125 DEC/JAN 2021/22 www.arc-magazine.com
Creating the Future Es Devlin and Atelier Ten’s UK Pavilion steals the show at Expo 2020.
EXPO 2020 • SALLY STOREY • TRANSPORT LIGHTING TARTU IN LIGHT • HOW TO BE AN ALLY • LIGHTS IN ALINGSÅS
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Hyundai Garden Conservatory Seoul, South Korea Product: Cells Lighting design: Lichtvision Design Architecture: Casper Mueller Kneer
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UK P PA AVILION - EXPO 2020 2020,, DUBAI To illuminate the pavilion, an impressive array of solutions from leading LED lighting specialist Tryka have been utilised. These include thousands of metres of their UV stabilised, IP67 encapsulated, Continuity T and Continuity S products. These flexible linear systems are designed to withstand the extreme weather conditions experience in Dubai, and were supplied in different colour temperatures and power outputs to suit the application. The UK pavilion also features high performance Tryka downlights, with a CRI Ra95+ output coupled with a black-coated re lector and trim. Complete with a DALI driver, Tryka downlights effortlessly combine aesthetics with performance and usability.
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2020 WINNER
2020 WINNER
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The Iron Bridge, UK
Acropolis of Athens and Monuments, Greece
The Copenhagen Panorama, Denmark
Norwich Cathedral, UK
2020 WINNER
2020 WINNER
2020 WINNER
2020 WINNER
Santa Marina Hotel Welcoming Tunnel, Greece
Magical Shores at Siloso, Singapore
Search of the Glow, Taiwan
Grow, Netherlands
2020 WINNER
2020 WINNER
2020 WINNER
2020 WINNER
Carousel of Light, Italy
Acropolis Lights - Audiovisual Launch Event
minimumMAXIMUM - LAM32 Experience
Nano Tini - DGA
2020 WINNER
2020 WINNER
STRUCTURES: Best Exterior Lighting Scheme Low Budget
SPACES: Best Landscape Lighting Scheme Low Budget
ART: Best Light Art Scheme Bespoke
KIT: Best Lighting Products Decorative
Coordinates - Flos
STRUCTURES: Best Exterior Lighting Scheme High Budget
SPACES: Best Landscape Lighting Scheme High Budget
EVENT: Best Creative Lighting Event
KIT: Best Lighting Products Technology
DALI Gateway - Casambi
Entry deadline: 17th January 2022
PLACES: Best Interior Lighting Scheme Low Budget
ART: Best Light Art Scheme Low Budget
KIT: Best Lighting Products Exterior
PLACES: Best Interior Lighting Scheme High Budget
ART: Best Light Art Scheme High Budget
KIT: Best Lighting Products Interior
DON’T MISS YOUR CHANCE TO ENTER! Did you know there were over 14,000 votes cast at last year’s [d]arc awards? If you’ve been part of a great lighting project or have a new product you want to shout about, then entering the awards is the perfect way to showcase it to the lighting and design community. The [d]arc awards are a unique concept utilising arc and darc magazines’ reputation as being the most widely read and respected international lighting design publications in the world. In collaboration with creative consultants Light Collective, the peer-to-peer awards process provides a unique opportunity for every practice to get involved. So what are you waiting for? You may just be a winner…
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076 Expo 2020 Expo 2020 finally opened its doors in Dubai this October. In a bumper review, we look at some of the standout pavilions from the event.
Contents
DEC/JAN 2021/22 014 016 018 020 024 030 032 120 122 136 138
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Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing New Products Manufacturer Case Studies Event Diary Back Page Bucket List
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034 Meet The Author Sally Storey, Founding Director of LDI, sits down with arc to talk about her stellar lighting career, and her newly-released book - Inspired by Light: A design guide to transforming the home.
072 How To Be An Ally Following Carmela Dagnello’s research into gender equality in the lighting industry, Neil Knowles, Director of Elektra, offers some advice to men in the industry on how to be better allies.
108 Hope For The Future Alexia Gkika, Senior Lighting Designer at Buro Happold, tells us about The Hope Sculpture, created for the COP26 climate conference, and how it spotlights the global goals of the event.
116 Dancing in the Dark More than 40,000 visitors travelled to the Estonian city of Tartu this October for the third instalment of Tartu in Light.
118 SPA Treatment During [d]arc room pop-up earlier this year, Tryka launched the SPA collection. Following the launch, David Morgan took a closer look at the new range.
042 Stockholm Central Station, Sweden For the newly designed lighting of Stockholm’s Central Station, Light Bureau pay tribute to its landmark status, while bringing the grand hall back to life.
Pic: Kai Piippo
Projects
DEC/JAN 2021/22
048 Dubai Route 2020 Metro Link, UAE To mark the arrival of Expo 2020, the Route 2020 Metro Link project is an extension of Dubai’s metro line that welcomes visitors to the Expo site. Lighting for the station extensions was designed by dpa lighting consultants.
054 Manchester Airport Terminal 2 Expansion, UK As part of the ongoing redevelopment of Manchester Airport, Terminal 2 has been expanded and revamped, with a dynamic and welcoming lighting scheme designed by Hoare Lea.
062 Rotes Rathaus, Germany The bright, monochrome finish within Berlin’s new Rotes Rathaus subway station is a bold contrast to its historic setting, with a complementary lighting scheme from Licht Kunst Light
068 Transport Lighting case studies An assortment of manufacturer case studies covering their latest transport lighting projects.
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EDITORIAL
Front cover: UK Pavilion, Expo 2020, Dubai, UAE (Pic: Alin Constantin, courtesy of Es Devlin)
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
Check your privilege... WIL research has us asking what it means to be an “ally”... In our last issue, we spoke with Women in Lighting’s UK
Amabassador Carmela Dagnello about her research into gender
equality in the lighting industry. The research surveyed participants
on their own experiences of gender bias, from pay discrepancies and
diversity in leadership roles, to examples of sexism and harassment. The results included some shocking anecdotes. But, while the
findings were eye-opening and alarming, they were at the same time completely unsurprising. We all know that these issues exist - we
may have experienced them ourselves or, dare I say it, even directly contributed to them, be that consciously or unconsciously.
As we have learned this year, particularly in the wake of Sarah
Everard’s murder, we need to do more; not by educating women to
better protect themselves, but by educating men to understand and acknowledge their inherent male privilege, and the unconscious
bias that comes with it. As a cis, hetero, white man I can say that I
haven’t experienced any inequalities in my life based on my gender,
race or sexuality. But while that’s fine for me, I recognise that a lot of
people out there don’t have the same luck, the same opportunity, the
Events & Marketing Manager Moses Naeem m.naeem@mondiale.co.uk
same privilege, and its up to us with the privilege to do something
Design
male supporter of initiatives such as Women in Lighting. Later in
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
about this. This is why I would class myself as an “Ally”, and a
this issue, my fellow male supporters of WIL have put together an
informative and useful guide on how to be an ally, and I would urge
all of our male readers to take note, and think about how they too can be better allies.
On another note, as you’ll have seen from our amazing front cover, Expo 2020 finally opened its doors in Dubai this October. With so
many amazing pavilions it was hard to narrow down what to feature, but we hope that you enjoy our review later in this issue.
Finally, all that is left for me to say now as we somehow reach the end of another year (wasn’t it 2020 five minutes ago??) is that, on behalf of all of us here at [d]arc media, I’d like to wish you all a very happy holidays, and we’ll see you in 2022! 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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proled.com ARCHITECTURAL LIGHTING
Fotograf: Raumpixel - Oliver Hallwirth
NEWS
Headlines [d]arc media launches LiGHT 22 (UK) – Taking place on 22-23 November 2022, LiGHT is the UK’s only dedicated lighting event. Building on the success of the highly-regarded ARC Show, which ran from 2004 – 2009, LiGHT 22 is a lighting exhibition for specifiers and designers, brought to you by [d]arc media, publishers of arc and darc magazines, and the team behind the incredibly popular [d]arc awards and [d]arc sessions. Held on 22 & 23 November 2022, at the Business Design Centre in Islington, London, LiGHT will revive the lighting design and specification exhibition that has been lacking for too long. High-end lighting manufacturers will exhibit their latest product collections alongside a two-day talks programme and late-night drinks event. [d]arc media Managing Director Paul James said of the new event: “I am very excited to announce the launch of the LiGHT exhibition at the Business Design Centre next November. The lighting industry has many happy memories of The ARC Show at the BDC over a decade ago and we want to bring that spirit back to the lighting event calendar. “There is a new breed of lighting specifiers and suppliers that weren’t part of the industry then so didn’t have the chance to experience the event. This will bring friends, old and new, together to do business and network in a friendly, dynamic environment. I am confident that the time is right to create a boutique lighting event in a fantastic venue in London, the world hub of lighting design. I look forward to welcoming everyone there.” Max Bull, Executive Director of Venue Sales at Business Design Centre, added: “We are absolutely delighted to welcome the launch of LiGHT at the BDC in November 2022. The BDC has always been regarded as the natural home for high quality design interiors events and I am confident Paul and his team’s vision will be extremely well received by the community it serves. “I am personally looking forward to supporting this show for many years to come and we are fully behind the organisers in wanting to create one
of the most exciting launch events the UK next year.” The UK has the second largest design industry in the world and with London experiencing a boom in design-led businesses since 2010, lighting has become a vital aspect of the design industry and process. Of the 217 lighting design practices in the UK, over half (116) are in the Greater London area (source ILDS 2021). This is by far the biggest concentration of lighting designers in one city in the world. And that’s not to mention the thousands of interior designers and architects that are based in the UK’s capital and beyond. Most of these designers not only specify in the UK but have a significant portfolio overseas. LiGHT 22 caters to this ever-growing design sector and is a new offering for lighting design built on [d]arc media’s knowledge and experience of the lighting specification market. For more information email John-Paul Etchells at jp.etchells@mondiale.co.uk or head to www.lightexpo.london
Barbara Horton given Lifetime Achievement Award by IALD (USA) - Horton becomes only eighth lighting design professional to receive this distinction. Barbara Horton, Senior Principal Emeritus at HLB Lighting Design, has been recognised by the International Association of Lighting Designers (IALD) with its Lifetime Achievement Award. This award is given to individuals who are classed as pioneers in the industry, and have “gone above and beyond to give back to the lighting design community throughout their careers”. Horton is among a select group of professionals to have received this distinction, being just the eighth lighting design professional to receive the award in IALD history – among previous winners are founding HLB Principals Stephen Lees (honoured in 2019) and Jules Horton (honoured in 2000). The recognition follows two further Lifetime Achievement Awards for Horton earlier in the year from Women in Lighting and the Edison Report. For the past 40 years, Horton has served as a leader and mentor to HLB staff and the greater lighting industry. During her tenure, HLB grew to 15
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Princpals/Owners, with more than 90 team members located in seven offices across North America, serving clients worldwide. She has guided the firm through a successful ownership transition, its first acquisition, and created a culture of design excellence with a focus on the business of design. For the past year and a half, she has been working side-by-side with firm leadership and new CEO Carrie Hawley in preparation for her retirement and the continued legacy of HLB. In honour of both Horton and Lees, and their contribution to the industry, a business excellence leadership fund in their name is currently being developed to promote the continued success of the profession. Lighting design leaders are preparing for a formal announcement and launch of the fund in early 2022 – its mission is to empower individuals with business education to grow and sustain successful lighting design practices globally. Following the award, Horton said: “Volunteering with the IALD gave me fundamental leadership skills and a community to share global perspectives and make an impact on the lighting design profession.” www.iald.org www.hlblighting.com
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Grace of the Sun UK
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Little Sun, co-founded by Olafur Eliasson, collaborated with Scottish artist Robert Montgomery on Grace of the Sun – a solar powered light poem urging commitment to renewable energy at the UN climate conference (COP26) in Glasgow, Scotland. The artwork has been constructed using 1,000 solar powered Light Sun lights and stands 11-metres wide and five-metres tall. The giant solar light poem – in place for the duration of COP26 – illuminated every day at sunset as a beacon of hope for Glasgow. After the artwork’s installation, the work was dismantled, with the lights joining Little Sun’s wider efforts to provide clean, affordable solar power to the 600 million people living without electricity in Sub-Saharan Africa, where the non-profit has brought solar light power to more than three million people to date. Located at arts and climate justice pop-up The Landing Hub on the Sustainable Glasgow Landing site, the installation was part of Little Sun’s Reach for the Sun initiative. This engages creatives in the global movement to highlight the power of solar to tackle climate change and end energy poverty. The project is enabled by global green energy tech pioneer Octopus Energy Group, and supported by Montgomery’s agency MTArt
EYE OPENER
Agency, the first certified B Corp UK company with the art sector. Robert Montgomery said: “This project is a beacon of hope. Instead of looking underground for energy we should have all along been looking up. A solution is visible to us all the time, every day: the sun. There’s a great beauty in the realisation that the sun is there to save us, if we only make the effort to reach out to it.” Olafur Eliasson, Little Sun Co-Founder, added: “I’ve long been convinced of the power of art and culture to counteract widespread numbness and create change in the world. The climate crisis is here; we know what needs to be done. We have the knowledge and technology necessary to transition within the next decade to a world powered by renewable energy. Yet knowledge may not be enough. A work of art like Grace of the Sun can help us recognise that our lives are inextricably linked to our surroundings, to structures and systems and people beyond our local context. If we expand our sphere of care to encompass the natural elements that support life as we know it, we can formulate a vision of a positive future for the generations to come.” www.littlesun.org www.robertmontgomery.org
Photography: Philip Volkers
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ESET Slovakia Plans have been unveiled for the new 55,000sqm ESET Campus in Bratislava, Slovakia. The campus – a tech neighbourhood designed by Bjarke Ingels Group (BIG), Pantograph, Buro Happold and Arup – will create a strong electricity-powered cybersecurity, AI and innovation ecosystem in the heart of Europe. Located on the site of a former military hospital between the Carpathian Mountains and the centre of Bratislava, the winning proposal of the global design competition saw BIG retained as the architect in 2019, tasked with designing a creative, green, collaborative hub where bold cybersecurity solutions come to life. The campus is expected to break ground in 2024, with a planned opening in 2027. Spanning the forested nature site, the campus consists of 12 individual buildings of varying sizes and uses organised around a central courtyard. The buildings on the outer perimeter will be designated public spaces, while four of the buildings on the
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inside of the site will be home to ESET’s 1,500 employees – with the potential to scale up to 2,400 employees. BIG’s design for the new neighbourhood replicates the spatial hierarchy of nature – the low and broad perimeter of the shared public spaces is easily accessible to all, allowing public life to flourish within the network of streets. The higher peak of the architectural ‘mountain’ reminiscent of the Carpathian Mountains nearby houses the ESET business, providing the company’s teams with innovative facilities while maintaining privacy. “Rather than a single hermetic entity, we have dissolved the ESET Campus into an urban village of interconnected buildings, framing public paths and urban squares,” said Bjarke Ingels, Founder and Creative Director, BIG. “The diverse cluster of individual pavilions are unified by the undulating solar roofs – forming a single silhouette rising from
the forested park like a man-made addition to the Little Carpathians mountain range. Together with the adjacent University, the ESET Campus is set to spark the formation of Bratislava’s new innovation district.” On the north-west side, the campus opens up to the park – providing protection from both the busy main street and the railway, and connecting the wilderness of the Carpathian Mountains with the city. Embedded into the existing natural landscape, the park is filled with public areas for recreation, interaction, and relaxation while boosting local biodiversity and creating pockets suitable for outdoor working. The main courtyard, located at the centre of the four ESET HQ buildings, acts as a focal point for the local community. Public spaces serving retail, educational, sports, and cultural purposes are scattered around this courtyard, animating the ground floor and activating the network of streets. The overall massing of the campus has multiple frontages; the open corners of the four ESET HQ blocks, in combination with views into each building from the surrounding streets, create inviting moments that further connect the exterior with the interior. Upon entering the main ESET HQ lobby – located in the largest building of the campus – ESET employees are greeted by a cascading staircase that connects the ground floor with the upper levels. While each of ESET HQ’s four buildings have a central atrium – lit with skylights in areas of the floorplates that would otherwise be dark – the stairs in the main ESET HQ lobby atrium are surrounded with social spaces and biophilia, enhancing the connection of the active ground level to the upper office levels. The campus will be powered by all-electric energy, relying on renewable sources – including PV roofing – that will contribute to the campus’ carbon negative goal. ESET’s exterior will utilise timber and glass to help create high-performance façade system; balconies will provide additional outdoor spaces and shading while providing natural ventilation to maximise the campus’ energy efficiency. www.big.dk www.burohappold.com www.arup.com
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DesertRock Saudi Arabia The Red Sea Development Company (TRSDC) is taking immersive experiences to a new level with the DesertRock development – a luxury hotel carved into a rock mountain. Set in one of the most dramatic desert landscapes in the world, the Desert Rock resort is being integrated into the mountainside, offering panoramic views of the mountain canyons below and the canopy of stars above. Inspired by the surrounding mountains, volcanoes and wadis, Desert Rock will comprise 48 villas and 12 hotel suites. A variety of accommodation styles will be available to meet guests’ needs, from ground level dwellings to crevice hotel suites midway up the mountain; a select number of rooms will sit within the excavated rock-scape. The unique rock formations surrounding the resort were produced by a series of cataclysmic seismic events thousands of years ago, and so the architecture has been designed to keep this natural beauty intact while also reducing energy consumption, supercharging the ecosystem, and regenerating native flora. Guests will enter the resort through a hidden valley nestled between the mountains. Most roads leading into the resort will follow the edge of the main wadi, hidden behind landscape mounds, to provide uninterrupted views while also minimising sound and light pollution, allowing guests to fully absorb the surrounding dramatic desert landscape. Drawing inspiration from the unique surroundings and in line with TRSDC’s Dark Sky Initiative, the lighting design approach for DesertRock, led by lighting director Myrian Patricia Lopez Yanez, revolves around environmental principles, taking special care of the sky quality and sensitive species in the area. The lighting concept developed by Delta Lighting Solutions, respectfully
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follows the architectural language from lead designers Oppenheim Architecture. The buildings, fully integrated into the rocks, are lit from within, with minimal façade lighting, enhancing the striking silhouettes and night. All of the lighting for the resort is specified in a very warm colour temperature to minimise the impact on the environment. Architectural lighting is intended to remain anonymous and fully integrated within the unique interior design features from Paolo Ferrari. Following TRSDC’s vision of a residential approach to lighting, the locallyinspired decorative fixtures will be the protagonists of the different interior spaces. In keeping with the barefoot luxury approach, the landscape is lit to enhance the natural geometrical language created by Melk, with the use of light, shadow and patterns also assuring the necessary lighting for safety and wayfinding for guests. The use of smart technologies applied to the lighting is also important, as it will help with energy saving, and also to carefully adjust the light intensity at nighttime, according to the sunset, sunrise and operational needs. All of these elements combined create an unforgettable experience for guests after dark, who can enjoy beautiful spaces and a magnificent stargazing experience. “The intent is to leave this natural beauty better than it is,” said Lopez Yanez. “A sensitive approach is implemented to direct the process, deep analysis and research is undertaken to eliminate or substantially reduce the impact of lighting on fauna and flora and preserve the impressive dark sky aesthetic qualities to achieve TRSDC’s vision.” www.deltalightingdesign.com www.theredsea.sa
13–18 March 2022 Find us at Hall 4.2 Stand G25 Frankfurt am Main
Light... Siloam, Mona, Tasmania KKDC Product Used: MoMo 508 (High output) Lighting Design: MEGS Lighting
Spotlight Rove Expo 2020 Hotel UAE The only hotel situated on Dubai’s landmark Expo 2020 site, the Rove Expo 2020 Hotel features a lighting scheme created by Nulty. Located adjacent to the Al Wasl Plaza and its awe-inspiring coloured dome, the hotel has been designed as a vibrant centrepiece that reflects the Expo’s theme of ‘Connecting Minds and Creating the Future’. The hotel’s interior draws inspiration from the subthemes of the Expo, in particular the neighbouring Sustainability Pavilion. A sustainable consciousness runs throughout the LEED Gold design concept, including Nulty’s lighting scheme, which is all LED and controlled by a DALI system that allows individual areas to be adjusted throughout the day. Nulty worked in partnership with architecture practice RSP and contractors Arco Group to create a contemporary lighting scheme that evokes a sense of place by weaving
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in references to Dubai’s rich heritage and culture. Within the hotel’s expansive open-plan ground floor, where lobby, lounge and co-working areas merge with a bar and all-day dining café, layers of illumination add character and creativity to each individual area. The lighting scheme also brings a sense of rhythm and cohesion to the ground floor to mark the subtle transitions between each space. On entering, guests are greeted by the lobby area where industrial design details have been set against a warm but refined material palette inspired by Dubai’s urban and desert landscapes. Oversized orange pendants adorn each desk and complement a series of ornate metallic structures used to frame the reception area. Linear lines of light illuminate each reception desk to create a floating effect and are replicated across the ceiling to add further visual interest. The oversized orange pendants are a recurring theme,
SPOTLIGHT
Pics: Arco Group
extending to the neighbouring bar area, where they have been paired with intricate white metalwork to create a striking central feature. Linear lines of illumination pick out the materiality of the wooden bar and help demark the space as an area where guests can socialise and relax after a day at the Expo site. Contemporary ceiling pendants offer a further nod to the industrial Dubai theme and work alongside suspended track lights to strike the right balance between decorative and functional lighting. Within The Daily, the hotel’s all-day dining café, the lighting is deliberately pared-back to complement with blue and green textiles and a corresponding restrained approach to lighting. Diffused lines of light have been strategically placed throughout to create a comfortable and inviting working environment, while large blue pendants bring pockets of atmospheric illumination for focused work and get-togethers. www.nultylighting.co.uk
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SPOTLIGHT
me + you USA In celebration of its 175th anniversary, the Smithsonian Institution has reopened its long-closed Arts and Industries building with FUTURES, the National Mall’s first building-wide exploration of the future, which launched on 20 November and will run until July 2022. At the exhibit’s centre, in the 90ft high rotunda, sits light and artificial intelligence installation me + you, designed by artist and architect Suchi Reddy. To bring the design to fruition, Reddy invited lighting designer Levia Lew, Principal and co-founder of Reveal Design Group, onto the team as lighting consultant. “The sculpture comprises three illuminated elements: a shimmering cloud of light points at the ends of more than 1,000 translucent, glowing acrylic rods; nine dynamic hemispherical LED portals; and a 20ft high central pillar called the ‘totem’, composed of radiating fins with LED panels hidden within,” said Lew. Exhibit visitors are invited to speak their future vision in a single word into an LED portal. Engaging AI techniques, the artwork translates the vision word and reflects its emotion and tone into a unique,
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kinetic mandala of colour and light, which then flows up the centre totem, where input from the other eight portals is combined into an ever-changing expression of “collective futures”. The incorporation of AI into light objects was a new experience for Lew, who embraced the opportunity to expand her expertise and delve into the future. “When Suchi presented her incredible concept, I was thrilled with the opportunity to support her artistry as well as push my own creative boundaries,” she said. “Certainly, there are elements of the sculpture that could be quickly solved from a lighting standpoint, but there were other aspects outside of my usual parameters of expertise. “Custom-build LED light objects, along with processing and programming for real-time AI data interaction, presented a rare opportunity for a design challenge not often encountered in architectural lighting. Luckily, we know several brilliant designers and willing manufacturers who were game to join us on this journey to bring Suchi’s vision to life. Together, we pushed our own artistry and knowledge into the future of art and design.” www.revealdesigngroup.com
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Do you know the 3A's for Human Centric Lighting?
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Architecture Iku recessed downlights make vertical surfaces visible and thus improve your perception of space.
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Activity Iku, with its good light, supports communication between people.
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Atmosphere Iku creates the right light at any time of day – also via sensor or app.
Discover Iku & Iku Work recessed downlights www.erco.com/iku-site
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Design DNA USA
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As part of its ongoing obsession with light and data, Light Collective was commissioned to create a new project to follow on from the previous iterations of the International Lighting Design Family Tree. Though each version of the Family Tree got bigger, none of the data had been realised in light until now. Design DNA is a project created by Light Collective in conjunction with US partners ArchLIGHT Summit and The Lighting Exchange. Seen as the ‘baby’ of the International Family Tree, it was envisioned as an opportunity for designers to find their own unique professional DNA signature. “Your professional DNA is something that either makes you stand out from the crowd or helps you identify those that you have most in common with,” said Light Collective. “Looking at career/experience, location, professional memberships, educational backgrounds and networks enables us to identify our differences and commonalities.” The idea for the installation was that attendees to the ArchLIGHT Summit, held in Dallas at the end of September, could compare these DNA strands with other attendees, as well as others in the lighting industry around the world, who could also input their data, even if they weren’t able to attend the show. Light Collective was invited to create something specific for the show by event strategy manager Cindy Foster-Warthen. The duo developed an idea that made the most of the opportunity to get data from in-person attendees, while
SPOTLIGHT
also including others unable to travel, and from there designed an installation that realised the data in physical form using light and colour. Design DNA was partnered by Jonathan Ayala, as his company, The Lighting Exchange, is all about connections. The Lighting Exchange has a bank of roughly 10,000 users that comprise all different areas of a sales process. Ayala created the results database and helped with the process of programming and translating the results into light. The installation consisted of linear programmable RBGW luminaires from Ligeo. As there are five answer choices for each question of the survey, each of the DNA strands was represented by a pentagon, and each pentagon is rotated by six degrees – a play on the six degrees of separation theory that also transformed the view along the pentagons into a shape similar to the DNA helix. After inputting personal data at the show, the user could see their Design DNA visualised in light. To enhance the experience, the number of pentagons was doubled to give two pentagons per strand – the installation was bookended by mirrors to create an infinity effect. Participants can still input data by answering a series of seven questions, with each answer having five choices and therefore the possibility of more than 16,000 different answers. Users can check out their comparative results at www.lightingdesignfamilytree.com. www.lightcollective.net
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STUDIO SWITCH With backgrounds spanning architecture, industrial design and interior design, Bergamo-based Studio Switch brings a mixture of art and science to its diverse portfolio of projects in both Italy and abroad. Pietra Perduca Travo, Italy In the stunning Trebbia Valley, with its gentle and charming hills, a dedicated association called Organico Perduca is establishing a permanent journey in which art meets nature. The final step is an extraordinary natural amphitheatre which faces the mystic Pietra Perduca rock massif. The Pietra Perduca was left by an ancient ocean’s presence 250 million years ago. Many deep meanings and an aura of sacredness surround this place; Celts worshipped the Penn God there, and then Christians dedicated the site to Saint Anna. Pietra Perduca, within neighbouring Pietra Parcellara, is the symbol of this part of the valley. Organico Perduca asked Studio Switch to design the lighting, a challenging request given how many aspects must be considered: respect for a historical site, devotion, emotion, communication, engagement. The lighting concept was inspired by the Perduca’s holiness: a red emotional light turns on the holy fire which breaks the darkness, drives to the art and warms up visitors like a big fireplace. Meanwhile the Pietra Perduca becomes the valley’s red heart, transforming the hills into a macro amphitheatre and bringing together the entire community around an ancient fire. The same light represents communication because it announces that the amphitheatre is hosting a show, offering engagement within the theatrical backdrop. The lights for the amphitheatre had to solve further needs related to the Perduca’s light. The terraces for the seats are illuminated considering both the setting of the welcoming scenography and the visual needs of the users. The choice to light just the vertical sides of the terraces was taken due to the Perduca’s fire being located in front of the terraces. Finally the stage has its own lights hidden on the trees.
