23 minute read
Women in Lighting Awards
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 winners of the first ever Women in Lighting Awards. There are many international awards programmes in the lighting industry, and they all play their part in promoting light and lighting to a wider world and driving up professional excellence, but none of them are specifically about people and the things they achieve on an everyday basis. With that in mind, and after a year that was truly awful for everyone, we took inspiration from the Maya Angelou Poem, “Still I Rise” and established the WiL Awards, to seek out and celebrate women’s achievements and the achievements of those who support them. In 2020, we had to deal with issues that had never come our way before in 2020. But despite adversity, we were still able to achieve and make great things happen. Nominations were invited for accomplishments large or small, for people that did something special in 2020 under the categories of Achievement, Initiatives and Supporters. The aim was to give the nominees some recognition and allow us together, to acknowledge their successes. Some of our ambassadors created a panel to pick out specific high achievers, top supporters, and favourite initiatives so that we could honour them in more detail but in truth everyone nominated is a winner and we celebrate you all. Entries opened on 8 March, on International Women’s Day and a total of 180 nominations were made. This resulted in 141 nominees from 36 countries. Our three panels have deliberated, with two winners selected for each category. Deciding which nominations were more favourable was extremely difficult; Sharon Magnaghi from WiL supporter formalighting said: “Each highly respected nominee likely had to overcome various challenges to reach such professional achievements and make these remarkable contributions to the industry. Exemplary talents who inspire us all to just keep at it.” In the Initiative category, we wanted to highlight new ideas and initiatives that sit alongside the lighting industry, celebrating ideas that push the lighting profession forward or use light to help in the wider community. We asked the jury to consider originality, unity, service, benefit, and scalability when looking at the initiatives proposed. The project Equity in Lighting, with its active goal to increase diversity in the New York lighting community; Melissa Mak’s Let There Be Light photo initiative to bring joy on LinkedIn; Alexandra Manson’s new festival of light in Stockholm, nobelweeklights; the educational Light Drops course taught via WhatsApp in Brazil; and Kelly Roberts, a driving force behind the amazing WILD in the USA were runners up in this category but the two winning initiatives were Light for Lebanon
and Light Reach, led by Manal Kahale and Nathalie Rozot respectively. Both of which are intertwined with each other. Shortly after the devastating explosion in Beirut in August 2020, Lebanese lighting designer Manal Kahale partnered with the global charitable initiative Light Reach to launch “Light for Lebanon.” Using Light Reach’s three-tiered solar lighting model, the programme supports residents’ everyday lighting needs, whether practical, social or cultural, both indoors (with portable solar lanterns) and outdoors (with solar security lights and solar streetlights for building entrances, streets, historic building façades, playgrounds and public spaces). To date, Light for Lebanon has raised US$75K and already afforded the purchase of almost 1,500 solar lights. Kahale’s ground team has provided lighting to the Beirut Fire Brigade and distributed solar lanterns to residents plunged into darkness and to address immediate safety and security issues. Spearheaded by Kahale, the programme continues to grow into an impactful lighting initiative. Nathalie Rozot nominated Kahale without realising that she too would be nominated for this and her previous work with Light Reach: “Kahale, whose social engagement and dedication to the sustainable rebuilding of Lebanon is exemplary, is an inspiring young woman in the lighting profession and she fully deserves to be celebrated with a special recognition.” Light Reach was set up by Rozot, and is a solar lighting initiative by lighting think-tank PhoScope, designed to leapfrog over utility grids to light work and play, and to boost the wellbeing and economic growth of underserved communities worldwide. As well as supporting Lebanon, they have also worked on projects in Puerto Rico. Light Reach is a WiL partner, and any profit from the sale of WiL T-shirts is forwarded on to help fund its projects. The next category enabled us to celebrate achievement - big or small. We asked