#129 Cover Story: The National Museum, Norway Jason Bruges Public Space Lighting IALD Awards
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#129 Welcome
Opened in June this year, the musuem showcases the breadth and history of Norway across a vast art collection, spanning classical, modern and contemporary art, architecture and design. With architectural lighting designed by Henning Larsen (formerly Rambøll) and exhibition lighting from Massimo Iarussi, the project is a testament to the power of collaboration, as both lighting teams, together with architects, exhibition designers, graphic designers and multimedia partners, have worked together to create something extraordinary for the city of Oslo.
Enjoy the issue!
You can read more about the conference and its findings in Karolina’s column in this issue.
Matt Waring Editor
Continuing this theme, our main project focus this time looks at Public Space lighting, with several projects showcasing commendable efforts to preserve the night sky, while also creating pleasant environments for the public to enjoy.
Aimed at educating both lighting professionals and researchers into artificial lighting at night, a two-
Elsewhere, our glorious cover story sees us step inside the new National Museum in Oslo, Norway.
Front cover: National Museum, Oslo, Norway (Image: Mario Ciampi) As I’m sure most of our readers will know, the issue of Dark Sky protection has been particularly prevalent within the lighting industry of late. More and more designers and manufacturers are looking to do what they can to minimise light pollution, not only to preserve views of the night sky, but also because of the impacts that poor exterior lighting can have on wildlife, humans and the environment. As a result of this, we are seeing a lot more projects where exterior lighting has been tailored to minimise the impact on the night sky. Indeed inside this issue, Rune Brandt Hermannsson of Light Bureau tells us of a fascinating recent project in Gladsaxe, Denmark, where narrow spectrum red lighting has been used to limit behavioural effects on bats and other nocturnal species. Alongside this, regular contributor Dr. Karolina Zielinska-Dabkowska and the ILLUME research group at Gdansk University, Poland, have, together with the SLL, spearheaded the Responsible Outdoor Lighting At Night (ROLAN) movement.
day online conference was held earlier this year; during the programme of talks, speakers examined issues surrounding dark skies and the impact of losing them, with several lighting designers sharing methods on how to minimise light pollution.
#129 Proudly Supporting Inside this issue Regulars Event InDrawingDiaryBoardConversation Satu Streatfield explains her role as a Mayor’s Design Advocate for London. Snapshot Innovative Lighting Designs Limited Designers Mind Martina Frattura researches the quantification of beauty. Karolina M. Zielinska-Dabkowska Have you heard about ALAN? Now, there is also ROLAN! GreenLight Alliance With Rob Bremmert and Patrick van der Meulen of eldoLED. David Morgan Review DW Windsor Daytona Product ManufacturerLaunchesCase Studies Bucket List Eye Openers Green Mountain Falls Skyspace James Turrell Gradient Remix Liz West Twenty Seven Cundall Light4 Vine ByBeau Partly cloudy with a strong chance of “wow”! En Temps Et Lieu Psychogeographies Dustin Yellin 040058060102146128126124120117036034032026022 Features Collected Light Light Collective tell us about a new book dedicated to women light artists. Jason Bruges As his studio celebrates its 20th anniversary, Jason Bruges discusses his approach to experiential design. We Share The Night Rune Brandt Hermannsson of Light Bureau discusses the impact of light pollution, with an interesting solution. IALD Awards A recap of the winners of the 39th annual IALD Awards. VLDC We learn more about a new online hub making waves in the lighting industry. Projects National Museum We step inside Oslo’s newest museum, with lighting from Henning Larsen and Massimo Iarussi. Little Island A unique green space for New Yorkers, Little Island features lighting designed by Fisher Marantz Stone. Exchange Square Speirs Major has created a tranquil, serene scheme for London’s Exchange Square. Zerostrasse A labyrinth of tunnels beneath the Croatian city of Pula has been illuminated by Skira. West End Square A Dallas parking lot has been transformed into a lush green space, lit by HLB Lighting. Atlas Passage Lab.1 Lighting Design & Daylighting illuminate Istanbul’s landmark Atlas Passage. 112102098040030 114100058048038024 086080074068060050
022 / 023 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 Events & Marketing Manager Moses Naeem m.naeem@mondiale.co.uk DESIGN Design Manager David Bell d.bell@mondiale.co.uk Production Mel Robinson m.robinson@mondiale.co.uk CORPORATE Chairman Damian Walsh d.walsh@mondiale.co.uk Finance Director Amanda Giles a.giles@mondiale.co.uk Credit Control Lynette Levi l.levi@mondiale.co.uk [d]arc media Strawberry Studios, Watson SK1StockportSquare,3AZ,United Kingdom T: +44 (0)161 476 Stockport,atSubscriptionStockport,Strawberrybi-monthlyarc,orToPrintedarc@mondiale.co.ukwww.arc-magazine.com8350byBuxtonPress.subscribevisitwww.arc-magazine.comcall+44(0)1614765580ISSN17535875,ispublishedbyMondialePublishing,Studios,WatsonSquare,Cheshire,SK13AZ.recordsaremaintainedStrawberryStudios,WatsonSquare,Cheshire,SK13AZ. Events Diary *NOTE: All dates correct at time of publication. Subject to change* SEPTEMBER Plasa 4-6 September London, UK www.plasashow.com ArchLIGHT Summit 15-16 September Dallas, USA www.archlightsummit.com Landscape 28-29 September Birmingham, UK www.landscapeshow.co.uk IALD Enlighten Americas 29 September - 1 October Palm Springs, USA www.iald.org OCTOBER Light + Building 2-6 October Frankfurt, Germany www.light-building.messefrankfurt.com [d]arc sessions Europe 18-20 October Mykonos, Greece www.darcsessions.com Biennale Interieur 20-24 October Kortrijk, Belgium www.interieur.be Hong Kong International Lighting Fair 27-30 October Hong Kong, China www.hktdc.com NOVEMBER LiGHT 22 22-23 November London, UK www.lightexpo.london JANUARY 2023 Light Middle East 17-19 January Dubai, UAE www.lightme.net Integrated Systems Europe 31 January - 3 February Barcelona, Spain www.iseurope.org FEBRUARY 2023 Surface Design Show 7-9 February London, UK www.surfacedesignshow.com Euroshop 26 February - 2 March DÜsseldorf, Germany www.euroshop-tradefair.com MARCH 2023 LEDucation 7-8 March New York, USA www.leducation.org [d]arc awards 30th March London, UK www.darcawards.com
Scope Mini Sconce by insightlighting.com/scopeminisconce Luxuriously discreet. Scope Mini Sconce is an ambient wall light that combines high-quality materials and finishes with simple yet elegant design details. The 1.25-inch diameter cylinder is available in multiple lengths and finishes and can be accented with either powder coated aluminum, anodized aluminum, brushed brass, or pressed glass gems.
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Colorado, USA The latest in James Turrell’s iconic Skyspace series of experiential installations has opened in Green Mountain Falls, Colorado. Opened in mid-June to open the 2022 Green Box Arts Festival, Green Mountain Falls Skyspace is the first in Turrell’s series to open in Colorado, and the first in the world to be nestled into the side of a mountain. Commissioned by the Historic Green Mountain Falls Foundation, the 18ft tall Skyspace takes views on a transcendent, sensory, kinetic light and colour encounter. A harmonious extension of the landscape, the installation is distinctive to Green Mountain Falls, while preserving its natural setting. “Green Mountain Falls provides visitors with the opportunity to slow down and experience something truly unexpected and unlike anything else,” said Green Box Co-Founder Christian Keesee. “The James Turrell Skyspace will add to the already inspirational setting and community that brings together art and nature, family and friends, earth and sky.” At an elevation of 7,800ft, amid the foothills of Pikes Peak, Green Mountain Falls is an idyllic retreat, just 20 minutes from downtown Colorado Springs and a 90-minute drive from Denver. Turrell’s Skyspace series now numbers more than 85 around the world, in countries such as Argentina, Japan, Greece, Norway, and Australia. Green Mountain Falls Skyspace is one of the few by Turrell that features a retractable roof, providing flexibility in case of inclement weather and the ability to conduct viewings during the day, in addition to the traditional sunrise and sunset shows. Distinctive and rewarding viewing experiences are offered when the roof is open or closed. An icon of light art, James Turrell is known for cultivating peaceful and powerful environmental works of art that focus on human perception. His interest in the physical presence of light and space derives in part from his Quaker heritage. Turrell’s autonomous Skyspaces, with ceiling apertures open to the sky, may be understood as creative observatories – a combination of architecture, sculpture, and atmosphere perfectly positioned in nature.
Green Mountain Falls Skyspace
www.jamesturrell.com
dpa lighting consultants is designing the lighting for Boka Place within the luxury marina resort of Porto Montenegro. Due for completion at the end of 2023, the development will see one of the world’s first Siro Hotels, five residential blocks, retail arcades and an expansive and beautifully landscaped central square.
Drawing Board
dpa has been working closely with the client team at Porto Montenegro, lead architects Holder Mathias and local architects arhi.pro interior designers, Atellior, and landscape designers Gillespies, to develop Boka Place as a destination within Porto Montenegro itself. The Siro brand has a wellness ethos, which has influenced the lighting approach across all areas of the project, with a focus on providing vibrantly lit spaces that will change character from day to night through the use of intelligent lighting controls. The hotel guestrooms and suites will feature variable colour temperature, warm-dim lighting, that gives guests choice from bright and fresh through to soft and relaxed lighting scenes at the touch of a button. Guests and residents will be able to take in the stunning views across Porto Montenegro and the Adriatic Sea via rooftop bar, podium level swimming pools and the apartment terraces.
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Boka Place Porto MontenegroMontenegro,
Lighting is kept discreet to these spaces, so as to provide relaxing environments that do not distract from the views. The external façades take influence from local materials and forms, with lighting focussed on prominent architectural features that repeat and provide Boka Place with its own identity at night. Covered retail arcades will feature a climbing wall and high-end boutiques, leading to the central square at the heart of Boka Place, where dining venues will provide life and vibrancy. Water features and cascading pools create a dramatic entrance to the square for those arriving from the marina and beautiful inward views for residents. www.dpalighting.com www.portomontenegro.com
The latest Solar Decathlon Europe competition is dedicated to the issue of the potential for climate-friendly living in towns and cities, in view of increasing global urbanisation and the heightened demand for living space. Düsseldorf University’s MIMO team was one of 18 teams from 11 countries who competed for the most sustainable architecture by constructing a prototype based on existing buildings. The MIMO team’s two-storey prototype was constructed using natural building materials such as timber, clay and cork. The façade contributes to the use of renewable energies through a climate-active building shell with integrated photovoltaic cells. By adopting human centric lighting principles, the team refrained from standard general lighting, instead analysing the interplay of architectural effect, atmosphere and visual task. As well as the energy efficiency of the luminaires, the lighting technology used and accurate light distribution are decisive for the realisation of such sustainable concepts – only if the luminaire projects the light onto the target surface without light spill does the lighting contribute to minimal energy Inconsumption.contrastto the frequently used indicator of lumens per watt, the team analysed lighting on lux per watt, as it includes an overall energy consideration of the lighting design, not just the luminaire. This meant that the team could ensure that lighting is not only energy efficient, but also maximally effective, with minimal impact. With reference to sufficiency, the individual living modules of the MIMO design are spatially reduced to a minimum. A communal ground floor foyer forms the core of the building; Erco’s Parscan track-mounted spotlights mean the lighting in the foyer could be adjusted to its specific functional requirements, thanks to different light distributions, with wallwashing in particular helping to make the room feel brighter and more spacious. In the residential modules, Opton spotlights enable perception-oriented general lighting, while outside, path lighting comes via Erco’s Castor bollard luminaires – with light aimed downwards, nocturnal protection from light pollution rounds off the “minimal impact” of the architecture.
