised of custom length strings fitted to manufactured cladding panels with 20mm apertures, through which the domed diffuser
protrudes. These panels then form the metal work of the feature.
Working alongside the lighting technology is the control capabilities that allow for the dynamic, eye-catching effects. Each panel has a
Cat5 control link back to the main controller box. A Pharos Controls LPC X is also located within this mains control box; this provides all
the control and data for the Tryka Pixel Nodes while also providing a wireless access point to the lighting system.
The Pharos LPC X is a standalone unit that runs independently via
programming that is uploaded from a programming computer and
can also be managed online via the cloud. Within the enclosure are two DMX convertor boxes, which provide the interface between
each panel and lighting controller. A Pharos EDN is also used as a
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DMX ports in an easily configurable networking node to specifically and most notable projects to date, to use the Pharos EDN.
The versatile Pharos Designer is installed on the commissioning laptop that is now operational at the site, along with the initial
configuration programme of the screen. It is a powerful programme with an intuitive graphical user interface that allows users to start work immediately and takes them through each stage of their
lighting project. It also has a vast array of precise control options
and features for advanced users to experiment with on their larger lighting and video installations.
Match Lighting Studio has created 16 lighting timelines which are now programmed for the St Enoch’s façade. These include video
loops, inbuilt generic effects, and text tickers. Each timeline effect is
20-30 seconds, and the total loop time is approximately six minutes. At the request of St Enoch Centre’s staff, the system timer activates at 9am running until 7pm, seven days per week.
Speaking of the project, Ryan Rolph from Tryka said: “The façade
feature at St Enoch’s shopping centre is stunning. It certainly meets its brief, being eye-catching, drawing attention, and becoming a must-see exhibit which tempts shoppers into the centre.”
The redevelopment of the St Enoch centre has made it a true jewel
in the crown of everything Glasgow has to offer those who live, work and visit this bustling hub. www.tryka.com
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Pics: Matthew Ling/The Light Lab
It’s In Our DNA At Birmingham’s Grand Central, The Light Lab has created a vibrant, dynamic lighting installation to create an engaging, welcoming feel for shoppers.
B
irmingham’s Grand Central; the retail and F&B
is easily programmable with intelligent lighting control by Pharos
in the UK outside of London, has recently completed a
Architainment. Artistic content was provided by light artists Miriam
The refresh works include the creation of an engaging, vibrant and
Phil Riley, Director at The Light Lab, said: “We relished the chance to
With a brief to enliven the mall experience, HFM’s approach was
enhance the retail experience at Grand Central; working to realise the
destination, integrated with the largest transport hub £2m upgrade to the New Street Mall by Hammerson.
bespoke lighting scheme by HFM Architects & The Light Lab.
driven through the necessity to reconnect the prominent strand
between the High Street and the New Street Mall, within the centre.
Architectural Controls Ltd, supplied, installed and programmed by Sleeman and Tom Sloane of Tiller Studio.
bring our experience in large scale architectural lighting features to innovative concepts of HFM Architects to create something unique
and enhance the public experience on entering the destination. The
Working with the specialist team at The Light Lab, HFM introduced a
complex structure and size of the piece brought its own challenges
placemaking identity of the space.
particularly interesting and enjoyable, and we hope that it gives
back to the discovery of the three-dimensional helical nature of DNA
These lighting installations have refreshed the visibility of the
sinuous, dynamic and programmable lighting scheme, to better the
A part of Birmingham’s important scientific history can be attributed
in both manufacture and installation, which made the project
pleasure to the people of Birmingham for many years to come.”
by Maurice Wilkins. It was these natural waveforms that HFM used
destination from the High Street and along New Street, creating a
character. The scheme is split into two phases: the first provides an
Dhruv Gulabchande, Associate Director, Architect and Research Lead
as design precedent granting the space a new, and more defined
installation piece to signify a grand arrival from the high street; and the second comprises a weaving skyscape that forms the genetic
dynamic, expressive and social mall.
at HFM Architects, added: “It is not often you have the opportunity to work with a client who is open to discuss the extended brief of a
fabric of the mall.
project beyond the immediate business case. At HFM we take the
bespoke feature by The Light Lab, entitled ‘The Helix’, resembles
composed of structured storytelling elements. We are extremely
In the double-height atrium entrance, the installation of a striking an unravelling strand of DNA. The ‘base-pairs’ are integrated with the latest SPI LED technology that allows for infinite possibilities of colour, movement and interactivity to welcome visitors to the destination.
For the initial phase of the project, The Light Lab’s team fabricated
bespoke Spectraglass fins, as pioneered at Penn Station, New York,
to create a 40-metre long undulating, digitally animated canvas that
stance that all spatial form should inherently be sustainable and grateful to have had the support from Hammerson to be able to
introduce the DNA-based lighting scheme supporting the narrative of Maurice Wilkins into the mall refresh. It has been a pleasure working with the talented client team, The Light Lab and the extended design team that brought the project to reality.” www.thelightlab.com
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Pics: Leica Store | Gallery Munich Maffeistrasse, © Oliver Jaist
Lights, Camera, Action Erco’s new Eclipse luminaires bring a flexible new lighting element to Munich’s Leica Store & Gallery.
T
he new Leica Store & Gallery in
likes of Mick Jagger and the Queen, alongside
for photography across an area
Adams, are on display for visitors.
Munich showcases a passion
of more than 250sqm. Opened
at the end of 2020, the store features an abundance of natural surfaces made of
sustainable wood, with warm tones creating a calm, restrained atmosphere.
Combining both an art gallery and a store,
both the sales area and showrooms are staged with Erco’s Eclipse spotlights.
From professional cameras and lenses to
high-quality camera bags and illustrated
books, the variety of products on offer in the store is highlighted on presentation walls
and tables by Eclipse spotlights with oval and oval wide flood light distribution in 3000K. Partially equipped with barn doors, they
ensure maximum visual comfort for shoppers as they browse.
The rear area of the space features exhibited
photographic art, lending the store a special, gallery-like quality. Here, portraits of the
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the Exposed exhibition by musician Bryan
Erco’s Eclipse wall washers and spotlights
with wide flood light distribution in 4000K ideally illuminate the portraits and walls.
The exhibitions in the store change and the
space is also used for events and vernissages, Because of this, the lighting needs to
be adaptable to the changing exhibition
concepts. Mounted on tracks, the Eclipse
spotlights can be flexibly repositioned and
aligned. Thanks to the luminaire’s modular
design, lenses for different light distributions can be changed quickly.
Thanks to wireless control via Casambi, the lighting can be easily controlled via an app; luminaires can be individually switched
and dimmed, light scenes are quickly set
up. Especially in the shop window area, it is
possible to create new looks in the store again and again by changing the lighting scenes. www.erco.com
ALUMINIUM PROFILE SQ-LINE STANDARD 24
PERFORMANCE M TRIMLESS WALLWASHER ROUND
UNI-BRIGHT ALLIANCE 38 Watt
PERFORMANCE M TRIMLESS WALLWASHER SQUARE
MBN GmbH Balthasar-Schaller-Str. 3 ·86316 Friedberg · Germany · Phone +49.821.60099-0 · Fax +49.821.60099-99 · info@proled.com
proled.com
The Go-To Standard After achieving Cradle to Cradle certification for its new Cascade Flex Vitality, Whitecroft Lighting break down the importance of seeking such accreditation when it comes to environmental and social responsibility.
C
ompanies in every sector face growing
pressure from stakeholders to demonstrate
the environmental and social responsibility of their products, projects and services,
not to mention validate those impacts with transparent, credible communication. The building industry is no different: the way
building products are designed and made today has a very direct impact on the world we will all inhabit tomorrow.
Choices made during the design and development stage are
particularly influential: not only are these decisions difficult to undo in future – they also have a significant bearing on overall indoor environment and the ultimate circularity of the product, space,
building or project. Materials choices, sources and approaches to assembly also have a bearing on people and systems.
What’s more, product designers, developers and manufacturers
looking to optimise the safety, circularity and responsibility of their products also face a proliferation of single-attribute standards that can make it challenging to drive holistic change across systems
and business models. Architects, interior designers, and facilities
managers face a similar challenge in sourcing and selecting products and materials for their projects.
The Cradle to Cradle Certified Product Standard answers this question with a science-based one-standard solution that makes it easy to
address interconnected environmental and social issues through an actionable framework for designing and making products.
For well over a decade, Cradle to Cradle Certified has been the go-to standard for manufacturers, architects and specifiers committed to
creating spaces and products today that enable a healthy, equitable, sustainable tomorrow.
Rooted in the Cradle to Cradle design philosophy pioneered by
architect William McDonough and chemist Dr. Michael Braungart, the Cradle to Cradle Certified Product Standard is owned by the
Cradle to Cradle Products Innovation Institute. Requirements for the third-party certification are developed through a multi-stakeholder process that encompasses public feedback as well as input and
guidance from industry, subject matter experts and sustainability
leaders from around the world. A fourth iteration of the standard was released earlier this year.
Differentiated by its comprehensive approach to the generation of
safe and circular materials and products, the standard requirements Tim Bowes, Head of Lighting Application, Whitecroft Lighting
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Emma Williams, Head of Communications, Cradle to Cradle Product Innovations Institute
are set forth across five critical performance categories: Material
Health, Product Circularity, Clean Air & Climate Protection, Water & Soil Stewardship, and Social Fairness. The holistic scope of
greenlight alliance The Cradle to Cradle Certified Product Standard enables manufacturers to:
1. Prioritise action across five sustainability focus areas:
• Material Health: ensuring materials are safe for humans and the environment.