Château de Wallerand Vireux-Wallerand, France Built in 1714, the historic Château de Wallerand is now a luxury hotel in the French Ardennes, welcoming travellers who are looking for an exceptional location, a verdant estate and attentive service. The hotel has 10 rooms combining old-world charm with contemporary design, comfort and tranquillity. The lighting design had to fulfill a number of different needs: highlighting the architecture and its external volumes; studying the individual rooms and the restaurant, taking inspiration from the huge world of decorative and design lighting fixtures that complete the complex level furnishings, ensuring visual comfort and the right amount of light; illuminating the orangerie, which becomes the main feature in the park; creating the right atmosphere for the wonderful spa; and giving the right mood lighting and spots within the park, which is the transition between the hotel and the river. The biggest challenge was ensuring that all the different lights speak the same ‘language’ while satisfying different individual needs. The design team resolved this by defining a master guideline to follow. The guideline was built on two simple words that inspired and governed all decisions: gentleness and elegance. Every time a decision was needed on the type of light, emission, temperature, lamp design and what kind of scenography they show, the designers asked themselves: “is this choice gentle and elegant”?
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SNAPSHOT
Shrine of the Blessed Virgin of Tears Treviglio, Italy Santuario della Beata Vergine delle Lacrime (Shrine of the Blessed Virgin of Tears) is an architectural jewel full of history, culture and faith. Built in 1594, it contains the miraculous picture of 1522, that, according to the legend, saved the city from destruction by the French troops. Remarkable for the presence of frescoes and paintings by the Montaltos, a seventeenth-century vault in the nave of the entrance by Molinari and the transept with its majestic dome overlooking the intersection with the nave. In every single place of worship, light has a significant symbolic value: it represents the divine, it provides a sacred and separated atmosphere from reality to the building. The painting of Our Lady is the focal point of the whole Sanctuary: it was necessary to dedicate an intense spotlight to the painting, in order to instantly direct the attention of the faithful to this sacred image as they enter the church. The issue was dealing with the hyper-reflective covering glass and the considerable depth of the frame: two spotlights were installed on the cornice at the height of 16.9-metres, out of the volume of offence of the picture; also necessary was the presence of one additional spotlight from below, hidden behind the altar. The other main goal was to enhance the artistic content, avoiding disturbing effects on paintings, made particularly difficult by very dark pigments mixed with gold inserts. The amazing vault was lit through high-CRI and high-efficiency LED strips, covering half width from each side of the cornice. The assembly below is illuminated by on-track spotlights. The dome is 34-metres tall: at 20-metres both indirect (LED strips) and direct lighting (track spotlights) has been installed. Different lighting scenarios have also been set, according to the different liturgical functions.
Winefully Bergamo, Italy Winefully, the wine portal based in Bergamo, is exclusively dedicated to wines of excellence and high quality liquors. Its cellar, dating back to the 19th century, has now been restored and equipped with all features ensuring a proper preservation and a balanced ageing of the wine. The priority of the client was to have a place with an elegant, but at the same time pleasing and relaxing, atmosphere, paying particular attention to lighting and acoustics. The location covers two floors, each of which has a precise function, clearly underlined through different light scenes. On the ground floor, mainly dedicated to customer reception and wine tasting, the lighting has been designed with the aim of recreating an intimate and elegant atmosphere. The accents and contrasts between lights and shadows point
to the main features and valorise the natural materials of architecture. High CRI spotlights have been necessary due to the distinction of the different shades of wine colours. The basement floor displays and presents the bottles, and is illuminated by indirect light; here lighting is softer, enhancing the brick vaulted ceiling and the clay shelves, and making more welcoming and comfortable the whole atmosphere. At the same time, through the use of track spotlights, a direct light strikes the wine exhibit highlighting the bottles and their labels. Today Winefully is a special place for customers, in which wine is not only sold, but also told and experienced, as a vector of intense emotions and sociality, just like the lighting conceived for it.
Studio Switch Studio Switch is a lighting design studio based in Bergamo, Italy. Founded in 2019, it is an independent and creative atelier, with team that comes from backgrounds as diverse as architecture, interior design and industrial design. This gives the studio a full breath of experience, spanning the art and science of the lighting design profession, and proven growth ability during many years of experience in the field. Light sculptors, lighting designers or lighting consultants, whatever you call them – Studio Switch believe that light has the power to change lives: regulating our bodies, fueling our emotions and inspiring our souls. www.studioswitch.it
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BRIEFING
Paul Crisp & Alex Ruston Following the acquisition of Precision Lighting and Remote Controlled Lighting (RCL) by Luminii in October, Managing Directors Paul Crisp and Alex Ruston tell us how the opportunity came about. How did you both get into lighting? Paul Crisp (PC): I first encountered the lighting industry when I ran an injection moulding business specialising in clear plastic moulding. The business was built around expertise in optical engineering, and we utilised this to develop a range of standard optics as LED technology first began to enter the lighting market. I soon realised the introduction of LEDs would change the shape of the lighting industry. I was hooked and have been working in the lighting industry ever since. Alex Ruston (AR): In 1996 my father asked if I would help him out as he set up the UK office of a US lighting company called Translite. What was supposed to be a few weeks’ work, however, turned into 25 years. Can you explain your lighting journey so far? PC: My experience with the optical business was a great place to learn and understand the technology platforms and development roadmaps that were driving the move to LED technology and enabled me to engage with lighting businesses across the UK, Europe and North America. This proved a perfect grounding to move up the value chain and work with traditional lighting manufacturers managing the transition of their businesses to LED technology. In recent years, I have used this experience to work with several organisations looking to expand or develop their businesses, which is how I became involved with Luminii. I was immediately impressed with the company’s vision and ambition to develop a great architectural lighting business, and I am delighted that RCL and Precision Lighting have become part of this vision. AR: We founded Precision Lighting in 2000, and then RCL followed in 2001. I was running Precision Lighting and my father was running RCL, and then in 2013 he stepped back from the day-to-day operations of RCL and I took over running both companies. How did the acquisition come about? AR: Precision Lighting and RCL have been pioneering lighting innovation on the international stage for decades. As we’ve continued to grow and establish our credibility, we have come to believe we should trust our light to lead the way. When Luminii approached us about these acquisitions, we saw significant and immediate opportunities to grow our story in highly interesting and new ways, with a shared vision related to product development. Luminii’s keen interest in expanding industry leadership internationally beyond the US and Canada merged well with our interest to introduce our distinctive advantages in new markets. What was it about RCL and Precision Lighting that stood out? PC: Luminii understands the ever-rising demand for constant innovation in lighting and is committed to a business posture that is ambitious enough to meet its customers’ expectations. RCL and Precision Lighting are highly strategic pieces to that puzzle. Among the many distinctions Precision Lighting has established over the years, the company has made impressive advancements in Micro-LED products and technology, complementing Luminii’s robust efforts to build upon its existing STENOS Micro-Linear platform. RCL, as well, offers highly complementary capabilities to Luminii’s portfolio-wide capacity to equip lighting professionals with highly flexible solutions.
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Alex, what benefits do you believe this move will have for both Precision Lighting and RCL? AR: We believe our strengths in product innovation and sales in categories and markets Luminii had yet to tap into will deliver major early wins for Luminii. We also can flex our abilities to serve as expert ambassadors of Luminii’s products in the European and Middle Eastern markets where we’re already well established. Conversely, availing our products to the broader Luminii portfolio through these acquisitions means our influence multiplies in new markets – and within Luminii’s existing customer base. How will Precision Lighting and RCL fit into Luminii’s portfolio? PC: In my role as the new Managing Director for Precision Lighting and RCL and in close collaboration with Alex, we are not focused on subtracting from or adding to the companies’ strengths – but in multiplying them within Luminii’s ecosystem and sphere of influence. For example, the acquisitions promise new avenues for both Precision Lighting and RCL to enhance our own engineering, operations, and manufacturing capabilities with those of Luminii. In particular, the acquisitions represent a leap ahead for Luminii’s portfolio in areas of product miniaturisation and remote-controlled lighting. Likewise, the acquisition of RCL creates an entirely new product category for Luminii, and complements Luminii’s highly flexible solutions in ways that will also bring RCL products to life in new ways. While there are various pathways still being forged between all of Luminii’s brands, the bottom line for all brands is win-win across the board. What can we expect to see from the brands post-acquisition? AR: Both RCL and Precision Lighting have many new and exciting products in development. We continue to be incredibly focused on R&D and advancements that will result in industry-leading luminaires and control technologies. What do you think the future holds for the lighting industry? PC: The recent pandemic has brought into sharp focus the importance of wellbeing and great user experiences in all that we do. Public spaces will have to pay much more attention to the quality of the experience they provide, and lighting will have an even more significant role to play in helping to create the public spaces of the future. LED adoption has gone past the necessary obsession with lumens/watt and efficiency and is increasingly focusing on light and beam quality and the effect of light on wellbeing and creating beautiful spaces. AR: I think that control technologies will continue to be at the forefront of the lighting industry. Our clients and specifiers are looking for complete control over all aspects of their lighting installations, and that’s something we will continue to tighten our focus on. www.luminii.com www.precisionlighting.co.uk www.rclighting.com
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INTERVIEW
Meet The Author Following the release of her new book, Inspired by Light: A design guide to transforming the home, Sally Storey sits down with arc to look back on her career to date and what led to the release of the book.
O
ver the past 30 years, Sally Storey has
worked on a series of high-profile projects
as both Founding Director of Lighting Design International and Creative Director of John Cullen Lighting.
Establishing LDI in the mid-80s, at the dawn of the lighting design movement in the UK,
Storey is one of the pioneers of the UK lighting design community, but her appreciation for the power of light only began in earnest during her studies.
“I read architecture at Bristol University, and what really fascinated me about architecture was the way that natural light modulated a building, not only from the outside but also how it penetrated
inside,” she said. “Then I realised that we weren’t being taught
anything about how to light a building inside, so that ended up being the focus of my dissertation.”
It was during her second year at university, as her passion for
lighting was burgeoning, that she met the late John Cullen, himself just branching out as a sole trader having come from working as a light technician for the BBC before moving into the world of residential lighting.
“He said that I could work for him during my holidays and learn
about light,” Storey continued. “The first thing that I did for him
was to design his showroom on Smith Street – I had to say yes and
then worry about it later. I designed it as an interactive lighting pod where you could transform the space to give different impressions of wallwashing, uplighting, downlighting, spotlighting, cold light,
warm light. For my thesis, I then used this space to analyse people’s perception of the light and what the mood was.”
From there, Storey was hooked, shifting her focus from architecture
to lighting design and joining John Cullen Lighting permanently. It’s an obsession that remains today. “I had the option to go back into architecture, but I was obsessed by then, and I still am. I still love
every bit of it. I love design, I love historical design and contemporary design, and working with light, you become a master of a tool, the
fourth dimension of architecture, and you can apply that mastery in a number of different ways to solve different problems.
“The solutions that you have for a classical project are very different to a contemporary project, but you still find a solution, whether its ambient, task or feature lighting, but the solution was different.” Working alongside John Cullen in the advent of the “Halogen
Revolution” (what Storey refers to as the first lighting revolution of her career), the company was primarily focused on residential
lighting and creating architectural lighting products for the home. “It was interesting at the time, because very little was available,”
Storey explained. “There was either very glary halogen downlights, or rather large dark light fixtures, but there wasn’t anything in
between, so that’s how the John Cullen downlight range and the first Polespring developed.
“It was very much concentrating on residential design, so we ended
up finding or developing a product to support the design for a house, which would be something that I’d want in my own house, rather than the big, industrial things that you’d find in a hotel. It was
almost like trying to bring the museum quality light to the home, on a miniature scale.”
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“The best projects are those where the environment feels so wonderfully welcoming and good, but you don’t know why. That’s the hidden magic that the lighting designer brings.” Sally Storey As John Cullen Lighting began to grow, so too
in the wider design world was a particular
within Harrods.
of lighting design as a profession. It was
alongside her ambition to make the world
names, which is a fabulous testament to
to establish Lighting Design International
by at the time was that people didn’t
to invest – particularly the hotels,” Storey
time, there weren’t that many lighting
“You weren’t taught it at university, one
way that people went on holiday, and part of
Lighting, particularly for residential projects,
so much. The one thing I was taught was
were beginning to understand that lighting
service.
for the office, and that was it.
Amongst the big names that LDI has worked
came, and they were willing to pay for
didn’t know how to use it. The evolution of
diverse, meaning that the studio hasn’t
opportunity to have an independent lighting
If you go back in time, when you had lots of
a signature way of approaching projects.
work that we were doing.”
atmospheric environments. You then went
recently on lots of projects in Harrods, but
and later Goldman Sachs’ offices on Fleet
lit but ambience and layering were gone.
one is an entirely different retail experience
expanded its reach into hotels, shopping
magic of layers of light. I’m passionate
then Harrods Dining Hall is all about historic
organically to the position it is in today as
important light is in every aspect.
about dynamic retail lighting.
“We come from an architectural background
be in? How do we create a level of contrast
the Firmdale Group on Ham Yard and the
if it’s decorative, and if it isn’t decorative,
one of the things that we’ve really pioneered
Paris; they’re both in the luxury space but
architecture,” Storey said of LDI’s design
work that we do. I think the best projects
“I think we have a signature style, in that
“As we expanded, the team came from
enjoy being there; the lighting is integrated
come up with, we will go on and on to get
design – in the early days there wasn’t a
feels so wonderfully welcoming and good,
believe in time spent to set it up and make it
though, a lot of the people you employ
magic that the lighting designer brings – it
projects that we work on are timeless. An old
exciting to know that there is diversity in
and interior designer can remain the hero,
to be updated to LED now, but you would
backgrounds. The passion that brings us
nicer to be in.”
Alongside her role as Founding Director of
team is very different, so our inspiration
landmark, high-profile projects and clients
Cullen Lighting, taking over the company
“I would say that I’m an intuitive designer, I
Manhattan Bank and Goldman Sachs offices,
While balancing her time between the two
how it should be lit, whereas other people
the Savoy, Claridge’s, the Corinthia, the
to some, Storey feels that there is a clear
The lack of any real education or
worldwide, to name but a few. More recently,
particularly with John Cullen Lighting’s
did the understanding and acknowledgement
driver for Storey in the early days of LDI,
“We’ve got a track record of really big
this growing understanding that led Storey
“a better lit place”. “What I was so appalled
what we were doing, but they were willing
in the mid-80s. She explained: “At the
understand light,” she said.
continued. “They were trying to change the
consultancies, and that’s why John Cullen
of the things that displays the building
it was all about the experience, and people
was making lights and providing a simple
potentially doing a lux grid with fluorescents
helped the experience.”
“But then in 1986, Chase Manhattan Bank
“I think because it’s technical, people
with, the scope of work has been incredibly
design. I then realised that there was an
light was practical, rather than aesthetic.
developed a signature style as such, but rather
consultancy and charge a proper fee for the
candles and oil lamps, you had a lot more
Storey continued: “We’ve been lucky to work
From working with Chase Manhattan Bank
to fluorescent tubes and the space was
what’s been interesting about them is each
Street, the newly-formed design practice
So, we were then trying to bring back the
– the technology side is really high tech, but
centres and building exteriors, growing
about educating people to understand how
restoration, and the shoe departments were
one of the UK’s leading design studios.
“How do we make an environment better to
“Similarly with the hotels, we worked with
where we think that light should be seen
that adds to the interest of the space? I think
bowling alley there, and then George V in
it should be concealed, yet reveal the
and kept on doing is creating that in all the
with different interpretations.
approach.
are those that people go to, and they just
I like to feel that the lighting solutions we
product design, interior design, theatre
with the architecture, and the environment
the perfect results. We believe in detail, we
degree or an MA in lighting. Nowadays
but you don’t know why. That’s the hidden
happen, but we also believe that a lot of the
will have a degree in lighting, and it’s
doesn’t have to be the hero. The architect
halogen scheme, for example, might need
the team because we come from different
because what we’ve done is made the space
probably end up doing a similar thing.”
together is light, but what we bring to the
Over the past 35 years, LDI has a number of
LDI, Storey is also Creative Director of John
comes from different points.
to its name, from the aforementioned Chase
after John Cullen sadly passed away in 1986.
go into a space and have a gut feeling about
to hospitality projects such as One Aldwych,
companies may sound like a challenge
will design in different ways.”
Connaught, and many Four Seasons hotels
distinction between the two companies –
understanding about the importance of light
the studio has worked on a series of projects
residential focus.
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Interview
The Edwardian Manchester (Pic: Andrew Beasley)
Deirdre Dyson (Pic: Andrew Beasley)
Private Spa, as featured in Inspired by Light (Pic: Christian Richter)
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interview
“Working with light, you become a master of the fourth dimension of architecture.” 1
2
3
1. Storey and LDI have more recently completed a number of projects for Harrods. These range from the modern retail environments of the Technology and Shoe departments, to the more classical design of the Dining Hall. (Pic: Andrew Beasley) 2. LDI’s design concept for the Lanesborough Club & Spa in London was for it to work as extension of the more classic British design of the main Lanesborough Hotel, combined with details inspired by the Roman Bath Spa to create a luxurious new members club. (Pic: The Lanesborough Club & Spa) 3. One of LDI’s landmark hospitality projects was a complete restoration of the lighting scheme for The Savoy hotel. During the renovation, warm white light sources were used throughout, with lighting elements layered to highlight features within the space. (Pic: The Savoy Hotel)
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Sally Storey
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“With LDI, I’m at the forefront of creativity and
“What I’ve always believed is that you should use
means that I’m aware of trends, or creating trends,
may be projects that come in that I feel are well
also gives us inspiration for the product range at
commercial projects out there that would need the
“The reason we ended up doing a product range
“I think in a way I’m lucky, but it was just being in
and I’d say that it probably inspired lots of other
history of being involved in design and product
“I’m inspired by what I see, and I see if there’s a
In amongst Storey’s varied portfolio of projects,
downlight to go in a shelf that was only 18mm
remained. “Commercial gives you that excitement,
Minim was developed. There is a design service
to dilute it and bring the right elements into the
designed to fulfil every role in every project.”
This fascination has led to her recently publishing
and John Cullen Lighting are very much separate
Light: A design guide to transforming the home.
are passionate about their independence”, but she
of residential lighting projects, was conceived as
and manufacture.
to better understand the impact that good lighting
if I started 10 years ago – it might just be design.
“I felt that too many people that I was talking
in both. I feel it’s a privilege.
didn’t understand LEDs. There wasn’t enough in a
and want to have something slightly adapted. So,
important that the cheap LED in your home has
it will become a new product. Likewise, we’ll be
proper quality has another, and how much had
have a new range based on our adaptations.
The book is broken down into three sections;
what is happening in the lighting industry. It
the product that’s best suited for the project. There
and I’m aware of what’s available. That experience
suited to John Cullen, but there are other more
John Cullen Lighting,” she said.
full consultancy advice and other products.
with John Cullen is because nothing existed,
the industry at the right time that has led to my
products in the marketplace.
development resulting this way.”
little gap. For example, I wanted a small, no-glare
the core focus on residential lighting has always
thick, but most miniature fixtures are glary, so the
and I think part of that excitement is knowing how
there, but it’s linked mainly to residential; it’s not
home,” she said.
Despite her involvement in both companies, LDI
a new book alongside RIBA, titled Inspired by
entities, with Storey adding “the designers at LDI
The book, which is filled with beautiful examples
finds great benefit in being active in both design
an entry point for interior designers and architects
“It would be interesting to know where I would be
can have on the home.
But what is interesting is being able to be involved
to – mainly architects and interior designers –
“Within design, so often we will look at a product
technical but layman’s way to explain why it was
somebody might adapt a John Cullen product, and
one effect, and the more expensive product with
working with other people’s products, and they’ll
become possible because of LEDs in lighting.”
1
1. Completely devoid of natural lighting, the ESPA spa at Corintha in London is reliant on spa lighting to provide the atmosphere and mood to put guests at ease. Using entirely concealed lighting, LDI took a carefully considered approach to create the right mood across all four floors of this multi-functional spa. (Pic: Richard Powers) 2-5. A selection of the beautiful residential projects from across LDI’s portfolio that featured within Storey’s new book. These vary in style from classical to more contemporary architecture, and span around the world with examples from London to Kuala Lumpur. (Pics: James Balston [2], Ray Main [3], Robert Miller [4], Heckfield Place Hampshire [5])
the first covers the more technical aspects,
back catalogue of impressive retail projects, with
lighting scheme and how various effects would
featuring. She recalled that collecting the various
demystifying LEDs and covering the basics of any work before explaining layers of light. “The idea is, just as an architect or interior designer plays
with a palette of textures and colours, the lighting designer plays with a vocabulary of layers of light and beam widths and different aspects. And it’s
by layering those that you get the richness of the scheme,” Storey explained.
The second section detailed how those techniques
could be applied to different rooms, with examples from both classical and contemporary design
to show how the solutions could vary. The final
section took six case studies from very different
projects such as a chalet, a barn conversion, a villa in Dubai and a duplex apartment, to showcase the different results that could be achieved from the
various lighting techniques. “You don’t use every idea on every project, it’s about deciding which ideas you use,” Storey said.
“I’d love to think of it as an aspirational book, but also a very usable book, so that an architect who
couldn’t afford a lighting designer would be able to learn and get ideas.”
Throughout the book, Storey called on an extensive
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work from both John Cullen Lighting and LDI
images was a challenge, but an enjoyable one
nonetheless. “A lot of the projects did have my
touch on them, but there were others that didn’t, but I loved the image and I thought it needs to be
celebrated – particularly when I was trying to get a balance between different styles of projects.
“A lot of books hold together because there’s one
photographer, because there is either a continuous photographic style or a continuous design style,
but I think by looking at the projects, because the
hand of so many designers were involved in terms of architects and interior designers, there’s so
much variety that I hope it adds to the richness of it.”
Published in October, Storey said that she has received lots of positive comments about the
book since its release. “I can’t say how it has been received, we have to look and find out what other people think, but so far I’ve had lots of lovely
comments. The proof will be in the pudding, but so far people say it’s really useful. And I hope, because technology changes all the time, I’ve
tried to make it open, so people get the guidelines
INTERVIEW
2
3
4
5
on things like the technology of LEDs, but
power of light, regardless of the budget.
project what it is? What do we need and what
changes, some of what I’ve said won’t
we’re going to light things with less energy,
equipment? One needs to be bringing that to
it’s also loose enough that as technology change.”
While working on the book, there were a
number of other areas that Storey was keen to explore, from shelf and art lighting to
garden illumination, but was limited by page constraints. As such, she said that she has
already started thinking about further books down the line.
“At one time, I was interested in the
connection between the home and the hotel, because I’ve found that over the years,
homes were influencing hotels, then hotels were very much influencing the home. “But the good thing about the home is
that it’s a good toolbox for those that do
hotels and everything else as well because it explains the rationale. Even if you’re
designing other things, the rules are the same. It’s just how you apply them.”
With more book ideas in the pipeline, Storey is hoping that she can continue her passion of “spreading the word in lighting,” and
raising awareness on the transformative
“What I find fascinating is working out how but more effectively,” she said.
“You tend to use light in really amazing,
rich spaces, but in places with low budgets,
lighting can transform. Think of what you can do in spaces with a low budget to make the
mood different. It’s about trying to persuade
people that actually, where budgets are tight,
you can create very simple environments, but make them very important.”
Alongside this, Storey believes a
continued push towards more sustainable, environmentally-conscious lighting
solutions is the way forward for the industry. “We’re at an interesting turning point in
lighting and the world of sustainability, so
what is important for us is looking at how to make all of our schemes more sustainable
so that you can still create the layers, but be more conscious. That’s the direction that we’re going in,” she said.
“What I want to do is, at the beginning of the scheme, think of the key elements.
don’t we need? Could we do it with recycled the table earlier on in the project.
“The ultimate aim should always be beauty, but one should also think ‘did we save in creating that beauty?’ You shouldn’t put
things in for the sake of it. What is it adding? Do we need it? Is this enough? I think just
having those questions is quite interesting.” Having been involved in the lighting
industry for nearly 40 years, Storey has seen
a lot of changes in her time, but her love and
passion for light still burns as bright as ever. She concluded: “I still get so excited when you take a space and, out of the darkness, create visual focus. You can change the
way people perceive the space, or control a
person’s mood by the way it’s lit. I find that really fascinating.”
www.lightingdesigninternational.com www.johncullenlighting.com
Inspired by Light is available now on the
RIBA Books website.