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Solar Decathlon Europe DÜsseldorf, Germany
www.erco.com
As part of a university competition for sustainable building and living – Solar Decathlon Europe 21/22 – Düsseldorf University’s MIMO (Minimal Impact –Maximum Output) team has constructed a building prototype that is consistently oriented towards sustainability. The entry emphasises functional architecture in modular timber construction, environmentally-friendly building materials, and a resource-saving energy concept. Lighting complies with this guiding principle, implemented in collaboration with Erco according to Human Centric Lighting principles, in that light is only used where required by the needs of human perception.
THE EDITORY RIVERSIDE SANTA APOLÓNIA HOTEL, LISBON, PORTUGAL PROJECT: SARAIVA+ASSOCIADOS LIGHT PLANNING: ASTRATEC FEATURED FIXTURES: INTONO 2.1 / LYSS 1.0 / LYSS MINI 1.0 / SPOT 1.0 SánchezNicolePhoto:
030 / 031 Collected Light Recognising a lack of visibility for female light artists compared to their male counterparts, Light Collective is publishing a new book - Collected Light Volume 1: Women Light Artists, aimed at showcasing the work of women light artists around the world. Here, they tell us more about the book.
While there are a few names that come up when discussing female light artists – the financially successful artist; Yayoi Kusama, the political rebel; Jenny Holzer, and lover of daylight; Nancy Holt, like the rest of the art world, the exposure of their work is less and our knowledge of light art remains unbalanced in terms of gender. If you want to prove this further, just type the words “Light Artist” into Google – out of the first 15 artists shown by the world’s leading search engine, only two are female. Dr Kate Macmillan writes an annual report, Representation of Female Artists in Britain Unsurprisingly, it evidences “the slow but inevitable decline of initially enthusiastic and passionate creative women as they fight their way through a classed, racialised, and genderbased quagmire of exclusion.” At GCSE/A level/ Undergraduate, almost 70% of students on Art & Design programmes are women. At the other end of the career trajectory, the various Auction Houses record the women, who despite all the odds, have survived. For example, in 2019, of the 112 artists whose works were sold in the three Christie’s evening sales only 14 were women. This is not a new phenomenon – the feminist essay: Why are there no great women artists? was published in 1971 and asks the same questions about institutional obstacles that have prevented women from success in the arts, that we are still asking fifty years on. The Women in Lighting project has inspired us to look at all aspects of representation in the field of light. We found and researched more than 150 women creating light-based art – the majority of whom were names unknown to us and led us to the curation of a book: Collected Light Volume 1: Women Light Artists. The book is a small step towards trying to redress the unfair imbalance in visibility. Our research is by no means exhaustive. Despite reaching out across the globe for suggestions of who to add to the list and being very international, it still lacks racial diversity, and we hope there will be many women still to be included in the future. Light Collective asked more than 40 women to participate by sharing images of their work, free of charge, so that this book could be created. That we are still in a time where it is necessary to use the word ‘women’ in front of ‘artist’ in order to promote these artists’ works, and that the book is self-published without financial support, speaks much about the need for the book to exist. It has been a long journey to bring all the content together. However, it has, without doubt, been one of the most inspiring journeys possible. The range, diversity, imagination, and pure inspiration that can be found in the works featured are breathtaking. From immersive environments to reactive light, and from beautiful glowing objects to light that tells a story, this collection of light art from women artists includes a multitude of manipulations of the medium. Directing the viewer to contemplate colour, nature, politics, life and even death, the true power of light as an artistic medium is perfectly portrayed by these talented artists. As well as photos of each artistic vision brought to existence in light, each artist is profiled in brief, with a link provided to their own website, where you can follow up for more details. The book will be available to buy as hardback, paperback or digital download, and will be launched as part of a special Women In Lighting event in London in November, and at Euroluce 2023 in Milan, supported by formalighting, where a selection of work from some of the artists featured in the book will be on show. Our hope is that by profiling these women artists who use light within their work, we are opening a door for others to do the same and for all to be celebrated and widely known for what they create. We also hope that the beauty of each piece of work offers inspiration to those who discover it and, whilst created by women, is valued as incredible art, non-dependent on gender. Thanks to all the artists for donating the images for the book and to April Dorrian for her support in making the book a reality.
Many are well-known names and are often cited as inspiration in the work of lighting designers (by us too!). Most famously, we hear the names of and see the work of James Turrell, Dan Flavin, Robert Irwin, Anthony McCall, Olafur Eliasson, Leo Villareal, and new kid on the block Refik Anadol.
www.lightcollective.net
After participating in many conferences, exhibitions, and light festivals around the world, it has become apparent that there is an onus on and huge visibility of male artists who work, or have worked, with light within their portfolios.
How do the MDAs help support this? MDAs are drawn from a variety of sectors within the built environment profession, so bring a broad range of expertise to assist, advise and critique projects and policies, with a view to delivering the GGbD objectives. We support research, help steer design briefs, identify good practice and case studies, and help shape performance criteria for projects. MDAs also sit on the London Review Panel, reviewing projects that the Mayor is investing in or making a planning decision on.
What is London’s Good Growth by Design (GGbD) programme? It’s been run by the Mayor’s office since 2017 to promote high quality design that serves all Londoners. The programme comprises research, projects and policies underpinned by six main pillars: Setting Standards and Informing Delivery; Ensuring Quality; Building Capacity; Supporting Diversity; Commissioning Quality; and Championing and Learning.
We’re seeing better cross-departmental working within local authorities since Covid and it’s really encouraging to see the importance of good lighting design and well-funded, sustainable lighting, recognised across the board.
Earlier this year, London Mayor Sadiq Khan appointed 42 new Mayor’s Design Advocates (MDAs) to support the city’s Good Growth by Design (GGbD) programme. Satu Streatfield is one of the new MDAs, joining as lighting designer and night-time strategist. Here, Streatfield tells arc more about the initiative.
032 / 033 IN CONVERSATION SATU STREATFIELD
Across the 42 MDAs, 55% are women and 45% come from Black, Asian and minority ethnic backgrounds. Do you feel this will help boost diversity within the design industry? I certainly hope so, as the industry has a long way to go to be representative of the people it’s serving. As a society we’ve created systems and cultures that allow inequality to flourish. These disparities start from an early age and are based largely on where kids live, how much their parents earn, what school they go to, what they look like, etc. I think lighting design can provide a more accessible route into the industry as it attracts designers, technicians, and engineers from fairly diverse fields. Architecture, by comparison, requires a huge commitment of time and money that most cannot afford, and the culture of the profession puts a lot of people off. The GLA’s ‘Supporting Diversity’ handbook cites analysis suggesting that more than 90% of jobs in the creative economy are done by people in more advantaged socioeconomic groups, compared to 66% of jobs in the wider economy.
When you look at those stats, it’s clear just how important it is to involve under-represented groups in designing and planning the city – women, disabled people, and those from households earning less than £20k a year feel least safe in London at night. How important is such an initiative to London? Having a group that brings a broad range of experiences, backgrounds and expertise to the review process is critical. I’m sure every lighting designer has joined a project and identified issues, opportunities, and challenges that hadn’t been picked up previously. So, it’s reassuring to know there’s a group helping to review projects and policies through different lenses. Should this be replicated in other cities? Every city is different and has its own governance structures and processes, but I think the principle of bringing together a group of built environment professionals offering a broad range of expertise from both the private and public sectors, along with people from community-led initiatives, is a great way to improve design quality and representation in the built environment.
What do you hope to bring to the programme? Since 2020, I’ve led Publica’s work for the Greater London Authority’s (GLA) 24 Hour London team, supporting local authorities across London to develop evidence-based night-time strategies and projects, so the MDA role is expanding upon that work. A major part of my role is helping to ensure that the night-time experiences of London are considered as part of every new policy, plan, or design. Effectively, I want to help implement the ‘Night Test’, which London’s Night Czar and her team are promoting to create places, infrastructures and policies that support a diversity of social, cultural, and economic life at night. I hope to help developers, designers, and council officers think carefully about what their plans and designs look like after dark. It’s also about understanding how good design can help minimise conflicts and inequalities that might become more visible or pronounced at night. Those could relate to feelings of safety, access to spaces and activities, providing amenities and a safe commute home for night workers, or mitigating conflicts between night-time activity and residents wanting to sleep. How significant is it that lighting design and night-time strategy has been included? There’s a growing understanding of the importance of after-dark and night-time spaces, infrastructures, and communities to the cultural and economic health of the capital. Lighting design is increasingly recognised as a critical component of good urban design and a key tool in creating spaces that are accessible, welcoming, beautiful, fun and inspiring.
www.london.gov.uk
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A Heritage structure like Rumi Gate that boldly marks national pride and has witnessed several freedom struggles, permits a different approach to lighting. The ASI-protected structure did not allow an incursion into the structured fabric, marking the urgency of using standalone lighting fixtures that would be directly aimed at the application. To meet the purpose, luminaires by Lumenpulse and Lec were used for the façade lighting application. The precise lensed exterior products not only helped to achieve the required lighting effect but also fulfilled the special lighting requirements by playing with tones of whites, adding a colour-changing element to the design.
Snapshot ILDL Spanning across South and South-East Asia, New Delhi-based Innovative Lighting Designs Limited (ILDL) boasts an extensive, diverse portfolio of lighting projects. Here we look at some key projects from the practice. 4
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The overall lighting scheme is focused on the richness of colours through the layering of lights – ambient, task and accent – to endow the space with life, utmost comfort and flexibility for the user. To create focal points and enhance the true essence of art pieces, Muro and Blindspot luminaires from Orluna have been used in the project, creating a scintillating experience without overly illuminating the spaces. The luminaires by Orluna are also used for general lighting of the space and to create beautiful wall wash effects. These lighting fixtures bring out the true quality of light, colours, and textures in the space to pop.
Accentuated by ILDL’s innovative lighting scheme from concept to creation, the lighting design plays with contrast and levels of light.