• Product Circularity: enabling a circular economy through regenerative products and process design.
• Clean Air & Climate Protection: protecting clean air,
promoting renewable energy, and reducing harmful emissions. • Water & Soil Stewardship: safeguarding clean water and healthy soils.
• Social Fairness: respecting human rights and contributing to a fair and equitable society.
2. Enact roadmaps for change, from product innovation to operations.
3. Transform business models, systems and collaboration throughout the value chain.
4. Verify sustainability performance and measure progress.
5. Lead industry transformation towards a safe, circular and equitable future.
these requirements – and a bi-annual recertification system that
with a high price point. With Cascade Flex Vitality, we have created
accessible and an aspirational standard for companies working
performance and cyclability in mind – better enabling designers to
encourages continuous improvement – make it both an immediately to lead the way towards a future powered by products that enable greater human wellbeing and environmental health.
Whitecroft and Cradle to Cradle Certified
Whitecroft Lighting adopted the Cradle to Cradle Certified Product
Standard in 2020 for this reason. Several years of implementing low
energy lighting solutions had already led us to explore and adopt the principles of the circular economy into our core design philosophy. As we moved to further embed circular design principles into our product development practices, we started to consider the wider environmental implications of our materials, assemblages and
products from one lifecycle to the next. We also heard from many
customers that independent verification of our products’ circular and sustainability attributes would help to meaningfully support their own ESG goals and CSR values.
The design brief for Cascade Flex Vitality, our first Cradle to Cradle Certified product - and the first recessed luminaires to achieve certification under version 3.1 of the standard - included the following circular principles:
1. Design out waste & pollution (Cascade Flex Vitality uses 67% less plastic than a typical 600x600 flat panel).
2. Keep products and materials in use (Cascade Flex Vitality uses
long-life, high-efficacy systems with LED flip-chip technology).
3. Regenerate natural systems (Modular design cartridge technology in the Cascade Flex Vitality allows for easy maintenance, future upgradability and flexibility).
4. Achieve third-party verification of circularity and sustainability attributes.
The Cradle to Cradle Certified Product Standard provided an enabling framework for moving these principles into practice, with the
additional benefit of encompassing social fairness as an equally important consideration in the design process.
Outcomes & Optimisations
an accessible, higher quality product option made with long-term
consider circularity in the selection of lighting solutions at this level. In a broad context, applying the Cradle to Cradle Certified Product
Standard to the design and manufacture of the Cascade Flex Vitality 600x600mm luminaires highlighted for us the importance of
decisions made at the material selection and design stage, and
illuminated the wider social impact of what we manufacture, how we manufacture and our impact on our local community.
Some of the key product optimisations the certification process helped us achieve include: Material Reutilisation
First, we took a “whole product” approach to considering the material reutilisation capacity of the Cascade Flex Vitality. In
alignment with our existing commitment to keeping products and materials in use, we used a modular design cartridge technology
to allow for easy maintenance, future upgradability and flexibility, avoided the use of glue, and ensured the fixings were robust (no
‘snap fixings’). Then, we prioritised the use of materials that also
have the capacity to be recycled or reused at a future point in time. The process of considering future use cycles for the materials and
components of the Cascade Flex Vitality luminaire individually and in combination led us to start the process of developing ‘material passports’ for our products featuring both material and technical data designed to facilitate future cycling. Water Stewardship
While we have always been committed to responsibly managing
our water consumption, the Cradle to Cradle certification journey
shed new light on the potentially broad-reaching impacts of water
consumption in the manufacturing process. As a result, our volume
of water consumption, effluents, and – equally important to us – the social impact of access to clean water on our local community were
fully considered during the product development and manufacturing process. On the heels of this, our UK manufacturing facility is in the process of introducing greater water monitoring technology, which
will enable us to identify heavy water usage areas – data that we can
Overall, Cradle to Cradle Certified helped us clarify and expand our
use to enact further efficiency and process improvements in the
beyond dematerialisation and recyclability to examine what it
Social Fairness
tomorrow in mind.
also about the impact of our products on people, too. The Cradle to
an opportunity to demonstrate that circularity does not need to come
impacts of our products and processes. This included both the
definition of a circular product, giving us a pathway for pushing
near future.
truly means to design and make a sustainable product today with
Sustainable design is about more than environmental impact. It’s
Given the proliferation of 600x600mm products in the market, we saw
Cradle certification gave us a language for addressing the human
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greenlight alliance
Cascade Flex Vitality – the first Cradle to Cradle certified luminaire within the Whitecroft Vitality range.
health and well-being impact of our products (which is directly linked to material health and the use of
safe ingredient materials), as well as our company’s
Reaction from GreenLight Alliance Members:
impact on our employees, customers, stakeholders and the community we call home. The certification process has both broadened and deepened our
understanding of the interconnectivity between
the products we make, the way we make them, our
suppliers, and the people who make and use them.
We are now working to create a social impact roadmap that will build on our already active engagement in
employee health and wellbeing programmes, support for local environmental projects and charities,
and our ongoing investment in education through
apprenticeship schemes and graduate programmes with local colleges.
Key Takeaways
The process of achieving Cradle to Cradle certification has clarified and strengthened our definition of
Mark Ridler BDP
Cradle to Cradle seems hard to get, rigorous and holistic. All admirable qualities and Whitecroft are to be commended for having the will and commitment to make this investment in financial and human capital. My concerns are that this is almost too hard to achieve and that it will lead to a bifurcation of quality vs commodity. There has of course always been a spectrum, but this may lead to a binary situation where there is an exclusive club of excellence (that can rightly command a premium) and the remainder that is responsible for the vast majority of lighting projects supplied and installed. Now it could be argued that C2C will result in leadership and a trickle down of good practice, but there is a danger that it won’t, because this is not only a bifurcation of will, but also of resource. Is this kind of certification achievable commercially by small manufacturers that designers rely on? The good news is that a large, influential company such as Whitecroft is forging ahead and starting with products with the largest market penetration. I sincerely hope that this rises the tide that will float all boats. As a gold standard Cradle to Cradle holds an honourable position in the emerging circular economy ecosystem, but I feel that it will need supporting with other evaluation systems to allow a level of plurality in the market. The challenge of course for those systems will be how to be sufficiently accessible whilst maintaining sufficient rigour to bring about the meaningful change we are all seeking.
a circular product. We now understand how to
integrate key environmental and social performance considerations into the product development
pathway from design through to manufacturing and end of life. And, we have a better understanding of
the questions we need to ask ourselves to get there. Achieving Bronze certification for our Cascade Flex
Vitality product was a challenge (particularly in terms
of Material Health) but that is also part of the journey: the standard is based upon continuous improvement, and outcomes from this first certification have
already informed Whitecroft’s enterprise-wide
strategy for circular, responsible products. On the
basis of these insights and our expanded perspective, we have set the goal of launching three additional Cradle to Cradle Certified products in the coming
year under the Whitecroft Vitality brand. These will
include a downlight, continuous linear and suspended luminaires. The aim of this is to make significant
improvements in some or all of the standard’s five performance categories.
Kevan Shaw
EFLA | Kevin Shaw Lighting Design
Whitecroft are to be congratulated on achieving Bronze certification for its Cascade Flex design. The Cradle to Cradle Certified standard has been around for a while and has developed, reaching version 4.0 this March. This is a good sign in an area where both knowledge and expectations are rapidly advancing. It is also extremely broad intending to be applicable across all sectors of manufacturing. This is an excellent aim however risks lacking sufficient granularity within any one area, such as lighting, to allow it to sufficiently differentiate between products and manufacturers. In the version 4.0 documents, the second factor has been renamed from Material Re-utilisation to Product Circularity. This has decoupled the materials aspect and now includes a more rigorous set of questions relating to end of first use. It also includes a requirement for the defined functional use period (design life) to be declared, something that I keep returning to as vital information to make design and specification decisions. Overall this is a really major step in qualifying Circular Economy considerations. It is also interesting to see that the Cradle to Cradle Certification is an escalator with products only being allowed to remain at Bronze level for two certification cycles, effectively four years they then need to proceed to silver with its higher requirements, and so on. We wish Whitecroft well and look forward to them announcing the upgrade from CCC 3.1 to CCC 4.0 next year and achieving silver certification a couple of years after that. It’s sad however, to see that the ubiquitous 600x600 lay in luminaire is the first and currently only certified product. The fact that sales remain so strong for these does indicate that poor lighting design or more precisely non-existent lighting design is still leading the general commercial lighting market.
www.whitecroftlighting.com www.c2ccertified.org
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This series is curated by Roger Sexton of Stoane Lighting, roger@mikestoanelighting.com
Lighting Design for the 21st Century Applied research in lighting practice Asst. Prof. Dr. Karolina M. Zielinska-Dabkowska IALD, IES, CIE, MSLL, RIBA, discusses three key and pivotal research topics for the future of our profession. She also presents some project examples where research has been performed to help derive outstanding results.
Figure 1 9/11 Memorial, New York/USA demonstrating that if the vertical surfaces of the buildings at the perimeter level in the distance, such as shop fronts or restaurants, are illuminated, pedestrians will feel safe (Pic: © 360images/Jerome Boccon-Gibod).
F
or those who are unfamiliar with research, it’s
experience in any given space doesn’t just occur miraculously.
Fundamental (or basic) research [1] and applied
which comes from sound research and years of practice. This
scientific ideas/theories, whereas, applied
comprehending what’s best for them. It’s helpful to acknowledge
practice to develop technology or techniques.
part of the design process. However, there’s a tendency to disregard
important to know there are two categories.