What are the key elements that make the
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Back To Life For the newly designed lighting of Stockholm’s Central Station, Light Bureau sought to pay tribute to the site’s landmark status, while bringing the grand hall back to life.
PROJECT DETAILS Stockholm Central Station, Stockholm, Sweden Client: Jernhusen Lighting Design: Light Bureau, Sweden Building Antiquarian: AIX Arkitekter, Sweden Electrical Consultant: MSIB, Sweden Electrical Contractor: Caverion, Sweden Photography: Kai Piippo
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Transport Lighting
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transport lighting
W
ith more than 200,000 visitors
relighting, the assignment for the project began
Central Station is one of the busiest
historical lighting and building appearance,
passing through each day, Stockholm transport hubs in Sweden. Listed as a
with extensive surveys of visual conditions,
analysing the existing lighting installations within
“building of national interest” - the highest grade
the grand hall and the current functions of the
of the first things that travellers into the city see
the existing lighting was far below the
of listing in the country - the station has been one for the past century.
While the station was first inaugurated in 1871, its
space. During these studies, it was determined that requirements of the space, with levels as low as 65lx at night, with very little contrast or accent lighting.
grand central hall was first opened in 1927. It has
However, one of the original features of the hall is
updates as its functions have grown and changed.
that are suspended below the arched ceiling. As
lighting scheme, courtesy of Light Bureau, which
bring these beautiful pieces back to life, to
since undergone a number of renovations and
Most recently the station has had a revamp of its
a series of ornate, golden lamps called “Luzette”, part of the renewed lighting, Piippo wanted to
was tasked with creating a new design that would
reinvigorate the accent lighting within the space.
the commercial requirements of the space, and the
were these beautiful lamps that were designed by
balance respect for the original architecture with needs of the passengers passing through.
Light Bureau won the lighting of this landmark
“When the station was first constructed, there
the architect who built the hall in the 1920s. They
had incandescent light sources in them, and after
project with proposal that Kai Piippo, Head of
dark they were the only electrical light sources in
design”.
coming in from above and from the side, and then
Design, described as “classic architectural lighting “There are only three light characters - general
lighting, uplighting and accent lighting - so it’s a very simple concept, but it took us five years to
complete because a lot of what seems simple at
first is not, it took a lot of testing and a lot of hard work,” he explained.
Once the team had won the competition for the
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the station. During the day there was daylight these beautiful, golden luminaires,” he said.
“In the 1950s, fluorescents came in, so they took
the light sources away from the Luzette and went
with fluorescent lighting along the side of the hall. In the 1990s, they were reconstructed by two
lighting designers who redeveloped them and restored them, but they installed compact
While the new lighting for the Central Station showcases the grand arches while providing effective general lighting to the concourse. Alongside a traditional lighting scheme, the lighting designers created special coloured scenes for special occasions, such as Swedish National Day.
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1. The lighting scheme for the Central Station has been kept relatively simple, comprised of general lighting, uplighting to the ceiling, and accent lighting from the Luzette. 2. Part of the original 1920s design, the Luzette pendants have been given a renewed lift - fitted with LEDs, the addition of a hidden LED strip to uplight the golden frame brings the pieces back to life. 3. General lighting has been hidden within the framework of the ceiling, allowing architecture itself to take centre stage. 4. The desire for the design team was to create a lighting solution that would showcase the splendour of the site, while creating a warm and inviting space for travellers passing through.
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fluorescents in them, so you couldn’t see the
allowed for the installation to be programmed with
“We wanted to do something special with them,
additional, eye-catching displays for special
sunrise coming in, shining on the lanterns so that
“I wanted to add a little bit more to the space,”
character. So we did a lot of light tests, and
be a beautiful space. On a normal day, 200,000
finished in gold, so that they blended into the
Stockholm. The first time people come here, this is
To improve the general lighting of the space - what
“I thought about ways that we could use the light
new ambient lighting was installed along both
‘Welcome to Stockholm - the capital of Sweden’.
to reduce visual and physical disturbance on the
space that they could use the station to highlight
A combination of medium and narrow beam
Day, Easter, and so on.
varied contrast and light distribution, as well as
sense of value for the client, so that they know
event areas.
different scenarios programmed in that they can
vast, arched ceiling, was intended to, in Piippo’s
event, etc - we can help them to create whatever
ceiling to hug the people, and show the glory of its
them a system that is rich, that gives them
The uplighting incorporates DMX-controlled linear
Throughout the project, Piippo, Project Leading
white, mounted discreetly to the edge of the
Designer Andreas Ejhed and Technical System
ceilings. The introduction of coloured lighting
cooperation with the project leaders to create a
golden upper part of the luminaire at all.
everyday static or slowly dynamic scenes, with
and we came up with an idea when we saw a low
occasions.
they really glowed. It was a wonderful, perfect light
Piippo explained. “I wanted the station to not only
integrated some linear LEDs pointing upwards,
people go through here, it’s the busiest place in
fixtures and brought them back to life.”
what they are greeted with.
Piippo referred to as the first “light character”,
within the space to manifest the message of
sides of the station’s central skylight. The aim was
So we proposed to the company who owns the
ceiling by using small fixtures with a sharp cut-off.
occasions such as Christmas, Swedish National
luminaires with DALI control allows for more
“One of the biggest things for me is to create a
the ability to highlight the station hall’s three
they are getting a good investment. We had 10
The second “light character”, the uplighting of the
choose from, and then if there is anything - an
words, “create a hug of light”. “We wanted the
they want with the system. We wanted to give
construction,” he said.
something more.”
RGB fixtures and white fixtures in warm and cool
Lighting Designer Karolina Hahn, Senior Lighting
building to dramatically light up the spectacular
Specialist Fredrik Winqvist worked in very close
transport lighting
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solution that would showcase the splendour of
everything going on at the moment, it’s not a
for travellers passing through. The team also
it’s a ‘need to have’. It’s a key issue to use as little
would be using the space the most, to give them
Looking back on the project now, Piippo
“One of the first people that we met was the
the status that it does within the city of
said. “He has been working there for 20 years or
to get the new lighting scheme right. However,
interviewed him and asked him about what we
buildings means that he was able to find a
be easy to control, easy to access the controls, so
“You do the Central Station in Stockholm once in
that will actually live and work with the lighting.
yourself,” he said. “But because of this project,
to have the knowledge about the daily use.”
historical projects. It’s super interesting to
a new lighting scheme that fills the space with
how to make it a successful project. There are a
architecture and creating a welcoming, inviting
but it’s interesting.
levels now measuring up to 700lx, ten times
design, but it’s a beautiful space to be in; it’s
varied light levels throughout the year, the new
proud to go there. The building managers are
system for the general lighting, meaning that in
on Instagram, etc.
abundant, the general lighting dims down,
it is a beautiful space, it has come alive again.”
the site while creating a warm and inviting space
‘nice to have’ to think about the environment,
made extra efforts to speak to the people that
energy as possible.”
what they want.
explained that, with the Central Station having
maintenance manager of the station,” Piippo
Stockholm, he couldn’t help but feel the pressure
so, and he knows everything about the site. We
his experience of working within heritage
should do and should not do. He said it needs to
solution that would work.
we took this into consideration as he is someone
your lifetime, and you put that pressure on
This is a key part of my design process - you need
and several others, I have become a specialist in
This attention to detail has led to the creation of
understand the process and the pros and cons of
light in a considered, subtle way. Showcasing the
lot of different things to take into consideration,
space for those using the space - with light
“Going into the station now, it’s a simple lighting
what was previously there. With Stockholm’s
inviting and welcoming. I’m very happy and
scheme also has an improved daylight control
using the different scenarios, and you see it a lot
the summer months where daylight is more
“Before, it was dark and dull and boring, but now
saving energy in the process.
www.lightbureau.com
“It’s very good to have,” Piippo added. “With
lighting specified iGuzzini Laserblade LEDLab Ledstrip Delta Lumiled Lumenpulse Lumenfacade Interior Lutron Controls Örsjö Luzette Pendant Pharos Controls
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PROJECT DETAILS Dubai Route 2020 Metro Link, UAE Client: Dubai Roads & Transport Authority Lighting Design: dpa lighting consultants, UAE Architect: Atkins, UAE Interior Design: Aedas, UAE Photography: Phil Handforth Architectural Photography
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Transport Lighting
Earth, Wind & Fire To mark the arrival of Expo 2020, the Route 2020 Metro Link project is an extension of Dubai’s metro line that welcomes visitors to the Expo site. Lighting for the station extensions came from dpa lighting consultants.
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transport lighting
T
he Route 2020 Metro Link project
“The lighting approach had to be robust enough to
Authority sees an extension of the
flexible enough to accommodate each station’s
from Dubai Roads and Transport
allow for the technical considerations but also
Dubai metro service, connecting the
signature architecture and interior design.
interchange at Jebel Ali with the flagship metro
“We didn’t attempt to mimic natural daylight in
extension – of which approximately 12km is above
varied in design and approach and was its own
stations and branches from the existing Red Line.
interchange station at Jebel Ali was a particular
architect Atkins (as part of the original Metro Bid
existing station, thereby putting the existing and
the design and specification of all architectural
Earth, Fire, Water and Air were the guiding
all six new stations and the one existing
design of the new line stations, but also dictated
number of unique lighting challenges, as Lee
development. Lighting design for the stations was
explained to arc: “Several challenges presented
design and engineering teams to enhance the key
station at the Expo 2020 site. Consisting of a 15km
the underground stations either. Each station
ground and 3km underground – it features seven
unique element within the overall journey. The
dpa lighting consultants was approached by the
challenge, as an extension building was added to an
team) to be involved in the project. Responsible for
contemporary interpretations into close context.”
lighting to the interiors, façades, and landscape for
principles that informed not only the lighting
interchange, the project presented the team with a
the architectural language of the new
Sweetman, Director at dpa lighting consultants,
developed alongside the architectural, interior
themselves at each stage of the process, from the
principles inherent in the original Metro concept,
to the integration and ongoing maintenance of
night-time identity for the newly commissioned
“Lighting of the prefabricated Expo station canopy
were to sit alongside more dynamic and
interpretations were developed in order to provide
the approach to illumination.
of all existing stations on the Red Line were
concept schematics with the newer interpretations
disadvantages associated with each station theme
technical guidelines also needed to be incorporated
differing design languages of each station through
while also maintaining and developing a unique
appropriate lighting equipment,” he said.
line. Subtle and contextual lighting interventions
was a particular instance and many design
characterful areas in order to balance and contrast
the most appropriate solution. Extensive site visits
“The challenge was in dovetailing the existing
undertaken to assess the advantages and
of the design,” continued Sweetman. “Certain
and type.
in order to provide safe and navigable levels of
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Across the new stations, guided by the elemental principles of Earth, Fire, Water and Air, subtle and contextual lighting interventions sit alongside more dynamic and characterful areas to balance and contrast the approach to illumination. Lighting also sits within the wider architectural and interior design to create a more unified, coherent feel to each station.
transport lighting
illumination to each individual space. Over illumination was always a
this more refined approach to the illumination helps to raise the
versus the aesthetic requirement.
This project also represented a rare opportunity to evolve and
large-scale pendants needed to be balanced in such a way that they
network, helping to provide cost effective and efficient transit
architectural lighting needed to ensure that these elements were still
Sweetman said: “Once again the architectural form is the main
concern given the conflicting criteria of the technical requirement “Several design-led features such as the ceiling features and
maintained their impact without being overbearing. Likewise the visible in the overall scheme.”
The Expo station and its canopy were key considerations throughout
hierarchy of the canopy above the surrounding architecture.”
enhance the after dark identity of Dubai’s critical public transport options to wide sections of the local community, commenting
driver of the identity of the new line. Its differential between the existing system is subtle yet noticeable and it was always our
the project and represented the primary focus of the lighting design.
intention that the careful and coordinated arrangement of the
announce the station and its arrival plazas within an often congested
the hours of darkness.”
illumination of the canopy celebrates the unique colour, contrast,
Mohammed bin Rashid Al Maktoum, Vice President and Prime
The canopy in particular, presented a unique opportunity to
illuminated environment. A subtle, yet sophisticated approach to the
internal lighting elements would give form to the stations during This iconic project was ceremonially inaugurated by H.H Sheikh
form and texture of this iconic architectural intervention.
Minister of the UAE, and Ruler of the Emirate of Dubai in July 2020
had to take into consideration this potential architectural/lighting
the project, Sweetman said: “Overall I believe that the design has
Sweetman added: “The site is densely packed and the lighting design conflict. The lighting of the canopy was developed to enhance the
colour, form and texture of this striking element while also providing
and became fully operational in the early part of 2021. Reflecting on achieved the required balance between the heritage of the existing
line identity coupled with the more contemporary interpretation of
a more sophisticated approach and one that was not overly
the new line. The external identity of all stations has been enhanced
the underside of the structure was eventually chosen as the most
experiential elements of the journey itself across the whole length of
theatrical. After many lighting trials, the soft, subtle illumination to appropriate solution, given the complexities of installation and ongoing maintenance.”
For Sweetman, there was never the worry that by creating something
more subtle, the design would get lost among the wider visual noise of the Expo, telling arc: “I believe the structure itself is the main player in the interaction of architecture and light. Light is used to enhance the structure’s character and night-time identity and I believe that
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while the interior lighting has endeavoured to emphasise the
the railway extension. In particular, lighting to the Expo canopy and station are significant additions to the overall night-time visitor
experience, helping to reflect the great levels of importance and civic pride which the UAE has invested in all aspects of the Expo infrastructure and design.” www.dpalighting.com
Casambi Award 2021 winner: Harrods Dining Hall by Lighting Design International
CASAMBI AWARDS 2022
Casambi Awards 2022 is now open for entries! Submit your nomination for the best Casambi project or the best Casambi Ready product by 1st of February at www.casambi.com/awards
PROJECT DETAILS Manchester Airport Terminal 2 Expansion, Manchester, UK Client: Manchester Airport Group Lighting Design: Hoare Lea, UK Architect: Pascall + Watson, UK Engineer: Laing O’Rourke, UK
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Transport Lighting
Gateway to the World As part of an ongoing redevelopment of Manchester Airport, Terminal 2 has been expanded and revamped, more than doubling its capacity for passengers. The new-look terminal features a dynamic and welcoming lighting scheme designed by Hoare Lea.
P
re-pandemic, Manchester Airport was the third
largest airport in the UK, with almost 30 million passengers travelling through each year.
Spanning across three terminals, the airport is
undergoing a vast, £1bn transformation, first announced in 2015 by Manchester Airports Group (MAG) and spearheaded by
architects Pascall + Watson. The huge transformation programme comprises a series of 60 enhancements; key elements among
these include new piers, aircraft stands, forecourt and multistorey car park.
The centrepiece of the transformation though, is the extension of Terminal Two. Completed earlier this year it offers state-of-the-
art facilities and provides a first-class experience for passengers, in a modern, bright and spacious environment.
The new terminal features a series of open, double-height spaces and floor-to-ceiling glazed façades, ensuring a bright and airy
interior awash with natural light, while more dynamic touches
have been introduced to create a vibrant and welcoming space for travellers.
Hoare Lea has designed the lighting strategy for the expansion, working alongside Pascall + Watson, and principal contractor Laing O’Rourke on the development.
David Linville-Boud, Associate at Hoare Lea, explained how the
lighting concept first took shape: “The general look and feel had been developed by the architect, and CGIs had been produced by
them, which included lighting elements. We took their conceptual designs and investigated how we could achieve the desired intent, what typical products would allow this to be achieved and what
their general performance specifications would need to be (beam angles, outputs, optical controls, etc) in order to achieve the design principles required for each space.
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transport lighting
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“As designs started to become more detailed, if there were
the scope areas,” he added. “From there, full designs were
the contract, this was detailed, designed out and presented
also considering the appearance within 3D space to ensure
the giant, colour-change hexagons in the departure
Working within a large-scale, £1bn redevelopment
design of skylights above the space.”
such, the design team had to work hard to ensure a level of
the lighting to enhance the experience for users of the
within an airport also presented a number of challenges
is an important visual element, the experience of the
challenges included the sheer scale of the project, covering
appreciation of each space while being able to undertake
coordinated between each space.
it is a functional task such as security, or a leisure task such
requirements exist for certain applications and careful
time waiting for departure. Different lighting treatments
achieve the specifics while ensuring the appearance was
space usage and assist in defining each space and guiding
meet the requirement but at a cost of reducing the
Taking the architectural design intent and the building
Linville-Boud added that, due to the size of each space
Boud explained that the concepts for each space were
architectural designs, lighting the volume of each space,
performance requirements, product types and installation
were integral factors that were “as important as achieving
lighting design approach.
“With the concepts set out at the earlier stages of the
utilised to build lighting design models to make it easier to
to suit each space exactly,” he continued. “This resulted in
opportunities for alternative or additional lighting within
undertaken for every space to ensure compliance whilst
accordingly. A good example of this is the introduction of
the best passenger experience.”
lounge, which were introduced to replace the original
programme, the scope of the project is incredibly vast. As
The primary focus for Linville-Boud and Hoare Lea was for
consistency across the site, while the logistics of working
space. He continued: “While highlighting the architecture
for Hoare Lea, as Linville-Boud explained: “The main
journey of travellers through the airport and their
multiple areas and ensuring a cohesive design that
the tasks within each is the primary requirement – whether
“Due to the nature of being an airport, some very specific
as circulating around the departure lounge, or just passing
development of the lighting was required in order to
react to the architecture, the varied ceiling heights, the
coordinated and integrated to prevent a solution that may
travellers through the arrivals or departures activities.”
aesthetic of the overall space.”
blocks defined within the basis of the design, Linville-
within the terminal, and their respective, clearly defined
fleshed out as individual elements to define the exact
providing visual interest and creating the right ambience
requirements to fit the architecture and the overall
the lighting on the working plane”.
“Following on from this, the complete BIM model was
design process, these needed to be rolled out and tailored
handle the design for each space due to the large size of
a few adjustments to fit the geometry of each area as the
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ambition was to ensure consistent details, such as product spacing
which weren’t designed at that time.
maintained.
methodology employed already here for a consistent approach
areas utilised a baffled ceiling with lighting integrated into the baffle
architecture, need to be read as one and not seen as a refurbished
downlights in-between rafts. This methodology was consistent
products and consistency in the lighting design and lighting control
The idea of a consistent methodology and identity throughout is an
terminal, allowing better management of the building services, more
which will eventually see other areas expanded and renovated.
more pleasant environment.”
plan may have been a challenge, Linville-Boud didn’t see it that way.
employed for all the lighting integrated into the existing building
actual lighting design or solutions, but it does complicate the design
exception of the large colour-change hexagons, which operate from a
quantity of the lighting products required.
design, and this was then rolled out across the various spaces with
check-in hall – this ensured the designs were exact for each and not
by Laing O’Rourke, operates almost 20,000 drivers, more than 3,000
transfer correctly into the actual architecture.
O’Rourke the Large Indoor Project category at the 2020 DALI Awards.
must be met alongside the general typical requirements for usability
improve the user experience within the terminal, as Linville-Boud
process, providing integrated solutions was possible, rather than
employed increases the quality of the travellers’ experience, while
“The extension to Terminal Two and the new pier also set the
airport operator – whether it’s dimming, scene setting, colour
spaces as and when they are developed. Due to this, it was important
“The system is also linked to the flight information to be able to raise
to allow them to be tailored to similar yet different spaces – some of
The large colour-change hexagons are positioned adjacent to a
across each open area to allow the pattern and rhythm to be
“Other areas are being looked at, and the designs will follow the
“Each area type had its own design solution; for instance, circulation
throughout the terminal and piers. The designs, as per the
layout, whereas the security area was based mainly on suspended
building and a new build. In addition, the commonality of lighting
throughout, giving the coordinated layouts and identity to each area.”
will create a seamless integration of the extension to all areas of the
integral factor to the wider redevelopment of Manchester Airport,
efficient operation, and provide visual uniformity, creating a calmer,
However, while working within the context of a wider redevelopment
For this large-scale operation, a new lighting control system was
“The large-scale nature of the project doesn’t overly complicate the
management system. DALI was utilised in every luminaire, with the
delivery due to the sheer size of the spaces and the associated
DMX protocol. Lighting control types were set as part of the basis of
“Each space was designed in full, whether it was a WC, corridor or
adjustments to suit individual situations. The DALI system, created
based on a rollout of theoretical design parameters that may not
sensors and 500 application controllers – the project won Laing
“There are specific requirements for ‘task’ areas in an airport, which
The introduction of a dynamic control system was part of a push to
of the spaces. As these were generally known during the design
explained: “The lighting control system and the way it has been
needing to add additional lighting as an afterthought,” he said.
also giving full controllability and the associated benefits for the
methodology and design approach that will be continued into other
control or event activation.
that at the early stages, the design solutions had a certain flexibility
and lower light levels around gates depending on their utilisation.
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transport lighting
two-storey media wall, and they have the ability to
space and the ceiling height, which can vary
“The ability to group and control sets of luminaires
“All of the lighting is part of the architecture to
through the spaces – areas not in use can be
more harmonised. In specific areas, such as the
lighting through their travels.
elements are included – in the check-in hall to
with many users circulating in all directions with
departures to add active features to make enticing
Every aspect that can reduce this confusion can
time and be immersed into the environment.”
destination, whether this is through signage,
Two in July of this year, Linville-Boud is satisfied
separation of lighting treatments and light levels
the wider architectural design, creating a
and negotiate through spaces to the desired
He concluded: “The final appearance of the
As Linville-Boud mentions, airports can be hectic
performance and appearance, and creates people
of a dynamic lighting system, he believes that the
from the moment they arrive right through to
calming and uplifting environment for travellers
The lighting is successful and integrates very well
“All lighting has been selected to be low glare to
spaces that flow from one area to the next, forming
circulation spaces, lighting is mainly shorter linear
gives a quality and relaxing experience in such a
ceilings, giving visual guidance to travelling routes.
www.hoarelea.com
respond to the content being shown on the wall.
substantially.
allows the lighting to be used to guide travellers
give a pleasing appearance to make the spaces feel
dimmed, allowing the passengers to follow the
check-in and departures, additional feature
“Airports can be alien and confusing environments
create an impressive welcome mat and in
limited knowledge of the layout of the spaces.
spaces where passengers can enjoy their dwell
come together to ease the ability to locate their
Following the opening of the revamped Terminal
architectural designs and materials or lighting. The
that the final lighting scheme sits in keeping with
into specific areas enhances this ability to navigate
welcoming space for travellers.
destination.”
lighting meets the design intent in both
and stressful places. Therefore, with the addition
focused spaces that enhance the user experience
lighting design will help to facilitate a more
boarding a plane.
both arriving and departing from the terminal.
with the architecture, which itself creates amazing
enhance visual comfort,” he said. “In transient
a fully coordinated and effective transition that
fittings integrated into the layout of the baffled
busy and active environment.”
Larger spaces utilise alternative solutions with the appearance suitably scaled to suit the size of the
lighting specified Optelma Firo Optelma Fortimo Optelma Quad 62 Optelma Varibeam PJC Acoustics Large Bespoke Barrisol Hexagons Whitecroft Avenue Suspended Whitecroft Avenue Metro Suspended Whitecroft Bespoke Hexagon Fitting Whitecroft Convor Whitecroft Florin Whitecroft Foil XS Line Whitecroft Kolo Whitecroft Minion Recessed Whitecroft Mirage Comfort Recessed Whitecroft Mirage Comfort Surface Whitecroft Spectre WE Whitecroft Starline Flex Whitecroft Tegan Slim Whitecroft XR1
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24 Hour Party People As part of the renovations to Manchester Airport’s Terminal 2, JPLD designed the lighting for its Duty-Free stores, creating a scheme that celebrates the city’s eclectic heritage.
A
s detailed in the previous article,
for the store concept,” said Poore.
has undergone a dramatic overhaul,
is a critical element in any design, especially when
Terminal 2 of Manchester Airport bringing a new life and sense of
vibrancy to one of the UK’s busiest and most frequented transport hubs.
PROJECT DETAILS Manchester Airport Terminal 2 Duty-Free, Manchester, UK Client: Dufry & Manchester Airport Authority Lighting Design: JPLD, UK Interior Design: The Design Solution, UK Lighting Specified: DGA, iGuzzini, Pharos, Pulsar, Vexica, XAL
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Key to this refurbishment is the redesign of the
terminal’s huge duty-free store, which has been
designed to deliver an experience that spans more than just shopping.
The lighting for the store was designed by JPLD,
who wanted to use it as an opportunity to celebrate Manchester’s rich heritage. James Poore, Creative
Director of JPLD, talks us through the key elements of this complex scheme.
“Flowing through the fabric of the city,
Manchester’s energy and creative expression can be felt 24 hours a day, and this formed the inspiration
“Sense of place is an often-overused term, but it
the space becomes an important gateway to the city in which it dwells. Working closely with the retail designers and architects, we developed a strategy
and scheme that encompasses the many facets of the identity of this wonderful city.
“The category worlds within the store celebrate
a city that is always on the go both night and day. From its industrial roots through to its world-
renowned nightclubs and eclectic musical culture, to say Manchester is a rich source of inspiration is something of an understatement.”
Using the city’s cultural standing as an inspiration, the design team has brought all of these elements together to inspire a series of installations and
worlds that create a Duty-Free store that breaks
transport lighting
from the norm and has a strong attitude and unique personality.
area, comprising the perfume and cosmetic zones, was designed to
intrinsic to the main store, with materiality and lighting synergising
lighting with warmer colour temperatures and considered lighting
experience,” Poore added.
“A key feature in the Magic Garden to emphasise the more natural
create a dynamic and vibrant environment “befitting of the gateway
lighting. In addition, oversized flowers and a giant, iconic “worker
“One of the key features was the way digital technology was
narrow spotlights that give a nod to the more dramatic concerts and
customers as they pass nearby,” Poore added.