Taj Rishikesh Singthali, India The holy city of Rishikesh, in the base of the Himalayas, holds deep cultural and spiritual significance for local Hindus. Blessed by the mighty Ganges and guarded by the formidable Himalayas, Taj Rishikesh is located in a quiet village called Singthali, conceived as an elegant nest. The stunning location and provincial charm make it a natural habitat
Rumi Gate, India Lucknow, India Constructed in the 1780s, ‘The Turkish Gate of Lucknow’ popularly known as Rumi Gate, stands 60ft tall between the Chota and Bada Imambara, becoming a recognised landmark of Lucknow. The front of this fascinating gate has three distinct doorways, which turn into a single seamless giant façade, while the same three doorways add an element of surprise to the structure when viewed from the rear side.
The fixtures were directed to accent the architectural details of the structure, giving it a far better lit effect in comparison to conventional lighting effects. The total consumption was brought down to a third with the use of quality products, thus saving energy and maintenance costs. Furthermore, the fixtures were mounted without drilling into the building or fixing visible control boxes, which was important to maintain the architectural integrity of the building.
for wellness and serenity to take residence. The lighting design intent of the project involved illuminating the rooms, waterbody, and the public areas to accentuate the sacred and spiritual aura of the space. The design is deeply influenced by the characteristics of the river Ganga – sensitivity, calmness, energy, generosity, and strength. To achieve the design ideation, luminaires from Litolux were used. The lighting involved rendering the design using lights of different colour temperatures that best suits the function and adds an edge to the space. Lodha Kholshet, India Located at a prime location in central Thane, Amara by Lodha offers spacious apartments sprawling luxury enclaves of magnificent apartments, elevating the contemporary lifestyle. It is conveniently close to the buzzing places in Thane and enjoys proximity to several IT and corporate offices. Amara is meticulously designed with unbound convenience and the best of amenities. These residential apartments offer the kind of life that rejuvenates you and inspires you to live life to the fullest.
Urban Oasis in DLF Camellias Gurugram, India Located in Gurugram, Urban Oasis is a residential apartment in DLF Camellias, crafted with rich architectural and interior details representing timeless character and quality.
The requirement for the lighting design was to use aesthetic and appealing fixtures that would act as an additive solution to the design. ILDL, from its wide range of exclusive brands, used fixtures from Orluna and Litolux to meet the intent. LED strips were used in the cove to define the verticality of the space, making the room look spacious and vibrant. Downlights were used to accentuate the artworks present in the space on the wall. Additionally, linear LED lines were used to frame the artistic elements through lighting.
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Established in 2006, ILDL started with an ideology to translate lateral thinking into actionable processes by improving existing techniques and providing value-added services to customers. With a close-knit and committed design team, ILDL delivers illuminating solutions that are functional, user-centric, and tailored to individual needs. Ranging from conceptualising to procurement to execution, ILDL’s extensive experience and vast list of brand collaborations have found a confidante in prominent architects, interior designers, and lighting designers. ILDL’s extraordinary portfolio of more than 500 projects consists of residential, commercial, healthcare, heritage, and landscape projects spread across South and South-East Asia. www.ildlimited.com
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DESIGNERS MIND FRATTURAMARTINA 036 / 037
Beauty in Design as a Tool for Restoration Designers Mind contributor Martina Frattura explains her recent research into the quantification of beauty, and how a new aesthetic sensibility could improve our lighting design choices.
The similarities between Beauty and Light Beauty as a visual necessity, and lighting as a means of vision become systematic factors of a unique relationship: the connection that is created between one’s self and the surrounding world. They both direct attention by creating a hierarchy of reading what we have around us and attributing value to it. Beauty and light are therefore keys to our minds’ permeability: light establishes the way we perceive space, facilitating or altering our understanding of it, while beauty helps us feel involved through the pleasantness of the space. The degree of affinity that can be established between a person and an external element (Norman, 2005) can be influenced by the ability of lighting to convey this pleasant feeling.
Transforming common beauty emblems into design cues And where do we see beauty? The perception of beauty could be altered by education, cultural upbringing, and personal experience. For this reason, I have investigated 10 different countries, proposing to more than 160 people an empirical study on beauty as a key factor for soft charm in architecture. I chose to work with user-based research to verify the hypothesis that direct attention could be restored in the built environments through interaction with beauty. To do this, the experiment was designed to couple with environmental psychology studies, according to which nature works by lessening cognitive processes and improving the ability to concentrate.
“Beauty is the greatest power in this world”. While the writer Anatole France stated this in the 19th century, more than a hundred years later, beauty is still considered a by-product of function, while aesthetics and emotions are mystified and labeled as difficult to study. The global pandemic led us to experiment with how the environment affects our physiological wellbeing. At the same time, the progress of cognitive neuroscience created an opening for the scientific world to an interdisciplinary approach, called Neuroscience of Architecture, which takes into account the experiential dimension of architecture in aesthetic terms. So what are the aspects of the architectural experience? Vision, within the sensory segment, dominates the perception of architectural spaces and is responsible for the elaboration of the characteristics of a building in a “bottom-up” fashion. A controlled degree of complexity coupled with the ability to feel comfortable appears to induce positive reactions to our environment. In other words, beauty develops as a state of balance between curiosity and familiarity, and the degree to which these characteristics of the places we inhabit influence how we feel.
Conscious and unconscious factors, visual and nonvisual signals, contribute equally to the experience of emotion, and it follows that integrated design can lead users to experience emotional responses to beautiful objects, including architecture.
Can we use our perception of beauty to replenish our mental energies? The results of the studies would suggest so. Two types of data, quantitative and qualitative, were collected. The first dataset, consisting of EEG (Electroencephalogram) and GSR (Galvanic Skin Response) suggested that exposure to beauty may be associated with a decrease in attention fatigue, hence an improvement in direct attention. The second system is created from the answers of each participant to the question: “Where do you see beauty?” and it revealed four macro topics for all the people tested: Family/partners/pets; objects of affection; landscapes; everything that is “above eye level”. A thematic approach was chosen to analyse the data with the aim of identifying patterns that suggest the following aesthetic needs of a user in a space: feeling at ease; having an experience that is in tune with previous ones; maintaining prolonged engagement; achieving an immediate positive approach to space.
“Being engaged with the space” - The lighting should be designed and organised in such a way as to provide continuous care: the spatial transitions, as well as the dedicated areas, should have a particular light study together with a global one, allowing a reading of the space as a whole. “Instant positive approach” - The space should be alluring, so that curiosity does its part, adding value with focal glow and play of brilliance effects. It would therefore seem that the aesthetic value of a space depends on the fusion of various elements in a single positive impression and that the foundation of our search for beauty is based on experimentation both in variety and in coherence. In other words, the ability to recognise beauty depends on our need to encounter it. Instinctively and intuitively, we proceed to discover the pleasant aspects in every environment we find ourselves in, constantly restructuring the space and giving it new meanings while approaching special values to something in particular. The sensory and emotional response patterns may suggest the basis of our experience and despite individual differences, these patterns could help design beauty-informed lighting scenarios. Luckily, beauty and function are not that far apart. And you, where do you see beauty? www.designers-mind.com
Image: Starry night at the Cinemateca, Lisbon, Portugal
Artificial lighting recalling pleasant effects Can lighting design recall the effects of beauty? Answering this question might improve the applied lighting strategy and therefore the overall sense of wellbeing in a space, which is why I tried to correspond to the aesthetic demands raised by the qualitative research. “Feeling at ease” - Lighting planning should consider the non-visual effects of light exposure, for example the circadian rhythm. While respecting our changing need for stimulation and relaxation, the choice of the light spectrum and exposure time should be tailored to the type of activity required. “Previous experiences” - As a cue for positive emotions, lighting should have familiar details, again based on the end use of that space, which could be translated in colour temperatures and direction of light appropriate to the activities. The latter is of great importance, as its influence encompasses both non-visual and visual effects, allowing for a fully pleasant experience of space.
When translated into design cues, as an attempt to apply empirical aesthetics directly to the neuroscience of architecture, these global themes could help create beauty by addressing key issues such as purpose, context, and process.
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Entering into each vividly coloured space, viewers can see the live mixing of colours before their eyes, exaggerated by the use of infinity mirrors to further enhance the sensory experience. As two colours merge and multiply in each room, they form totally new colours that spill out into the spaces between each chamber. The colours wash over visitors as blends emerge around bends and mirrors, extending beyond horizons. Gradient Remix triggers and activates the viewers senses and plays on the notion of colour as a physical material. Colour is a universal language that bridges the gap between people of all backgrounds, races, and religions, never seeking to separate or isolate. Gradient Remix opened as part of the new Color Factory at the Willis Tower, Chicago in June 2022.
Gradient Remix Chicago, USA Artist Liz West has unveiled her latest installation at Chicago’s Color Factory. Entitled Gradient Remix, the piece is comprised of a series of chambers that use lights and mirrors to showcase the physical blending of the three primary colours – red, yellow and blue – into the secondary colours of orange, purple and green.
Image: Matt Haas
www.liz-west.com
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“As I’ve worked with media, light is a core part of that palette. I wouldn’t be able to work without it. It’s essential at its core.”
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Jason Bruges As Jason Bruges Studio celebrates its 20th anniversary, arc Editor Matt Waring sat down with its founder, Jason Bruges, to discuss his approach to experiential design how he blends architecture, light, art and design in his work.
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Litmus, London Borough of Havering, UK
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Before venturing into the world of immersive art, Bruges’ background was in architecture, although his fascination with performative works was always present. “I studied architecture at Oxford Brookes, and then did a post-graduate at the Bartlett at UCL,” he explained. “They were both quite formative; in my degree I was looking at spaces for performance, but there were also a lot of parts of the course exploring areas like psychology, environmental and sustainability aspects – things that were perhaps not ‘classic’ architecture. “Indeed, for my final year project, I created an experiential, performative media installation and performance space; there were a lot of indicators that I might be interested in other things, or in expanding my architectural repertoire.”
“At Foster + Partners’ London office, I worked on some of the bank buildings in Canary Wharf; but I realised that after having been at the Bartlett and exploring this very experiential, experimental work, I was thinking about what I could do with that, and how I could be a bit more theatrical and experiential with my work.”
This led Bruges to a role as Senior Designer for Imagination, where he worked on the Millennium Dome, among other projects, looking at experiences and early examples of interactive design. “I was looking at how a space might animate, how it might interact with people and come to life. There was a lot about scenography, theatre, early interaction design and performance.”
In between his degree and diploma, Bruges took a year out to work with Norman Foster in Hong Kong, gaining valuable experience in the technicalities of the architecture profession. This experience continued following his studies at UCL.