Rather, it’s built on the designer’s insights and understanding,
research [2]. Basic research often discusses
awareness comes from knowing the end users, as well as
research explores testing these ideas in
that many of us in fact perform research in our day-to day practice as
It’s applied research which most interests lighting practitioners.
this, even though what we as lighting designers actually do is applied
distribution (SPD), correlated colour temperature (CCT) and colour
In my view, there are three key research topics for the future of our
listed in lighting catalogues compared to obtained physical working
are all based on the mounting research about daylight and artificial
that previously, research was mainly performed in lighting labs
These are: (1) Environmental impact and light pollution, (2) Biophilic
manufacturers. Furthermore, professional lighting designers most
These topics have been demonstrated below by some pioneering
equipment required to verify these results. Therefore, some of the
outstanding results.
Today though, due to the development of measuring equipment and
Environmental Impact and Light Pollution
spectroradiometers with a flicker option), we as lighting designers
humans, flora and fauna, which includes light pollution. When
In the recent past, significant discrepancies in the spectral power
research in practice.
rendering index (CRI) could be observed between the characteristics
lighting design profession that we should become familiar with. They
lighting samples. The only explanation for this situation was the fact
light and its impact on circadian relevance and biological stimulus.
owned by the lighting industry/specific lamp and luminaire
office design and (3) User oriented daylight integrated lighting (DIL).
often, did not have the necessary time, skills and access to the
project examples, where research has been performed to help derive
data could be manipulated.
improved accessibility (for example, small, calibrated handheld
can at least verify results by performing alternative measurements in our own practices. Access to free scientific knowledge is also now
widely available. Additionally, improvements in research are being made via lighting designers and engineers who teach at the
university level, and many students have the advantage of receiving excellent supervision when they perform research on light and lighting during their Master’s thesis and PhD studies.
Great lighting design that creates a pleasant and beneficial user
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Firstly, there’s the environmental impact of artificial lighting on lighting professionals began to illuminate skyscraper buildings in metropolitan cities in the 1920s and 30s to make architecture and
urban environments visually more prominent at night, it wasn’t even considered that these actions could have adverse consequences for living organisms in the future to come. Light was perceived as a
positive medium that can beautify cities and be used as a powerful marketing and advertisement tool [3]. Over time, things have
changed for the lighting design profession, as there’s an increasing
research
Figure 2 The 9/11 Memorial project is great example of applied research being carried out by lighting designers in the urban environment, proving it is possible to create darker spaces which are also safe, in metropoles such as New York. Lighting Design: Fisher Marantz Stone (Pic: www.exp1.com)
body of knowledge from various research fields such
perimeter level in the distance, such as shop fronts
ecology [7], all of which confirm that our design
will feel safe (Figure 2). This is a great example of
skilfully applied, could have far-reaching negative
designers in 2004, before it became more widely
as astronomy [4], biology [5], medicine [6], and
or restaurants, are illuminated, then pedestrians
actions, if not carefully thought through and
applied research being carried out by lighting
effects.
applied in practice.
Due to accessibility of various information on the
topic of environmental impact and light pollution
Biophilic Office Design
from nighttime illumination via the internet, the
Secondly, there’s the fascinating and important
later, began taking things into their own hands,
has arisen to address the needs of those people who
general public were made aware of the situation and demanding better quality, improved,
environmentally sensitive lighting [8]. This means
that today, we must ensure that the illumination of urban elements such as buildings, squares,
landmarks, and parks etc, is visually pleasing, as
well as energy efficient, sustainable and responsible. There’s no doubt that lighting designers have a moral obligation to decline urban lighting
commissions that do not support human health and environmental wellbeing [9].
While our cities were “painted with light” in the
past, we simply didn’t have the knowledge that now exists. So, the illumination of our cities today must be executed with far more care, caution and
restraint, and furthermore, our actions should bring about positive change. We should always consider
the possible impact of lighting projects and be able
to provide our clients with evidence-based answers to meet their demands.
Not many of us know that the 9/11 Memorial and its park to honour those who died on September 11,
2001, might have been illuminated as brightly as a
baseball pitch. This was one of the requirements of
the NYC police to create safe and secure spaces. (It’s a common misconception that more light
horizontally equates to increased security, when this isn’t the case at all.) Thankfully, it was the courage of Paul Marantz, the founder of Fisher Marantz
Stone (FMS), who disagreed with this requirement,
as based on his years of observation and experience, he understood how people perceive three-
dimensional spaces at night (Figure 1). His solution was the proposal of a benchmarking tool.
(Benchmarking in lighting design is a tool that has been employed for many years to search for ‘best practices’). This project required a few of my colleagues from FMS and I, to travel around
Manhattan, where we measured the horizontal
illuminance in public parks and squares to prove
that with even low levels of horizontal illuminance, if the vertical surfaces of the buildings at the
emergence of biophilic design development. This
migrated from rural areas to cities during the 20th
century. The abandonment of pastural and natural landscapes had physical and emotional
consequences for these individuals, who now lived in man-made urban environments, often without
greenery and trees. This urban growth continues to this day with 68% of the current world population predicted to occupy cities by 2050.
Due to the evolutionary disposition of humans,
when people live in an urban habitat, they will still seek to restore their lost relationship with plants and the natural world by spending time in open green spaces outdoors, and by bringing plants
indoors. As a consequence, at the turn of the 21st
century, a noticeable global movement developed in the application of biophilic design principles in the projects of numerous, internationally recognised
architectural practices. Clients and architects now expect their projects to incorporate theses new elements. Interestingly, when lighting
manufacturers or plant specialists are consulted
about how to illuminate ornamental plants in real
life interior projects with LEDs, a lack of knowledge is apparent, as there are no worldwide established
standards and recommendations regarding how to correctly illuminate indoor decorative vegetation. What’s more, if there is no daylight available for
built environments, many plants do not survive so they need to be constantly replaced due to
insufficiently designed and poorly specified artificial lighting.
When working on the Zurich Innovation Center Givaden, Julia Hartmann and her team from
Lightsphere in Switzerland, designed special illumination for 12-metre green columns of
ornamental plants in the new laboratory buildings
that surround the atrium, which serves as a common space for encounters and exchanges.
It was vital that the plants thrive indoors, and a special luminaire was created using a biophilic
approach to provide the right light spectrum (Figure
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research
Figure 3 The Zurich Innovation Center Givaudan, Kemptthal/CH project provided a suitable light spectrum to allow indoors ornamental plants to thrive inside buildings. This is an example of pioneering biophilic office design. Lighting Design: Lightsphere. (Pic: © Filipa Peixeiro)
3). In order to understand the lighting that’s best for plants,
and the environment, so we need metrics that provide information
sources, and the results were recorded via photographic
The crucial challenge facing lighting professionals today regarding
numerous lighting mock-up scenarios were set up with various light documentation. Lighting research was also conducted, and the experiment was shared in an open access publication [10].
User Oriented Daylight Integrated Lighting (DIL)
Thirdly, we should apply user-oriented daylight integrated lighting
(DIL) for interior illumination, which combines daylight and artificial lighting in indoor spaces to produce visual and biological benefits for humans. Sometimes the terms “circadian lighting” or “human
centric lighting” (HCL) [11] are used interchangeably for interior illumination, yet artificial lighting cannot replace the unique
qualities and characteristics of natural daylight. Additionally, it’s crucial to acknowledge that removing natural light from this
equation is inappropriate because humans as a species, have evolved under natural light. As rightly indicated by Prof. Kevin Houser in his lecture during Light Symposium Wismar 2020/21, “Human Centric
Lighting: Myth, Magic, or Metaphor” the term HCL is clearly used for marketing purposes [12]. Researcher and Educator Asst. Prof. Ellen
Kathrine Hansen and her team from Aalborg University, Copenhagen (AAU), use the term “double dynamic lighting” (DDL) to describe a concept for office spaces that combines natural daylight with artificial lighting in the space [13].
Light, be it natural or artificial, has a profound impact on our biology
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relevant to this to enhance the existing practice of lighting design. designing lighting schemes, is to provide LED lighting that is both
visually and biologically safe to general health [14]. This is difficult as there’s still a wide lack of knowledge about the impact of LED
technology, coupled with an absence of lighting products with clearly labelled characteristics such as SPD and flicker [15].
The American Society of Interior Designers Headquarters (ASIDH) completed in 2016, is one of the first pioneering projects that
showcases both daylighting and the artificial lighting of interior spaces that’s centred on humans, their health and wellbeing. Lighting consultants Benya Burnett used existing research
knowledge on light and lighting, and translated it into their unique design (Figure 4). For this project, the luminaire specification was completed in late 2015, when LEDs were still costly, therefore,
designers specified and selected high output fluorescent lamps with 5000K uplight, and 3000K downlight components, integrated with the office luminaires. As for the luminaire CCT, the designers
specified and selected lamps based on their SPD and the specified work or function of the occupants in that space.
Pre and post occupancy evaluations were conducted. The new design
had numerous benefits including the following - “collaborative work increased by 9%, there was improved physical and mental health of employees, their productivity increased by 16%, and there was also an increase of 25% in sleep efficacy” [16].
if round — all about architecture
ewo.com
As an elegant continuation of the if bollard, if round and its slender form effortlessly blend in with any setting and environment. Be it in private gardens or on walkways, in residential areas or hotels: With its homogeneous illumination, if round is sure to meet even the highest demands of building owners, architects and planners.