As the VIP bar is the “Island” at the heart of the liquor zone, the
areas, and these are able to communicate messages at certain points
This is complemented with concentric lighting details in the
elements of the lighting to emphasise the message, while bringing
concealed lighting detail to emphasise the materiality of the curtain
Some elements are more subtle than others, such as the large
then used to further underline the ‘softer’ nature of the space.
bays, but one of the standout areas of the store is the central “VIP”
inspiration from the industrial side of Manchester. “Originally home
Here, a circular DJ bar has an array of linear luminaires mounted
up-to-date structures and buildings that reflect the extraordinary
out across the ceiling structure. These RGBW fittings take the same
“We have created a clean, crisp lighting scheme that is aspirational
transform the imagery into a complementary, abstract light show.
elements, including the linear edge details and gantries traversing
counter, and these are complemented by track-mounted spotlights
With the backdrop of Manchester’s rich history as an inspiration,
add further drama and contrast to the space.
dynamic, and entertaining destination – much like the city itself.
“The ‘24 Hour Party People’ vibe of Manchester’s 90s music scene is
“celebrate the softer side of Manchester with natural tones, softer
together to bring all the elements of the night out into the retail
highlighting the change in materials and surfaces,” Poore explained.
One of the key facets of JPLD’s design was to therefore use light to
aspects includes the green backdrops, illuminated with subtle up
to this exciting and energetic city”.
bee” complete the theme highlighted with high level, concealed
integrated, enabling us to communicate multiple messages to
theatrical performances that the city is also renowned for.”
As such, a series of ‘digital echoes’ were strategically placed in key
dramatic circular central area is the fulcrum of the Magic Garden.
in the customer journey. These ‘echoes’ are carried through into
ceiling and a highlighted gold curtain feature, which incorporates a
cohesion between the digital and lighting elements.
and make it ‘pop’ against the ceiling. Plastered in downlights are
pendant hoops over the Gin Zone, or the thin trim around the wall
Moving on to the Sunglasses, Jewellery and Watches zone, JPLD drew
zone.
to the manufacturing industry of the last century, the city has many
vertically around its base, which then seem to cascade upwards and
vision of the city,” Poore said.
video feed as the digital media feature screens behind the bar and
and uses cooler, crisper tones and several integrated lighting
Pendant fittings from Tom Dixon populate the area over the bar
the space in a cooler colour temperature.”
hidden up among the ceiling structure, which punch down through to
the Duty-Free store of the newly revamped Terminal 2 is a vibrant,
Continuing the journey through the store, the “Magic Garden”
www.jpld.co.uk
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Deep Roots The bright, monochrome finish within Berlin’s new Rotes Rathaus subway station is a bold contrast to its historic setting, with a complementary lighting scheme from Licht Kunst Licht.
PROJECT DETAILS Rotes Rathaus, Berlin, Germany Client: Berliner Verkehrsbetriebe Lighting Design: Licht Kunst Licht, Germany Architect: Collignon Architektur und Design, Germany Photography: Frieder Blickle
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Transport Lighting
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transport lighting
T
he Rotes Rathaus (Red City Hall) in Berlin is a new
downlights, were fitted with pairs of inground luminaires.
government district to the Berlin subway station.
whether the light should come from the cove at the edge of the
subway station that connects the main station of the
“Initially, the architect wanted a light ceiling appearance, and asked
Designed by Berlin-based Collingnon Architektur und
mushroom columns. We rejected this idea because it would have
Design, the station opened in December 2020 after more than 10
focused too much attention on the columns. As an alternative, we
the station was transformed into a public space that aids flexibility in
the platform and using the indirect reflection of a brightly painted
Back in 2010, underground remains of the gothic styled town hall
a little sceptical about whether this could work, but we were able to
decided to preserve and incorporate it into the new architectural
demonstrated. But, the radical reduction of the concept to simple
the development of a mushroom-shaped column structure that
the room itself would benefit from this effect.
The new design for the station revolves around a simple yet dramatic
way around. This means that the ceiling was poured first with the
ceilings, dark and subtly sparkling walls made of polished concrete,
removed and the rest of the room was added,” continued Smida. “For
which results in a radiant reception flooded with light when entering
be installed in the ceiling years before the luminaries. At the time of
arc caught up with Edwin Smida, project leader from Licht Kunst
the end, contemporary LED luminaires were installed. The
years of construction. With lighting design from Licht Kunst Licht,
put forward the idea of using downlights for the general lighting on
movement and safety.
floor for the ceilings,” said Smida. “At first, the Collignon office was
were discovered. In a bid to conserve the historic structure, it was
show some images of other projects in which this effect was easily
design. After numerous revisions, the final agreed upon design led to
downlights was convincing in the end, because we could foresee that
mimicked the original vaulted ceiling.
“The project was not built from the bottom up as usual, but the other
black and white colour scheme. Boasting gleaming white floors and
mushroom columns attached, and then the soil from underneath was
the anthracite-toned staircases remain in dark colours to add drama,
the lighting, this meant that the concrete recessed housings had to
the 140-metre-long station hall.
planning, we were still calculating with metal halide lamps, but in
Licht, to discover more about the studio’s approach to lighting the
manufacturer, We-ef, mastered the balancing act between the early
the architect, Licht Kunst Licht worked closely with the architectural
housings and the later contemporary lighting technology excellently.
changing concept.
constant monitoring of the progress of the construction site. For this
lighting design simply consists of integrated downlights in the
endless commitment.”
white floors and ceilings produced the desired, pure lighting effect
waterproof concrete floor to form the bottom of the pit. A “cover”
staff. Luminaire wattages and beam angles were adjusted by Licht
ceiling of the station. The flared support heads were completed early
varied ceiling heights in the hall and on the side wall of the connecting
This had consequences for the ceiling-integrated lighting concept.
space. Continuing the lighting studio’s established relationship with
system coherence of the downlights and the concrete cast-in
project team to create three proposals to fit in with the ever-
This was only made possible with close contact to the client and
Deciding to not use additional, complex lighting structures, the
we must explicitly thank We-ef employee Detlef Herfter for his
concrete ceiling. The calculated interplay with the reflection from the
In the beginning, side diaphragm walls were built, followed by a
along with a high level of visual comfort for passengers and station
was then concreted over the pit to form what would later be the
Kunst Licht to ensure each fixture was correctly fitted across the
on, but the supporting columns grew in a later construction phase.
bridge. Platform ends, where ceiling protrusions prevented the use of
The first installation step was the mounting of concrete installation
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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
ACTUAL SIZE
LO N D O N | PA R I S | D U B A I | M U M B A I JOHNCULLENLIGHTING.COM
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transport lighting
housings, which was carried out early on. We-ef
the station’s location.
In addition to a formwork element for the recessed
emphasise this modern look, and paired with the
entries for the redundant wiring. Later, operator
atmosphere. “It’s charming to end up in a bright
any risks as reliability was a top priority.
underground,” said Smida. “Ours almost looks like a
the HIT discharge lamps commonly used at the time.
ground. But the way to the hall could still have a bit
worked together to select the future-proof LED
slopes as connecting pieces in contrasting black. We
lighting to be seamlessly incorporated into the
contrasts would have had to be much stronger. It
installed in 2017 during the fit-out of the hall. A
Overall, the new station is not only a place of
above the platforms. With 24 LEDs in warm white
iconic piece of design in the city centre.
48W, they produced a symmetrical medium-beam
to focus on the lighting atmosphere rather than on
than 100 DOC220 recessed luminaires with 12 LEDs
knowledge at the service of the architecture, i.e., we
with lower ceiling heights. ETC140 inground
architecture. This principle usually produces strong
the ends of the platforms and feature a non-slip ASC
various trades is perceived as a unity,” added Smida.
Taking cues from the architecture, the lighting
achieve these studio-driven principles at the Rotes
Collignon (head of the architecture firm), which was
lighting scheme under challenging circumstances.
delivered the customised modified housings in 2013.
The monochrome colour contrasts continue to
installation detail, they also featured additional
lighting, create an open, bright and comfortable
Berliner Verkehrsbetriebe (BVG) decided not to take
and friendly-looking room on the way
In 2010, it became apparent that LEDs would replace
hall, the likes of which are usually only found above
We-ef, the architects and lighting designers all
of drama, so it made sense to design the stairway
technology. This also accounted for the emergency
never saw a problem here in terms of adaptation; the
scheme. The lamps were finally delivered and
was all purely intentional.”
total of 70 We-ef DOC240 lamps were installed
significance for Berlin commuters, but also as an
(3000K) and a connected wattage of a maximum
“In virtually all of its projects, Licht Kunst Licht tries
light distribution. Additionally, there were more
the luminaires themselves. We always put our
and symmetrical medium-beam optics in the areas
try to find a concept that works in harmony with the
luminaires with 24 LEDs in 3000K were installed at
and expressive results in which cooperation of the
coating in accordance with DIN 51130.
It is safe to say that Smida and his team were able to
matches the modern aesthetic created by Oliver
Rathaus station and create a stunningly simple
designed as a purposeful contrast to the history of
www.lichtkunstlicht.com
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The monochrome finish within the station creates a modern feel that is a deliberate contrast to the history of the station’s location, while giving the underground station an open, bright and comfortable atmosphere.
lighting specified We-ef DOC220 We-ef DOC240 We-ef ETC140
CEILING LUMINAIRES Architecture Enable the seamless continuation of lighting from interior to exterior with the new DAS100-PM and DAC100.
Transport lighting
Pics: Tomas Rodriguez
Aviation Fascination A new multimedia exhibition has been installed in Frankfurt Airport, detailing the flight paths of planes as they take off and land. The dynamic installation is illuminated by Lightnet’s Light Line fixtures.
I
n the centre of Frankfurt Airport, in Hall C of Terminal
same time, a very precise and flexible control system was needed for
only multimedia exhibition all about the fascination of
control via DALI would not be sufficient. Instead, Boissel opted for
1, flying becomes a new experience through the world’s aviation. Over 325-metres and two storeys, the central
the running light. It became clear relatively quickly that the usual
a technical platform that is the standard in show business but has
element of the exhibition winds its way through the new visitor
hardly been used in architecture so far. Each of the 2,300 boards
planes as they take off and land. A 14-metre-long and eight-metre-
developed a completely new sub-board with DMX controller, the
centre and precisely traces the flight paths and holding patterns of wide model of the airport incorporates a unique light installation using Lightnet’s Light Line into the exhibition’s model runway.
can be controlled individually via DMX. For this purpose, Lightnet software for the control was also newly programmed by Stageled.
“For me, the subject of control was new, I am actually responsible
The true-to-scale model of the entire Frankfurt Airport extends into
for light art and light planning,” said Boissel. The installation also
aid and explanatory object. According to Jochen Gringmuth from
explained: “The light installation refers to the flight lines from the
the design, the idea of the main exhibit was to show the size of
there is the exceptionally cool light colour of 5700K.”
the exhibition via the light installation as a signpost orientation Coordination Berlin, the architectural practice responsible for
had to meet special requirements in terms of light colour, as she airport, one thinks of the vapour trails from the sky. That’s why
the airport not only on the ground but also in the air: “To display
The elongated shape of the installation required the utmost precision
physical installation; using Liquid Line was the only solution for
offered only a very small number of points for suspension and
the approach and departure of the planes and to back it up with a us,” he said.
The enormity of the flight paths could only be captured by creating
in shaping, while at the same time the existing functional ceiling cable routing. For fire protection, the installation also had to be
interrupted at firmly defined points. The sum of these requirements
them on a scale of 1:1500; the airport is shown twice as large.
meant that only one manufacturer applied for the tender.
steep angles of the take-off movements are very clearly recognisable,
surprising: “This project was made for us – on the one hand, with
Nevertheless, the light installation remains very close to reality. The and the frequency of the running lights is based on the actual flight movements in 2019.
What visitors experience intuitively was new technical territory in several respects for lighting designer Anne Boissel and her
manufacturing partner Lightnet. In order to realise the architect’s
vision, a profile was needed that was flexible enough to be bent both horizontally and vertically, allowing for a variety of branches. At the
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For Axel Tiebel, Managing Director of Lightnet, this was not
Liquid Line we already had a product in our portfolio that can
implement very diverse curves in all dimensions. On the other hand,
we combine very deep expertise in mechanics, electrical engineering, and surface finishing inhouse, coupled with a way of thinking that makes it possible to react openly to unusual tasks like this one.” www.lightnet.de
www.liquid-line.de
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transport lighting
Underground Network Delmatic has delivered an advanced lighting management system to the Doha Metro, providing dynamic scene-setting and energy optimisation across its 37 stations.
D
oha Metro is one of the largest and most advanced
lighting accents and scenes, as well as support and security functions.
advanced lighting management systems provides
IP communication across the station IT networks, while seamless
driverless metro networks in the world. Delmatic
dynamic scene-setting and energy optimisation with
smart data sharing throughout the 37 stations.
Delmatic’s IP DALI modules deliver addressable control, regulation
and monitoring of lighting throughout front-of-house concourses, mezzanines, platforms, ticket offices and public facility rooms as
well as back of house and external spaces. Its network of smart DALI controllers, DALI multisensors, DALI presence detectors and DALI
daylight photocells optimises energy-efficiency and sustainability and provides advanced scene-setting control and the versatility to
configure dynamic lighting schemes to achieve the aesthetic vision of the stations.
The stations’ unique design takes inspiration from traditional
Bedouin tents and reflects the heritage of Qatar. The architectural
vaulted spaces direct daylight deep into the station interior, and the
Delmatic systems dynamically adjust lighting to replicate the effects of daylight in subterranean areas. Lighting scenes sequence in real
time to the varying conditions of occupancy and daylight coupled with astronomic calendar scheduling. Integrated light lines within the
station ceiling and pillars double as wayfinding elements, while the
system initiates a configurable range of daytime, evening, and night
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DALI dimming and monitoring combines with open protocol Modbus integration with the stations’ building management system shares key data as well as optimising operational efficiency. To ensure
reliable and robust operation, the systems provide total distributed
intelligence and deploy independent standalone control in the event of loss of comms with the BACS network.
The systems provide sophisticated control and operational
flexibility, enabling lighting modes and scenes to be configured, managed, and adapted across the network through animated
graphical software. Delmatic’s graphical interfaces and applications continuously monitor the complete lighting ecosystem, providing real-time data and intelligent analytics on station lighting
performance, including energy usage mapping, hardware and
network tracking, fault detection diagnosis and individual lamp
and driver failure diagnostics. The systems monitor and display the
operational status of every lamp and driver, flag failures in real time, and generate re-lamping plans to ensure luminaires are sustainably replaced at the optimum point. www.delmatic.com
How To Be An Ally Following Carmela Dagnello’s research into gender equality in the lighting industry, Neil Knowles, Director of Elektra Lighting and Male Supporter of WIL, offers some advice to men in the industry on how to be better allies.
D
o you have a penis? Read this article.
The deserved success of the Women in Lighting project has left a lot of men standing on the
sidelines thinking “what can I do? How can I help? Fear not! Below is your handy cut-out-and-keep guide to How to be an Ally.
This article is addressed to men, and phrased accordingly.
What is an ally?
Ally: Someone who makes the commitment and effort to recognise their privilege and acts in solidarity with oppressed groups in the
struggle for justice. Allies understand that it is in their own interest to end all forms of oppression, even those from which they may
benefit in concrete ways. An ally is someone who uses their privilege to support the rights of the marginalised. (www.blueprintforall.org)
Why Should I?
You know this already. Women are routinely discriminated against, harassed, assaulted, murdered. Even in the workplace, sexual
discrimination is rife, put-downs, harassment, touching are all
common. You know these are wrong. Now is the time to step up and say something about it.
If that doesn’t get you, self-interest should. A diverse workforce is better than a homogenous one. Especially in design, take 10
identikit men (what Grayson Perry calls “default male”) and you’ll get 10 similar answers to a design problem. Add some women, you get a different perspective. Add some people of different religion, Neil Knowles, Director, Elektra Lighting
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background, ethnic group, class and so on, you get a much deeper
and broader perspective on the problem and a much better solution.
women in lighting
Pic: Edgar Chaparro, courtesy of Unsplash
I don’t feel privileged!
hire you after all, and you aren’t going to turn the job down. But
have privilege that others don’t have. You might not feel this is the
inequalities in the world. Reach down and help up others, support
normal. I’d urge you to watch this very powerful short (4 minute)
and privilege to do so.
Let’s start with some basic principles; sexist people exist in the
What can I actually do?
Some are more subtle – no problem with a woman at work but what
Remaining silent (or worse, joining in) when others make sexist
The first step is to realise that as a man (or more, a white man) you case, because this is so ingrained in life that you just accept it as film, it will change your mind: https://youtu.be/buYh81cvrYs
world. Some are explicit, thinking a woman’s place is in the kitchen. if she has to take time off to look after her children (what, and men
don’t have children)? And some are almost unsaid – we want a team player, someone like us we can all get on with. Unnoticed that the
speaker is white, male, middle class, and will, without realising what he is doing, hire another white, male, middle class person.
If you’ve been interviewed for a few jobs, and each job has 2-3
panellists interviewing you, some of these people will have been
directly or indirectly sexist. You’ve benefited from this by getting the job instead of a woman. Her career is held back. If you have pitched
for 100 projects in your career, a fair number of them will have been decided by a sexist person, and you have won that job instead of a
woman. Her career has been held back by this. Ever wondered why
there are so few people in senior roles in FTSE 100 companies? This is
why. It only takes one hire/not hire decision to turn a meteoric career path to a lesser one, and after 20 years of this, the only ones left with a meteoric career path are men.
Male privilege exists. Pretending that it doesn’t is not helping. It
doesn’t mean your life is not hard, it means that your genitals are not one of the things making it hard.
Don’t worry. We’re not blaming you. It wasn’t your decision to
having reached a position of relative power, you can help right the them. Help right the wrongs of this situation by using your power
Don’t remain silent
jokes or remarks gives the impression that you agree. Already
marginalised and bullied, now the target feels like they have no support. This prevents them taking action.
Recently I was at a hotel opening where the interior designer, a talented woman who had been publicly praised in the opening
speech by the hotel owner, had her bottom pinched during the drinks reception. She didn’t want to do anything about it, as “this company is just all like that, and they won’t take it seriously”. If she thought instead that the company was not like that, that most people were on her side, that HR would act appropriately over what is after all classified as a sexual assault, the situation would be different.
Do not sit there, silently. Stand up and be counted. No, I’m not
putting up with this. Yes, it does come with an element of personal risk; if it didn’t it wouldn’t be brave of you. But don’t you want to
think of yourself as a brave person, the kind of person who stands up for others? Be the best version of yourself, the kind that doesn’t sit there and say nothing. Fight their fight
Why is this your fight though? So someone’s been put down,
www.arc-magazine.com
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Emilio Hernandez Ström
The topic of unconscious bias has come up in our discussions on how we can better support the Women in Lighting movement. When I look back this is probably the more common stereotyping taking place day to day that I have been witness to and usually this is on site. I’m mindful I need to be careful how I broach this as these aren’t examples of things that have happened to me. But I’ve witnessed too many patronising assumptions about the capability of a colleague to carry something or climb a tower and aim a fixture to count. I have to be very clear that more often than not the bias I’ve seen comes from a place of ignorance, a generation unaware of how these actions could possibly demean someone. But at the more cynical end of the spectrum, I’ve witnessed contractors offer the interior designer or a colleague ham-fisted excuses about why their design ‘isn’t able to be built’ as per their intent, and then barely able to conceal their contempt when a persuasive ‘please’ needs to become a formal instruction. In one instance when the fit-out contractor and interior architect formed a formidable team, rumours that the relationship is something more than professional were not far behind and in another I’ve had a colleague come back from site and describe how her host had essentially steered her around with his hand on her shoulder or back, which needed to be escalated pretty quickly both internally and with the management. Whilst the perception of women often isn’t helped by the often ludicrously ill-fitting PPE clothing provided on sites (again unconscious bias at the PPE ordering stage) crucially, in my opinion, the lack of women working in the trades in positions other than administrative roles is the lead cause of this behaviour not changing at a more acceptable speed. Contractors need to do more to encourage and welcome women in on-site roles to normalise working relationships with women on the tools. Clients need to stipulate this need in their tender process to encourage progressive approaches to equality on the construction site, and as allies, we need to be more aware of behaviour towards women at work and make a commitment to call out any poor examples at the time. www.lightingbystrom.com
Male Privilege This is best defined as the special rights and status that accrue to men in a patriarchal society. The default assumption that a person is male has a huge impact on women’s lives and it is so ingrained that it is often not noticed. When the first female MPs were elected almost 100 years ago, there were no women’s toilets in the House of Commons. The Member’s Lounge was male only and the sole female MP (Nancy Astor) could do all her networking and discussions alone, in the Women’s Lounge. Even today, medicines are routinely tested on men and assumed to just work or not guaranteed on women, car crash test dummies are male size and don’t accurately reflect the female body and what happens to it in a crash. Try reading Caroline Criado Perez’s book, Invisible Women, for a host more examples. As a man, the world is designed and shaped according to your whims, and women are expected to fit into boxes that are clearly the wrong shape. This is male privilege.
and then doing nothing about it doesn’t help.
Well, not always, no. By definition, the people this
“performative allyship”. Nobody is fooled.
use what power they have. “Don’t want to make a
Don’t ask people what you can do to help. Work it
happens to have less power and are often afraid to fuss” or “nothing will happen” or “it’ll harm my career if I make a fuss”. Why should they be the
ones whose career is harmed? Why not you? Take
a stand. You know it’s right. This is your chance to
You’re just doing it to look good. This is called Mental load
out and do it.
Anyone who is in a management position knows that supervising and instructing people is a job in itself – assigning tasks, dividing labour. By
do some good in the world, and stick it to The Man
asking “what can I do to help?” you are adding
If confrontation isn’t your style, there are other
Someone has had a sexist comment made at them,
on their side. Standing silently will not let them
in shock, and don’t quite know what to do.
at the same time.
ways to be supportive. Let them know that you are
to the mental load of the person you are asking. or had their body touched. They are probably
know you are on their side. Saying clearly “oh my
Additionally, many people have an instinctive
this. Offering help afterwards, a witness, writing
OK,” so in this situation the question “how can I
gosh, that’s awful, are you OK?” will let them know to HR, writing to the offender’s manager, telling them what happened.
reaction of “pretend it didn’t happen and it’ll be help” is worse than useless, adding to her mental load and achieving nothing. Express sympathy,
You should do this even if there are no women
support, then act. Find this person’s name, their
just because there are no women to hear it is not
Better, educate yourself on what to do. Ask for
present. Letting a sexist remark go unchallenged good. You have privilege and access to circles that some women do not, because of this privilege.
Don’t use your privilege to belittle others, use it
managers name, call the police if appropriate.
support from other bystanders. Which brings us to Bystander syndrome.
to support them to change the attitudes that are
Bystander Syndrome
Above all, get involved. Saying you are anti-sexist
an event are more likely to do nothing the more
entrenched.
www.arc-magazine.com
d-lighting
I am from a theatrical family and have worked in the theatre – this is an industry that has always been tolerant to all and inclusive, where talent and ability are recognised over gender, race or sexuality. Growing up in this environment, equality to all is my normal, my default position. Moreover, when you move into an industry where you are surrounded by incredibly talented female designers with so much to say, it is natural to become a champion to shout for their equality and their glory. I wish for the day when the WIL movement is simply a celebration of the talent and achievements of women as opposed to an advocacy and struggle to level the playing field for women’s rights and opportunities. www.d-lighting.co.uk
assaulted, whatever. Can’t they deal with their own problems?
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David Gilbey
Bystander Syndrome is when people who witness
women in lighting
Bystander Syndrome
Martin Lupton Light Collective
First noticed in 1968, this is the lessened likelihood of people to intervene, the more of them there are. A series of psychological experiments by social scientists Darley and Latane were set up with actors playing the roles of victim, aggressor and from none to several bystanders. One subject witnesses an event, and they intervene or they do not intervene. Subjects alone were 70% likely to help, but this dropped to 40% if they were with someone else, and lower still if there were many witnesses.