WITH...TALKING BRUGESJASON or the past 20 years, Jason Bruges has carved out a unique place within the art and design world with his eclectic portfolio of immersive, ephemeral, and experiential installations. As his eponymous studio celebrates its 20th anniversary, Bruges sat down with arc’s Matt Waring to reflect on the origins of the studio, his design inspirations, and where he sees the future of experiential design going.
During his post-graduate at UCL, Bruges recalled being part of a unit that was “very much looking at the idea of cybernetics, interactive architecture, reactive and performative architecture”. He recalled: “There was a mentality of very flexible spaces, performative spaces, buildings that moved and had personalities. It was very much exploring the idea of an architecture that performs and changes. Weirdly, some people have said that you can see a thread of that in the studio’s work today, as we’ve carried on creating performative pieces, interactive pieces and pieces that use different types of media to come alive, including light.”
Alongside Bruges’ role at Imagination, he was commissioned to showcase some of his independent work in exhibitions. It was this interest in his ‘solo projects’ that then snowballed and led to the formation of his own studio. “I was exhibiting work from about 2000,” he recalled. “People had seen my work from my postgraduate at the Bartlett and were interested in it, so I was asked to show some work. It was largely interactive art installations that experimented with different parts of the architectural world, using light and media and kinetics and various mediums.
“Off the back of starting to exhibit work, I also won a series of competitions that I needed to deliver on, so the studio was set up to deliver the work. It was quite organic and reactive to the needs of being commissioned to create work that I no longer had enough time to do. I suddenly realised that I needed a studio.”
And so, Jason Bruges Studio was born. Picking up where he left off during his studies, he explained that the idea or premise of his work being performative and “living” carried on. “I was really interested in architecture, being usually quite static, and wondering how much that can be explored, how much you can create a performance or something that’s living. The context of public art and public art commissions seemed like an interesting place to experiment with that idea. “The ethos or idea was still very architectural, in that it was about improving environments, looking at narratives in environments and bringing spaces to life. There was an element of regeneration, creating something from liminal, unwanted, downtrodden spaces and creating a catalyst for change and discussion within that environment.”
Within this approach, technology has formed a key part in the studio’s work, with Bruges keen to merge the boundaries between art and technology. “I could see an opportunity in an area where the world of art, architecture and technology overlapped,” he said.
Bottom right: Shadow Wall, London, UK (Image: James Medcraft) / 045
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This idea of “visual poetry” is something that is a constant amongst Bruges’ portfolio, but rather than thinking of it as a signature style, he believes it is the overall approach that sets his studio apart. “Our signature style is conceptual, it’s a thoughtbased style, a thinking process rather than something that is completely visual – more of a signature approach,” he said. “I think what slightly differentiates our work from that of our peers and competitors is that it is highly grounded in the place and the site specificity of them, taking in the atmosphere of a place rather than things being quite abstract and placed or deployed without any recognition of the place or environment around them.
However, when it comes to Bruges’ favourite project, he said that Nature Trail, a piece he created for Great Ormond Street children’s hospital in London holds a special place in his heart. “The projects that really make a difference, where there is empirical evidence of them making a difference, stand out. Nature Trail was the first project that my own children got to see; it was a piece that created a narrative on the journey from the ward to theatre, and was all about distracting children on this “Workingjourney.as an artist with ephemeral media, including light and sound and other media, there is an opportunity to create these moments that distract. There are a lot of connotations around wellness at the moment, but in the context of a hospital, the ability to decrease levels of anxiety around the process of what happens around you is incredibly important. The scenario where you see that the work functions beautifully, and it has this magnificent effect is great to see. The team worked so hard to make it work, we took the time to really interrogate the visual poetry of things and bring joy to people.”
“I couldn’t see many people operating in that space already, and I realised that there was a chance to explore with a relatively new palette. Digital lighting technology had just come of age with various colour LEDs appearing in the mid-90s and media and control systems becoming more sophisticated. So, the palette of things that we could use, suddenly, was quite interesting. “We wanted to pioneer the exploration of this application of technology to our environment and creating a hybrid space. We’ve since been fairly consistent in terms of exploring that space and how we can combine the idea of living architecture, living art into a space through a new media palette that largely consists of light, media, and kinetics.”
“Being site specific, in the architectural world is stating the obvious, but when we segue into the media art world or the light art world, creating sitespecific work is not always necessarily normal. But the context of a site gives a lot of guidance to form, composition, animation, choreography. “I see the work as living, animated and dynamic; it’s ephemeral, it creates sensations and withaWe’reinteractions.lookingforliveconnectionouraudience.”
“The piece was like a fashion barometer,” Bruges continued. “The walls responded to you and what you were wearing, and depending on what colours you were wearing, it would mirror these. As far as I know, it was one of the world’s first videocontrolled interiors.
Top right: Memory Wall, Madrid, Spain
One of the first large-scale installations created by Jason Bruges Studio, which harnessed the new palette of light and media, was Litmus Commissioned by the London Borough of Havering – the city’s most eastern borough –Litmus consists of four landmark, 12-metre-high sculptures placed on separate roundabouts near the borough’s raised A13 highway. Responding to various environmental stimuli, the sculptures present information such as light levels, tide levels and traffic news to passing motorists through giant alpha-numeric displays, and were designed to draw attention to the brownfield sites adjacent to the road, and the regeneration of the area. “The London Borough of Havering is quite an amazing place,” said Bruges. “It’s both natural, with protected marshlands where amazing species of birds can be found, but then there are these brownfield sites with car plants and wind turbines, with developments and urban areas scattered amongst this, so it’s got an amazing, eclectic “Thinkingenvironment.about what would be interesting to an audience that is largely on the move, commuting in or out of London, we looked at things that gave information – roadside clocks or thermometers – and thought about how we could disrupt that communication. We talk about data now, about bringing it to life, but this was really early in terms of the idea of visualising data and making invisible things visible. It was quite a critical piece and was quite formative in terms of making me think about how we use data, what interesting data exists in the world and how we can bring it to the Theforeground.”notionof visualising data was present in another of Bruges’ early, standout projects – a piece titled Memory Wall, which was created at the Hotel Puerta America in Madrid, Spain. Part of a wider architectural extravaganza, in which the Silken Hotel Group invited 22 architecture firms to collaborate on one project – including names such as Zaha Hadid, Norman Foster and Jean Nouvel – Jason Bruges Studio collaborated with architect Kathryn Findlay on the lobby space of one of the hotel’s 12 floors. For Memory Wall, Bruges transformed the lobby into a real-time, video-controlled environment, where the walls would react as visitors entered. Motion and body mass were captured, filtered, and displayed on a light canvas embedded within the wall, meaning that as guests passed by, they saw distorted images of themselves, and as the day went on the images lingered and changed, moving into one another and creating a wall of memories.
“Memory Wall was under the spotlight of the world’s media, there was a lot of attention because of the architects involved. I remember sitting on a stage with 10 of these ‘starchitects’ and thinking how crazy it was that I was at the same level as them. But suddenly people were interested in my work; even the other architects were asking how the environment was changing in real time as a piece of reactive, interactive architecture. They saw it as an interesting layer that can be added to the architecture that they’re creating.”
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Across the studio’s eclectic array of past projects, the scale and scope has varied greatly, from vast façade pieces and large-scale installations to smaller, more bespoke works. Despite the ranging scope, Bruges believes that the studio’s approach remains the same in all works. “There is poetry in all these scales,” he said. “There are a lot of sub narratives and layers, and they can exist in really small works, and at a larger scale. The fact that there is this variety, for me, as someone who is continuously curious about the world around me, there’s an excitement. The work being bespoke, or having elements that are very bespoke, means that we’re inventing, pioneering. There’s a lot of research and development happening in the studio, and that helps keep people very engaged, and it means that there is never a dull moment.
“There will be some highly crafted pieces where every second is thought out, and then combinations of this and pieces that are very generative, but there is a space for both in certain Nature Trail, Great Ormond Street Hospital, London, UK (James Medcraft)
With such a focus on technology within his work, Bruges has always got one eye on the future, and on any new technological advancements that he can harness in some capacity. “We’re continually exploring new technologies,” he said. “I think of myself and the studio as no different to a painter; new pigments of paint arrive all the time and you’re trying them out to see how well they work, how efficient are they, how bright are they, how long do they last, what colours they produce. For us, it’s the combination of systems that we use as well. Sometimes we’re using old technology in certain ways and combinations, or subverting things, changing how they’re used, or disrupting something – taking something from one industry and using it in another. We’re spotting those opportunities, and it gives us the chance to work in spaces that we wouldn’t otherwise work.
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“I never know where inspiration is going to come from. I see inspiration in the natural world, its systems and behaviours, and our interaction with it. I see the work as living, becoming alive, being animated and dynamic; it’s ephemeral, it’s not necessarily all encompassing, but it always creates sensations and interaction. We’re looking at a live connection with our audience that we are then reacting to and interacting with, and the applications become a type of interaction design, it’s omnipresent in that context.”
“There are some aspects of the studio that are architectural, because we’re building things and we’re sometimes part of big, multi-disciplinary teams. Other times, it might be more like we’re creating a sculpture, or other times it can be a faster process, so it’s like we’re making a film.
“We’ve been working with surfaces a lot in terms of projection, but now I think quite often about voids and in-between spaces, working very subliminally and ephemerally to create work that’s very “We’redynamic.also thinking more and more about creating work that is regenerative, building content that creates itself, using AI and developing algorithms so that it can learn to change or update content.”
The idea of self-generating content sounds like science fiction, but Bruges believes that multimedia art can enter into this realm, as well as becoming more experiential and ephemeral in the process.
As Bruges has always aimed to create ephemeral, immersive, multi-sensorial works, light has always played a prominent role, although he sees it as a small part of a wider palette of materials and textures. “As I’ve worked with media, digital media, new media, light is a very core part of that palette,” he said. “I wouldn’t single it out, but I wouldn’t be able to work without it. It’s essential at its core. “But for me, being multi-sensorial, relying on other things as well is more important. It needs to be considered alongside a soundscape and sound texture, alongside materials that we’re using. People ask me if my work is all about technology – I’m fascinated by technology, but we very much start with things being site-specific, and work with the context and the stories and narrative first, and then which bits of the palette are used is the next important piece of the puzzle. “Light has been there, and has been at the forefront of my thinking, but it’s part of a slightly wider palette, and I don’t isolate it. It comes in context with the systems and other materials and sensory devices as well.”
People can walk in and see an architecture practice, or an art studio, or an agency, depending on what we’re creating. We have a team of nearly 30 in the studio now, from all walks of life and all different disciplines, and that’s really important, because we become like an orchestra – we all have these very specialist functions, but it all comes together to create amazing things.”
WITH...TALKING BRUGESJASON environments,” he said. “There is no shortage of spaces or immersive spaces, there is a shortage of good ideas and original, interesting, immersive “Therecontent.are opportunities to carry on with the idea of the experiential – lots of opportunities where we almost become experiential master planners.