Especially since it is also available in a wall-mounted version that significantly extends its range of application in, on and around any building. And in public spaces, if round is the ultimate tool to create and gently fine-tune any high-quality drama, for nearby objects, surfaces and moods alike. Design Moritz Kessler / Photo Oskar Da Riz
research
References
Figure 4 The American Society of Interior Designers Headquarters (ASIDH) is a pioneering example of user oriented daylight integrated lighting (DIL). Lighting Design: Benya Burnett (Pic: Eric Laignel © ASIDH)
Key Takeaways 1.There is a great deal more to learn
various lighting characteristics into account,
lighting profession from a vision/perception-
within visible light (this means the percentage
We are facing an unprecedented shift in the oriented lighting approach, to one that is
orientated towards biology [17]. It’s imperative that scientists and researchers provide new
lighting metrics that can be easily understood and applied by the average lighting professional.
2. Skills require an upgrade
It’s essential to upgrade our skills as lighting
professionals. More than ever before, we need to become educated in order to interpret the
circadian relevance of light and its biological stimulus for health and wellbeing.
3. New lighting equipment is needed
We need to start using spectroradiometers to
measure SPDs to assess and specify lighting in individual environments, as CCT is an
inadequate metric for LED lighting technology, especially when we look at lighting from a biological perspective.
4. The physics of light must be understood and respected
such as the percentage of energy contained of both short wavelengths and long wavelengths), as well as flicker. 5. New design rules apply
If we want to provide safer illumination that supports health and wellbeing, we need to
approach projects differently to how they have been approached before. This will involve additional time, effort and study.
To conclude, perhaps the words of American
lighting designer Paul Gregory can guide us in
the 21st century: “We consider every project an
opportunity for greatness. We feel we are being given a canvas and a team of collaborators and that the only restriction is our creativity. We
approach every project as a new beginning” [18]. So, let us start a new beginning today, by applying the above in our daily practice!
An extended version of this article can be found
online at www.arc-magazine.com
[1] Fundamental research. Available online: https://bit.ly/34gXGMN (accessed on 19 May 2021). [2] Applied research. Available online: https://bit.ly/34jiwej (accessed on 19 May 2021). [3] Pérez Vega, C.; Zielinska-Dabkowska, K.M.; Hölker, F. Urban Lighting Research Transdisciplinary Framework—A Collaborative Process with Lighting Professionals. Int. J. Environ. Res. Public Health 2021, 18, 624. https://doi.org/10.3390/ijerph18020624 [4] Falchi, F.; Cinzano, P.; Duriscoe, D.; Kyba, C.C.M.; Elvidge, C.D.; Baugh, K.; Portnov, B.A.; Rybnikova, N.A.; Furgoni, R. The new world atlas of artificial night sky brightness. Sci. Adv. 2016, 2, e1600377 https:// doi.org/10.1126/sciadv.1600377 [5] Longcore, T.; Rich, C. Ecological light pollution. Front. Ecol. Environ. 2004, 2, 191–198. Available online: https://bit.ly/34hceMe (accessed on 10 March 2020). [6] Spivey, A. Light Pollution: Light at Night and Breast Cancer Risk Worldwide. Environ. Health Perspect. 2010, 118, A525 https://bit.ly/34TuxaG [7] Jägerbrand, A.K.; Bouroussis, C.A. Ecological Impact of Artificial Light at Night: Effective Strategies and Measures to Deal with Protected Species and Habitats. Sustainability 2021, 13, 5991. https://doi.org/10.3390/su13115991 [8] Zielinska-Dabkowska, K.M.; Xavia, K.; Bobkowska, K. Assessment of Citizens’ Actions against Light Pollution with Guidelines for Future Initiatives. Sustainability 2020, 12, 4997. https://doi.org/10.3390/su12124997 [9] Zielinska-Dabkowska, K.M. Knowing when to say no. Arredo & Citta, 2019, 2, pp. 64-73. https://bit.ly/3wziZFh [10] Zielinska-Dabkowska, K.M.; Hartmann, J.; Sigillo, C. LED Light Sources and Their Complex Set-Up for Visually and Biologically Effective Illumination for Ornamental Indoor Plants. Sustainability 2019, 11, 2642. https://doi.org/10.3390/su11092642 [11] Zielinska-Dabkowska K.M. Human Centric Lighting. The New X Factor? arc magazine 2019,108, pp.081-086. ISSN 1753-587 http://bit.ly/3bgHhu5 [12] Houser, K. Human Centric Lighting: Myth, Magic, or Metaphor. Available online: https://bit.ly/34kvg4k (accessed on 19 May 2021). [13] Hansen, E.K.; Bjørner, T.; Xylakis, E.; Pajuste M. An experiment of double dynamic lighting in an office responding to sky and daylight: Perceived effects on comfort, atmosphere and work engagement. Indoor and Built Environment 2021. http://doi.org/10.1177/1420326X21991198 [14] Zielinska-Dabkowska K.M. Home Sweet Home. Connecting the dots for healthy evening residential illumination. arc magazine 2019, 111, pp.055-060. ISSN 1753-5875 http://bit.ly/30TqCss [15] Zielinska-Dabkowska K.M., Kelly Waskett R. Three Principles for Healthy Living with Light and Lighting. arc magazine 2021, 121, pp. 116-117. ISSN 1753-5875 https://bit.ly/3yJ3bSu [16] Impact of Design Series, Vol. 1. Available online: https://www.asid.org/impact-of-design/asid (accessed on 19 May 2021). [17] Commission International de L’Éclairage (CIE). CIE System for Metrology of Optical Radiation for ipRGC Influenced Responses to Light; Standard CIE S 026/E:2018; Commission International de L’Éclairage (CIE): Vienna, Austria, 2018. [18] Gregory P. The Lighting Designer’s new role and responsibility. In Proceedings of the 1st Global Lighting Design Convention PLDC, London, UK, 24–27 October 2007; VIA Verlag: Guetersloh, Germany, 2007; pp. 45–46.
We need to look at light and its impact on
humans, flora and fauna, in a way that takes
Asst. Prof. Dr. Karolina M. Zielinska-Dabkowska is a chartered RIBA architect and an award winning practicing lighting designer. She is also an Assistant Professor at the Faculty of Architecture, Gdansk University of Technology, Poland, and co-founder of GUT LightLab, where she conducts research on various aspects of light and lighting in the built environment. She is actively engaged in the work of international organisations such as the International Association of Lighting Designers (IALD), the Illuminating Engineering Society (IES), International Commission of Illumination (CIE) and International Dark-Sky Association (IDA), providing guidelines and sharing best practice for nighttime illumination in the built and natural environment. She has participated in a number of international conferences, and has written articles for national and international publications. Karolina joined Women in Lighting (WiL) in March 2018 as an Ambassador for Poland.
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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
12.04.21 15:21
22-25 September 2021 MAGAZINE LONDON - GREENWICH PENINSULA
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29 APRIL 2021
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BEST EXTERIOR LIGHTING SCHEME
STRUCTURES LOW BUDGET
WINNER
The Iron Bridge, UK The Iron Bridge as its name suggests was the first bridge in the world to be made of iron and is an icon for the start of the industrial revolution. During 2017-18, English Heritage undertook a major £3.6m conservation project. Its clear instruction as the Bridge’s guardians was that nothing could be mounted on, under or through the Bridge. The client, wanted a lighting scheme that would extend the economic day of the bridge, would illuminate the downstream side previously left dark, was resilient to flooding, and celebrated the history of the iconic Bridge. The original concept was to deliver a white-light scheme for weekdays, a special effect on the weekend and the opportunity to have colourchanging for special occasions. The weekend effect was inspired by an unrelated quote from Morgan Cowles, Head of Conservation & Heritage at English Heritage, in a Sunday Times article: “Imagine the effect of the bridge lit at night by the fires from the furnaces and forges of Coalbrookdale,” – the weekend effect would thus become ‘furnace’. This design could be achieved using unobtrusive columns with integrated RGB floodlight heads to deliver both schemes and enable the client to colour-change on special occasions. During the conservation project, English Heritage discovered patches of the original
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paint colour, a red-brown, mahogany shade and painted the bridge back into this colour; thus mid-way through the lighting design, the paint finish changed from a 25% reflective mid-grey tone, to a 5% reflective red-brown. To maintain the required luminance would now require larger, more powerful projectors, stronger columns and more cost. Instantly the project grew into three years of careful negotiation and the overcoming of numerous challenges. Among these were issues surrounding installing heavy columns into unstable gorge sides in a UNESCO World Heritage site cut through by the River Severn. Wooden columns with bespoke brackets to tightly bunch the projectors were designed to soften the daytime appearance, extended metal bases protected the wooden shaft from flood waters. These were then located in as unobtrusive places as possible. The louvred floodlights are mainly narrow beam, cross aimed horizontally to capture as much light as possible under the deck, or on the solid stone abutments to minimise glare and spill. The design delivers a static 3000K whitelight scheme during the week. On Fridays and Saturdays, the innovative dynamic ‘furnace mode’ of red and amber overlaying dimmed back white light, creates the movement of the light from the burning skies of Coalbrookdale.