James Poore JPLD
In my early days in lighting, I recall a couple of incidences where I was on site with a more senior female employee and witnessed site managers talking in a condescending manner or even ignoring them. I have also been in meetings or on site where there are no females present and it seems this can be carte blanch to roll out the sexist comments. If you’re in a meeting or group at work where only men are present, it doesn’t make sexist comments OK just because no women are hearing those comments. Sexist attitudes in the workplace affect everyone! It’s no secret that a workplace that allows or fosters sexism has a serious impact on women’s opportunities, mental health, behaviours, and success. The impact on women should be enough of a motivator for any company’s leadership to look for ways to improve, but a survey by Catalyst (workplaces that work for women www.catalyst.org) found that an amazing 94% of men report feeling some level of masculine anxiety (pressure to act more masculine) at work and more than 22% of these experience high levels. This same study found that men who experience more masculine anxiety are also less likely to report or intervene in sexist comments and behaviours from their co-workers, so the cycle of a toxic work environment continues. Unfortunately, some of the behaviours are so ingrained in culture and society that the individuals often don’t even realise they are doing it. This is especially evident in some of the “old guard” in the industry who may have behaved in that way for years without being challenged or made aware of their inappropriate behaviour. It is essential to keep talking but also to keep educating and exploring and understand this is not a male bashing exercise, it is all about evening up the playing field. Of course, this paradigm attitude shift not only applies to gender but to race, sexual orientation, sexual identity and physical disability too. None of these should be seen to affect an individual’s skill, talent or relevance. I think in order to really address many of these issues we need to look at the definitions and expectations of masculinity. There is a lot of talk about masculinity being taken away and there will no doubt be individuals who feel that. But perhaps there are elements of what is perceived as masculinity that can and should be taken away, although one could argue that, if you can take those away then they are not defining you as a man and they are just a mask or an armour that you have been conditioned to wear. It is this conditioning and expectation that is put upon boys and subsequently men, which in turn leads to many of the unacceptable traditional stereotypes, which manifest as sexist behaviour. If we consider these and acknowledge them then we can start to tackle these issues. www.jpld.co.uk
A colleague was taking part in a lighting trade show. It was one of the first “in person” events in 2021 and people were still relatively cautious and nervous about face to face interaction. At one point in the day, she was alone on her company stand when a man came up to the stand. He asked if he could take a picture of the stand with their slogan in it - “Better Than Normal” - he kept asking her to move left/right etc, and after the photo was done he explained that he was positioning her so that the caption in the photo of her and the stand read “Better Than oral”. If we need proof that these attitudes still exist in our industry, then this is a prime example. More than 50% of our profession is women – why would we all want to deal with a company that has this sort of culture? If we refuse to do so we will force the change that is required. Allyship is not just the right thing to do, it makes your company better and more commercially successful and it is your responsibility to see that gender equity and sensitivity is ingrained within your company. www.lightcollective.net
Mental Load This is normally used to describe the unfair division of household tasks, in particular the way that women end up doing the management. Even if a man goes shopping, the list and meal plan is often prepared by women. Sure, men might drop the children off at school, but the time they need to be there, what they need to take today, has this form been signed for the trip, these tasks generally fall to women. This additional task, that of managing or running a household, is a job in itself, and it’s called mental load. When a man says: “what can I do to help”, this doesn’t help. Plan a meal, look in the fridge, go to the supermarket, come back and cook it without either asking what to do or asking for help – that’s actually helpful.
witnesses there are. Everyone thinks someone
But what can you specifically do in the lighting
to do it. You’re in a meeting and someone makes
woman in a less senior position isn’t necessarily
else will do it, or someone else is more qualified
an inappropriate remark about a woman present. What are you going to do? Instinctive reaction
is nothing. Your boss will do something, right? Or the architect, he’s more senior. He’s also probably thinking the same thing. Nothing
happens. Nobody says anything, the woman feels unsupported and alone and unable to make a fuss
for fear of being branded a troublemaker, a killjoy. But the opposite can happen. Years ago, I was on the tube when someone was the victim of racist
insults. A guy just got on the carriage and started ranting at an elderly Asian couple, minding their
own business, about why they didn’t “go home”. It was unpleasant to watch. I didn’t do anything. Then someone got up and said “I’m not going to
tolerate your racist behaviour. I’m going to make
you stop, and you’re getting off at the next station. I’ll do it alone if I have to but I’m sure others agree with me”. And then someone else stood up and
said the same thing, and before you know it, the
whole carriage forced him off the tube. It was great
and we all felt amazing about ourselves afterwards. Actually, just writing about it now brings back flood of emotions. This is what can happen.
industry? Be aware that this happens. Be aware a less hard working, less talented. She might have just missed out on what men would call a “lucky
break”. Support her, even to your own detriment.
Push women forward to positions, let them speak. Don’t talk over them because you are senior or
just more confident. Recognise that they might need a hand up, or a break. Give it to them,
without waiting to be asked. Follow and promote
successful women on social media, talk them up, even to your detriment.
Be the first person to stand up. Use your privilege to help others achieve. Remember, you are not promoting them above their ability, or giving
them undeserved prizes. You are helping them
achieve what, in a fairer world, they would have achieved anyway.
You have power as a man, and in the words
of Spiderman, with great power comes great
responsibility. Recognise you have power, use your power to restore equality to the system. www.elektralighting.co.uk
www.womeninlighting.com
For more information on how you can pledge your
support to the Women in Lighting initiatives, visit
www.male-supporter.paperform.co
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Terra Firma One of the flagship structures of Expo 2020, the Sustainability Pavilion, designed by Grimshaw Architects, features a seamlessly integrated lighting scheme created by Buro Happold.
PROJECT DETAILS Terra – Sustainability Pavilion, UAE Lighting Design: Buro Happold, USA Architect: Grimshaw, UK Exhibition Design: Thinc Design, UK Lighting Specified: Ecosense, Lucifer Lighting, Osram Photography: Phil Handforth Architectural Photography
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A
s one of the main attractions of Expo
through a series of closed loop systems, designed to
Pavilion aims to illuminate the
local topographical and floral features, combined
2020, Terra – The Sustainability
ingenuity and potential of architecture
as society looks to intelligent strategies for future sustainable living.
Designed by Grimshaw Architects, the pavilion
draws inspiration from complex natural processes such as photosynthesis, with its dynamic form
specifically designed to be functional as well as
aesthetically stunning; it captures energy from
sunlight with its “forest” of solar trees, while fresh water is also drawn from the humid Dubai air.
Situated in a prominent location within the Expo
grounds, Terra’s structure works in tandem with a considered landscape of demonstration gardens, winding pathways and shaded enclaves to create
an aura of magic punctuated by the sights, smells
and tactile opportunities of nature. The gardens are both experiential and functional, setting the stage for the exhibition contents within and creating
shaded gathering areas that manage and distribute crowds while offering retail, food and beverage opportunities.
Flora and fauna sourced from the surrounding deserts are arranged throughout the gardens,
creating a water efficient landscape that functions
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filter, supply and recycle water. The framing of these with the technologies of water recycling and reuse, provides visitors a newfound appreciation of the unique region and its biodiversity.
The wider design for the pavilion is driven by
maximising efficiency, which it does by seeking
shade either below ground or underneath its soaring canopy. The canopy houses more than 6,000sqm
of monocrystalline photovoltaic cells embedded in
glass panels, allowing the building to harness solar energy while providing shade and daylighting to
the visitors below. The experience in the courtyards below calls to find the feeling of being beneath a
large shade tree, with dappled light projecting onto the surfaces below.
With more than 6,000sqm of exhibition space, the
Sustainability Pavilion will remain in place once the Expo is over, transforming into a science museum
and becoming a destination for locals to learn about sustainability.
Working alongside Grimshaw, Buro Happold
consulted on a number of MEP aspects, including
the lighting design. Chris Coulter, Associate at Buro Happold, explained how the lighting concept was
formed. “When we were involved, the form of the
Expo 2020
building was virtually laid out in terms of the big solar
like the pavilion becomes a black hole on site.
had some preconceived notions for the lighting as well,
and while some of the land will be redeveloped, we don’t
canopy, so we took that and started sketching. Grimshaw but we leaned on the sustainability principles that we
were trying to achieve for the project, and the story that we were trying to tell.
“It was a very collaborative effort, bouncing ideas back and forth off each other. It was an interesting process
looking through the sketches and trying to figure things out.”
While Grimshaw worked with Thinc Design on the exhibition design – including the lighting – Buro
Happold predominately focused on the exterior lighting, and on creating “special moments” within the grounds, while adhering to the pavilion’s strict sustainability targets.
Coulter continued: “We looked at the entry sequence and how you bring people in, knowing that Expo is going to
be running almost around the clock. How does lighting
reinforce the sense of arrival and what are the conceptual notions of this?
“We were shooting for net zero energy, with a minimum baseline target of a reduction of 20% lighting power
density throughout, with a 50% reduction in the exterior landscape lighting. Within the context of the Expo
site, we were faced with the challenge of being true to
ourselves and the sustainability targets, while not feeling
“Further to this, once the Expo is over, Terra will remain, want it to become a bright spot on the landscape either. “With this in mind, we were always thinking ‘what are we doing that ensures that we’re making the most out
of what we have?’ So for us, it became all about marking moments as you pass through.”
Through this mindset, Buro Happold opted for a lowkey, subtle lighting scheme throughout the gardens
and landscape beds – an approach that Coulter believes brings things down “to a more human scale” beneath the vast canopies above.
He added: “From a landscape architect standpoint, it’s a very sparse sprinkling of lights throughout, but it
made us be very selective as to where we highlight these moments, and so it actually became a stronger concept
in terms of reducing the power but also making sure that we apply the light in the right, most effective way. By keeping the lighting on site to a minimum, it allowed those lit spaces to be more impactful.”
While the extra sustainability goals for the pavilion meant that the Buro Happold team “always had a
keen eye as to making sure that we had very efficient
fixtures”, Coulter added that in the interior spaces, it became more about “making the most impact” with fewer fixtures.
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“It was about lighting surfaces, rather than
we didn’t have that hands-on experience like we
through the space, you don’t need a lot of light,
“But it was a very pleasant surprise after all the
make it feel brighter,” he said.
result. When I saw the first photos of the canopy,
and the sun is very intense, so we didn’t need a lot
good, but it looks way better than I could have ever
ways of lighting the big, coffered ceiling in the
was an honour to be working on one of the main
of what would be beautiful, but when we thought
Although Coulter has yet to visit the Expo since its
lighting in small spaces that, at that grand height,
with how the lighting sits within the wider design
almost thrown away.
He concluded: “The lighting is really well
the most impactful approach with the fixtures
or feel like there was a completely separate
right applications of light to make the most out of
afterwards.
As with many of the pavilions at the Expo, a lot
lighting is integrated with the architecture and
Coulter unable to visit the site during construction.
all be on the same page, and if I can make the
the end result even sweeter, especially given the
“There was a lot of work to make sure that it was a
“With the design of the pavilion being so grand,
make it feel like it is what it should always have
get it right, and as we weren’t as involved during
this is what it is because this is what fits, this is the
risk with projects internationally – we were a little
the real success is.”
functional light on the floor – if you’re just walking
normally would,” he said.
so by pushing light onto the surface, it’s going to
late nights and hard work when we saw the end
“There’s also a strong connection to the daylight,
I had a feeling that it was going to look really
of additional light. We were looking at different
imagined. We really rose to the challenge, and it
grand entry and thinking of all of these grand ideas
pavilions at the Expo.”
about the wattage implications of things like cove
opening, from what he has seen he is very pleased
while there’s an aesthetic benefit, the wattage is
of the vast pavilion.
“It became an interesting way to think about what
integrated into the design – it doesn’t look
would be – making the right selections and the
lighting designer that came in and did their thing
these spaces.”
“What I really strive for is to make sure that the
of the design work was carried out remotely, with
that it feels like one thought of work. If we can
It was a challenge for him, but he said that it made
architecture look better, that’s a win.
focus on Terra as one of the core pavilions on site.
collective push to work through different ideas and
there was a little bit of added pressure on us to
been. If you can get to that point and say ‘of course
construction as we normally are – which can be a
design that makes the project work’, that’s what
nervous as to how it was going to turn out because
www.burohappold.com
O YA
Responsible lighting solution
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Poetic Light Atelier Ten worked with renowned designer Es Devlin on the striking UK Pavilion - a conical structure transmitting a message of multicultural harmony.
PROJECT DETAILS UK Pavilion, UAE Lighting Design: Atelier Ten, UK Designer: Es Devlin, UK Architect: Veretec, UK Structural Engineer: Atelier One, UK Lighting Specified: Tryka Photography: Phil Handforth Architectural Photography; Alin Constantin, courtesy of Es Devlin
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C
onceived as “an expression of
at Atelier Ten, explained how they designed
explained: “There was a lot of design work to
Britain” by artist and designer
and enhance the illuminated artwork: “Es
We did lots of mock-ups and lots of work
the ideal of a culturally diverse Es Devlin, the UK Pavilion is one
of the most striking structures of Expo 2020. A conical, cross-laminated timber
(CLT) pavilion reminiscent of a musical instrument, the UK Pavilion features a
large, striking display of light, in which AI generated “poems” are broadcast to the world for the duration of the Expo.
Each of the anticipated 25 million visitors to the Expo over its six-month tenure is
invited to donate a word at the pavilion’s
‘mouthpiece’. These words are then selected to be collectively illuminated in both Arabic and English.
In creating this dramatic structure, Devlin worked in partnership with structural
engineers Atelier One, creative agency
Avantgarde and executive architects Veretec, alongside environmental design consultants Atelier Ten, which also designed the architectural lighting for the space.
Elga Niemann, Associate Director of Lighting
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the architectural lighting to complement
[Devlin] had some pretty good ideas of where she wanted to go with the lighting; when
you look at the pavilion, the lighting is what really makes it. She had a concept for the
pavilion and the artwork, and then we tried to reflect that in the lighting design.
“The idea was to emphasise the cone - this
giant musical instrument that communicates with space. We wanted to highlight its shape
with the lighting, so that it starts off dimmer at the smaller end of the cone, and then gets brighter as you approach the poem tiles at
the front, which are shouting out into space.” To create this glowing effect, Tryka’s
Continuity S and Continuity T linear lighting is integrated into each of the 19 CLT layers, uplighting the layer above it so that you
don’t see the source and instead are given
the impression that light is emanating from within the cone itself.
However, creating this effect was not without its challenges, as Niemann
be done to work out how to create this effect. with the guys who were pre-fabricating the CLT cassettes to get the effect that we were looking for, especially the tapering. There
was a lot of coordination involved in making that happen.
“It was tricky to balance because we wanted there to be enough light externally so that you get the impression of light emanating out, but not so much light internally that you’re overpowering what’s happening inside the pavilion. The solution was to
locate the lighting as far as you could outside effectively, while still getting an even effect on every layer, so that you still get the idea that it’s coming from the inside.
“There’s quite a depth within the panels though - some of them are a couple of
metres wide, so by the time you get into the cone, you just get a soft glow, almost as if it was daylight coming in from outside.”
Unlike many of the other pavilions at the Expo, there is no exhibit inside the UK
Expo 2020
pavilion. Instead, the focus remains on
trying to convey. “It’s different in that it’s
Atelier Ten faced in turning this pavilion
greeted with a curved void with LED-tile
it isn’t a traditional one that houses some
strong team ethic and clear vision between
the building and the poetry, as visitors are covered walls that also display the donated
words. This is harmonised with a soundscape recorded by multicultural choirs from across the UK.
Atelier Ten’s approach for the interior was
to add a subtle yet beautiful light that would showcase the design of the cone without
overpowering focal point of the poem tiles. “It’s all about doing something that just
sits beautifully with the form, but doesn’t overtake the artwork,” Niemann added.
“You’ve got people walking in there, and you just want them to be looking at the poem, but at the same time, you’re creating a beautiful, sculptural space.”
The UK pavilion is very different, not only
in its appearance, but also in its approach, from other pavilions at the Expo, in the
sense that its message and ‘display’ is a lot more outward-facing. This is something that Niemann feels was very deliberate,
given then message that the designers were
an artwork; it’s in the form of a pavilion, but sort of exhibit. This was the idea, that it is
communicating with the outside world, and I think it’s been really successful in getting that message across.”
Leading up to the cone’s entrance, visitors
pass through a maze of display vitrines that
are intended to guide them up to the pavilion itself. Each of the vitrines is integrated with
light, as Niemann explained: “The idea with
the maze is that if you were to see the pavilion from space, you would see the maze lit up and then the cone highlighted with light.
“We integrated lighting at a low level,
which functioned as ambient light to guide visitors up to the pavilion. There’s also
lighting within the vitrines to light displays - sometimes these are layered artworks of different graphics, and some of them are objects, so it was a challenge to come up
with lighting that would serve all of those capacities.”
However, for the various challenges that
into a reality, Niemann explained that the
all involved parties was a huge benefit. “It’s
good to have a team that all had a clear vision of what we wanted this to look like at the end of the day,” she said. “To make it happen required a lot of commitment from the
architect, the structural engineers, everyone from Es’s team.
“It’s definitely been one of my favourite
jobs, mostly because the team is so good.
Es was great to work with, and the people
in her office are absolutely brilliant. That’s what makes a project at the end of the
day, working with the right people that
all have the right goal. There was lots of
coordination, but everyone was singing from the same hymn sheet.
“Es is a lighting designer in her own right, and the whole idea was about lighting and bringing the architectural and artwork
lighting together as a seamless sculpture is what we wanted.”
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expo 2020
Desert Rainforest Light Collab designed a biophilic lighting scheme to complement and enhance the lush greenery of the Singapore Pavilion.
F
or the Singapore Pavilion, architect WOHA and landscape architect Salad Dressing brought lush greenery to Dubai with a plant-filled, “three-dimensional garden”. Situated in the expo’s Sustainability district, the
Singapore Pavilion’s thriving rainforest offers a botanical escape for visitors to the event.
The lighting concept for the Pavilion was developed by Singaporean
studio Light Collab, which supported the overall vision of the architects for a vibrant, green space, creating a biophilic scheme that would complement the abundant greenery.
On entering the pavilion, visitors can embark on an experiential journey up a ramp to enjoy the scenery of the rainforest, with different
experiences throughout the day. During the day, visitors are given the
feeling of entering a rainforest with daylight filtering through the trees. At night, the intent is to “evoke the spirit of the forest”, by revealing
the spectrum of light that is specific for the growth of the plants. These particular segments of the spectrum are elevated after dark, meaning that visitors enter into an environment that encourages the regeneration of the forest.
The pavilion is constructed around three huge, plant-covered cones that contain a series of exhibition spaces, with the pathways meandering in
between these cones. Following the pathways through nature-inspired
scenes, concealed lighting serves as a guiding light, gently illuminating the way forward. A layer of grow lights above the hanging gardens
supports growth and doubles up as a layer of environmental lighting,
creating an artificial sky. Grow lights in narrow beams also support the growth of the plant-life on the cones.
These grow lights are also carefully tuned to allow for double usage –
both supporting the growth of the greenery with high photosynthetic photon flux output and doubling up as architainment lighting with
special colours for an immersive, biophilic environment that highlights different parts of nature and plants.
During the day and early evening, the environment appears to be a
natural one, with warm colour tones, but this gradually shifts to various
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Expo 2020
PROJECT DETAILS Singapore Pavilion, UAE Lighting Design: Light Collab, Singapore Architect & Creative Design: WOHA, Singapore Landscape Architect: Salad Dressing, Singapore Lighting Specified: CMY Light, DMXLab, Glos, L&L Luce&Light, Linea Light, Luxconex, Maerich, Osram, Pharos, Roblon
modes after dark, revealing different spectrums of light and dynamic
day. “To support the biophilic design, we also explored the use of
luminous “fireflies”. Additional landscape lighting further supports
horticultural lighting was custom made for the light show too.
lighting scenes. Fibre optics are also further deployed to create
the overall lighting, enhancing various elements such as the water features, trees, and other green features.
With such a strong focus on greenery and biophilia, Yah Li Toh,
Principal of Light Collab, worked very closely with the architects to
ensure that all design elements were in sync. “As the theme was on sustainability, with a net zero target, we also worked closely with Transsolar Klima Engineering on energy usage,” she explained. “Studies of the sun’s path were done, and solar tubes were
introduced to reduce the demands on artificial lighting. At first, we
were only commissioned to plan the lighting for the architecture and landscape. But subsequently, we expanded our scope to include a light show using the lighting fixtures installed.
“WOHA was very particular about design and has a great eye for
details and vision, thus we were able to execute difficult details such as a curved handrail lighting, using a continuous LED strip.”
The special “Biomorphosis” light show lasts for three minutes and is presented periodically every hour. During the show, all components of the landscape lighting come together to elevate the breathing rhythm of nature in a celebration of life.
Given the abundant greenery of the space, Light Collab had to work hard to develop a lighting scheme that would support the biophilic
design of the space – especially in areas like the hanging gardens and deep between the cones, where daylight would not reach during the
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architectural and horticultural lighting,” Toh continued. “The special “We were conscious to have grow lights only in areas where daylight is less sufficient. It was a balance between the needs of the people and the nature, while also transforming the nature into another realm at night.”
While the pavilion has a very strong emphasis on biophilic design,
Toh has previous experience in this regard, having created a beautiful biophilic lighting scheme for the Parkroyal Collection Marina Bay in Singapore. However, she explained that the concept for the
Singapore Pavilion was actually developed first, before the Covidenforced delays meant that it was pushed back.
“We started our research and use of grow lights in early 2019,” Toh
explained. “However, due to the pandemic, the project was delayed for a year, and the Parkroyal Collection Marina Bay was completed earlier. However, with the completion of Parkroyal Collection in December
2020, we had time to observe the reaction and the effectiveness of the grow lights, and it gave us assurance that the horticultural lighting specified would work, which gave us more confidence.
“However, as Dubai is in the desert, trying to get plants from
Singapore to survive is quite a feat. But due to the amazing design
from the team, and the climate control strategies, they all worked together to improve not only the human comfort, but also the survival of the plants.” www.lightcollab.com
G-SPOT AN AWARD WINNING GROW LIGHT SOLUTION WWW.MAERICH.COM
Winds of Change The Women’s Pavilion - the first time such a pavilion has featured at the World Expo, includes a stunning light show across its mashrabiya-inspired façade, designed by French studio Light Is More.
2
020 marked the first year that a
positive impact women make on the world and the
an international exposition. Located
and solutions by women and their ripple effects to
women’s pavilion was included in
in the Sustainability District of Expo
2020, the Women’s Pavilion, by architect Laura Gonzalez for the client Richemont - Cartier, is
inspired by women’s impact on creating a better world.
In 2019, architect, lighting designer and creator of
Paris-based Light is More studio Pauline David was invited to be the artistic director of the lighting
show on the Women’s Pavilion. David designed
PROJECT DETAILS Women’s Pavilion, UAE Lighting Design: Light Is More, France Architect: Laura Gonzalez, France Lighting Specified: Canal LED Photography: Light Is More
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her scheme around the subject “New Perspectives: when women thrive, humanity thrives”.
With the promise that the Expo 2020 Dubai
celebrates female change-makers around the
world, the messages Gonzalez and her female
collaborators aimed to present inside the Women’s Pavilion invited audiences to understand the
challenges they still face, and worldwide initiatives create a better world. The aim was also to create a space to encourage meaningful discussions
supporting women’s vision and contributions to shaping society.
The façade is composed of an outer envelope
in aluminium mashrabiya and an intermediate
envelope in gold aluminium mesh. The design of
the mashrabiya takes the shape of an emblematic
bracelet from one of the first Cartier collections in the Middle East.
In terms of the exterior lighting of the structure, David brought Gonzalez’s façade panels to life
with a brilliant light show. When the sun sets, the façade illuminates to reflect the passing of time;
clouds of light move across the surface as if pulled by the wind.
expo 2020
“Their intensity evolves calmly, breathing in, breathing
lighting becomes darker and sparkling lights emerge
understand, to exchange. The curtain opens on new
stars. The moon progressively disappears, leaving the
“Large birds appear and dive into the Pavilion. We then
vous’”.
choreography. It represents the union of women and
progressively increase in intensity from 30% to 100%
Women’s Pavilion for the World Expo to ‘Connect minds
played in between every lighting show throughout the
“As the sun passes, a new day dawns. The moon then
To achieve this array of effects, David used numerous
to the women leaders who have marked history, an
network of 4,077 LED modules were installed at the
women from all over the world working today for the
gold aluminium mesh. Secondly, a network of LED
stronger.
small dimensions allowed them to pass through the
night, by the ordinary and the extraordinary. Be fully
when lit.
it has on humans and spatial environment. The weather,
Canal LED, uses an animated 3D video designed by David
parameters that physically affect our emotions.
The sound/light timing was achieved with a time
stars and women’s strength and power evolution.”
was imagined by Vincent Lagadrillière and divided
sun as it moves from one side of the façade to the other.
diffusion on a network of 12 loudspeakers installed
physically around the pavilion like the Earth rotating
recommendations of La 8e Note.
out,” explained David. “It is time to contemplate, to
across the entire surface accompanied by some warm
perspectives, the clouds seem to be clearing out.
pavilion to shine like “the Eiffel tower at every ‘rendez-
discover an elegant murmuring, a swirling and twirling
In between the light shows, the façade lights
men from all over the world gathered today at the
over the course of an hour and a half. This scenario is
and build the future’,” she continued.
evening event.
reveals itself in the wake of a billion stars. It’s a tribute
LED dots across the layers of the façade. Firstly, a
image of
back of the mashrabiya and were aimed toward the
blossoming future generations. Together, let’s shine
dots were added to the back of the mashrabiya. Their
“Be inspired by that which surrounds us, by day and by
perforations so that they were visible on the surface
aware of the science behind natural light and the effect
The control system of the LED modules, programmed by
the time, the sun and the moon, the seasons, are all
and directed by Nicolas Weyrich.
“This light show is a travel through environment, space
code applied to the video. The musical composition
The first of the light shows follows the course of the
into several tracks allowing a multi-track spatialised
It presents a rotation around femininity, represented
all around the façade following the technical
around the sun.
www.light-is-more.com
Following the sun show, the moon rises. The back
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Window to the Future PROJECT DETAILS Pavilion of the Kingdom of Saudi Arabia, UAE Lighting Design: Kraftwerk Living Technologies, Austria Architect: Boris Micka & Associates, Spain Lighting Specified: Martin Professional, Robe Photography: © Alec & Alec Fitout
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One of the biggest pavilions at Expo 2020, the Pavilion of the Kingdom of Saudi Arabia is a bold and dynamic audiovisual experience, courtesy of Kraftwerk Living Technologies.
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I
n Expo 2020’s Opportunity District, the Pavilion of the
Records with the longest interactive water feature at 32-metres, the
earth. A colossal monolith set into the earth at an angle
lighting floor, composed of 8,500 LED lights. The goal for these three
Kingdom of Saudi Arabia (KSA) appears to rise out of the of 24°, the pavilion is built around the theme “Window
to the Future”.
To bring the vision of the KSA Pavilion to life, Kraftwerk Living
Technologies (KLT) was responsible for the design of the audiovisual systems from concept to completion, together with architect and
designers Boris Micka & Associates. The media technology solutions are 100% integrated into the architecture of the Pavilion, and the
design process for the technology informed the building design itself.
Across the pavilion’s bold design, it has broken three Guinness World
largest LED mirror screen at 1,305.5sqm, and the largest interactive features was to reflect the past, present and future of Saudi Arabia through groundbreaking technology.
The team at KLT worked onsite for more than 16 months to complete
the project, integrating approximately 384 million pixels across all of the video displays, 1,300 custom glass panels with LED displays and creating a massive outdoor screen surface that weighs 60 tonnes. The KSA Pavilion has been designed to present Saudi Arabia’s
heritage and future in an entertaining way. With no written text,
ideas are instead communicated through sensorial experience. One
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Expo 2020
reason for this being the population in Saudi Arabia is very young,
The interior also features state-of-the-art architectural elements
world. The idea was therefore to present its modernity accordingly
and LED solutions in all themed areas of the exhibition.
and the country is one of the most social media-oriented in the through innovative technologies.