Although he has one eye on the future, as he celebrates the 20th anniversary of his studio, Bruges remains appreciative of where he has come from, and the support he has had along the way. “We want to have a giant party to celebrate the anniversary, primarily as a thank you to all the collaborators, friends, past colleagues, commissioners, and patrons. We’re going to reach out as many people as possible as a thank you. There are so many projects, and we’ve collaborated with so many people, so it’s important this is “Lookingcelebrated.back, there are some things that are fantastic to have been involved with, but there are also things I would have liked to have done, because I’m always aspiring to push the boundaries. So, there are some regrets about things that we haven’t done, but also an excitement about things still to explore and to do.”
The Circle, Museum of the Future, Dubai, UAE (Image: Sandra Ciampone)
Watch this space then, to see what the next 20 years brings for Jason Bruges Studio.
When you think of things on that scale, it’s like being atmosphere designers, looking at what a space looks and feels like, but not touching anything – all the ephemeral, in-between things, at a larger scale, multiple networks in these interactive, intelligent spaces that are made up of this mixed media, ephemeral space.”
As he continues to look to the future, Bruges believes that there will be a continued push towards experiential design, alongside the ongoing shift to more considerate, reflective design. “The volume and expectation around experiential is ramping up. I can see the work being embodied in many more environments, commissions and many more types of development, in places you wouldn’t normally think. We obviously think that experiential is important in areas like sports, retail, mixed use developments, hospitals, but everywhere can have experiential moments, whether they’re educating, they’re didactic or purely about happiness and fulfilment,” he said. “Wellness is a word that crops up a lot at the moment too – we worked on the Museum of the Future recently, and we were commissioned to think about a space that is very much reflecting on the idea of self-transcendence, a space for meditation and reflection and mindfulness. Quite rightfully so, we’re thinking about how we make people feel in the environments they’re inhabiting. “Within all of that, we’ve always looked at the boundary between the natural and the artificial. I think it is the time of the natural to come into its own, and working with natural phenomena, natural materials, will become more and more important, and that’s what I’m really excited about.”
www.jasonbruges.com
Inspired by the emotional journey individuals and communities experienced through the Covid pandemic with its lockdowns, separations and restrictions, Cundall Light4’s Twenty Seven installation for Vivid Sydney 2022 celebrated our common humanity. The journey of changing habits, giving each other space, and learning to smile with our eyes behind masks or connect via the virtual world was transformative. We emerge from this time with a renewed appreciation for each other and for events that brings us together.
The Twenty Seven artwork comprised three 3D-printed pillars, each representing a word – Local, Family and Connect. The first letter of each word was reproduced through code into a Voronoi pattern. For example: the letter ‘L’ has an ASCII code of 065 which translates to an 8-bit binary code of 01000001. This binary code was used as the seed number to create the Voronoi form that formed the ‘Local’ cylinder.
Vivid Sydney is an annual celebration of art, light, music and community – and like many such events it was put on hold during the worst of the pandemic. In 2022, however, it came back to full technicolour life in Sydney’s CBD from May 27 to June 18.
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Twenty Seven Sydney, Australia
All 27 human emotions were placed on the base of the pillars for visitors to reflect on and connect to – admiration, adoration, appreciation, amusement, anger, anxiety, awe, awkwardness, boredom, calmness, confusion, craving, disgust, empathy, entrancement, excitement, fear, horror, interest, joy, nostalgia, relief, romance, sadness, satisfaction, desire and surprise.
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Image: Guy Wilkinson Photography
The pillars pulsed and scrolled through vibrant colours, echoing the theme of emotional shifts and the power of transformative experiences. The 3D printed structure of the pillars in daylight both focused and fractured the sky and the harbourside Kings Wharf surrounds as visitors looked through the forms. The installation was the work of an international collaboration between Cundall Light4’s lighting designers including Bettina Easton, Andrew Bissell, Mark Tweedale, Anjana Ravishankar, Kimberley Riley, Hannah Murphy, Liz Skelton, Kenny Cliffe, Pete Shing and Minky Min. To achieve the dynamic qualities of the lighting, the team collaborated with Australian luminaire supplier, LiteSource and Controls. www.cundall.com
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The newly-opened National Museum in Oslo highlights the history of Norway in the country’s largest art exhibition. Henning Larsen and Massimo Iarussi designed the architectural and exhibition lighting respectively, to showcase this grand collection.
“The concept of the lighting was a balanced design with a focus on light quality and experience, with a luminance hierarchy. The lighting level in the area in front of exhibitions is therefore toned down according to this hierarchy. We wanted the lighting to emphasise the architecture and be a natural part of the environment. Visual comfort, readability and luminance are the main elements; both technical and aesthetic solutions are emphasised.”
The scenarios vary from warm to cold, with slow movements of shadow, colour temperature changes and dimming variations. These are programmed in a wheel of the year, and the idea was to use warmer light in wintertime, slowly turning cooler in the summer. Our goal was to emphasise the marble material and give the light environment a sober and delicate visual appearance despite its enormous dimensions. The lighting levels are also balanced with the visual environment of the surrounding buildings.” Inside the museum, lighting comes via a series
pened in June of this year, Oslo’s National Museum showcases the full breadth and history of Norway with the largest and most valuable art collection in the country.
The historic buildings stand in direct contrast to the illuminated Light Hall that sits behind. Lighting for this feature was developed in close cooperation with the architects. Hjelmeset explained further: “The design goal was to create a calm and monumental façade with a lighting design that emphasises the materiality, with possibilities to slightly change the appearance.
As part of this, Henning Larsen considered placement and luminaire types that would provide a balanced, homogenous lighting throughout. “The light was placed where it was needed and with the shielding necessary to provide the experience that was desired, as well as the required light level for performing the task in the specific room,”
“The lighting concept was to create an ice feeling, with allusions to ice flake layers in the façade. The original material was alabaster, but changed to recycled glass in the detail phase. Unfortunately, this couldn’t handle the differences in temperature the façade faces and the material had to change. There was a lot of testing of new materials on site, and the final solution was to use a 4mm thick layer of marble stone.
“The lighting was designed and programmed with 10 scenarios, designed in dialogue with the architect and the lighting staff of the museum.
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Designed by architect Klaus Schuwerk of Kleihues + Schuwerk, the museum was commissioned by Statsbygg, the Norwegian Directorate of Public Construction and Property, and merges four preexisting museums – the Museum of Architecture, the Museum of Contemporary Art, the Museum of Decorative Arts and Design, and the National Gallery of Norway. The new National Museum spans 54,600sqm, with 10,000sqm of exhibition space. Materials such as slate, limestone, glass, marble, bronze, and brass, as well as light and dark oak contribute to the radiance of the facility, which blends natural and artificial light to create a bright, welcoming aura. A melding of classical and contemporary architecture, one of the defining features of the exterior is the vast “Light Hall” that tops the building. Made of backlit layers of glass and marble, the Light Hall is the largest backlit façade in Norway, and instantly helps make the new landmark museum stand out. Given the size and scope of the museum, the lighting design was split into two different teams, with Henning Larsen (formerly Rambøll) designing the architectural lighting for the exterior and outdoor spaces, as well as general lighting for the museum’s public spaces, offices, and cafeteria; meanwhile Italian designer Massimo Iarussi designed the lighting for the 86 galleries and exhibition spaces.
Bringing together extensive collections of classical, modern and contemporary Norwegian art, as well as architecture and design, the new museum has instantly become a landmark for Oslo, sitting on the scenic harbour of the Scandinavian city.
Kathrine Hjelmeset, Senior Lighting Designer at Henning Larsen, explained the design concept: “Designed with the perspective of housing artworks for centuries, the museum is built with clean and robust materials that will age with dignity, like oak, bronze, and marble. The same intentions were set for the lighting design – to be timeless and still relevant many years after the opening.
Hjelmeset explained. “Three types of ceilings were chosen in the project: metal, textile and fixed; these lighting concepts are used throughout the museum. For the outdoor areas, the concept was to make this museum an integrated and natural part of the city by choosing solutions used in surrounding areas. The historic buildings in front of the museum received lighting that reflected original fixtures and locations reproduced from old images.”
02–06 October 2022 Find us at Hall 3.0 Stand F31 Frankfurt amKOH-workingMainspaceAsaka ShindengenOffice, Electric Manufacturing Co., Ltd. KKDC product used KOH 40-H
Iarussi added: “There was an excellent communication with Henning Larsen on the themes for which we were both involved, such as the skylights and the exhibition halls, or the transition areas between exhibition and nonexhibition spaces, or in lighting some of the external courtyard where contemporary art installations are exhibited. There was also a very good collaboration in the phase of fine-tuning the tender procedures for the supply of lighting fixtures for the exhibition, which was taken care of by Henning Larsen, with our collaboration for the drafting of technical specifications of the lighting.”
Iarussi joined the project in 2016, following an international competition for the exhibition design, which included lighting design, graphics and multimedia installation. Part of a collaborative that included Guicciardini & Magni Architect for the exhibition design, Rovai and Weber for graphics and InnoVision for multimedia installations, Iarussi hoped to use lighting to reinforce the experience of the visit within the museum. “The museum has enormous dimensions, with several thousand artworks on display, and is housed in a grandiose, rigorous architecture. It was necessary to keep the visitors’ attention on the exhibition; variation became the key word,” he said. “We wanted the light to accompany the visitor, reinforcing the experience of the visit. The light had to appear innate with the set-up, it did not have to be intrusive, nor become the protagonist. We wanted the focus to be on the artworks. The set-up and the light both contribute to this goal, reinforcing each other. “Developing around the unique collection, the exhibition design emphasises both the precious individuality and the choral value of the artefacts, through a fruitful journey of ideas and solutions created in close collaboration with the museum curators, conservators, educators and technical experts. To enrich the exhibition for visitors, the arrangement of the main exhibition sections has been diversified by the use of different solutions, colours and tones. In various ways, the exhibition elements aim to shape the galleries by creating installations evoking classical archetypes or modern abstractions. Materials, colour and light contribute to creating environments where the artworks are exhibited and highlighted.”
of artificial skylights, in both the exhibition and general spaces. The decision behind this came from the architects, but Hjelmeset explained how the lighting designers “had an important role in the design and result”. “We did a full-scale mock-up and tested out many different solutions. The result was a double layer of textile in front of a grid of LEDs, varying from 2700K to 6500K,” she said. “The boxes are custommade by Zumtobel, and there are many different sizes in the project. The architect wanted the artificial skylights to have a visual depth and for the textile to be partially translucent. We did a lot of testing to get the right textile, the combinations of textiles and the placements of the LEDs, to have the desired translucent effect, while at the same time not seeing the LED dots. “Due to restrictions for artificial lighting towards paintings, the skylight is significantly dimmed down in most of the exhibition rooms. We performed measurements of the amount of light and quality in one of the sample rooms, before ordering the solution for the rest of the museum. The test also included a spectral distribution measurement and focus on the dimming quality without flicker.”