SECOND PLACE: Aira, Sweden by Sweco, Sweden THIRD PLACE: Villaricos Tower, Spain by DCI Lighting Design, Spain
Project: The Iron Bridge Location: Shropshire, UK Lighting Design: LPA Lighting, UK Client: Telford & Wrekin Council Main Lighting Suppliers: acdc lighting, Aubrilam, Lee Engineering
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BEST EXTERIOR LIGHTING SCHEME
BEST OF THE BEST
HIGH BUDGET
[D]ARC AWARD
STRUCTURES
ULTIMATE
WINNER
Acropolis of Athens and Monuments, Greece
The Acropolis of Athens is one of the most important monuments of world culture, a living symbol that is one of the most recognisable landmarks in the world. On 30 September 2020, the new lighting of the Acropolis and its monuments, funded and supported by the Onassis Foundation, was unveiled to the world. Eleftheria Deko and Associates approached the monuments first with respect, and before applying their thoughts on paper, the designers observed the characteristics of this unique place, its history, the forms and materials, the visibility from different places of the city and the significance of this important landmark. The new lighting covers the Sacred Rock, the fortification walls, and the 17 monuments; including the Parthenon, the Propylaea, the Temple of Athena Nike, the Erechtheion, the Ancient Theatre of Dionysus, the Stoa of Eumenes, the Shrine of Dionysus, and Aphrodite’s Cave, some of them illuminated for the first time. The design approach was to distinguish for the first time the Sacred Rock from the walls and the monuments through lighting, by the use of different colour temperature and intensity
differentiations. Moreover the designers wanted to accentuate the 3D nature of the scupltures and columns to highlight all the details of the monuments and create depth of field to make the different volumes distinct from far away. The process consisted of multiple tests on site and photorealistic calculations on 3D models, in order to achieve the most appropriate light for the Parthenon and the rest of the monuments, as well as for the Sacred Rock and the Walls. The new lighting scheme required a customised type of luminaire with a maximum enhancement of luminosity and tunable white light from 2700K to 5000K. The designers used 12 slightly different and harmonious shades of white for the monuments and the installed DMX control made possible to control each luminaire independently in terms of intensity and colour temperature. The new electrical system controls the lighting at all points of the installation. Control can be achieved both on site or remotely by a web server. This state-ofthe-art technology used for the new lighting scheme, improved the energy efficiency by reducing power requirements by 60%.
SECOND PLACE: The Øresund Bridge, Sweden/ Denmark by Light Bureau, Denmark THIRD PLACE: Tashkent City Congress Centre and Hotel, Uzbekistan by Arup, Turkey
Project: Acropolis of Athens and Monuments Location: Athens, Greece Lighting Design: Eleftheria Deko and Associates, Greece Client: Onassis Foundation, Greek Ministry of Culture Main Lighting Suppliers: Erco, Linea Light Group, Griven
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BEST INTERIOR LIGHTING SCHEME
PLACES LOW BUDGET
WINNER
Copenhagen Panorama, Denmark At the very top of Copenhagen Museum, installation The Copenhagen Panorama offers a serene and very different, tactile experience of the city. The installation, designed by JAC Studios, features two-component, horizontal lighting by Fortheloveoflight, a data wall by Dark Matters and a 23sqm model of Copenhagen cast in jesmonite that reacts to Lazerlight. The Copenhagen Panorama is a poetic universe that speaks to all senses. A universe, where the city’s heartbeat and life unfold through a play of light, laser projections, animations, and a dynamic soundscape of a 24-hour cycle in Copenhagen. Surrounded by the city’s panoramic horizon, visitors can gather around the elaborate elliptical casted model of Copenhagen’s centre. The model allows for exploration and an element of surprise, as well as opportunities to identify the buildings and city squares that make Copenhagen the city we know. The oval model is surrounded by the panorama wall, consisting of 32 embossed panels giving depth and a soft feel to the horizon. The panorama wall includes two dynamic lighting solutions that have different functions. The integrated
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top-light references the daylight, bathing the central model in diffuse cool daylight. The integrated horizon light mimics the low evening or early morning sun and grazes the façades of the buildings of the model. The total experience is condensed to a 24 minute multi-sensory experience including data-wall, laser light and integrated artificial panorama light. During these 24 minutes, the room evolves to support the cycle. The panorama wall that frames the room changes through a series of lightscapes, each based on Scandinavia’s unique daylight. Just as life in Copenhagen has always taken place in the long bright evenings and low crisp winter sun, the Copenhagen model lives in these same lighting scenarios – recreated in an abstract form. A mirroring disc above the model extends the visitor’s experience to multiple perspectives. The disc conceals eight lasers and 12 DMXcontrollable pin-spots. These can be activated by visitors from a button panel, highlighting landmarks and revealing historical layers of information about the expansion of the city over time.
SECOND PLACE: Maggie’s UK by Light Bureau, UK THIRD PLACE: 14 Hills, UK by Into Lighting, UK
Project: Copenhagen Panorama Location: Copenhagen, Denmark Lighting Design: Fortheloveoflight, Denmark Client: Copenhagen Museum Architect: JAC Studios, Denmark Main Lighting Suppliers: LightGraphix, Rebel Light, Lighting Up, Gantom, Orluna
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BEST INTERIOR LIGHTING SCHEME
PLACES HIGH BUDGET
WINNER
Norwich Cathedral, UK
The 900-year-old Norwich Cathedral is famous for its architecture, and is an important seat of worship and part of the local community. Speirs Major has created a new, sustainable, interior lighting system to support the liturgy and provide flexibility for various cultural activities and tourism, while reducing the energy load. A sensitive yet rigorous approach has delivered a richly nuanced scheme that has been embraced by the clergy and the local community, who use it daily to adapt the spaces to their needs. The project included re-lighting all the interior areas of the Cathedral, including six chapels, two ancillary rooms and the historic library. Consideration for the spiritual aspects of the building forms the foundation of the lighting approach. A flexible background level of light facilitates everyday activities, layered with highlights that provide focus on the key liturgical elements and objects of religious and cultural significance. At each entrance and change of level, carefully managed light levels ensure easy access and improved safety for people of all abilities. A further layer details the infrastructure required for concerts and community events.
The final layer of electric light subtly expresses the soaring architectural volumes. Soft uplighting highlights the sculptural forms of the ceilings and important features, including the historically significant ornate carved bosses at the intersections of the ribs. To deliver the many layers of light with minimal impact to the building fabric, Speirs Major designed a series of simple, multipurpose details, honed through numerous tests and mock-ups. For the Quire, the designers created a bespoke stall-mounted luminaire: a modern interpretation of a candle, it improves conditions for reading music while creating a soft sparkle reminiscent of a flame. Each lighting effect is individually controlled and dimmable from 0-100% brightness. This fine level of control enables the client to shift the focus of worship around the building, creating different atmospheres that suit the many uses of the space. An immensely complex undertaking, it was necessary to deliver the project in phases that allowed the Cathedral to remain operational at all times.
SECOND PLACE: Jewel Changi Airport, Singapore by Lighting Planners Associates, Singapore THIRD PLACE: Apple Fifth Avenue, USA by Foster + Partners Lighting, UK; Arup, UK; OVI, USA
Project: Norwich Cathedral Location: Norwich, UK Lighting Design: Speirs Major, UK Client: Dean and Chapter of Norwich Cathedral Main Lighting Suppliers: Stoane Lighting, Viabizzuno, Lutron
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BEST LANDSCAPE LIGHTING SCHEME
SPACES LOW BUDGET
WINNER
Santa Marina Hotel Tunnel, Greece The brief for this project was to design a lighting solution for the hotel’s main entrance tunnel that connects the outdoor area to the interior hotel reception. The challenge was to tailor the experience between the everchanging outdoor natural lighting conditions through to the constant interior artificial lighting environment, with a first impression that meets the high expectations of a five-star, luxury hotel. The lighting design scope also included the illumination of retail displays for high-end retail brands. The solution had to be seamlessly integrated into the architectural elements and balance the natural, ambient and display lighting within the tunnel. The concept is based on a three-dimensional spiral, where the pole of the spiral is the interior space (the reception of the hotel), the helix is the daily cycle of natural light (the exterior entrance), aiming to balance the dynamic daytime conditions to the fixed lighting environment of the hotel’s interiors and overcome the ‘cavernous feeling’ of the tunnel. The intensity and colour tone of the artificial light constantly change according to the time of day and year. During daytime, the cool CCT
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and high intensity of daylight are brought into the tunnel and gradually transition to warmer tones and lower intensities as we move towards the interior of the hotel. While the interior lighting of the hotel reception remains at a constant 2700K throughout the day and night, the entrance of the tunnel varies. Starting from dawn, with bluish tones, moving to the neutral white shades of light to gradually become warmer into nighttime, when the light is almost amber to imitate the candlelight effect. The reverse transition then occurs to meet the dusk. Meanwhile, the lighting in the retail display cases is a constant 3000K, but varies in intensity acording to the time of day, for optimum visual balance. The solution had to be low maintenance, accessible from remote locations with minimum cabling interference to the existing infrastructure. A Bluetooth-based control system was specified to control the luminaires, as it offered a wireless, robust and stable solution, with easy remote access by the hotel’s IT manager and maintenance crew off-site.