Measuring around 13,000sqm in size, covering an area the size of two football pitches, it is the second largest country pavilion at the Expo
behind the UAE, and has been designed as a legacy pavilion, meaning that it will remain after the Expo has concluded. The systems have therefore been designed with long term use in mind.
The pavilion has also been certified with LEED Platinum
accreditation, the highest green building sustainability rating
internationally, which means that it is positioned among the most sustainable developments within the Expo.
KLT’s technological solutions run throughout the pavilion;
outside, the floor of the main square is equipped with a highly specialised tracking system and 8,500 interactive RGB IR LED
elements embedded in granite flooring, enabling special effects
and even large-scale interactive games. In the wedge created by the monolithic shape, the entire ceiling is made up of more than 1,300
custom glass panels with LED components, creating a huge outdoor screen surface. The sides of the building include nearly 700-metres
of 16mm ultra-high brightness Infiled LED screens for video textures and messaging, while on the room, 700 photovoltaic panels are
integrated with 1,548-metres of Martin Pixline 20 LED strips and
203 Martin Exterior Linear 300 LED cove wash lights, controlled by a Martin P3-050 system controller.
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and technologies, including a wide variety of high-end projection
The Welcome Area shows a giant water feature creating a relaxing
atmosphere with water, sound and patterns - the sides of the water fountain can be individually controlled to regulate guest flow.
Passing the water fountain, a 22-metre LED screen welcomes guests by showing the natural attractions of Saudi Arabia.
The ascent and descent where escalators lead through large-scale projections bring closer the dual message of the past and the
future of Saudi Arabia; based on the country’s “Vision 2030”, 2030
illuminated, hand-blown chandelier crystals have been integrated. One of the most significant and spectacular elements of the
exhibition within the pavilion is a giant, virtual-floating sphere. With a diameter of 36-metres, the effect is created by a huge
kaleidoscope of mirrors and projections. The floor is also projected and supplemented by a tracking system, with content created through collaborations with four Saudi Arabian artists.
With an experience driven by interactive content, created and
presented using the latest audiovisual technology, the pavilion
is designed to connect the world to the Saudi Kingdom though an inspiring and immersive experience. www.kraftwerk.at
Pavilion of Progress Designed to symbolise progress and new horizons, Alif - The Mobility Pavilion is one of the cornerstones of Expo 2020. The Foster + Partners designed pavilion is enhanced by an exterior lighting scheme from DALD.
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PROJECT DETAILS Alif - The Mobility Pavilion, UAE External Lighting Design: DALD, UK Architect: Foster + Partners, UK Exhibition Lighting Design: Sutton Vane Associates, UK Executive Lighting Design: Delta Lighting Solutions, UAE Lighting Specified: ADO Lights, Aldabra, Bega, Delmatic, iGuzzini, Ligman, Lumenpulse, MJ Lighting, NGA, Osram, Pharos, Stoane Lighting, Studio Due Photography: © 2020 Expo 2020 Dubai
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A
lif - The Mobility Pavilion
mobility devices in action, as well as witness
floor, viewing innovative, immersive and
signature pavilions, based on
opportunity to vastly improve the quality of
mobility.
Sustainability and Opportunity. Designed
as solar-powered tricycles.
the Pavilion, Foster + Partners needed a
collaborative project with Expo 2020 Dubai,
presentations and performances, The
would enhance and animate Alif itself, as
‘Connecting Minds, Creating the Future’.
schedule of complementary events with a
Atkinson Lighting Design (DALD) helped to
the Arabic alphabet to symbolise the
portions of the high-speed track. The Bowl
architecture and the landscape.
the Pavilion occupies a dedicated plaza at
500 people, located at the pavilion’s exit,
early stage by Foster + Partners to work
built around a lively, dynamic landscape,
and contemplate their journey.
design, which was effectively broken
tracks and demonstration areas for the
three key zones based around the pavilion’s
Lighting Practice, who was responsible
mobility. Spanning a large site of 12,000sqm,
through Mobility; Distributing Goods and
seamless integration of light fittings within
stainless-steel structure complements the
and Information. Each sub-theme forms
and ensure lighting performance achieved
movement.
directly into the central core, which features
The building façade is made up of a series of
correspond to the internal functions of the
of holding more than 160 people (although
main petals, along with the three entrance
a variety of spaces for visitors to relax and
restrictions). This moving platform takes
challenge for the external lighting was with
underground, part open-air 330-metre
then move down through successive
these fins.
is one of Expo 2020’s three
mass produced technology that has the
interactive visitor experiences focused on
the sub-themes of Mobility,
life for people in developing countries, such
To showcase the striking architecture of
by Foster + Partners, the pavilion was a
A raised platform for large-scale
dynamic lighting design approach that
exemplifying the event’s overall theme of
Stage is optimally located for a changing
well as its surrounding landscape. David
Named Alif, after the first letter of
sheltered viewing area for the underground
create a sympathetic synergy between the
beginning of progress and new horizons,
is a large amphitheatre that can seat up to
DALD was brought into the project at an
the south entrance to the Expo site, and is
making it an ideal spot for visitors to rest
through the complex external lighting
conceived as a fairground with undulating
Internally, the display areas are divided into
down into areas. DALD worked with Delta
latest technological innovations related to
three sub-themes: Empowering People
for the technical design stage, focusing on
the flowing trefoil-shaped, polished
Resources; and Connecting through Data
the architectural design, to deliver the intent
Expo’s sub-themes of connections and
a petal in the trefoil plan. Visitors enter
the targeted criteria.
The surrounding landscaped areas
the world’s largest passenger lift, capable
undulating fins that are linked by the three
pavilion, with three main zones offering
this was reduced to 38 for social distancing
points. For the lighting designers, the main
enjoy the spectacle. This includes a part
visitors up to the third level, where they
the polished, stainless-steel cladding of
track that allows visitors to see cutting-edge
interconnected galleries to the lower ground
David Atkinson, Founder of DALD, said:
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Expo 2020
“After extensive trials initially with a model
LED, which are linked in with the remote
Pavilion.
large scale mock-ups and through previous
Elsewhere, the roof terraces were lit by
programmed on a DMX-based system
steel, it was decided where possible to
and from small downlights recessed into
building’s control system to run from
fixtures with asymmetric distribution.”
temperature of 3000K, to bring a feeling of
Pavilion is very large in scale, the external
produce lighting simulations to ascertain
In the underground areas of the high-speed
stretching the light sources to their
project. Each fixture is DMX controlled with
LED panels that were recessed into the walls
Mohamed Medani, Associate at Delta
and subtle use of colour to the exterior of the
panels were sequenced, which helped to
perfect sync with the architecture, and
with special brackets and remote ballasts
impression that they are travelling at high
fluidity, and connection. The perpetual
“totems”, which doubled up for signage and
To help bring a further dynamic to the
light follows the curves of the façade, the
was key to minimise the aesthetic impact
of ADO Lights’ LED-Lightlines form bands
a feeling of motion and of a constantly
glare and light spill, the fixtures were also
radiate from the building. Each strip is fitted
“The building seems to spin in a continuous
With the three entrances serving as focal
controlled to allow for sequential control
moving light. The deep understanding of
them are lit by reflecting light off the resin
sense of movement to the pavilion.
building, as light is fully committed to the
a series of high output fixtures with spreader
indigenous trees are uplit via in-ground
to keep the pavilion ‘spinning’.”
at high levels above the entrances. These
temperature of 3000K, which further adds
www.deltalightingdesign.com
using fibre optics, as well as running tests on
façade lighting.
The intricate external lighting scenes were
experience of lighting polished stainless
discreet fixtures recessed under fin shelves
from Pharos, which is triggered from the
uplight the fins from an acute angle using
the roof canopies. DALD opted for a colour
dusk until closing of the site. Although the
DALD worked closely with Studio Due to
warmth to these areas.
lighting design approach was minimalistic,
the most suitable fixtures and optics for the
track, DALD developed IP65-rated circular
maximum potential.
RGB and white LED, allowing for dynamic
of the tunnel and controlled via DMX. The
Lighting Design, added: “Lighting is in
building. The fixtures were custom designed
animate the space and give the drivers the
they send a mutual message of movement,
as some of the fixtures were attached to
speed.
shift of colour, the fidelity with which
internal video monitors. This meant that it
surrounding landscape of the Pavilion, strips
controlled reflections, they all convey
by reducing the bulk of the fittings; to limit
of light within the landscape that effectively
regenerating energy.
fitted with horizontal louvres.
with a 4000K LED strip, which is DMX-
flow, and this flow is enhanced by seemingly
points to the Pavilion, the canopies above
animation; this further helps to create a
architecture leads to the success of this
bound floors. This was achieved by mounting
Set within the landscape, clusters of
concept of movement, and it reaches its goal,
lenses and baffles discreetly positioned
adjustable fixtures in a warm colour
www.dald.co.uk
fixtures are also fitted with RGB and white
to the depth of the overall lighting of the
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The Tree of Life The Spain Pavilion features a vibrant, interactive exhibition that brings issues surrounding sustainability and the circular economy to the forefront of visitors minds.
A
collaboration between architecture
sustainable lives and businesses.”
Onionlab – a multidisciplinary
and Onionlab developed the exhibition route,
studio External Reference and
studio that directs and produces
international audiovisual installations and
exhibitions – the Spain Pavilion features a blend of design, art and technology, with interactivity at its heart.
PROJECT DETAILS Women’s Pavilion, UAE Lighting Design: Onionlab, Spain Exhibition Design: External Reference, Spain Architect: Amman, Cánovas & Maruri (Extreme Temperatures), Spain Photography: © Adrià Goula
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The design intent for the pavilion, which
follows the motto of “Intelligence For Life”, is dedicated to sustainability and collective
intelligence. Carmelo Zappulla, founder and
Director of External Reference, said: “Thanks
to learned and shared knowledge, it is possible to act as collective intelligence and save the
planet through adopting and adapting more
The pavilion itself, for which External Reference is designed by architecture studio Amman,
Cánovas & Maruri (Extreme Temperatures), and
is located in the Sustainability District. Instantly eye-catching due to its series of truncated cones that rise up above the landscape and evoke the
feeling of a traditional town square, the pavilion
is constructed from reusable materials including wood, iron and fabric. The conical shape aids an increase in air flow, therefore modulating the
temperature of the public space and providing an eco-friendly way for visitors to keep cool.
Two of the cones consist of two floors to make up the Pavilion itself, with the underground
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positioning of its exhibition area also helping to naturally reduce
within the forest. Answering questions about their consumption
been built using the principles of the circular economy, in that all
visitors can see the tree react positively or negatively to their
temperatures. Both the pavilion and the exhibition within it have
materials can be recycled, reused, or disassembled for use elsewhere. The exhibition route starts at the ground floor level, which consists
of a cluster of open plazas housing a series of installations detailing some of the most relevant contributions of Spanish culture to the
world, and its relationship with Arabic culture – from the HispanoArabic legacy of chess and the Spanish overseas expeditions to the importance of Spanish as a global language.
While the ground floor of the exhibition space has a more analogue and mechanical approach, the lower floor is home to the Bosque de la Inteligencia (Intelligence Forest) – an artificial, 3D printed forest that immerses visitors into a world where digital and
physical dimensions produce unique experiences. This fabricated
techno landscape is capable of producing oxygen and food through
photosynthesis, thanks to a series of photo-bioreactors containing
microalgae, such as spirulina and chlorella, that have been designed for the pavilion. The Bosque is a metaphorical space that uses
interactive resources to engage with visitors and force them to
consider the impact that their own actions have on society as a whole and therefore on the environment.
At the final section of the Bosque is the Tree of Balance – the
interactive heart of both the pavilion and the exhibition space. It
habits, either through the app or a battery of 30 interactive screens, responses, releasing a blue or red drop depending on their answers.
Based on the accumulation of answers, the tree either becomes green
and leafy, or dries out and loses its foliage, giving visitors a very visual outcome to their sustainability habits.
Running across the two floors will be various technologies,
including 3D projection mapping; models; infographics; animated
graphics; audiovisual pieces; interactive screens and installations; holograms; installations with LED strips; backlit murals; and
numerous other informative technology, creating an immersive experience at all times.
Working at the intersection of art, design and technology, and
following the “Intelligence for Life” motto, both External Reference and Onionlab have sought to flag the wealth of the Spanish legacy, science biodiversity, and in particular, the practices and business initiatives achieved through innovations in sustainability and
the circular economy. The Spain Pavilion therefore embodies the
overarching themes of Expo 2020, with a focus on connecting minds, building the future, and the sustainability of the planet. www.externalreference.com www.onionlab.com
takes the shape of a tree that is projected over the entire rear wall of the pavilion, collecting all of the visitors’ knowledge and interactions
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Pic: © Nizar Bredan
The Green Arch Delta Light collaborated with lighting designer Veronique Marijn on a harmonious lighting scheme that showcases the sustainable intentions of the Belgium Pavilion.
F
or the Belgium Pavilion, designed
profiles are fitted with a range of lighting
Callebaut Architectures, lighting
lighting and diffuse solutions.
by Assar Architects and Vincent
designer Veronique Marijn worked
with Belgian manufacturer Delta Light to bring the architectural marvel to life.
Dubbed ‘The Green Arch’, the pavilion was
designed to invite, bringing people together
to create a sense of belonging, while terraces
bedecked with greenery showcase its sustainable intentions.
Throughout the pavilion, Marijn worked with
Delta Light on an approach that would harmonise with the function of each space; in the seminar room, the restaurant and circulation areas,
functional lighting is key, with an emphasis on
sleek design. In the restaurants, Shiftline profiles are fitted with gold Hedra spotlights, while
Momba wall luminaires provide comfortable and atmospheric lighting.
In the exhibition areas, experience lighting
is created with Spy and Fragma spotlights on
tracks. A playful lighting plan in the entrance
hall presents decorative lighting, while Shiftline
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modules, including spot lighting, LED line As a lighting sponsor, Delta Light is part of a
team of Belgian brands involved in the pavilion’s construction. Built with Belgian techniques,
applications, products and materials, the pavilion includes an exhibition trail, but also shops with Belgian souvenirs, areas to sample culinary
specialities, a business centre and a gastronomic brasserie with a terrace.
Jan Battheu, General Manager of the Delta
Light Group, said: “The World Expo offers a
unique platform to promote Belgian design to an international audience. The mix of Belgian manufacturers that participate in the Belgian pavilion promises exciting cooperation and networking.”
www.veroniquemarijn.be www.deltalight.com
PROJECT DETAILS Belgium Pavilion, UAE Lighting Design: Veronique Marijn, Belgium Architect: Assar Architects & Vincent Callebaut Architectures, Belgium Lighting Specified: Delta Light
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PROJECT DETAILS France Pavilion, UAE Lighting Design: BOA Light Studio, France Architect: Atelier Perez Prado, Celnikier & Grabli, France Lighting Specified: Elation
Pics: Dany Eid
Dream Variations The France Pavilion features a dreamlike, experiential lighting scheme from BOA Light Studio that brings the striking façade to life.
W
hen designing the lighting for the French Pavilion,
temperatures and busy environment. Priol continued: “What we
with a strong connection to the French commitment to
Expo 2020 and its pavilions. We don’t want to make images; we want
BOA Light Studio sought to create an experiential space humanism and an invocation of movement.
BOA Light Studio – whose projects typically conjure a dreamlike
dynamic of luminary narration – captured the attention of the French jury at the competition stage in 2018, with a concept that is both
distinct and expressive, coupling perfectly with the architectural motifs of architects Atelier Perez Prado and Celnikier & Grabli. Tasked with illuminating the immersive 1,400sqm space and
forecourt of the French Pavilion, Jean Marie Priol, artistic director of BOA Light Studio, explained: “Our job was to integrate light; to
create a dream-like narrative, reflection and commotion, wherever possible, in the city, in architecture, in the surroundings. We really
want the building to pulsate, to breathe and undulate. It’s no longer a façade, it’s a skin that shivers.”
For the pavilion, the lighting provides an evolving impression,
depending on the time of day and the highlights within the pavilion. The dynamic, sequential light is transformed into moments of
emotion. The pavilion’s exceptional architecture offers a spectacular façade that, paired with BOA Light Studio’s lighting design, offers a prelude to the journey that awaits inside.
Working on the pavilion in Dubai presented new challenges for
BOA, thanks to the city’s unique climate, intense light, extreme
proposed is a sort of escape from the frenzy of lights throughout
to make sensations with the light. Light becomes matter, it envelops people in a sensation rather than just being demonstrative of a technology or a projection.”
Sitting in harmony with the architecture of the pavilion, the
lighting is designed to welcome visitors – the building is draped
with a corresponding, dream-like façade. BOA’s design is made up of 25,000 programmed light points, supplemented with animated
projections. The ‘skin’ where matter and light merge is animated by programmed lights in perpetual repetition.
“We wanted to create a visual experience that adapts to different
times of the day: the day – to learn and understand; the night – to imagine and dream. Night is universal, light is cultural,” Priol
continued. “Our work is about immersion, perception, reflection,
because the exhibition is a place of learning, to understand, but also a place to imagine, to dream, and that is the meaning behind our project.”
Described by BOA as a “wind of light conducive to a world of
dreams”, the pavilions stands out both during the day and after dark, and deploys a design philosophy that combines the comfort of the user with the practices of the space. www.boa.fr
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PROJECT DETAILS Slovenia Pavilion, UAE Lighting Design: Magnet Design, Slovenia Architect: Magnet Design, Slovenia Lighting Specified: Intra Lighting
Habitat for Humanity Inspired by the country’s rich habitat of forests and water, Magnet Design called on fixtures from Intra Lighting for the Slovenia Pavilion.
D
esigned by architects Magnet Design, the Slovenian
of home. They wanted the visitor to feel what it was like to enter the
cultural heritage.
The lighting posed some challenges for the Intra team, as they
pavilion was inspired by the country’s natural and
The pavilion was architecturally conceived as a floating
green oasis, suspended above a “water carpet” - designed to pay
homage to Slovenia’s lush greenery. The pavilion stands out as a
beautiful contrast between the green forests and the sandy desert surrounding the Expo.
The conceptual design for the pavilion began with a thorough study of the location, as Dubai is a demanding location in which to build. Assembling the technical, architectural and content levels of the building was therefore a complex challenge.
The “water carpet” was conceived to naturally cool the space, while inviting visitors to get to know more about the Slovenian habitat
by circulating water. The floating forest, the second element of the
pavilion, is a reference to the rich forests of the country - more than 60% of the country is covered in forests. By elevating the forest, it creates a sense of canopy and shade from the extreme heat.
Mimicking the dappled light of a forest, the hexagonal roof patterns, referred to as the pond sieve, took its inspiration from the beehive.
Through the hexagonal lamp, the team at Magnet Design creatively drew motifs that illustrate beehives, typical of the Slovenian
beekeeping tradition. In combination with Intra Lighting, they also managed to create a familiar colour of light that evokes the feeling
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Slovenian forest when entering the pavilion.
worked with the unique Dubai natural light, which is much stronger
than European daylight levels. Shadows from through the pond sieve were used to shelter and protect the forest and the lighting fixtures from the hot sun.
Robert Klun, Founder and President at Magnet, said of the pavilion’s design: “Our concept design for Slovenia’s pavilion was inspired by Slovenian nature and Slovenian identity.
“Architecture is part of our life. We are looking to find smart solutions with modern approaches. For the Expo project we
designed the space with three elements in mind: water (layer and platform), floating forest (green Slovenia) and wooden mash (my roots from Ribnica).
Lightning design was used as part of the Bee Story 21. We based our design on the home of the bee - a hexagon.
“All lightning details were carefully developed with my partner at the studio and with Intra Lighting.
“Why did we select the concept of a bee house? Because it is organised, it is simple, it has an identity.” www.magnet-design.eu
www.intra-lighting.com
2020 WINNER
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13 - 18 March 2022 Frankfurt Am Main Hall 3.1 Stand No. E71
Tracker | Trimless 56mm profile, up to 2510 lm/m
www.intra-lighting.com/#tracker
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Build It Beautiful Designed by architect Asif Khan, with lighting from David Atkinson Lighting Design, The Worker’s Monument is a testament to the efforts of the 200,000 people who helped build Expo 2020.
I
n a celebration of the 200,000
the architectural structures. Therefore, each
2020, an installation was created
linear recessed fixtures - LED LightLines from
construction workers at the Expo to immortalise their names on 38 cylindrical columns.
Created by architect Asif Khan and illuminated by
David Atkinson of David Atkinson Lighting Design, the monument represents different lunar cycles
from the new moon to the full moon (particularly during eclipse). Senior Lighting Designer Maite Zubicoa and Technical Lighting Designer Peter
Keiderling aided Atkinson and Kahn on the design scheme.
Atkinson’s aim was to provide a simple
illumination scheme that did not detract from
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column was lit up using small custom curved
ADO Lights - which gave even illumination to each column with minimal glare through diffusion.
Each strip is fitted with extra strong LED modules, and the distance between the lines and stone was made with a minimal tolerance of 10mm.
The colour temperature of the LED chosen was
3000K, which enhanced the warm stone finish as well as coordinating with site perimeter lighting.
Each of the fixtures were DALI controlled to a preset lighting level via the Expo site-wide lighting control system.
www.dald.co.uk
PROJECT DETAILS The Worker’s Monument, UAE Lighting Design: David Atkinson Lighting Designers, UK Architect: Asif Khan, UK Lighting Specified: ADO Lights
The First Diamond Certified LED SunLike natural sun spectrum LEDs are the world’s first LEDs to produce light that closely matches the spectrum of natural sunlight, delivering human-centric lighting. The light sources with SunLike Series LEDs more accu accurately show the color of objects as they would appear in natural sunlight. It is optimized to natural light spectra and color rendition Rating “Diamond” based on IES TM-30-20 Fidelity intent from UL Labs. https://verify.ul.com/verifications/520
It delivers considerable benefits of significant vivid color, detail contrast, and homogeneous quality of light.
www.seoulsemicon.com info.europe@seoulsemicon.com
Hope for the Future Created for the COP26 climate conference by Steuart Padwick with lighting designed by Buro Happold, Glasgow’s Hope Sculpture spotlights the global goals of the event with a 75% lower carbon build.
“T
he Hope Sculpture started as a conversation with Ramboll and became a gift from 50
companies to Glasgow. It is a testament to
the power of collaboration and dedication to deliver a better future” - Steuart Padwick. In terms of its lighting aspects, the Hope Sculpture project is one of the first to
incorporate both CIBSE TM65 and TM66 assessments for the lighting equipment utilised.
Concepted, designed and led by artist Steuart Padwick, the Hope Sculpture is a new permanent public art installation situated in the natural landscape of Cuningar Loop, part of Clyde Gateway,
Scotland’s biggest and most ambitious regeneration programme. Visible from long and short distance views, the 23-metre tall
sculpture rises above the woodland, overlooking River Clyde. The
sculpture is topped by an age/gender/race neutral child figure with their arms reaching out to a greener, hopeful future.
Linked to the 2021 United Nations Climate Change Conference
(COP26), the sculpture was constructed using low carbon, reclaimed, recycled or sustainable materials, of which, almost all have been
locally sourced. It is a showcase for how leading industry partners are committed to build more sustainably, as we transition to a net zero future. The build demonstrates a 75% lower carbon impact.
The Hope Sculpture aims to raise awareness of the fragility of both our environment and our mental health and the importance of our natural environment and community in supporting our mental wellbeing.
The Hope Sculpture, alongside the Beacon of Hope and Hope
Triptych, is part of a trilogy of urban installations situated at key
locations across Glasgow. Buro Happold Lighting was approached
by artist Steuart Padwick to work as part of the team and to provide a sensitive and environmentally conscious lighting design scheme
for the night-time illumination, respecting the natural context. The fundamental question on the need to apply lighting was among our initial conversations with the artist. Over time and as the hosting environment for each installation was defined, it was agreed that the Beacon of Hope and Hope Triptych will not receive dedicated
illumination as the ambient light conditions were deemed bright
enough to support viewing the installations and additional lighting
would need to compete with surroundings. Therefore, the following information focuses on the illumination of the Hope Sculpture on Cuningar Loop.
Design Narrative
From the design to the construction techniques and implementation delivery, the primary design principle was to promote sustainability and environmental care with the aim of a reduced carbon build. The following key strategies were followed on a project wide basis: • Collaboration with local consultants, suppliers
• Use of reclaimed materials (i.e recycled gas pipes for the piling) • Use of existing upcycled equipment/ samples
• Use of materials with low embodied carbon content (e.g. 100% cement-free concrete)
• Use of construction processes with low carbon footprint
Working as a team and with sustainability embedded in every aspect of the project, we strived to promote the fulfilment of delivering something new through the creative reuse/repurpose/upcycling Alexia Gkika, Senior Lighting Designer, Buro Happold
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of existing materials and sustainable manufacturing/construction processes.
greenlight alliance
PROJECT DETAILS Artist/Designer: Steuart Padwick Project Director: Natalie Alexopoulos Engineering and Marketing Support: Ramboll Area Management: Clyde Gateway Lighting Design: Buro Happold Lighting Manufacturer: Stoane Lighting Lighting Controls: Studiotech
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2
4
3
1. The age/race/gender neutral child sculpture is constructed of bespoke, cement-free concrete - a 70% reduction in carbon footprint compared to standard concrete. It also includes 20% recycled glass aggregate, which gives the sculpture a sparkling finish. (Pic: © Fourteen) 2. The sculpture is illuminated using minature adjustable luminaires from Stoane Lighting, integrated on outreach brackets and mounted on the capping plate that carries the child figure. (Pic: © Keith Hunter Photography) 3. The 23-metre tall sculpture rises above the surrounding woodland, overlooking the River Clyde. 4. Buro Happold used the new TM66 CEAM-Make metric to assess the sustainability of the fixtures specified.