the jury to consider impact, inspiration, challenges and how the nominated initiative resonated with them on a personal level. Top level scorers included Agneta and Jan Ejhed who, within the innovative lighting school of KTH in Sweden, have inspired and turned out many futures designers; Jesica Elizondo for her book about 50 Mexican artists on light and dance; Armaghan Ahmadi Venhari, founder of Light-Life online academy in Iran; skilled designer and role model, Florence Lam, global leader of lighting at Arup; Kristina Allison in the UK for her work at the Society of Light & Lighting and her passion for the circular economy; and Henrika Pihlajaniemi for her for work in light education on Finland. Despite education being a highly prized achievement in this category, the two winners are both women with long careers in lighting, 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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to female lighters everywhere. We are proud to announce Barbara Horton and Motoko Ishii as our highlighted achievers. Barbara Horton retired a few months ago having spent 40 years as a lighting designer, rising to CEO of Horton Lees Brogdon, and enabling it to become the largest femaleowned company in the USA during her tenure. She has mentored many young professionals, is a Past President of IALD and one of the founders of the Women In Lighting Design (WILD) movement. When we started WiL, she said to us: “Women in lighting design have somehow broken the glass ceiling in many parts of the world by creating their own destiny, starting their own firms and being recognised for their achievements. With more awareness, communication and mentoring we can continue to educate and support those who still struggle and ensure future generations will continue to succeed in lighting design and other parts of the industry.” Motoko Ishii was accorded the highest accolade in Tokyo on 1 October, 2020, when she was named 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. Ishii also kindly supplied a quote for the WiL website when we launched: “I am very glad to say to all the people who are engaging in lighting business that the highest position of Japanese mythology is a Goddess called Amaterasu. She is the Goddess of Light and her power is falling all over the world. Please read Japanese mythology and recognise women’s power.” These two women and their incredible careers continue to inspire us all. The last category shone a spotlight on those who have helped us in our lives – people who enable us to keep moving forward and have mentored us or supported us in some way. We asked the jury to consider the nominees impact, influence, and level of support. An almost impossible category to judge, we had to rely on what stories resonated the most with our jury. Top scorers included UK-based Mary Rushton-Beales, nurturer and mentor to many lighting designers; Liliana Gonzalez for her support to all women in lighting in Mexico; Tina Aghassan, fundraising ambassador in support of 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
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designer based in Sweden; and Lisa Reed, a lighting designer in the USA. Founder of the IALD Nordic chapter and, together with Giacomo Rossi, founder of the Facebook group “Italian Lighting Design promotion group”, which is aimed at spreading the culture of light and promoting lighting design in Italy, 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 awards and is known for her altruistic character and dedication to helping others. She founded Ladies of Lighting in St. Louis, helped expand WILD across the USA and is a passionate advocate for diversity in lighting. She received the 2014 IES Presidential Award for her work with Emerging Professionals and in 2020, she was named as one of the top 20 women in construction in St Louis. She also co-authored the survey Why Women Leave Design and how to Keep Them and presented 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
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.
PROJECT DETAILS
111 Piccadilly, Manchester, UK
Client: Bruntwood Works Lighting Design: Artin Light, UK Interior Design: 3D Reid, UK Photography: Gunner Gu
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.
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tanding on Station Approach, the main thoroughfare in and out of the city of Manchester for travellers into Piccadilly 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 impact and make it a key gateway building.” With Bruntwood Works already open to the idea of a creative lighting scheme for the building’s façade, this 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.