SECOND PLACE: Sayer Street and The Meadow, UK by Michael Grubb Studio, UK THIRD PLACE: Arnott Close Underpass, UK by Light Follows Behaviour, UK
Project: Santa Marina Hotel Tunnel Location: Mykonos, Greece Lighting Design: ASLight, Greece Client: Santa Marina Hotel Main Lighting Suppliers: Electron, Casambi
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BEST LANDSCAPE LIGHTING SCHEME
SPACES HIGH BUDGET
WINNER
Magical Shores at Siloso, Singapore
Nowadays, there are number of indoor digital interactive installations. But imagine how exciting it is to experience such installations in a breezy open public space? Magical Shores is a large scale permanent outdoor interactive projection and lighting installation, stretching over 400 metres on the sandy beach. The island of Sentosa is known as an accessible gateway for all kinds of leisurely activities: besides forest trails and sandy beaches, it houses the Universal Studio, aquarium, numerous resort hotels, adventure rides and even a light and sound show. However, through the extensive island survey, LPA discovered what was lacking is a kind of experience that is directly inspired by the rich biodiversity of the island, a site-specific activity. That was how the designers developed the idea for a barefoot stroll of the beach, interacting with a digital layer of nature images inspired by the surrounding biodiversity. The installation was crafted not as a light and sound show but more to amplify visitors’ senses, it is a multi-sensory experience that stimulates the human instinct to interact with nature. The highlight of the project is that artificial
intelligence was introduced to orchestrate the light and sound with wind and human motion sensing. The experience becomes akin to interacting with the ever-changing nature. While the maximum scale of such a vast installation was developed, careful considerations were taken to minimise impact to the surrounding environment. All the lights are strictly controlled and avoid the water’s surface to protect the underwater eco system. Also, sensitive lighting design applications – delicate blends of soft colour lighting on the beach, uplighting trees and washing plants with architectural lighting products, instead of floodlighting – enabled the creation of the pleasant nocturnal experience. Because Magical Shores had to be durable for at least the next three years, one of the biggest challenges was coming up with the technical solutions and set ups for the fully outdoor environment. By clearing the site conditions and concerns with intensive site tests and communicating with the relevant government agencies, LPA managed to design a timeless, nocturnal installation that visitors could feel coming back again and again.
SECOND PLACE: Clemenstorget, Sweden by COWI Lighting Design, Denmark THIRD PLACE: Menendez Pelayo Gardens, Spain by Anoche, Spain
Project: Magical Shores at Siloso Location: Singapore Lighting Design: Lighting Planners Associates, Singapore Client: Sentosa Development Cooporation Main Lighting Suppliers: Chauvet Professional, Claypaky, Christie
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BEST LIGHT ART SCHEME
ART
LOW BUDGET
WINNER
Search of the Glow, Taiwan Mist descends and surrounds the trees of the forest, and this intermingling creates the feeling of being rooted in the mountains where everything is at once obscured and then distinct. All senses are slowly enhanced, and rays of the light guide us to an adventure in the mist. In a grove of trees, we discover an object emitting flickering light — its woven and curved staves engage in a dialogue with the natural curves of the surrounding trees. Walking into this glowing object, we are embraced by curved wood and light, which creates a mysterious spatial experience. The artwork, Search of the Glow is a small installation made for the 2020 Taiwan Lantern Festival and was placed in a wooded area away from the central visitor plaza. The installation offers a gentle, harmonious, and tranquil
space under the trees where one can commune with nature and take a break from the noisy excitement. The installation creates a natural experience and offers an alternative to the decorative displays that have been routinely seen at usual festivals. The artwork has applied digital fabrication and craftsman techniques. The modular, lightweight wooden construction allows it to be easily reassembled. The lofting drafting technique was used to create the four large streamlined hoops that serve as the main structure, as well as the smaller hoops that connect them. Together they form a double-curvature geometry based on the sphere. These curved components are laminated of eight layers of wood veneer and inlaid strip lights, whose graceful curves shine through the mist.
SECOND PLACE: Su vertical nos retiene, Chile by Limarí Lighting Design, Chile THIRD PLACE: Dichroic Sphere, Denmark by Studio Jakob Kvist, Denmark
Project: Search of the Glow Location: Hsinchu, Taiwan Lighting Design: Serendipity Studio, Taiwan Artist: Ling-Li Tseng Client: Taiwan Lantern Festival
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BEST LIGHT ART SCHEME
ART
HIGH BUDGET
WINNER
Grow, Netherlands
Daan Roosegaarde’s latest artwork, Grow is an homage to the beauty of agriculture. It appears as a luminous dreamscape of red and blue waves of light over an enormous field. Grow is inspired by scientific light recipes that improve plants’ growth and resilience. Most of the time we hardly notice the huge areas of the Earth that are literally feeding us. Grow highlights the importance of innovation in the agriculture system: How can cutting-edge light design help plants to grow more sustainably? How 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). You 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%. An accompanying film shows the development of this luminous dreamscape and how the beauty of light can help plants. It is also a call for enlightenment during these dark times. Grow
can be good for nature but also sends hopeful light to people. It gives a new meaning to the word ‘agri-culture’ by reframing the landscape as a living cultural artwork. Daan Roosegaarde said: “Grow is the dreamscape that shows the beauty of light and sustainability. Not as a utopia but as a protopia, improving step by step.” Prof. Dr. Wargent, PhD, Chief Science Officer at BioLumic, world leading expert in plant photobiology, added: “Grow is a fascinating project and supported by scientific research that shows specific light recipes can enhance growth and reduce pesticide use up to 50%.” Grow is part of the artist-in-residence programme of 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 show the beauty of combining art and science to create a better world.
SECOND PLACE: 1.3 Seconde, France by Tetro x Guillaume Marmin, France THIRD PLACE: Vessel at Hudson Yards, USA by L’Observatoire International, USA
Project: Grow Location: Netherlands Lighting Design: Studio Roosegaarde, Netherlands Architect: Daan Roosegaarde, Netherlands Main Lighting Suppliers: Studio Roosegaarde in collaboration with Wageningen University and BioLumic
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BEST CREATIVE LIGHTING EVENT
EVENT
WINNER
Acropolis Lights Launch Event, Greece To coincide with the new lighting of the Acropolis of Athens and its 17 monuments, an audiovisual event was organised by the Onassis Foundation and the Ministry of Culture in collaboration with Eleftheria Deko to inaugurate the new lighting. The lighting design motive was to create a dynamic light show that will catch the viewer’s eye from multiple viewpoints of the city. To unveil the permanent lighting with a strong movement, to captivate the audience’s attention and symbolically “turn on” the light of democracy, the light of the history and culture of Athens. Eleftheria Deko’s design narrative was driven by the Parthenon’s structure and mystical architecture. The Parthenon doesn´t contain any straight lines and right angles. It has a slight parabolic upward curvature and the columns’ axes tend to meet in the centre as a ray that “travels” to the “heart” of the Parthenon, almost 2,400 metres high in the sky. A remarkable application of the “optical refinements” the ancient Greeks mastered. The lighting designers honoured that unique geometry, trying to elongate with sharp beams of light the columns
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of Parthenon to the infinity. The spirituality of the temple to the heaven. The 51 beams of light, coming through each column of the Parthenon, were synchronised under the sound of the electronic music that Mr. Gasparatos composed for the show. On the eve of the 30 September, the designers wanted the light to symbolically shine through the skies, sending a message of democracy, unity and culture to humanity, values that have been emitted by the Parthenon and the Sacred Rock of the Acropolis for the last 2,500 years. Eleftheria Deko said: “We believed that we cannot honour such a monument only by a dynamic lighting show, but we wanted to create a fascinating introduction to welcome the main event of the installation of the new lighting of the Acropolis, bridging the future of our civilization with its past.”
SECOND PLACE: Lights in Alingsås, Sweden by Alingsås Energi, Sweden THIRD PLACE: Lumiere 2019, UK by Artichoke
Event: Acropolis Lights Launch Event Location: Athens, Greece Organiser: Onassis Foundation, Greek Ministry of Culture Main Partners: Eleftheria Deko (Lighting Design & Concept), Christos Sarris (Creative Director-Stegi), Stavros Maragos (Video Director), V+O Group/YARD (Production) Main Sponsors: Onassis Foundation
www.darcawards.com
BEST LIGHTING PRODUCTS
KIT
EXTERIOR
WINNER
minimumMAXIMUM - Lam32 Experience
minimumMAXIMUM from Lam32 Experience is an outdoor inground modular system comprised of six different shapes (circle, rectangle, square, line and two triangle shapes) and five different sizes for each shape. It allows for unlimited combinations and compositions, giving inground lighting projects an unprecedented, unique tool. Combining them, specifiers can design new “architectural vocabularies” that are able to respect the different cultures of the world. Their great load resistance and the possibility to install them in water up to one-metre deep makes the minimumMAXIMUM luminaires the ideal solution for large aggregation spaces.
SECOND PLACE: G-CAT - Stoane Lighting THIRD PLACE: Nebula - Neri FOURTH PLACE: 3D LED Flex 200 IP66 - Radiant Architectural Lighting FIFTH PLACE: Orba Exterior Spotlight Range - Phos SIXTH PLACE: Lightweight - Dan Heap Lighting SEVENTH PLACE: Ted - DGA EIGHTH PLACE: Typlia - Turay Aydınlatma NINTH PLACE: Lance Series - Meteor Lighting TENTH PLACE: Apis - Turay Aydınlatma
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BEST LIGHTING PRODUCTS
KIT
INTERIOR
WINNER
Nano Tini - DGA DGA’s Nano tini is a very small (20×9mm) and very powerful spot for showcases. It is the highest concentration of LED technology and miniaturisation of the components, fully developed by DGA. It is the first product that uses the new nano lenses, ø5mm, a DGA technology patent. Nano Tini is the ideal product for projects where the light source is required to be hidden. The new lenses are equipped with glare-resistant snoot and are available with three beam angles: 20°, 30°, 50°.