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Throughout Henning Larsen’s work on the museum, collaboration and cooperation were essential factors - from working closely with the architects on some elements, to liaising with exhibition lighting designer, Massimo Iarussi. “There was close cooperation between all disciplines in the project, and the architect was in lead of the aesthetic choices that were made,” Hjelmeset explained. “All luminaires and locations were discussed and reviewed with the architect, with some special-made luminaires that were designed for this project in cooperation with the architect.
“Henning Larsen already set the infrastructure for the lighting tracks in the museum by the time Massimo Iarussi became engaged for the exhibition lighting design. We worked closely with him when deciding the light levels for the artificial skylight. Henning Larsen were also commissioned by Statsbygg to lead the process of providing all spotlights for the exhibition areas, and we were responsible for setting the demands for the light quality. We worked both with the museum lighting staff and Massimo in the specification process, coming to us with thier professional input.”
Iarussi shared some examples where this variation in lighting approach helped to differentiate the many exhibits. “In the first room, the faces of ancient Greek and Roman sculptures turn their
The largest backlit façade in Norway, the Light Hall exemplifies the Museum’s melding of traditional and modern design, turning the building into a visual landmark for the city of Oslo.
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gaze towards the visitor, who is invited to place themselves at the centre of the scene, marked by a bright spot of very warm colour. The shadows of the sculptures on their pedestals draw a star on the floor, which evokes the propagation of ancient civilisations in all directions, towards the whole world. The next four rooms describe the cultural relations between the Scandinavian states and the rest of Europe, between 1100 and 1600, through the exhibition of works of sacred and profane art. This section is characterised by the vivid red colour of the walls and dark grey platforms. The chiaroscuro tone, generated by a strongly contrasted lighting, gives greater richness to the objects on display. “Once again, in Room 7, dedicated to East Asia, the bronze panel coverings of the display case evoke the richness and mystery of the Far East under a golden light. Unusually warm, it accentuates the charm, together with the texture of the backlit panels that evoke rice paper. These are just a few examples - throughout the exhibition, where the lighting and the set-up always go hand in hand, in a constant dialogue, which reinforces each other.” This constant dialogue of the lighting and set-up spans across the 10,000sqm exhibition space, and Iarussi believes that the variation helps to create a feeling of narrative and flow throughout. He continued: “We treated the 86 rooms as if they were the chapters of a novel. The consistency in a novel is given by the style, by the hand of the writer, by the language. In our case, it is given by the touch, by the light hand, by the discretion in manipulating the objects we use to create a light scene. But each chapter tells a different part of the story, with inevitably different words, with the infinite, small variations that from time to time, we bring to all the attributes of light: intensity, contrast, hue, direction, and so on.” Iarussi looked to use the balance of contrasts and modelling to bring each room to life, while sticking true to the concept of light as a narrative tool: “The first rooms are extremely contrasted, with punctual lights with precise and narrow light beams, which generate very strong contrasts, with almost theatrical effects. The exhibition unfolds on a chronological criterion; the light becomes a kind of metaphor of a journey through time. The rooms of antiquity, characterised by very strong contrasts, are gradually followed by rooms characterised by lighter colours and softer contrasts that represent the unfolding of time. As we approach the present
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“Being a lighting designer, by its very nature, is a job that only makes sense within a team. Lighting designers are used to dealing with different skills - architects, interior designers, curators and so on. The interpersonal dynamics of the work group are as decisive as the individual skills and specialisations. When the perfect harmony of the group is added to the experience of each one, the results can only be exceptional.”
“Thesuccess.process of collaboration is always a fundamental element for us, and perhaps in this project it has been even more so,” he said.
Iarussi added that the size of the museum, and the fact that it was all brand new, was also a factor to consider: “We have worked in museums even larger than this, such as the Uffizi Gallery in Florence. But these were always existing museums, which were renewed one section at a time. Never have we had to manage these dimensions and this amount of artwork exhibited all together, to have to stick to a single completion date for the whole museum. And we could not accept compromises on quality. We managed to get out of it, simply by putting all our resources into play and using all the time we had, until the last minute.”
“The transition to the modern era is marked by Room 20, where the journey into modern design begins and in which the massive use of diffused light combined with the punctual light of spotlights is introduced. The multitude of objects offered by industrial production is underlined by a light of greater intensity and, above all, more diffused, symbolising the availability of such objects for all. It was necessary here to create a custom system that combines the soft and diffused light of extended luminous panels with that of point projectors, housed in the same system.”
As someone who has worked on a number of museum projects in his career, this was a challenge he has become used to. He explained: “We know that conservation is one of the top two priorities for museums. However, this must always be balanced with the need for the best enjoyment of the artworks, which is the other major priority of the museum, without which the museum itself would have no sense of existence. In many cases, compliance with the best requirements for conservation can have a negative impact on the perception of the artworks, if it is not carried out with great care. For example, if in a room we only have very precious objects that must be lit at a very low level, we can illuminate only those in a focused way, keeping the whole room at an even lower level to make them stand out. However this is not possible if delicate objects cannot be isolated and are displayed close to less delicate objects. “We have done a lot of work in this regard, organising during the design process workshops with curators, so that they could become aware of the perceptual effects, as well as the conservative ones, of the different solutions. In some cases we suggested simple solutions, such as a faster rotation of exposed objects to reduce their exposure time. In others, we have proposed more complex solutions. For example, in the beautiful royal costumes gallery, we proposed a dynamic lighting system: the light on the clothes is very low most of the time, but from time to time, a dynamic sequence follows, in which the costumes are illuminated one at a time, at a higher level, for a short time. This has no negative effects on the conservation, because the total luminous exposure is kept within the allowed limits, but at the same time it allows visitors to fully enjoy the preciousness of the Queen’s clothes, even if for a few minutes.” With the sheer size of the museum and the delicate nature of the artefacts on display all factors, the biggest challenge that Iarussi faced on the National Museum is perhaps not what you might expect it to be. “It may seem paradoxical to tell, especially for a project like this, which required such a long preparation time, but the biggest challenge was to close the project on time. “From our experience in museum lighting design, we know that a huge part of the job takes place in the field, in the final stages of installation and tuning. It is the phase in which the last details, the aiming and the adjustments, are decided, which are what makes the difference, even when everything has gone smoothly until then.”
Across the museum’s extensive, diverse range of exhibitions, there is a wide range of artefacts on display - many of which are, due to their history, very delicate. This means that Iarussi and the wider exhibition design team had to be very considerate in their approach, to preserve the objects on display, while still providing effective illumination.
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That being said, now that the museum is open to the public, Iarussi and his team of collaborators are “very satisfied with the result”. “As we completed the last adjustments in the galleries, it was exciting to see how much of what was taking shape responded to what we had imagined for some years now,” he said. “This is even more true for some aspects that we had not fully foreseen. For example, what struck me most in the final result was how much the museum really succeeded to represent the identity of a nation. It was an aspect expected and pursued by everyone from the very beginning, but I did not realise its success until I saw the final result.” This is a view echoed by Hjelmeset, who feels the lighting adds to the visitor experience of the National Museum. “The lighting design is united with the architecture, and we are very pleased with the result,” she said. “We are very pleased with the light quality, especially in the exhibition areas, and the downlights in between the textile ceilings. We think the public areas work visually very well, and that the carefully planned solutions work well in practice. The lighting is an important part of the design and experience of the museum.”
The National Museum in Oslo is the result of widescale collaboration among a number of different teams and studios from a myriad of fields, and Iarussi concluded that the strong cohesion among the various partners is what led to the project’s
www.massimoiarussi.it www.henninglarsen.com
Client: Statsbygg; National Museum Architectural Lighting Design: Henning Larsen, Norway Exhibition Lighting Design: Massimo Iarussi, Italy Architect: Kleihues + Schuwerk, Germany Exhibition Design: Guicciardini & Magni Architetti, Italy Graphic Design: Rovai Weber Design, Italy Multimedia Installations: InnoVision, France Lighting Suppliers: Bega, Erco, Fagerhult, Flos, Glamox, iGuzzini, Insta, LED Linear, PSLab, Robers, Rosco, Targetti, Thorn, XAL, Zumtobel Photography: Iwan Baan, Mario Ciampi, Halvor Gudim, Borre Hostland day, light becomes more and more ‘democratic’, less focused on individual objects, more pervasive.
Top An example of the artificial skylights that feature throughout the museum. Custom-made by Zumtobel after extensive communication between Henning Larsen and Iarussi, the skylights bring visual depth and homogenous light to the exhibits. Bottom Room 1 of the exhibition space, in which Iarussi used light to create a sense of drama amidst the ancient Greek and Roman sculptures.
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Of the installation, McClellan said: “Vine cradles the bottles between crystal platforms, the natural reflective surfaces responding to the glass of their cargo. LED lighting creates an air of futurism, a reverence for the temporal - tradition held safe by the contemporary. “It is a reflection of our regard for both bottle and content. A moment in time suspended, literally and figuratively. The crystal cradle carries power and data to every shelf; the weightless, floating effect concealing all trace of technology, leaving the wine to evoke its own romance.”
www.bybeau.com Image: Vasco Célio/stills
Vine Lake Como, Italy
Every wine has a tale to tell - one of countless captured moments; from the sunshine that bore down on the grapes to the lives that played a part in its creation. With Vine, design studio ByBeau carries on this story with a dichotomy between design and function; an interactive, digital wine rack that cradles bottles between crystal platforms, turning wine collections into glowing works of art. First conceived by ByBeau founder Beau McClellan in 2013, the studio was recently commissioned to develop a bespoke version of Vine at the Grand Victoria Hotel on Lake Como, Italy, that takes its creative concept further, turning it into an interactive art piece that could be triggered by sound, movement or temperature, creating stunning content to entertain guests. With each shelf illuminated by LED fixtures hidden within the shelving, one of the core requirements for this customised solution was that the point source of light could not be seen from any angle, only the effect of the diffused light on the edge of the crystal. Alongside this, ByBeau worked with Nicolaudie and Madrix on pixel management to ensure that each shelf has a specific IP address, enabling specific illumination of regions, varieties or even tones, however the client desires. A tablet or smartphone can also wirelessly provide interactive content, filtering by region, age, grape variety, etc, to illuminate specific bottles in the rack.
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Little Island New York, USA
Designed by Heatherwick Studio, Little Island rises from the Hudson River on a series of concrete ‘tulips’, giving New Yorkers a unique new public space in which to explore and unwind. Fisher Marantz Stone designed the lighting for the park, which was intended to complement both the architecture and landscape features.
As such, FMS developed a lighting concept that would bring a base layer of wayfinding and accent light from low heights and concealed positions, where possible, supported by lighting from taller positions whenever scale or topography required it. “We hoped to extend and further enhance the magical environment created by the architects and landscape designers during the day,” Garcia Carrera added. “To do this, we had vigorous discussions with the client and design team about what areas and elements of the projects should be highlighted at night, which areas were necessary to light for code and/or safety, and which would be superfluous to illuminate. We then set about to research and develop the means to make the island and its components the star of its night-time environment, while the lighting instruments would be concealed from view.”