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 or creating an external façade scheme, it was about creating a digital art piece that we could use in a way that would completely transform the nature of the building and how it was visualised, where we could use light in a graphic format. “Our vision was to blend fiction with reality, creating a range of bold, geometric, linear infused forms that would transition from one form to another. Each transition was meticulously designed to deliver smooth, natural animations that were inspired by several forms of movement: generative flow; wind and water, the natural movement of particles in the air; and architectural traffic, defining the transitions in vertical and horizontal movement.” This concept saw Artingstall approach the building in a threedimensional manner, using light in a pixelated format to create 3D forms and structures across each of its elevations, “using the angles of the buildings and the façades to create the perception that the building is transforming into different geometries, but using that as the backdrop to the darker sky and creating a contrast between the two.” To help bring this dynamic concept to life, Artingstall worked with local specialist integrators Studiotech, who developed the lighting controls and content generator for the live data streaming element of the scheme, opting for Osram’s Ecue lighting control system. The system works on an open API format, which allows for live data, generated through specific hashtags on social media to be translated into specific visuals of light, mirrored across the façade in particlebased forms, essentially turning 111 Piccadilly into a canvas for one of the largest live data streaming visual artworks in the world. “Studiotech also presented a number of digitally addressable products that we could potentially use to achieve our design requirements,” Artingstall added. “And the technology behind what is happening in the software and control of the pixels means that of the three kilometres of linear LED on the façade, we can control every 125mm of the actual LED profile.” On a technical level, the content generated for the exterior lighting scheme is something that Artingstall believes is integral to its success. “The building has the potential to be beautiful, intricate and elegant if the visual content is developed in the right way. Therefore, it was fundamental that the design of the bespoke visual content animation sequences were developed for the building. We developed the concept and artistic vision and direction for the bespoke animations, which were then developed in collaboration with a specialist motion graphics studio. “Creating buildings with dynamic installations is great, but if we don’t utilise it to the full potential, it doesn’t matter how good the actual architectural install is, or what kit is used. We could use a really basic product and visually make it look absolutely exceptional with the right content, so we put a fundamental importance on developing content that was completely unique and designed specifically for this building.” Ed Vickery, Director at Studiotech, added: “We can use control systems to collaboratively create magic. A lot of the time, you spend lots of money delivering beautiful schemes but the content creation is forgotten. “The content was the driver for this, and was how we could create something truly magical. The architecture is fairly simple, so the real skill and ingenuity and unique aspect comes from the marriage between our EQ programmer, and Luke, who is an artist. That’s what makes this a unique, game-changing scheme.” Adding this new, dynamic lighting scheme to the existing framework of 111 Piccadilly was not without its challenges though, as Artingstall explained: “There were a number of key things that we had to consider when we were designing the original scheme, one of which was putting this dynamic lighting system onto an existing building that we couldn’t necessarily perforate. We had to look at ways in which we could feed power and data into each floor of the building, but do it in a way that is designed and didn’t look like it was stuck onto the building.”
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Luke Artingstall, Artin Light
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Artingstall therefore looked to use a bespoke architectural trunking system that sat underneath the existing ledges above and below the windows – this trunking system incorporates the lighting fixtures, as well as the drivers and power supplies, and has been finished in the same colours as the window frames, so that they naturally blend into the building without changing its visual fabric. “We also had to look at a surface-mounted channel system, which then went from the base of the building all the way to the top, and that was where we obviously got the power and data in terms of the control aspect of it. That was probably, without getting into the installation, the key technical element – getting the power and data to the fittings in a way that didn’t detract from the existing architecture.” Throughout the design process, Artingstall was in close communication with Bruntwood Works, providing reassurances to the client about the benefits that such a vibrant, dynamic scheme could bring to the city. “There were multiple conversations and meetings behind the approval of the scheme – one of the biggest things about it was the fact that no one has done this in Manchester to this scale. Particularly the client had never got into the realms of this level of complexity and impact with lighting. “One of the turning points in the decision was when we presented the importance that this could have to the city centre, how it would potentially be perceived and what it gives back on a cultural level. “I don’t necessarily see this as being a lighting design project, I see it as a celebration of creativity and digital art and doing something new and innovative for the city. For me, it’s a reflection of the city itself and the direction we’re going in.” Vickery added: “111 Piccadilly is a special project for us. Not only does it stand as a real beacon of the power of lighting, it also represents a shift that we’re so excited to see happen. Our towns and cities are the lifeblood of our country, and we need them to be supported in order for them to thrive once again. “Bruntwood Works showed real courage in investing a significant amount of money in this feature and I believe it will have paid off for them, They have brought such life and vibrancy to this area of Manchester, which will have a massively positive impact. “Largely because of the sheer scale, the project has been incredibly complex to deliver, but equally rewarding. Our hope is that this will act as a catalyst for further investment in dynamic and architectural lighting; the power of which cannot be overstated.” Alongside the exterior lighting scheme, Artin Light was also asked to develop the lighting for 111 Piccadilly’s interiors. Described by Artingstall as a “yin and yang scenario”, the mixed-use, co-working space needed a lighting solution atypical to what one might consider for a working environment. “When I was approached to work on the project by 3D Reid, they wanted to speak to me about the interior because they wanted it to have a hospitality feel. As a client they’ve been moving a lot more in this direction with their interiors, the way the space is used and the
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.