SECOND PLACE: Orba Interior Spotlight Range - Phos THIRD PLACE: Whitegoods 20+ - Inter-lux FOURTH PLACE: 35 Linear - Aria FIFTH PLACE: Syntax - RLON SIXTH PLACE: Blade R - iGuzzini SEVENTH PLACE: ZTA - Stoane Lighting EIGHTH PLACE: Flexi Grazer - LEDFlex NINTH PLACE: G-Spot - Maerich TENTH PLACE: Incline - Reggiani
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www.darcawards.com
BEST LIGHTING PRODUCTS
KIT
TECHNOLOGY
WINNER
DALI Gateway - Casambi
The Casambi DALI gateway allows for a full wireless DALI network or extending existing DALI installations with wireless segments. If the DALI controller supports DALI-2, the Casambi gateway supports Casambi sensors and switches as well and provides those control signals to the DALI network. The DALI gateway enables you to create hybrid networks between wired DALI and wireless Casambi, which is perfect for renovation or installations in protected buildings. It also allows you to connect Casambi networks via a DALI network to Building Management Systems in installations. The DALI gateway supports control hierarchies between the DALI controller and the Casambi network, where both networks can be controlled independently of each other or fully controlled from the DALI controller, depending on the installation.
SECOND PLACE: LuminAiRe - Apollo AR THIRD PLACE: Athena - Lutron Electronics FOURTH PLACE: MixBook - Rosco FIFTH PLACE: Pharos Cloud - Pharos Architectural Controls SIXTH PLACE: XCA, XTM, XIM Family - Xicato SEVENTH PLACE: POET - Skandal Technologies EIGHTH PLACE: SmartCore - amBX NINTH PLACE: POWERdrive 50W - eldoLED TENTH PLACE: Kokos - Lightson
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Circles and Squares After it took home the KIT - Exterior trophy at the 2020 [d]arc awards, David Morgan was keen to take a closer look at LAM32’s minimumMAXIMUM range of in-ground illuminated panels.
W
hen a recently formed Italian architectural
lighting company produces a series of floating
illuminated jellyfish for an iconic hotel project in Croatia, the combination of creativity and technical potential is clearly evident.
The unusual name of this company, LAM32,
derives from Luce A Misura”, (tailormade light)
while the number 32 was the sum of the years of experience of the two founders.
With a background interest in electronics, and after working in
marketing for iGuzzini, then for Targetti as a sales agent, Matteo
Appignanesi launched LAM32 with a partner in 2007. Their aim was to create luminaires and lighting systems capable of satisfying the needs of lighting designers around the world.
Initial sales came from the design and production of custom
luminaires for a variety of international projects including the
remarkable Hotel Belleveue concept with Dean Skira in Croatia. This is the project that involved the development of gigantic floating
illuminated jellyfish with trailing side-lit fibre optic tendrils; the product and development images are presented in detail on the LAM32 web site.
In 2011 the company introduced the first standard ranges, designed
in-house, including exterior-rated Round Evo and Wave projectors, which remain in the range today. The company currently employs 36 people and is located near the Adriatic coast of Italy with sales activity in all major international markets.
The latest product range introduced by LAM32 is the extensive minimumMAXIMUM in-ground illuminated panel range that
recently won the best exterior lighting product accolade at the 2020 [d]arc awards.
This remarkable range includes five different panel shapes and each one is available in five sizes, hence the overall product range name. The first products to be commercialised were the Circles followed 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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by the Square, Rectangular, Line, and Triangular shapes. The
luminaires are drive over-rated, being strong enough to withstand 5,000kg loading. Both IP67 and IP68 options are available with the IP68 version being rated for continuous immersion in up to one metre of water.
DAVID MORGAN
Apparently, the initial concept for minimumMAXIMUM came
to accommodate basement car parking areas. Anti-slip details can be
Francesco Iannone and Serena Tellini from the pioneering Consuline
The lumen output and efficiency are respectable for a diffuse
from Matteo Appignanesi who then asked lighting designers
consultancy to develop the full geometric collection. They proposed adding the logarithmic shaped triangles to complete the range and also suggested the ratio for the rectangular types, which are now
based on the golden section. The stylish and informative brochure for the range goes into considerable detail about Western and Eastern
systems of geometries and how these have affected architecture and design over the centuries.
The construction of the luminaires is very robust as would be
expected with a drive over-strength, in-ground panel. The frosted finish, 15mm thick glass is bonded to a stainless-steel body with a 7mm layer of silicone. I was not able to open the luminaire to
examine the light engine or diffusion system, but the lit effect is very even in the centre of the luminaire with a 20mm shadow running around the edges where the glass is bonded to the stainless body.
The overall depth of the luminaire body is only 36mm so the diffusion process is clearly effective to give such a uniform lit effect. The
heavily engineered stainless steel in-ground housing increases the overall depth to 96mm, which fits into the many projects where a
maximum 100mm recess depth is allowed in the slab build up depth
added to the glass, appearing as visible dots on the surface.
luminaire of this type, the smallest circular size at 250mm diameter
with 3000K LEDs provides up to 1,250lms with a consumption of 15W. The largest round luminaire is the 1,200mm diameter and provides up to 6,350lmswith a consumption of 76W. Standard LED colour
temperatures are 2700K, 3000K and 4000K. Colour tuneable and RGB light engines are also available as custom options.
LAM32 undertakes all design and engineering in-house along with
assembly and testing. Components are sourced locally from qualified ISO 9001 approved suppliers. It is understood that 90% of the
materials used in the minimumMAXIMUM products can be recycled and the light engines can be factory replaced at the end of life, after around 75,000 hours of use.
The introduction of the range was delayed by around 10 months due
to the pandemic, but samples have been distributed around the world and it is claimed that lighting designers have responded positively to
the project possibilities that the range allows. The first project where the Circle type has been installed was at the Dalma Mall project in Abu Dhabi.
www.lam32.com
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New, New, New!
A look at some of the latest products and innovations to hit the market from across the lighting industry.
Flood One EO Color Acclaim Lighting Flood One EO Color is a high output, outdoor rated, colour-changing LED floodlight with a very low-profile design. Ideal for façade and wide-area lighting applications, the outdoor RGBW LED floodlight is available in multiple variants, including Acclaim’s Spectrum Technology which allows for a more expansive colour palette and dynamic white capability. Flood One EO Color comes with a standard 10° beam angle with optional spread lenses of 20°, 40°, 70°, 90°, and 10° X 60° for custom lighting applications. www.acclaimlighting.com
Flexglo F23 Clear Lighting Flexglo F23 reflects the trends of LED neon flex, requiring small physical size yet ideal lumen output, and comparatively more costeffective. It may be easier to source smaller ones in the market, however hardly any can combat it in terms of appearance, colour consistency, heat dissipation, waterproof, and lifespan on average. Underpinned by Clear’s rich experience in the lighting industry, the company has reached a subtle balance to fit high-end design demand. www.clearlighting.com
Vorsa Dot John Cullen Lighting Bring focus to what matters with the smallest track-mounted luminaire on the market – the Vorsa Dot. With a choice of flood or spot luminaires, multiple different optics and five different snoots, it allows your lighting to be as tailored as your display. An innovative proprietary track with different mounting options offers maximum control with independent dimming levels. The Dot delivers a powerful 65Lm along with a CRI of 98. www.johncullenlighting.com
Regio Flex LED Bright Special Lighting The Regio Flex LED is the latest entry into Bright Special Lighting’s high-quality LED lights. The wallwasher has a smart design, allowing the fixtures to be hidden, while ensuring that walls and ceilings are properly illuminated with options of optical lens’ from 5-60. With a high pressure casting aluminium body, low wattage, IP65 rating and uniform lighting, designers can create indirect lighting effects, integrate mood lighting and bring the night to life. www.bright.gr
LD792 LightGraphix LightGraphix has launched four new downlights - LD780, LD782, LD790, and LD792 - with single colour, two-tone, fixed and adjustable options, rated IP65 for interior, exterior and marine applications. Bezel diameters start at 46mm, achieving an excellent size to output ratio delivering over 400lm. Colour temperatures range between 2200K-5000K and beam angles include several medium and a super tight 10° narrow. A single deep recessed optic ensures ultra-low glare, superior beam shape and no multiple shadows. www.lightgraphix.co.uk
Auragami Applelec Helping to bridge the gap for achieving complex illuminated schemes, Auragami from Applelec is an extremely flexible and versatile backlighting panel. Delivering flawless illumination to sharp edge designs, Auragami can be shaped at an impressive 90° angle or wrapped around columns and curved surfaces. Utilising tight pitch, powerful LEDs, Auragami is the ideal solution for producing luminous backlighting for particularly dense surface material of up to 20mm depths. www.appleleclighting.co.uk
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new products
if round ewo A striking join at the neck of this luminaire accommodates ewo’s A–Series optical system, opening ewo’s entire light-shaping technology toolbox for bespoke lighting configurations. Through the if round, ewo strives to shape and target light to improve the quality of cityscapes and all manner of architecture, for every imaginable lighting design freedom. www.ewo.com
KWH Range Ligman A unique linear shape, rounded profile luminaire with surface-mounting bracket, and robust, tiltable body, offered in different lengths means the KWH range provides multiple optical and professional lighting solutions for building, area and façade lighting. Suitable for installation in narrow spaces, both single and twin modules can be tilted up to 180°. Complete with a remote-control gear box attached to the bracket to reduce heat from the body, it covers RGBW and RGBTW (RGB Tunable White 2700K - 6500K) systems via RDM, DMX systems. www.ligman.com
seventies 70’s plus mawa design Track spotlight for highly professional application in museum settings, the seventies 70’s plus is the sequel to its predecessor, the seventies 70’s series. It incorporates two LED modules, beam angles (11° to 52°) and power classes (10W to 37W) that are modularly configurable for special lighting requirements. It is suitable for museums, regarding excellent colour rendering and minimisation of potential light damage with respect to preventative conservation. www.mawa-design.de
Storm Petridis Storm is a 24V DC low voltage aluminium profile for tracking lights with smart magnet technology. It is an ideal solution for small showcases, homes, rest areas, museums, hotels, exhibition halls and generally for many decorative and architectural projects www.petridis-lighting.gr
TubeLED Mini HO Lucent Lighting The newest addition to the Lucent TubeLED range, the TubeLED Mini HO (High Output) is designed to deliver maximum performance whilst maintaining the Mini’s small form and flexibility. The fixture is idea for retail and gallery applications with its high performance and architectural aesthetic form. The fixture incorporates an integral driver in the tubular body with various dimming protocols negating the need for a separate driver housing resulting in its clean form. www.lucent-lighting.com
Lingotto Linea Light Group Lingotto is a new solution particularly suited to lighting up pergolas, exterior walls, cellars and basements. Perfect for outdoor environments, thanks to the polyurethane resin diffuser with an IP65rating, the fixture is weather and humidity resistant, characterised by a body lamp in AISI 304 stainless steel. Lingotto is available in black and dark brown finishes in various suspension wall and ceiling versions www.linealight.com
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case study
Pics: Courtesy The Kauffman Center for the Performing Arts
Coloured Curves Lighting designer Dav Bettenhausen of design firm Lankford Fendler + Associates redesigns the exterior lighting experience for Kansas City’s Kauffman Center for the Performing Arts.