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As part of its ambition to conceal fixtures, FMS designed a bespoke, slender light pole with multiple fixture heads that provide path illumination and highlight the tops of trees, in instances where existing light poles were not sufficiently inconspicuous to satisfy the vision of the design team. Alongside this, FMS looked to pay tribute to the heritage of the site – Little Island is on the site of the former Pier 54, which received the surviving passengers of the Titanic. “The Hudson River Park esplanade in front of Little Island is home to the only remaining structure of Pier 54, its historic façade arch, which was also illuminated by FMS as a beacon to announce the entry point to Little Island,” Garcia Carrera added. Despite the striking architectural gesture of the supporting tulips, Garcia Carrera explained that the architecture on the island itself is “very subtle”, and instead defers to the topography and landscape. S
ituated on New York City’s historic Pier 54, Little Island is a totally unique public space unlike any other in the city. Emerging from the Hudson River, the island sits atop 280 concrete supports, dubbed ‘tulips’, offering a literal and metaphorical escape from the hustle and bustle of downtown Manhattan. Conceived as a collaboration between media entrepreneur and philanthropist Barry Diller, and the Hudson River Park Trust (HRPT), Little Island was designed by Heatherwick Studio as a public park and outdoor performance space. Inspired by the hundreds of wooden piles that stuck out of the Hudson River as remnants of old piers that had previously existed, Heatherwick crafted the identity of the park around its structural piles. Expanding on the idea further, the architects made the design decision to extend the piles out of the water, raising up sections of the island, and fusing them together to form the topography of the park. The resulting design developed as a system of repeating piles that each form a generous planter at their top – each planter then connects in a tessellating pattern at different heights to create a single manipulated piece of Lightinglandscape.for the unique structure and parkland came from Fisher Marantz Stone (FMS), which became involved following a longstanding relationship with HRPT. Enrique Garcia Carrera, Associate Principal at FMS, explained further: “For 15 years prior to Little Island, FMS had been involved with HRPT in creating the park system lighting masterplan and providing peer review for the lighting of each individual segment. When the time came for Little Island to engage a lighting designer, HRPT put our name forward for consideration among a selection of potential lighting consultants. After several interviews and negotiation sessions, the Little Island design committee decided that FMS was the right firm to help create Little Island’s luminous Theenvironment.”originallighting brief to create this “luminous environment” was to “subtly highlight the concrete supporting structure and landscape features”, while keeping the lighting instruments as inconspicuous as possible. However, Garcia Carrera continued, “it was later understood that lighting the ‘tulips’ would have unacceptable environmental ramifications, which constrained the lighting interventions we could consider. In addition to that, we were aware that lighting for safety and wayfinding would be of high importance, given that the park would be open until midnight every night, weather permitting, and would programme evening performances several times a week.”
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Part of the original lighting brief for Little Island was to subtly highlight the concrete supporting structures, dubbed ‘tulips’, and landscape features, while keeping the lighting instruments as inconspicuous as possible.
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Garcia Carrera explained: “The support pillars are undoubtedly the most striking design element of the island park, and at the onset of the project there was little doubt that they should be suitably “However,highlighted.they are also the elements in closest proximity to the Hudson River, and of special concern to the New York State Department of Environmental Conservation (NYSDEC). We eventually came to the decision that only the tulips that were not directly visible from the water would be able to be highlighted, which mostly limited us to those adjacent to the entrance bridge and those visible above the island surface.”
The extra considerations towards the surrounding nature also meant that the designers had to be slightly more discreet than they had initially planned, despite the new park’s relative isolation from the inner city of Manhattan. Garcia Carrera added: “The more isolated location makes the project and its lighting stand out in a way that might not have happened in a more densely built-up part of the city. However, that same river location prevented us from implementing some of the lighting concepts that we originally developed, in consideration to the natural environment below and surrounding the island. So, we in fact had to be more restrained at this location than almost anywhere else in New York City, including other segments of the Hudson River Park.”
Environmental considerations for the lighting design also extended to light trespass and pollution – something that Garcia Carrera said is “important in every architectural lighting project, including urban projects, as we’ve learned in the past decades of the harm to wildlife and to the visibility of our night sky”.
On Little Island, it became evident that the project was located in a section of the Hudson River that is home to the American eel, meaning that FMS had to be mindful not to disrupt its habitat.
“We performed several studies, including existing illuminance values on the site, illuminance values in nearby sites along the Hudson River, and projections of light penetration underwater at the depth of the eel habitat, to demonstrate to NYSDEC that the habitat would not be disturbed by the negligible stray light component in our design. This exercise also led us to limiting the highlighting of the tulips, regardless of their architectural importance to the project.”
As such, he said that the main architectural gestures involve the accessway bridges, the tulips, and the formal amphitheatre that sits within the park. “Each of these would be subtly highlighted while carefully limiting the reach of the lights to avoid perturbing the wildlife native to the Hudson River below,” he said. The presence of this wildlife within the river was brought to the fore during the design process, and was one of the key challenges that FMS had to work around, particularly when figuring out how to best illuminate the supporting tulips.
Other challenges that FMS had to overcome on this particular project included the harsh, corrosive environment caused by the salty seawater that comes from the Hudson River merging with New York Harbour as it reaches lower Manhattan – which meant that only the sturdiest of light fixtures would survive. Alongside this, the outdoor park needed state-of-the-art dimming controls, but lacked ventilated, dry areas to locate control equipment and repeaters. Overcoming this, the lighting control system, fully hard-wired with cables and boosters, was buried underground for robustness and resilience in the harsh environment. Despite this, the system allows for park staff to wirelessly recall and adjust lighting scenes from any location within the park. While the lighting controls are buried beneath the park, the lighting fixtures themselves are fully immersed within the architectural fabric of the project. “The lighting, as in all FMS projects, seeks to be fully integrated and indistinguishable from the architecture,” Garcia Carrera said. “Heatherwick Studio did have specific ideas on how the park should look at night, but left it to us to devise the methods to achieve this vision. “FMS took the lead in determining the lighting approach for each area, while always going through rigorous review by Heatherwick, landscape architects Mathews Nielsen, and the Little Island Little Island sits on the site of the former Pier 54, which received the surviving passengers of the Titanic. FMS illuminated the pier’s façade arch, highlighting its historical significance, while creating a welcome beacon for Little Island.
Client: Little Island Lighting Design: Fisher Marantz Stone, USA Architect: Heatherwick Studio, UK Landscape Architect: Mathews Nielsen, USA Lighting Suppliers: BK Lighting, Boca Flasher, ETC, i2Systems, Klik, Lumenpulse Photography: Ben Helmer, Michael Grimm, Fisher Marantz Stone
committee – a process that kept informing and fine tuning our design as it developed.”
And this “floating jewel”, Garcia Carrera believes, comes at a much-needed time for New York, particularly following a tumultuous few years. He concluded: “A city like New York has a shortage of welcoming exterior public spaces that can be visited after dark. Appropriate lighting has the power to draw the public in and help them feel safe, comfortable, and in a mood to explore. “Nothing made this clearer than the pandemic, in which New Yorkers, mostly confined to their cramped apartments, needed to experience the outdoors like never before. Little Island came around at the exact moment when it was needed, and it being able to operate after dark is something that people have dearly appreciated.” www.fmsp.com
While illuminating the tulips was a key consideration for the lighting designers, Little Island’s location within the Hudson River, and the potential impact on the surrounding wildlife, meant that only tulips not directly visible from the water - those adjacent to the entrance and those visible above the island surface - were highlighted.
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Indeed, the high-profile nature of such a project meant that there was several different teams, departments and external stakeholders involved, making the process slightly more arduous than perhaps expected on other, more traditional projects. However, as Garcia Carrera explained, the ends justify the means. “Having such a high visibility project, of unprecedented design and scope, guided by so many different stakeholders, all with their own priorities, makes our job as a lighting designer much more difficult than on more ‘normal’ projects,” he said. “However, FMS has a long history of working on unique, exceptional projects and we know going in that the journey will be difficult, but the result is often quite satisfying for all. That was the case with Little Island.”
Looking back on the project following its completion and unveiling to the public last year, Garcia Carrera reflected on the magical experience that has been created for visitors. “In order to convey our design concepts to the committee, we produced several renderings and animations of the illuminated, night-time environment from various vantage points. None of them ended up doing justice to the completed project,” he said. “Little Island surpassed our expectations of what it could be at night. The experience is a magical trip of discovery, with outstanding architecture and landscape areas being revealed and concealed by turns, thanks to the thoughtfully designed and executed lighting. At night, Little Island is transformed into a luminous floating jewel.”
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Exchange BroadgateSquare, London, UK As part of a wider lighting vision for BroadgateLondon’sarea,Speirs Major has created a tranquil, serene lighting scheme for Exchange Square that enhances the park’s character against the surrounding urban environment.
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“The brief was to support a park-like feel for the square, creating a natural, tranquil feel that would offer people respite from the intensely urban Assurroundings.”such,Speirs Major’s lighting concept focused on how light could help people to “slow down and enjoy a moment”, by creating an inviting, warm ambience with plenty of opportunities to dwell and socialise. Roos added: “We played up the textures, colours and movement to reinforce the sense of a natural park and revealed the unique multi-level topography to ensure safety and aid wayfinding after dark. “We kept the lighting soft, warm and beautifully integrated within the landscape elements to create an intimate ambience. We worked with the curving topography, proposing the light slots that reveal the terrazzo steps, highlighting the meandering surface of the ribbon retaining wall and underlighting the benches, creating multiple places to stop, sit and enjoy.
The space focuses on wellbeing and open access, marking an important journey for the client in its journey from an office-led campus to a mixed-use, creative environment.
Adding to this ambience after dark, lighting design studio Speirs Major has shaped a warmly evocative blend of light and darkness, revealing the multilevel topography and curved landscape elements, while supporting intuitive wayfinding and ease of Aimedaccess.at revealing the natural texture, colour and movement of the various materials and finishes –from foliage and water to stone and wood – the lighting design enhances the park’s character as natural light fades, creating a gentle respite from the harsh urban fabric of glass, steel and concrete.
Speirs Major’s lighting design is part of a wider lighting vision that the studio developed for the Broadgate Public Realm Framework for British Land, becoming the latest project for the firm, following 100 Liverpool Street and 3 Broadgate.
s cities continue to grow and build up all around us, there becomes a growing need for calm, green spaces within urban metropolises. One recent example of this in action is the newly completed Exchange Square in Broadgate, London. Set above the tracks of Liverpool Street Station, the tranquil park within the urban heart of the capital offers a much-needed dose of respite and relaxation within the heavily built-up area.