Key Materials
We sought to use existing or re-purposed lighting equipment from
Aggregate Industries’ technical experts in close partnership with the
carbon emissions. The equipment’s small scale, premium built
The bespoke cement-free product has been developed by the
project team. This high strength product is part of their ECOPact Max green concrete range and reduces the carbon footprint by more than 70% compared to a standard concrete mix. Also incorporated in the concrete mix is recycled steel rebar. The cement-free concrete mix
utilises a local Duntilland Dolerite aggregate and sand, and the cast
child includes 20% recycled glass aggregate from Dryden Aqua, who recycle about a quarter of Scotland’s glass.
The Lighting Approach
At Buro Happold, we strive for our designs to be sustainable,
sensitive towards nature and to contribute positively to climate resilience. As individuals, we are curious and conscious of our
footprint paved by our design decisions. This leads to research
and systematic actions supporting Buro Happold’s sustainability framework and commitments.
Exterior lighting is a considerable contributor in the energy demands of the built environment. If not designed appropriately, lighting has
adverse effects on climate resilience. Despite its undoubted benefits, uncontrolled lighting creates light pollution. In turn, light pollution results in a chain effect including energy wastage, disruption of ecosystems, season shifting and effects on human physical and mental health. In alignment with the project’s ethos and with
sustainability at the forefront of our lighting principles, we designed the lighting for the Hope sculpture with respect to the natural
environment and our planet. We utilised programmable light sources of low power and high efficacy, reducing the operating demands.
local Scottish manufacturer Stoane Lighting, minimising embodied quality, interchangeability of components and the commitment for future service of components contribute further to reducing direct
and collateral embodied carbon aspects of the lighting installation
and the project in total whilst enhancing the equipment’s advanced circularity.
Reminiscent of the chimney stalks that once littered the East End of Glasgow, Steuart Padwick’s deconstructed chimney design is
made of six elegant, angled columns, creating a dramatic 20-metre high pedestal for the child of hope. The base of the sculpture is
paved using locally quarried Caithness stone slabs with engraved poems and words delivering messages of hope. Linking our built
environment with improved mental wellbeing, the artist worked
with Mental Health Foundation on all messaging. Words of Hope
have been written by some of Scotland’s favourite voices, writers and poets. Four monolithic stone benches are placed around the sculpture, allowing people to sit, rest and reflect.
The need for environmentally considerate night-time illumination
of the sculpture was part of our brief. As the hosting environment is
a relatively dark context, we did not need to apply a high intensity of
light to ensure sufficient illumination. Conscious of the light wastage and given the height of the structure (23-metres above ground level), we excluded the conventional way of uplighting from ground level
via recessed luminaires. Instead, the child figure is illuminated using miniature adjustable luminaires integrated on outreach brackets and mounted on the capping plate carrying the child figure. The multiple small-sized luminaires with low output and tight optics provide
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greenlight alliance
1
2
Figure 1 Embodied carbon calculation for Tadpole luminaire and 1/10 LED driver with pie chart indicating breakdown of results (pie chart extracted from TM65 calculation, courtesy of Stoane Lighting/ Buro Happold). Figure 2 Embodied carbon calculation for Mole luminaire and LED driver with pie chart indicating breakdown of results (pie chart as extract from TM65 calculation, courtesy of Stoane Lighting/ Buro Happold).
flexibility in adjustment for uniform illumination of the organic
complete as they are used for assessing different aspects. However,
pillars are illuminated via a single downlight housed on the joining
the calculation method is more detailed and specific to the
and narrow optics. As the light reaches the ground, it creates a soft
products are assessed under four main categories: Product Design,
surrounding pillars.
questions for each category, the lighting manufacturer is asked to
and does not operate overnight. All control components are housed
action towards a circular economy. Points are collected for each
maintenance visits.
product. Lastly, using a simple traffic light system, the score reflects
The Sustainability Calculation Methodologies
for the Hope Sculpture ranks within the ‘Excellent circularity’ range
form, while minimising light spillage towards the night sky. The
as TM66 is solely focusing on assessing lighting equipment,
surface at the top of the columns with downward light emission
manufacturing, materials and processes associated to lighting. The
shadow-play in a star shape generated by the casting shadows of the
Manufacturing, Materials and Ecosystems. Through a series of
The lighting is warm white (3000K), dimmable, controlled separately
give a rating (from 0-4) based on the level of evidence at hand and
remotely in an overground feeder pillar for easy access and future
category and summed up reflecting the overall performance of the
the level of circularity of the product. The lighting equipment utilised
The Hope Project lends itself as an ideal opportunity for our scheme to
(2.5 to 3.5) scoring 2.7.
carbon in the MEP equipment, 2021; and CIBSE TM 66, Circular
assessment led by Ramboll, one of the key supporting partners
These technical memorandums describe two different calculation
Clyde Gateway.
level and the other of the circularity aspects of the product.
Next Steps
products yet. TM66 was formally released in Q4 2021 but luckily, we
sustainability metrics in a real project. Throughout the process, we
be assessed using two sustainability metrics: CIBSE TM 65, Embodied
The above findings were fed into the project-wide sustainability
economy in the lighting industry, 2021 (Beta version of CEAM-Make).
along with Glasgow City Council, South Lanarkshire Council and
methodologies; one focusing on the embodied carbon on a product TM65 has not been widely used for the assessment of luminaire
had access to an early beta version of the calculation tool (CEAM-
Make) that enabled Stoane Lighting to input product information and supporting evidence.
The TM65 calculation took into account all luminaires and control components. The calculation method is based on total weight of
the assessed system and material composition. The total estimated carbon emissions are 90kg CO2e. This figure reflects the worst
case scenario as the drivers have been considered as an electronic
component in their entirety and therefore bearing high embodied
carbon content for their total weight (embodied carbon coefficient: 49kg CO2e/kg). Therefore, having the breakdown of the material
composition of the driver component would have resulted in lower embodied carbon content of the total system. At the time of the
calculation, the driver composition information was not available, highlighting the need to encourage lighting manufacturers and
control component suppliers to take action now. Ultimately, having
the base information publicly available will reduce the time required for the calculations to be performed and offer a more accurate impression of the performance of the system.
TM65 and TM66 cannot be compared or characterised as more/ less
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The project offered us a great opportunity to test the above
engaged with our collaborators to source the information required. As the lighting industry is at the early stages of development on these aspects, there is plenty of room for improvement on all
fronts. This project will remain as a reference point in our ongoing endeavours to design, specify and provide consultancy services
towards sustainable and considerate projects. Our next steps include continued engagement with forums, manufacturers and clients and including carbon and circularity input in our project deliverables.
Since the installation’s completion, all project collaborators have discussed the positive impact of the piece.
Steuart Padwick said: “We all need to address this new global agenda so our young can embrace a future of hope. It is very simple, why would anyone want to poison their future?”
Natalie Alexopoulos, Hope Project Director, added: “The most
remarkable thing about this project has been collaborating with these companies and individuals. Their integrity, drive and commitment to make a difference has been inspiring.” www.burohappold.com
This series is curated by Roger Sexton of Stoane Lighting, roger@mikestoanelighting.com
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01.12.21 11:35
Site 5: Plantaget (Pics: Patrik Gunnar Helin)
Better Together
T
he 2021 edition of Lights in Alingsås – the 22nd instalment of the light festival, brought the
international lighting community together once more this October.
This year’s theme of Together was chosen in reflection of the global
Lights in Alingsås returned for its 22nd edition this winter after a year’s absence to bring a festival of light and togetherness to the small Swedish town.
pandemic. “The world has changed quite a bit since the last ‘normal’
edition of Lights in Alingsås was held in 2019,” said event organisers. “The pandemic may not be over yet, but the time has come to slowly
start reconvening, albeit at a safe distance. Lights in Alingsås wanted to kindle that sparkle of hope by turning on its lights and creating opportunities for visitors to gather once again.”
And so it did, with a remarkable 70,000 visitors recorded visiting the Swedish town during the five-week event.
As a result of the 2020 festival’s cancellation, this year’s event welcomed back the same seven lighting designers that were
scheduled to participate in last year’s workshop. Sara Ortega,
Architect, Lighting Designer, Technology Teacher and Researcher from Barcelona, Spain; Anuj Gala, Finnish Indian freelancer for
Lighting Design Collective (LDC) and multiple projects in India;
Rogier Hengeveld, Project Manager for Lighting at Lighting Business Consultancy in Utrecht, Netherlands; Craig Spring, Principal at Luminosity – Architectural Lighting Design in Colorado, USA;
Rodrigo Muro, Program Director at KTH and Lighting Designer;
Luciana Alanis, founder of Swiss lighting design studio Lichtgold and
lecturer at Karlsruhe Institute of Technology; Jessica Krometis, Senior Designer for Hartranft Lighting Design; and Sebastian Studnitzky,
German Composer, were joined by 50 lighting design students from KTH Royal Institute of Technology and the Jönköping University.
This Autumn’s light trail covered approximately 3km and featured six installations spread throughout the heart of Alingsås. Guided
tours were offered again this year, along with the option to use the
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event
Site 1: Lilla Torget Bron - Bridge The Gap
Site 6: KV Klockan
Site 3: Brunnsparken
Site 4: Christinae Kyrka
dedicated Lights in Alingsås app for independent walks.
church tower like a flame directs upwards, to where the tower is lit up
Torget square. As described by the team, this site presented: “Bridge
Site 3 - Brunnsparken - The Jetty, was hosted by Jessica Krometis.
separates us from one another.”
living creatures emit, and was broken down into a four-act play, with
of light in the middle of the river. The stairs represent a space to
trees, fireflies darted to and fro, communicating with one another.
stop in their tracks and reflect for a while. The group’s creation is a
appearing to dance together in flight in the moonlight. Light flicked
sometimes released colourful dyes into the water.
Finally, the light moved upwards, accentuating the canopy of the
for five minutes and 20 seconds.
above Alingsås.
Muro felt inspired by the word ‘Together’ in this year’s theme,
to experience the artwork from a unique and magical perspective.
was movement: a circling ripple effect on the surface of the water.
site was a bustling place with activity and movement. The team
to evoke a feeling of togetherness; of belonging to the same source.
cycling, or driving, while others were heading in or out of the church
a field of light. Weak at first, the light became brighter and brighter
consider the parish hall itself – which is why this installation wanted
well, but not as the main focus.
The church was subtly lit up, to allow the parish hall to glitter
visitors were met by warm lights that welcomed them to the park
movement; it encouraged spectators to anticipate what’s around
the aim that they would want to be embraced by the glow of the
Alanis’ interpretation of this edition’s theme of Together was: “Come
were pulsating lights that led the way up to the church. Both the
society’s true values. Two different eras and stories, two architects
being gathered in embracing arms. A spotlight licking the foot of the
Site 5, Plantaget Park, by Sara Ortega, took its inspiration from
Site 1, hosted by Craig Spring, was located on the bridge at Lilla
against the night sky.
the gap: building a link to cross the gap between us, the divide that
This installation evoked fireflies and bioluminescence – the light all
Spring’s focus was to light up the bridge, but also create a focal point
the jetty lit up during the opening scene. Moving in closer, among the
bring people together. The installation hoped that passers-by would
They sent each other poetic messages from far away and close by,
nod to the dyeworks that used to operate in the neighbourhood and
from one tree to the next, like glowing creatures chasing each other.
The installation is accompanied by an instrumental track that lasts
trees, and journeying across the heavens like the Northern Lights
Site 2, Landskyrkan church, was created Rodrigo Muro and his team.
This site’s group wanted to encourage visitors to lie down on the jetty
linking it to its homophonic sibling ‘to gather’. His starting point
Site 4, led by Luciana Alanis was located at Christinae church. This
The waves make it seem like something is expanding. Muro wanted
observed that some people were simply passing by – walking,
He invited visitors to follow the light to the church, where there was
or the parish hall to take part in some activity. Very few stopped to
as it looped, before fading once more. The church itself was lit up as
to draw its attention to the hall, making passersby pause.
Arriving at Landskyrkan from the south (via Landskyrkoallén),
and sparkle like a diamond. Its rounded shape evoked a feeling of
that surrounds the church. Spectators felt drawn to the sight, with
the curve.
lights in the grass and the trees nearby. Hidden among the grass
together, gather round, to rediscover the beauty of this place and heed
trees around and those behind the church reinforce the feeling of
and their buildings, past and present, united in this public place.”
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113
event
Site 3: Brunnsparken
Site 2: Landskyrkan
Barnens Light
people as social beings. Feeling part of a group is crucial to our
ground led audiences to duckboards surrounding the fire that invited
fulfils our perception of ourselves.
from the fire.
Physical separation does not always mean being alone, and
gust of breath on the embers of a real campfire.
relationships between each other. Technology brought us closer to
blue above the river and by the building toward Västra Ringgatan.
ultimately to vibrant gatherings. This installation sought to shed
sponsored by Sparbanken Alingsås, was held in Museiparken.
The scene was in the central part of the park, which consisted of a
child-friendly installation.
On one side, there was a fountain and a chessboard, on the other,
Westergren formed part of this site’s inspiration.
show how attempts at contact are made and finally succeed.
and differences is one of our greatest joys.” This year, Malin wanted
recipient. Another beam was sent from the other side, again no
people great and small. Everyone has something they’d like to ‘share
sides, creating contact and a meeting. The display became especially
dream or maybe a game.”
The final workshop site, Site 6, was led by Anuj Gala and Rogier
of 2021, Margartha Stenmark of Alingsås Energi created a new,
This site took its inspiration from fire and its historic importance to
renovated by the Municipality of Alingsås; the space was cleaned up,
immemorial. Fire was used to protect us and chase away our fear of
a new footpath over the waterfall. New seats were built on the new
It was an important tool for expanding and developing communities.
new footpath have been accentuated, plus lighting under the benches
fires and passed from generation to generation.
www.lightsinalingsas.se
identity. A sense of community and belonging in our tribe or herd
interactivity. As people stepped on a duckboard, a flame shoots up
There are many ways to feel community and belonging today.
The more they were stepped on, the higher the flames – mimicking a
technology has played an important part in creating new types of
The background surrounding the campfire was lit in shades of calming
people far away and distanced us from people closer to home, leading
Barnens Lights, the children-specific installation, which is
light on failed communication and the spark inherent in meetings.
Designer and drama teacher Malin Wallin returned to create this
grassy space in between two areas that were in a state of imbalance.
“You and me a little bit mingled”, a quote from Linnéa Krantz
a gravel surface. The installation aimed to link these two parts and
“To meet is to mingle. Mixing and making room for our similarities
A beam of light was sent from one side, with no reaction from the
to take visitors to a magical pond. “Let’s meet there. Creatures and
reaction from the recipient. Suddenly, there was light from both
in the mingle’. A longing or a worry, silence or laughter, a thought, a
effective in rain or mist.
In addition to the festival’s light-art installations, during the spring
Hengeveld at the Klockaren neighbourhood.
permanent lighting installation at Brunnsparken. This area has been
humanity. Fire has been at the centre of meeting places since time
and a new terrace added closer to the water, which thereby created
darkness at night.
stone wall. The waterfall has been illuminated and the stairs and the
It served as a source of heat and relaxation. Stories were told around
welcome visitors, to sit down and relax, even after dark.
Thus, a campfire stands at the centre of the installation. When
visitors merely gaze at the fire, it just glows. Rope lighting in the
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Aquaretum Zürichsee, Zürich, Switzerland Photo: Michael Roggon, www.metallatelier.de
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05.08.21 14:07
Dancing in the Dark More than 40,000 visitors travelled to the Estonian city of Tartu in October for the third instalment of Tartu in Light.
T
he Tartu in Light festival of
Bridge, which brought together an audience of
40,000 visitors to the Estonian city over
The Emajõgi River connects the TAVA2021 events
architectural lighting and light-art drew a four-day period in October 2021.
Curated by Andra Orn and Triinu Jürves (outdoor
installations), Kiwa (indoor exhibitions), Eva Tallo
and Marko Kuusik (workshops), Caspar Lootsmann (audience programme) and, Reet Sink (Lightfair),
the main organiser was Elo Liiv (MTÜ Valgusklubi). Using 400 lights, 235 lasers and 5km of cable, the
on the Town Hall Square, the Light Fair at the
Estonian National Museum, and the conference of
the LUCI (Lighting Urban Community International) international network of 70 cities on urban lighting. One of the main attractions that drew in audience
numbers was the laser performance Linea Temporis
in St. John’s church. Biopoetics by Alyona Movko-
Tartu and all the supporters who made the festival
Trail. This installation was an optical water play
possible for a third time. During these four days,
Tartu once again became the capital of light,” said TAVA2021 organiser Elo Liiv.
“We need light to get through difficult times
– art and culture soothe and elevate all of us. I
am particularly pleased that the festival was an
opportunity to discuss the need for good lighting
in the public space as well as offering ideas and the inspiration to achieve this.”
The opening of the festival was marked with a
performance from Erki Pärnoja on the Kaarsild
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with the Light Trail, plus open-air performances
festival brought light to the city at a time when most needed. “We wish to thank the public, the city of
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around 3,500 people.
Mägi’s was a notable attraction along the Light
exploring life and the flow of time. Movko-Mägi is
a household name in Tartu and is best known as the designer of the dress worn by Elina Nechayeva for her performance in Estonia’s entry to Eurovision.
The installation has garnered international interest and aims to promote Estonian light artists on a global scale.
Further along the Light Trail were installations from the IALD architectural lighting workshops.
“The installations revealed places and monuments
in the urban space that had been hidden from casual
event
passers-by or obscured by the dark evenings,” said the
Exhibitions created for the festival remained open
As part of the workshops, three monuments in the city
Design and Lighting Art 2021. This was the first
workshop curator Marko Kuusik.
received a lighting solution, including the Tartu War of Independence Memorial, the Friedrich Reinhold
Monument and Oskar Luts Monument. CJ Brockway,
along with the help of her students, demonstrated how special features of the riverside could be accentuated
with light, and under the guidance of Swedish designers Johan Moritz and Tina Wikström, a lighting solution was created for a riverside viewing platform and recreation area.
“The events of the light festival delighted both Tartu residents and our guests during these dark autumn
evenings. The various installations in the urban space have clearly shown how the quality of public space
can be improved with lighting, and we will certainly
consider creating permanent lighting solutions based
on them. Many thanks to everyone who contributed to
the success of the light festival,” said Deputy Mayor of Tartu, Raimond Tamm.
Another first for this year’s festival was the music event Tava Xperimental, which saw Henri Hütt and sound-art duo Algorütmid perform their new work, Influencer.
Spanish performer Exotikdot relied on the intersections between perception and science. The Japanese artist
Tatsuru Arai combined classical composition with new
at the Estonian National Museum, Estonian Lighting exhibition introducing the work of Estonian lighting
designers and light artists that remained open until 10
November. The exhibition provided an overview of key designers and artists, including accomplished artists Leonardo Meigas, Tarmo Luisk and Tõnis Vellama, as well as new creators and brands such as Pulo Disain.
The graphic designer of the exhibition is Margus Tamm, and the curator is Maarja Ree.
In the Pallas Gallery, Variation of Continuum, was an
exhibition of three artists – Tatsuru Arai (Japan), Maria Pazi (Spain) and Paola Medina Querini (Panama) –
curated by the artist Kiwa, focusing on the metaphor of light as a direct activator of association chains as well as stimulations of perception and cognition.
Lighting sponsors for this year’s event included: Hektor Light and Topledshop/Inestra as gold sponsors, and
further sponsorship from: Silman, Osram, Barthelme, LEDSC4, Meyer, Reggiani, iGuzzini, Intiled, E&T
Valgus, Event Center, Eventech, Elektrilevi, Stockholm Lighting, Digital Sputnik, MicroWatt.
The next edition of Tartu In Light will take place in early October 2024.
www.tartuvalgus.ee
technology and presented the essence of the universe through perceptual experiences.
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117
SPA Treatment During [d]arc room pop-up earlier this year, Tryka launched the SPA collection. Following its launch, David Morgan took a closer look at the range.
A
lighting company with a memorable but
unusual name, Tryka, that amalgamates
characters from Tri colour (for RGB) with those from the founder’s children, is in the process of expanding its product ranges.
Tryka has established an international
presence as a successful manufacturer of linear
lighting systems and is now diversifying into a broader product portfolio with the introduction of the new SPA range.
Tryka was founded by Chris Rolph in 2002, who had worked for a
number of other lighting companies, including Laser Graphix and latterly for CoeTech, where he was sales director.
The launch Tryka products included a 1200mm 36W linear product, a 36W PAR 56 projector, and 3W 50mm downlight module, which
were followed by flexible modules, these are all products that remain staples of the current product portfolio.
‘Inspiration for your imagination’ was the original Tryka mission statement and the company believes it continues to encapsulate
that approach based on working closely with lighting specifiers and customising products to meet project requirements.
The company employs 45 staff in two locations. Headquarters
and production facilities are based in the UK and this operation is
supplemented with a Middle East sales office in Dubai. Working with
sales partners around the world, the major markets for Tryka include the Middle East, Europe, UK and the USA.
The new SPA range was launched at [d]arc room pop-up @ Design London in September 2021 and is aimed at the hospitality market, with hotel guest rooms as a particular target.
The central products in the SPA range are two sizes of downlight: 50mm and 70mm with fixed and adjustable versions but the
presentation that I was sent as part of the review material illustrates a much wider product range and includes pendants, spotlights, task lighting, and many other luminaire types.
It is understood that an underlying concept for the development of the SPA range was based on the perception that lighting designers are keen to specify luminaire types for hotel guest rooms that all
use a common light source and common aesthetic, but with a wide range of finishes and colours. From a lighting design perspective this approach makes good sense as it will help to minimise any 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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discrepancies in light source colour temperature, CRI, and binning. While downlights generally share a common appearance, it may be a product development stretch to satisfy the diverse visual
requirements of interior designers for the other luminaire types, such as table lamps and wall sconces.
DAVID MORGAN
The heart of the SPA range are the light engines and associated
6- or 7-star hotels. It is understood that the design of the machined
precisely the right light engine for the project in terms of performance
reused at some point in the future to produce new luminaires.
optics. These are designed so that the lighting specifier can select
and budget. The highest rated LED source is the Seoul Semiconductor Sunlike with a CRI of 97+. For less demanding projects, light sources from Cree, Bridgelux, and Luminus can be provided.
Similarly, the optics range from the Ledil Hekla COB holder with
swappable lenses up to the digitally controllable LensVector liquid
crystal lens that I have described in my reviews over the past couple of years. I am not sure if there is any level of hotel guest room
being conceived yet for LensVector equipped downlights, but when that specification is written then Tryka will be ready. Beam angles
available with the Ledil lenses and reflectors range from a narrow 10° up to 120°.
The sample SPA 50 downlight that I was sent to review was fitted
with the Seoul Semiconductor Sunlike light engine, medium beam
optic and a satin gold cone. The lit performance was unremarkable
without any striations in the beam and would work well in all typical applications. The housing was machined from solid aluminium
with a good quality powder coat finish for the body and trim and
well finished satin gold anodised finish on the reflector. While the solid aluminium metal work provided a reassuringly heavy quality
impression and would provide good thermal management, despite
the lack of any finning, I wondered if the production costs would fit
into the budgets allocated for guest room fixed downlights – even for
components fits into a circular economy model to allow them to be In order to replace the COB light engine at the end of life in the
review sample, the downlight would need to be removed from the ceiling and disassembled but in full production this detail may be changed to allow COB changing from below the ceiling.
The SPA project appears to be a work in progress as only a limited range of luminaires illustrated in the presentation were shown at [d]arc room. It will be interesting to see how the product range
develops in the future to meet the project requirements of lighting designers and interior designers.
The SPA project was led by Ryan Rolph, Sales and Technical Director at Tryka, with the initial range design, including the light engine
concept, provided by Simon Fisher at F Mark. The Tryka design and
development team then progressed the design into the wider range of products which all incorporate the SPA light engine.
The design and development stages took around a year up to [d]arc room and it is understood that the most demanding engineering
challenge was ensuring high efficiency combined with good visual comfort and a perfect lit effect.
As this is a new product introduction, there are no project references yet but it is understood that feedback from the lighting specification community has been positive and supportive of the SPA concept. www.tryka.com
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119
New Products
A look at some of the latest products and innovations to hit the market from across the lighting industry.