H
ome to the Kansas City Ballet,
an even and uniform lighting approach.”
beam angle delivers an impressive 6573lx at
and Kansas City Symphony,
deploy in the exterior lighting design,
“Since we were replacing the outdated
Performing Arts is a cultural cornerstone
luminaires would be of vital importance.
to route DMX to all the fixture locations for
performing arts experiences. Heralded as
form result for any luminaire brought into
continued Bettenhausen. “The control
Halls, the Kauffman Center first opened in
lasting four to six hours per night over
with connected functionality to allow for
wanting to update their exterior lighting
“Since LED luminaires have different optics
and all the fixtures were a one-to-one
the classic architecture, the Kauffman Center
difficult to model the colour saturation,”
The ArcSource line of LED luminaires offers
who created a new lighting design using
best fixtures, we put out design specs
lighting solutions using various beam angles
Premier Lighting and Controls.
potential lighting solutions to the building
applications. Each designed with a flush-
of the community and a world-renowned
performed the best.”
protects the units from the buildup of dirt
brief they brought to us was really quite
project, the team at Premier Lighting and
IP67 rating to ensure high performance even
Dav Bettenhausen, Lankford Fendler +
part. Confident they could provide a lighting
“There is a certain amount of pride that
replace the old 175W T6 3000K ceramic metal
worked with Anolis Lighting and decided
like this, and it was an honour to be a part
solution that could match the existing
96 Integral LED luminaires.
“Everyone was really excited about the new
keep the classic look of the original design.
Divine range, the Divine 72, was developed
the Kauffman Center into community
of concrete and reflective metal building
lighting design application. Featuring
colour-changing events as a signature part
needed to highlight those differences with
over-spill with precise optics, the native 6°
www.anolis.eu
Lyric Opera of Kansas City
In the search for the ideal fixtures to
10-metres.
the Kauffman Center for the
the performance characteristics of the
fixtures, we had power but no DMX and had
delivering extraordinary and diverse
To ensure they could experience a true-to-
the reliability of a hard-wired solution,”
one of the world’s most beautiful Concert
the project, onsite tests were performed
system was then run off a PC-based interface
2011 and was designed by Moshe Safdie. Now
multiple nights.
remote changes of colour and intensity,
design to better illuminate and accentuate
and functionality, we knew it would be
replacement in each location.”
worked with Lankford Fendler + Associates,
explained Bettenhausen. “To find the
a wide range of outdoor and inground
Anolis Lighting LED luminaires supplied by
and allowed manufacturers’ reps to bring
and colour variants for a broad range of
“The Kauffman Center is an iconic part
for a series of onsite tests to see which
mounted “Watch Glass” frontage that
Cultural Arts institution, so the design
Upon receiving the design specs for the
and debris, the ArcSource line achieves an
simple,” explained lighting designer
Controls were immediately excited to take
in the toughest environments.
Associates. “The ownership wanted to
solution that would meet expectations, they
comes with working on a lighting design
halide fixtures with an LED colour-changing
upon a package of Divine 72 and ArcSource
of the project,” concluded Bettenhausen.
colour temperature and light distribution to
The latest fixture in the Anolis Lighting
functionality of the design, which brings
Architecturally speaking, the interplay
to optimise the beam in a long-throw
conversations and dialogues associated with
materials is something unique, so we
Zero Passive technology to eliminate light
of the evolving cityscape.”
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VO R SA D OT M I N I AT U R E | P O W E R F U L | A D A P TA B L E PLAY VIDEO
ACTUAL SIZE
LO N D O N | PA R I S | D U B A I | M U M B A I JOHNCULLENLIGHTING.COM
Newfoundland Tower, London Lighting Design by MBLD The ‘crown’ of the tower is illuminated by the Euclid 100 system
www.radiantlights.co.uk
|
+44 ( 0 ) 208 348 9003
Euclid 100 IP65 Exterior LED linear lighting system IP65 Up to 12,000 Lumens per Mtr
|
david@radiantlights.co.uk
|
arc ad June-July 2021.indd 1
All products designed by
16/06/2021 14:40:52
ADVERTISERS INDEX Acclaim Lighting........................... 59
formalighting................................ 81
Lumascape.................................... 27
ACEVEL.............................................9
Illumination Physics..................... 63
Mawa Design...................................2
Alto................................................. 57
Intra Lighting................................ 17
Petridis Lighting........................... 91
Applelec Lighting........................ 129
John Cullen Lighting................... 125
Proled............................................ 95
Bega............................................... 23
KKDC.............................................. 33
Radiant Architectural Lighting.. 126
Bright Special Lighting............... 127
LED Linear................................... 132
Recolight..................................... 131
Clear Lighting.............................. 127
LEDiL.............................................. 69
Robe.............................................. 47
CLS-LED............................................8
LightGraphix................................. 89
Seoul Semiconductor.................. 99
Colors............................................ 55
Lightly Technologies.................... 43
Tryka L.E.D.................................. 6, 7
[d]arc room................................. 106
Ligman........................................... 15
Unilamp......................................... 11
Erco...................................................3
Linea Light Group........................ 29
Wibre........................................... 105
ewo.............................................. 103
Lite............................................... 4, 5
Zeplinn.......................................... 31
Feelux............................................ 13
Lucent Lighting............................. 77
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. STRATEGIES IN LIGHT 24-26 August Santa Clara, USA
[D]ARC ROOM POP UP @ DESIGN LONDON 22-25 September London, UK
LIGHTFAIR INTERNATIONAL 25-29 October New York, USA
www.strategiesinlight.com
www.darcroom.com
www.lightfair.com
PLASA 5-7 September London, UK
TRENDS IN LIGHTING 28-30 September Bregenz, Austria
HONG KONG INT’L LIGHTING FAIR 27-30 October Hong Kong, China
www.plasashow.com
www.forum-trends.lighting
www.hktdc.com
EUROLUCE 5-10 Sepember Milan, Italy
LIGHT MIDDLE EAST 28-30 September Dubai, UAE
LEDFORUM.21 4-5 November São Paulo, Brazil
www.salonemilano.it
www.light-middle-east.ae.messefrankfurt.com
www.ledforum.com.br
BIEL 8-11 September Buenos Aires, Argentina
[D]ARC SESSIONS 5-7 October Mykonos, Greece
EXPO LIGHTING AMERICA 9-11 November Mexico City, Mexico
www.biel-light-building.ar.messefrankfurt.com
www.darcsessions.com
www.expolightingamerica.com
ARCHLIGHT SUMMIT 21-22 September Dallas, USA
BIENNALE INTERIEUR 21-25 October Kortrijk, Belgium
THAILAND LIGHTING FAIR 24-26 November Bangkok, Thailand
www.archlightsummit.com
www.interieur.be
www.thailandlightingfair.hk.messefrankfurt.com
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ILLUMINATING THE POSSIBILITIES Applelec Lighting is a UK manufacturer and supplier of premium backlighting solutions. Delivering superior engineering, products and customer services. Applelec Lighting has built a reputation as the go-to backlighting solutions specialists withinn the design industry.
www.appleleclighting.co.uk sales@appleleclighting.co.uk 01274 774 477
June 2021 1 page collage.indd 1
Applelec LED Light Sheet is a UK manufacturing light panel
03/06/2021 15:18:35
THE BACK PAGE BUCKET LIST Curated by
#22 BERLUX / Berry van Egten & Ellen Goulmy What: Stargazing! Leave your busy life for just a few moments and enjoy the stars. The Netherlands is still one of the places with a lot of lighting pollution, so there are only a few places where it is actually dark. Where: Dark Sky Park Lauwersmeer - the Netherlands. It’s in the north of the Netherlands near the islands and an absolute fantastic area to go!. When: Any night, but make sure there are no clouds. Bring warm clothes, good company, hot chocolate and a stroopwafel (typical dutch cookie). Why: As Lighting Designers, we know the importance of light, but watching the stars and experiencing real darkness is a must-do. You’ll feel humble, you’ll see!
Picture: Johan Kalthof
“Keep your eyes on the stars, and your feet on the ground.”
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Theodore Roosevelt
www.berluxlichtarchitectuur.nl
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BA TT ER
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IN
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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.
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