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way people socialise and use the space – it’s not just about work, it’s about creating a mini community. “With my hospitality background, that was the original driver for getting involved, and the interior design was very much a different kettle of fish to what happened on the exterior, but I still think they complement each other well.” With a focus on the hospitality aesthetic, the interior lighting is designed around the multiple uses of the space. Architectural fittings from Precision Lighting, Optelma, XAL, Lumenpulse and iGuzzini are offset by decorative elements from Marset, Santa & Cole and Northern Lights to create a warmer, more relaxed ambiance, while architectural scene settings allow for the lighting to transition from day to night, giving the client an added flexibility. “Moving away from the traditional, commercialbased lighting design that we may have envisaged five to 10 years ago, it is very much about mood, warmth, contrast, highlight and making things pop, and that was just as exciting for me getting involved in the interior aspects as it was the exterior.” Artingstall continued that he believes workspace design will develop into a more fluid, mixed-use format going forward. “People want to be more flexible now than they ever have been before,” he said. “There will be an increase in flexibility in terms of how people use spaces, and from that perspective, the lighting design needs to work around that. I feel historically, we probably overlit spaces, and I think we’re going in a different direction now, which is a good thing. “We still need to adhere to some of those key aspects of lighting design for office and working environments, but then there’s also that element of looking at it a little bit differently and more untraditionally, which is more driven by this hospitality feeling. It’s finding that balance between.” After a tumultuous year working amid the Covid-19 pandemic, the project is finally complete and ready to share, and Artingstall believes that the new lighting for 111 Piccadilly – one of the first major projects for Artin Light – has turned the building into a landmark piece of art for the city of Manchester, and a celebration of its rich cultural and creative heritage. “For a number of personal and professional reasons, this project has been a very emotional rollercoaster, so to see it complete and to see the reaction that the client has had, has been truly humbling. “I know in terms of technology that has been used and the way things have been done, we’ve not necessarily created something new, but what it has done is shone a light on what we can do as creative designers and artists, particularly in the north. Manchester is such a vibrant community built on worldly characters. We’re so culturally rich, and creativity is a big part of that. We’re starting to see it celebrated, but we need to be pushing it more, and part of that is seeing digital art or illuminated buildings or murals. “We wanted this to be a landmark project, representing Manchester’s vivid, colourful, and diverse culture and celebrating our city’s community and progression. I believe that 111 Piccadilly is much more than an external lighting design; it’s a symbol of progression in the creative arts, and how it can enrich our experiences in the cities we dwell, work, and socialise in. “We need to continue to be positive and create inspiration in the world we live in and adapt this to the times of change and technology we are so accustomed to. Manchester is becoming a smart city pushing innovation, and 111 Piccadilly symbolises this movement.”
www.artinlight.co.uk
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.
lighting specified
iGuzzini Laser Blade Surface iGuzzini Palco Lumenpulse Discreet Nano Lumenpulse Lumenbeam Lumenpulse Spot S Optelma Tattoo Precision Lighting Evo 16 Studiotech Pixel LED XAL Move It 25