G-Spot Maerich Maerich G-Spot is an award winning multifunctional grow light solution, developed for both human illumination and plant growth. It encourages indoor biophilic design elements with CRI >90, R9>90 and recognisableCCT growth spectrums, and integrates homogenously into any surrounding ambience, creating a multi-sensory hortitainment attraction. G-Spot makes living with nature in a built-up environment possible, enabling new solutions to social and urbanisation problems, transforming a once concrete jungle, into a sustainable and liveable city in a garden. www.maerich.com
Flexglo F21 Clear Lighting Flexglo F21, dome shape, radiates a beam angle up to 160° (50%) in classic neon appearance. Combined with LED technology and ClearTech, it provides the lighting designer with superior visual comfort and luminous efficacy. This type of neon flex is designed for suitability on the stage or a billboard, where a large viewing angle is required to accent the focal points, while blending seamlessly into the background when it’s off in grey, black, or other custom colourful finishes. www.clearlighting.com
Daytona DW Windsor Daytona is a contemporary street lighting solution set to transform the illumination of urban spaces. With replaceable light modules, advanced control options and Tunable White technology, Daytona helps specifiers to deliver the right light at the right time. Daytona balances style, efficiency and practicality to deliver a luminaire capable of maximising performance while providing outstanding service life to support the circular economy. Its modern design and advanced features make it ideal for a range of urban lighting applications. www.dwwindsor.com
Vorsa Dot John Cullen Lighting Bring focus to what matters with the smallest track mounted luminaire on the market – the award-winning Vorsa Dot. With a choice of flood or spot luminaires, multiple 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
DAC100 We-ef Building on the DOC100 recessed luminaire series, the new DAC100 surface-mounted downlights offer a wide scope for lighting design. Available in three housing diameters with different connected wattages, the series covers a wide luminous flux range from 1,082 to 4,570lm. The symmetric light distributions range from wide beam to medium, very narrow and very narrow beam ‘sharp cut-off’, while the housings have space for optical accessories such as a linear lens or honeycomb louvre. www.we-ef.com
Green Applelec LED Light Sheet Applelec Supplying the design industry with the first, fully environmentally friendly light panel, Applelec Lighting announces the launch of their Green Applelec LED Light Sheet. Manufactured at the brand’s UK premises in West Yorkshire, Green Applelec LED Light Sheet has been developed to help improve its carbon footprint, while still delivering a premium backlighting product. Providing a more sustainable option, Green Applelec LED Light Sheet is the first light panel to utilise recycled and recyclable materials. www.appleleclighting.co.uk
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new products
LED Lightline ADO Lights Luminous lines when darkness falls; sometimes an eye-catcher, at other times showing the way. ADO Lights’ LED Lightline accentuates entrance areas or emphasises architectural contours. The high-quality fixture, casted with a special pollution-free resin, comes in different widths (12/20/40 mm), materials (aluminium/stainless steel) and light output (monochrome/ RGB+W). Lightlines can be used indoors as well as outdoors and can be integrated in ceilings, façades, and floor spaces. It can even come in bended and for drive-over areas. www.ado-lights.com
IP DALI-2 Buswire Module Delmatic Delmatic’s IP DALI-2 Buswire Module is the most powerful DALI-2 controller to be certified by the DALI Alliance. The smart ready “Ethernet to the Edge” router combines latest DALI-2 technology with full BACnet IP and granular MQTT integration. The module individually addresses and monitors up to 384 DALI-2 drivers across six DALI universes, plus a range of integrated DALI-2 devices including presence detectors, multisensors, switches, scene-set panels, and Delmatic’s latest multi-discipline sensors that combine presence and daylight detection with temperature and humidity monitoring. www.delmatic.com
Intono C L&L Luce&Light Intono C is a new ceiling-mounted lamp for indoor applications. Satisfying the requirements for residential, hospitality and museum settings, Intono C has the same attributes as the original Intono – a smart device that is enabled for sound and can blend into its surroundings. The optical system is recessed within the IP40 diecast aluminium body to avoid glare. With wattages ranging from 9-20W, a CRI between 80 and >90, and colour temperatures from 2700-4000K, colours shine. Light optics also range from a narrow 11 up to asymmetrical optics, producing a wallwashing effect. www.lucelight.it
Athena Lutron Programme your space in real-time using your mobile iOS device. Start wherever you like: synced to the cloud, the Athena app already knows your building. Flash the lights to confirm the area you want to programme. You can adjust colour temperature and intensity, and the timing of lighting transitions – by individual fixtures or zones. Create and save scenes. Easily build upon the last saved scene – with a convenient “save to” feature. Realising your design vision is in your hands. www.lutron.com
Liquid Line Lightnet “Limitless possibilities” is the recipe for success of the Liquid Line LED luminaire system: it offers a wide portfolio of standard modules and at the same time can be manufactured in any conceivable shape. Thus, the Liquid Line is not only flexible on the horizontal plane, modules with an individual vertical bend are also possible. Unlimited possibilities also apply to the technical lighting features: light colours, colour rendering, opal diffusers and microprismatic optics for glare-free use can be freely configured. www.lightnet-group.com
Atomos Lucifer Lighting Atomos is a compact downlight family with 1-inch and 2-inch apertures available in round and square, in trimless and flanged profiles for plaster and wood ceilings. Ideal for residential, hospitality and commercial interiors, the LED range is available in multiple static white colour temperatures or in Dim Warm (3000K at full brightness down to 1800K when fully dimmed). A proprietary new zoom optic offers beam spreads in five increments between 24-48°, adjusted by twisting the front face of the optic. www.luciferlighting.com
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case study
Remembering an Icon As part of a tribute to Mexican architect Luis Barragan, Lutron collaborated with a team of architects and lighting designers with a light-art show at his Casa Jardin Ortega residence in Mexico City.
L
utron and a crew of architects and lighting designers
box sculptures were painted with Lutron luminaires. Unlike the other
raise money to maintain his original Casa Jardin Ortega
the right wash of colour across each large surface was critical.
teamed up to celebrate the vision of Luis Barragan and in Mexico City with a temporary light-art exhibition,
gardens, this exhibit contained static light sculptures, but achieving Luz en Arquitectura (LUA) developed their concept as a story about
staged throughout the grounds of the residence.
the plum trees formerly found in the Jardin de los Ciruelos. LUA
the Athena lighting control solution to push the boundaries of
luminaires, using the Athena control system, creating the sensation
Each light-art installation combined the Ketra light source with how light and colour can transform a space. Just as bold colour was a foundational element in so many of Barragan’s spaces; colour
choreographed sophisticated lighting sequences for seven Ketra
of water flowing from the onsite fountain down to the ground, where seven plum trees emerge from the darkness and dance.
was a key component of each light-art experience. Some of the
In the Jardin de la Virgen, architect Jorge Hernandez de la Garza and
shades found on Barragan’s most iconic projects, but exact replicas:
steps that unfolded over a four-minute period. The team used 27
orange from one of the orange walls from Casa Ortega itself.
a view into the private interior of Casa Ortega and showcase the
design teams sought to incorporate not just approximations of the bougainvillea pink, sky blue, ochre yellow, rust red, and the faded
Tonal Taller crafted a lighting sequence with more than 90 individual Ketra luminaires with beam angles ranging from 15 to 90° to offer
Architectural firm Taller ADG and Lighting Designer Paola Jose of
historic garden in new ways. Here, the architects provided elements
the temporary exhibit Iluminando la Casa Jardin Ortega. The concept
the garden to offer an optimal vantage point for the show.
Sombra, teamed up to create an installation in Jardin Hundido for
was to represent several of the iconic places of Barragan - the pool
at Casa Gilardi, the cross in Capilla de las Capuchinas, the entryway
to help viewers better appreciate the lighting, bringing a bench into ZD+A architectural firm and lighting designer Luca Salas created La Presencia del Vacio – a light sculpture placed in the Patio del
from Casa Barragan - in one structure. The team used the Lighting
Perol. This sculpture mirrors the fenestration of the patio itself and
the blue, red, orange and pink found in Barragan’s projects. The
the day can affect the look and feel of the garden. Illuminated
Designer app to select Ketra light in colours that perfectly matched lights were then programmed into sequences that illuminated smoke rising from a custom, Taller ADG-designed structure.
Barragan found the solitude of gardens to be one of their greatest qualities and Artec3’s installation sought to give visitors that
treasured, silent experience by encouraging the contemplation
of Barragan’s bold colours, geometric shapes, and the scale and
proportion that were often present in his projects. Three large light
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illustrates how the shifts in light that occur naturally throughout and controlled by the Athena lighting control system, this patio
structure is transformed with light and the sensation of movement over a 20-minute performance that transitions through various colour temperatures of white light and into shades of red and
orange that recall the sunset, before culminating into a deep blue, reminiscent of nighttime. www.lutron.com
Optisolis ™
2-in-1 Tunable LED
Light so Good
Vitasolis ™
The Light so Good LED range delivers optimum performance in human centric lighting. Vitasolis™ is state-of-the-art spectrum technology that stimulates human activity, while Optisolis™ provides
a natural light source on a spectrum that’s the closest match to sunlight. Plus, Nichia’s 2-in-1 tunable LED enables development of compact tunable white luminaires with superb color mixing.
Visit us at the Light + Building Hall 8 Booth D60 13-18 March 2022 Frankfurt am Main
case study Pic: © Thomas Mayer
Pic: © HGEsch
Pic: © Thomas Mayer
New and Improved Celebrating its 50th anniversary, Düsseldorf’s Schauspielhaus theatre has reinvigorated its lighting system, updating the existing scheme with lighting solutions from Erco.
T
o mark its 50th anniversary, the Schauspielhaus
of 3000K. In addition, no reflections on the fenestration interfere
Platz celebrated its reopening in January 2020 after an
garden to the rear of the building. For this purpose, cylindrical LED
theatre located on Düsseldorf’s Gustaf Gründgens
with the view from inside to outside into the urban space or the
extensive refurbishment implemented by ingenhoven
surface-mounted luminaires were installed along the inside glass
architects. All public areas of the building, designed by Bernhard
façade of the foyer featuring a black anti-glare cone and especially
that have been individually adapted to the listed structures on site.
In the walkway connecting the new entrance area with the foyer,
with the neighbouring Dreischeibenhaus office building, forms one
luminaires.
war modernism. ingenhoven architects was awarded the contract
in the original concept from 1970,” said Tropp. “Using the new
historic structure of the building, divided into a large theatre with
of light that set highlights on the floor and also bring out the
preserved. The roof and façade were renewed and all public areas
New wallwashers with adjustable light emission optimally display
“The original lighting concept by Hans T. von Malotki was also
Bernhard Pfau designed the foyer around a massive, downwardly
In some areas the concept was expanded and adapted to the
reinforced concrete beams up to 15-metres long. Tesis ground-
consultation with the monument conservation authorities,”
in the existing positions around the support. They illuminate the
Lighting Design.
a precisely defined progression from bottom to top and from centre
reconstruction was the (re)establishment of visual references
pairs between the beams of the ribbed concrete ceiling.
with the monument protection authorities, the entrance to the
between us, the architects and Erco lighting specialists creates a
The tinted panes of the façade were replaced by clear glass. The
ceiling actually appear to organically grow out of the central support,
the same time festive: in the evening hours, the new lighting creates
intended. This form of lighting also minimises the innate heaviness
implemented LED lighting tools with a warm white light colour
www.erco.com
Pfau, now radiate in new light – thanks to Erco lighting solutions
narrow beam angles, made possible via the ‘Erco individual’ service.
The organically curved structure of the Schauspielhaus, together
the existing lighting concept was optimised with LED recessed
of the most important architectural ensembles of German post-
“We left the position of the downlights more or less as specified
for renovating the listed theatre. In the course of renovation the
luminaires with spot distribution, we deliberately created islands
around 760 seats and a smaller theatre with up to 300 seats, was
materiality of the tile mosaics more emphatically.”
modernised in compliance with strict preservation orders.
the elaborately restored exposed concrete walls of the walkway.
retained as far as possible but completely revised technically.
tapering column that supports a total of 23 radially running
new requirements of the Schauspielhaus, and always in close
recessed luminaires were modified so that they could be installed
explained lighting designer Professor Clemens Tropp, of Tropp
sculptural support and the ribbed structure of the ceiling soffit with
An essential aspect for the architectural concept of the
to the outside. Gimbal surface-mounted luminaires were installed in
between the urban space and the Schauspielhaus. In consultation
“This sophisticated custom lighting developed in close cooperation
large theatre was designed much more openly and transparently.
fantastic lighting effect,” said Tropp. “The concrete beams of the
lighting ambience of the new entrance area is now inviting and at
which now gives the space the grand gesture that Bernhard Pfau
a radiant warm light that is visible from the outside. All relighting
of the massive structure.”
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case study
Pic: Andrew Hatfield
Beachside Property As part of the wider regeneration of Bridlington seafront in East Yorkshire, UK, DW Windsor worked with Sutton Vane Associates on a series of colourful new lighting elements.
O
n the East coast of Yorkshire, Bridlington is a popular
In addition, Sutton Vane Associates specified DW Windsor’s
A popular coastal resort since the early 19th century,
walkways along the seafront. Given the coastal location, the lighting
seaside destination for days out and family holidays.
Bridlington features two award-winning beaches and an
attractive seafront with panoramic views of Bridlington Bay.
Lacking any major redevelopment for almost three decades, the
seafront’s public spaces were in need of regeneration. So, in 2019, East Riding of Yorkshire Council embarked on an ambitious £4m project
to transform an area between Garrison Square and Regent Gardens, reinvigorating the space with an exciting new, colourful look.
Crucial to the revitalisation plan was the installation of new lighting elements within the communal areas. Sutton Vane Associates was appointed by engineering consultants Sweco to design a lighting scheme that added vibrancy to the site whilst also providing a practical benefit after dark.
To help realise its creative vision for the location, Sutton Vane
Associates commissioned outdoor lighting specialist DW Windsor, to develop a custom lighting solution to fulfil the new design.
DW Windsor worked with Sutton Vane Associates to create several
completely bespoke, illuminated totems that formed the centrepiece of the new lighting scheme. The totems are lit from top to bottom
and incorporate colour-changing functionality, which can be set for
different purposes, such as celebrating holidays and calendar events.
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inground linear lighting solution, Vaio, to further enhance the
needed to withstand highly variable weather conditions. Vaio is a
fully encapsulated IP67 LED system, ensuring its robustness even in these extremities.
Discussing the project, Guy Bolton, Special Projects Co-Ordinator
at DW Windsor, said: “Seaside locations are always a joy to work on, while bringing some unique challenges. Thanks to our extensive
portfolio, we were able to offer robust lighting that can withstand the elements and vehicle traffic.”
Edward Sutton-Vane from Sutton Vane Associates added: “Bridlington is a much-loved seaside resort that needed
rejuvenating. The seafront area has been completely brought to
life by Sweco’s excellent landscape engineering, complemented by a range of lighting elements specified by Sutton Vane Associates, including the coloured light totems produced by DW Windsor. He said: “By working closely with DW Windsor, we achieved a
fantastic result that both the local council and residents are delighted with. The seafront now has a new lease of life as a fun, vibrant space in the day and an attractive, colourful location at night.” www.sva.co.uk
www.dwwindsor.com
case study
Site Visit A range of fixtures from Intra Lighting were used to illuminate the new SAP Middle office space, situated in the heart of the Expo 2020 site.
S
AP Middle was one of the main partners in
Intra’s Pipes S RH Pro pendant in the general space. In the
innovative software solutions. SAP is situated
Kalis Linear suspended light was added as it contributed to
Expo 2020 and is considered a global leader in in Parcel A Building at Al Wasl Plaza, where the
main Expo Dome is located, in a space covering approximately 826,00sqm. The design team for this project consisted of
a collaboration between Xworks and lighting designer Nilo Rapirap. During the design process, Intra Lighting studied
SAP’s global offices, and particularly noted the curved features
in the wall, ceiling, and floor, as well as Xworks’ well-thoughtout design, which it aimed to incorporate partly in its design. For this project, the majority of the spaces include an open ceiling, which brings in lots of daylight, meaning artificial lighting during the day was not crucial. As such, Intra
implemented a sleek pendant to illuminate general areas
Intra, but which was designed to have ample lighting during the evening. Due to the availability of natural light along
the perimeter of the space, only spaces such as the corridors needed to incorporate artificial lighting.
Some of the key products used throughout the project included
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co-working space, above the tables and meeting rooms, the the working and meeting environment. In the event space,
Hexagon S Mesh, was used as a feature in the space combined with an acoustic ceiling in the centre.
In the closed rooms, the Pipes RV spotlight was a sleek addition that gave accent lighting partnered with the Kalis linear
pendant. The hallway features curved lighting thanks to the Tracker light.
Tracker is one of Intra’s newest products, launched in May 2019 in Europe. However, the product wasn’t initially included in
the design specification until a year and a half later when it was available in the Middle East region. Xworks ran the project as a pilot installation in the region.
Due to its simplicity of installation and handling, the Tracker is a very user-friendly linear product. Furthermore, the Tracker
is ideal for a curved install so long as installation guidelines are followed carefully.
www.intra-lighting.com
LED dimming solutions for the lighting professional candlePower octo Constant Current and Constant Voltage dimmer for DC LEDs
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Smooth fades to near zero... Custom or preloaded dimming curves... Advanced heat & current handling www.ArtisticLicence.com
sales@ArtisticLicence.com
+44 (0) 20 8863 4515
Further information: liquid-line.de/en
Unique light structure - Liquid Line traces trajectories at Frankfurt Airport
case study
Pic: Justin Nicholas
X Marks The Spot Pharos Architectural Controls partnered with integrated solutions provider bluebottle to create a high-profile façade lighting system for Brisbane’s Hotel X.
S
triking a pose on the skyline of the hip city
Commenting on their collaboration with Pharos, Claire
ultimate in chic destinations. Located in the
Pharos VLC 500 Controller handles the pixel mapping of
of Brisbane, Australia, the new Hotel X is the centre of the city’s Fortitude Valley, this new
five-star offering has been designed to reflect its lively and bold neighbourhood.
With its distinctive white geometric façade, Hotel X makes a fantastic first impression before guests even enter the lobby, and its custom façade lighting system has been
carefully created to reflect the Valley’s progressive and dynamic atmosphere.
To deliver this large-scale, high-profile façade lighting system, integrated solutions provider bluebottle was
appointed to the project. Given its sheer size, LED fixtures were the only choice to fulfil the requirements, with Color Kinetics the chosen brand. The iColor Flex LMX gen2 RGB luminaires were used; mounted in a custom aluminium channel that forms part of the building façade.
To fulfil the control elements of the lighting scheme,
bluebottle partnered with Pharos Architectural Controls. A Pharos VLC 500 directly controls the hotel’s façade
fixtures, creating a showpiece, celebrating notable events, calendar dates, and much more.
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Enoka, Technical Sales from bluebottle said: “The
more than 40,000 nodes. Used in conjunction with the
bluebottle remote management portal, it has allowed for an intuitive, easy-to-use system with full visibility of status, shows and schedules for the facility manager.
“To date some of the more notable shows we’ve been able to achieve have celebrated Easter, The State of Origin Rugby and Brisbane’s successful 2032 Olympic bid.”
Tony Symms, Regional Manager from Pharos added: “The
façade of Brisbane’s Hotel X is incredibly striking, making it a fantastic new addition to the city’s skyline. Pharos is delighted to have worked with bluebottle in playing an important role in bringing this to life.”
Hotel X has fast become one of the most-popular
destinations in Fortitude Valley to meet, drink and dine. With a number of bars, restaurants, a rooftop pool and a state-of-the-art gym, it is easy to see why it has made
such an impression on locals and travellers. The hotel’s
façade, which projects over the Valley, perfectly enhances its appeal.
www.pharoscontrols.com
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case study
Street Style With its sleek street lighting fixtures, GHM Eclatec has delivered a practical yet stylish lighting solution for the Dubai Harbour district.
W
ith thousands of visitors flocking to
unique Capitan design. Varying in size with 12
lighting along the Dubai Harbour
pole is fitted with three to seven Xeon-2 projectors –
Dubai for Expo 2020, the public street district has been given a new lift,
thanks to fixtures from French manufacturer of public lighting solutions, GHM Eclatec.
With an overall objective of lighting the streets and pathways of the district, the new lighting solution provides a sense of safety for both pedestrians
and drivers, while creating a warm and inviting ambiance.
Alongside this, there was a need to provide a solution that, during the day, would still deliver an aesthetic visual aspect while the lights were turned off.
As such, GHM Eclatec supplied more than 300 of its Strium iron poles, each finished in the company’s
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configurations from six to 10-metres in height, each with more than 1,200 projectors installed along the waterfront.
Available in three sizes, the Xeon projectors
are equipped with multi-directional ball joints,
concealing any wiring. This leaves a discreet and
elegant finish, allowing for effective integration into various structures, including the Strium poles.
Working alongside local partner Luxburo, as well as
AECOM, Debbas and technical design office North 55, the new lighting solution adds to the sleek, stylish feel of the Dubai Harbour, creating a welcoming atmosphere for visitors and locals alike. www.ghm-eclatec.com
Please contact Radiant for more information, to see demo samples, or for a presentation
Euclid 30 IP68 System Underwater IP68 LED linear lighting system 6 x high power LEDs with lenses per 0.3mtr module
Sky Pool, Embassy Gardens, London Lighting design by GIA Equation Project photo by Ballymore ©
www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | david@radiantlights.co.uk | London, N6 5JW | All products designed by
arc ad DEC-JAN 2021.indd 1
09/12/2021 10:49:43
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ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK
Light Perceptions is an independent lighting design consultancy, primarily working in prestigious historic buildings and high-end residential properties. Our current clients include Cathedrals, Royal Palaces, Livery Halls, Grade I listed Churches and the most exciting private commissions. Our projects are fascinating, varied and are in some of the most architecturally and historically significant spaces in the UK as well as Europe and the Middle East. We are a close and friendly team, well supported in an informal working environment. We have great clients and work with outstanding architects and other professionals.
SENIOR LIGHTING DESIGNER
We are looking for a Senior Lighting Designer to join us. You will have had at least five years solid experience in a lighting design role and will either be ready to step up from a junior to a more senior role or be looking to consolidate senior experience in a significant career move. You will be able to produce complete technical documentation packages to both concept and tender stage and will have experience of site visits, project commissioning and on-site problem solving with engineers and contractors alike. You will • Be passionate and creative, with an enthusiasm for new design challenges. • Have a strong technical background. • Be well organised, self-motivated and very focused, able to work on a number of projects concurrently, and manage multiple deadlines. • Be able to communicate effectively with clients, colleagues, other consultants, suppliers and contractors. • Be confident in using PhotoShop, AutoCAD 2D & 3D, Dialux /Relux as well as MS Office. • Be able to communicate effectively with hand sketching and simple illustrations. Candidates must be able to work legally in the UK and must be willing to travel. A driving licence and your own car would be advantageous but not essential. Please send your CV and portfolio and expectation of earnings to bruce@lightperceptions.co.uk with a covering letter that explains why this opportunity is right for you. Personal applications only and strictly no agencies please.
Li ght i ng D es i g ners dpa lighting consultants has the following positions for suitably talented candidates:
Senior Lighting Designer - Oxfordshire and London studios (rural location in Oxfordshire - car required)
Lighting Designer - Oxfordshire and London studios (rural location in Oxfordshire - car required)
We are looking for creative and technically knowledgeable Senior Lighting Designers to join our studios in Oxfordshire and London. Excellent written and spoken English is essential. Candidates should have a portfolio of completed projects (interior and exterior). IT skills must include Microsoft Office, AutoCAD, InDesign, Photoshop and DIALux. Knowledge of BIM/Revit would be beneficial but not essential.
We are currently looking for Designers to join our studios in Clifton, Oxfordshire and London. The role will involve being part of a design team and providing support in the production of concept presentations, layout drawings and details, specifications etc. with the opportunity to progress within the Practice. We will consider both graduate level candidates and applicants with some lighting design experience for Clifton. The London position requires some previous lighting design work experience.
Duties and responsibilities would include, working within a team environment on all aspects of the lighting design process, from concept to completion, attending design and site meetings in the UK and overseas and supervising the work of lighting designers within the studio. Only applicants with professional independent lighting design experience will be considered. Remuneration will be commensurate with experience and includes bonus opportunities. Please note that our Oxfordshire Studio is in the rural hamlet of Clifton, therefore candidates would need a car to travel to the office as there is no public transport available.
Applicants should have AutoCAD and Photoshop skills. An understanding of InDesign, visualisation programmes and other lighting related packages such as DIALux. BIM/Revit experience would also be advantageous but not essential. Excellent written and spoken English is essential. Please note that candidates must be eligible to work in the UK without sponsorship. Remuneration will be commensurate with experience and includes bonus opportunities. Please note that our Oxfordshire Studio is in the rural hamlet of Clifton, therefore candidates would need a car to travel to the office as there is no public transport available.
For further details about dpa, please refer to our website: www.dpalighting.com Please email your application letter and CV along with a portfolio of examples of completed projects where you have had a significant contribution, to Susie Evans: dpa@dpalighting.com. Please clearly state on your covering email which position/studio you are applying for.
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. LIGHT 26-28 January Warsaw, Poland
INALIGHT 17-19 March Jakarta, Indonesia
LEDTEC ASIA 26-28 May Ho Chi Minh City, Vietnam
www.lightfair.pl
www.inalight-exhibition.net
www.ledtecasia.co
INTEGRATED SYSTEMS EUROPE 1-4 February Barcelona, Spain
[D]ARC NIGHT 31 March London, UK
GILE 9-12 June Guangzhou, China
www.iseurope.org
www.darcawards.com
www.guangzhou-international-lightingexhibition.hk.messefrankfurt.com
SURFACE DESIGN SHOW 8-10 February London, UK
ARCHITECT@WORK 13-14 April London, UK
LIGHTFAIR 21-23 June Las Vegas, USA
www.surfacedesignshow.com
www.architect-at-work.com
www.lightfair.com
LIGHT + BUILDING 13-18 March Frankfurt, Germany
[D]ARC SESSIONS 25-27 April Ras Al Khaimah, UAE
LEDFORUM.22 18-19 August São Paulo, Brazil
www.light-building.messefrankfurt.com
www.darcsessions.com
www.ledforum.com.br
LEDUCATION 15-16 March New York, USA
PROLIGHT + SOUND 26-29 April Frankfurt, Germany
ARCHLIGHT SUMMIT 15-16 September Dallas, USA
www.leducation.org
www.pls.messefrankfurt.com
www.archlightsummit.com
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#25 Neha Sivaprasad Lighting Design / Neha Sivaprasad What: I am a seeker of sunsets; my favourite, the sunset at the Summit of Haleakalā National Park, Maui, Hawaii. Where: Any spot facing west atop the summit. How: You can hike up to the summit, or drive up to the top. When: Summer. With an elevation of over 10,000ft, and being the highest point on the island, it can get pretty cold once the sun goes down. Why: This is not a typical tropical sunset, albeit it is on a tropical island. From atop the summit you see the sun melting into fluffy white clouds, leaving behind a dramatic sky that changes from yellow to orange to crimson to blue to violet, with the sea of clouds still glowing beneath. The moon and the stars then slowly begin to take over and create yet another enchanting dance in the skies. Witnessing the unfolding of this magnificent beauty around you is nothing short of magical. Makes one realise how small a speck we are in the big scheme of things and how we are all made up of the same. The magnificence makes one contemplate, how we should add to the beauty of our shared experience on earth rather than take away from it, during our stint here! Photo Credit: George Kedenburg III on Unsplash
“There is a crack in everything. That’s how the light gets in.”
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Lighting Design: DANILOF Light + Visual Perception Studio Lead Lighting Designer: Thanos Danilof Illumination partner: Luce Ataliotis (Hellas) Ltd