“The lighting also responds to the patterns and textures of nature, with soft light to planting and through the leaves of silver birch trees, casting a dappled effect on the ground. The colour of the light adjusts tonally with each season, with warmer A
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Benz Roos, Associate Partner at Speirs Major, explained the brief for the space further: “British Land was closely involved in the concept development and attended early workshops with us and with architects DSDHA.
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Bringing nature and wellbeing to the fore helps to encourage a more diverse group of people to come and use the public spaces to meet, celebrate, work and relax surrounded by greenery – which in turn fosters creativity, a sense of community and improved wellbeing. “The right lighting not only allows the square to continue to be used for this purpose as natural light fades, but also shapes a completely different interpretation of the space, giving people a new experience to enjoy after dark.”
www.smlightarchitecture.com
Top: Soft lighting to the silver birch trees casts a dappled effect on the ground. The colour of the light adjusts tonally with each season - warmer white in autumn and winter, and a cool white in spring and summer.
Followint the project’s completion, Roos reflected on the success of the lighting – and the work of the contractors in bringing the design to life – particularly in creating a welcoming space for people to enjoy. “We were thrilled to see how quickly people really took to using the space after dark,” he said. “For this project, the details were realised so beautifully by the contractors and the electrical sub-contractor – all done neatly and with immense care, they were a joy to work with. “One of the major aims of the Broadgate development was a shift from an office-led campus to a truly mixed-use, creative environment.
Below: Fixtures integrated into handrails and furniture keeps light levels low and helps to create a cosier feel while enhancing the park’s character after dark.
In line with this concept, Speirs Major opted to keep much of the lighting at a low height, preserving an intimate ambience that encourages easy social interaction. At the perimeter, light for circulation is provided from We-ef luminaires on columns at a human scale, while low-level bollards from DW Windsor reveal the internal routes and low-level planting. Across the multi-level site, light is beautifully integrated within landscape elements to improve legibility and contribute to the warm ambience; an even wash of light from Architape reveals the dark metal vertical face of the curving ‘ribbon’ retaining wall that runs through the park, while the slatted timber benches that sit above the wall are softly lit from beneath. Elsewhere, slots cut into the faces of the terrazzo step seating and water feature contain hidden light sources, also provided by Architape, creating mesmerising patterns and ever-changing ripples. Integrated handrail lighting came from Stoane Lighting, alongside tree uplighting and projectors, and canopy downlighting, while floor washers in the steps came from iGuzzini. While the lighting design was intended to foster a welcoming, relaxing environment, Roos added that this was in tune with the core architectural ambitions for the space. “The key considerations for the landscape architecture were largely aligned with those for the lighting: to create a park-like environment that encourages people to meet up, rest and relax within this heavily urbanised setting, while also bringing nature back to the city,” he “Theexplained.design focused on creating a bucolic, soft, organic space with a priority to create a space that nurtures both people and plants, promoting wellbeing and biodiversity. The generous planting, curving lines and soft materials create a distinct contrast with the hard granite of the post-modern architecture around it, while the design also prioritises ease of access for all.”
The more restrained lighting approach is a welcome one for a green space within an inner city, and Roos added that, while some clients may have requested higher light levels under the belief that this would improve safety and wayfinding, Speirs Major had a supportive client throughout. “The client and architects were very engaged from the outset with the concept and the approach,” he said. “We had early access to the Broadgate estate management team, so we were able to explain our ideas and discuss their requirements (for CCTV, for example), so that they could be integrated within the approach as much as possible from the start.”
That being said, the lower lighting levels meant that there were some additional challenges when it came to CCTV. Roos explained: “One of the more difficult challenges was achieving the necessary vertical illumination on faces for CCTV and facial recognition software, given the low height indirect lighting approach. We assessed the contribution of light from the adjacent main routes and buildings, balancing the CCTV requirements against preserving the contrast we wanted for the square.”
The softer, low-level lighting of Exchange Square creates a warm, intimate atmosphere throughout the space, and Roos added how the minimal, pared-back design was a conscious move on the part of Speirs Major. “Retaining darkness and a degree of shade is always a conscious part of our design process. Not only is this more sustainable and better from an ecological standpoint, but by carefully choosing where we add light, we make use of contrast to shape atmosphere, support improved legibility and wayfinding, and promote a sense of security.”
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white light enhancing the rich autumn leaves and bare wooden branches in autumn and winter, and fresher, cooler white light celebrating the green buds and vibrant leaves of spring and summer. Light integrated into the water feature in the steps also creates beautiful ripples and patterns.”
Client: British Land Lighting Design: Speirs Major, UK Landscape Architect: DSDHA, UK Lighting Suppliers: Architape, DW Windsor, iGuzzini, Stoane Lighting, We-ef Photography: James Newton
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The decision was also aided by the wider environment in which the park sits, as Roos explained: “There was already a lot of light spill from surrounding buildings, we worked within those conditions to create the right atmosphere for the park. We always try to limit uplight where possible, and in this case the lighting is all integrated or pointing downwards.”
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Zerostrasse Pula, Croatia Connecting the Croatian city of Pula, Zerostrasse is a labyrinthian network of tunnels and passages with a gallery at its centre. Local design studio Skira Architectural Lighting developed a lighting scheme for the tunnels that improves accessibility, while showcasing their heritage.
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idden beneath the Croatian city of Pula lies a series of interconnected, underground tunnels. Built at the time of the AustroHungarian Empire, the subterranean labyrinth was used to shelter the city’s population during air strikes on the city during World War I. Now, the network of tunnels, shelters, trenches, galleries, and passages, dubbed Zerostrasse, has been repurposed into a pedestrian metro, with a central gallery, and a vertical elevator connection to the Historical and Maritime Museum of Istria, which sits atop Pula’s highest hill. As part of the renovation of the tunnels, led by architect Breda Bizjak of BB Arhitekti, Pula-based lighting design studio Skira Architectural Lighting was appointed to develop a solution that would provide comfortable linear lighting along the 2,700sqm of tunnels. Dean Skira, Founder of Skira, explained how the studio first joined the project, and how the lighting concept developed: “The town authorities invited us to submit a bid for an initial lighting design concept for Zerostrasse several years ago, as is often the case for public projects. Our bid was accepted, and we were appointed to develop the lighting scheme for the network of tunnels.
Within Zerostrasse, there are two sets of underground tunnels on two levels: the lower set at city level, and an upper complex, lying below
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“The collaboration with Breda Bizjak was very open and constructive; she was exceptionally familiar with the project, as she presented the concept of its revitalisation as a student. About 20 years later, the idea grew, and the project started with its active role in preserving the fortification heritage and improving accessibility for the museum and its new exhibition space. This indicated that the lighting design had to be immaculate.”
While the reconstruction of the tunnels created new opportunities for movement within the city, the isolation from external influences – particularly daylight – influenced the lighting design concept, as did the raw fabric of the site. Skira continued: “The concept was apparently as simple as the elements of the project. But when you start to work, you notice the details, the constraints, the collaboration flow, and the overall “Thecomplexity.lowerassembly was built in living rock, so during the renovation, great attention was paid to the preservation of the rock mantle, which necessitated the collection of all electrical installations in one route under the vault, which we then decided to use for the placement of lighting. This assured that no additional elements were added to the space. The complete lighting system needed to be controllable and easy to maintain. The intention was that the tunnels became a new attraction, and a pleasant shortcut from one side of the town to the other.”
The Ivy Asia
PapadiotisGavriil:Photographer|London:Location|18fifty:DesignLighting
www.ledflexgroup.com A touch of extravagance to world-class fine dining in the heart of Mayfair with bespoke linear lighting
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Client: City of Pula Lighting Design: Skira Architectural Lighting, Croatia Architect: BB Arhitekti, Slovenia/Croatia Lighting Suppliers: Daisalux, Idealux, iGuzzini, Lutron Photography: Jana Jocif ARABALBURJINSIDEATBOUTIQUETHE
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the fortress and museum at the top of the hill. The historic network of Pula’s streets, spread out in several concentric rings that organically adapt to the hill’s topography, are cross-connected, and complemented by the underground tunnels, that run in four different directions. While the idea of illuminating a series of historic underground tunnels may sound like a challenge, for Skira, who has experience in such locations, the prospect wasn’t any more daunting than any other project. “Projects bring along challenges when you care about the result and take responsibility for it, regardless of the location,” he said. “We have had several interesting underground projects realised, like the Postojna Cave and the underpasses in Zagreb, with a lighting theme inspired by the metro map. We are currently working on a peculiar tunnel in Bakar, Croatia, as well. “However, Zerostrasse was unique. Although it’s a kind of an underpass, the purpose is multifunctional and adaptive, but at first not strictly defined. We had to consider this, alongside humidity and leakage, low ceiling heights, and the preservation of the rock mantle. As well as this, the only surfaces that were physically intervened were the concrete floors and the vertical shaft of the elevator, which is located at the intersection of the for the tunnels has been kept deliberately subdued, with linear fittings softly uplighting the cave ceilings. Placed in the metal constructions just below the ceiling surface, the fixtures are hidden from view while delicately illuminating the rocky texture of the tunnels. Skira explained why the design team opted for a clean, minimal approach for the lighting: “Lighting is always essential in dark spaces, and the lack of windows or natural light influenced our motivation to make the area feel more breathable by providing clear and long-distanced visibility of the tunnel and its natural stone. “We decided to keep the lighting to the lowest possible level, while still being in accordance with the norms and recommendations. The solution therefore provides comfortable linear lighting along the hallways. There is a gradation in lighting at the entrance points - the light intensity increases when you walk towards the exit for a more comfortable eye adaption. During the night-time, these lights are lowered in both directions.”
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Alongside the functional linear fixtures, Skira created pockets of intrigue at points along the tunnels, with red flashes of light illuminating cave holes in the ceiling. He explained the process behind this decision: “When designing lighting, we balance and even rein a very powerful tool, which influences our field of vision. Our impulse is to provide visual pleasure and to make a pleasing environment and conditions for other activities. In private and public spaces, the light should bring joy, help people feel better, and also surprise and entertain them where possible. “The holes in the living rock intrigued us, and it was clear that we should enhance them and make them attractive, thus they become a focal point for the use of red light, which is the colour of the earth’s core as we imagine it. The effect is hidden, it’s mostly not that visible from a distance, it’s an element of surprise.” In the gallery space at the heart of the tunnels, which is used for exhibitions, music events and similar activities, additional linear lighting circles central pillars, providing increased illumination for the works of art on display. This is then further enhanced by “pop-up lighting solutions when Sincenecessary”.completion, Zerostrasse has received plaudits from across both the design community and the general public, picking up a trophy at the 2021 [d]arc awards in the process. And Skira is grateful for the recognition. “We are humbled by every single award received by fellow professionals,” he said. “We strive to provide projects that push the boundaries of the profession and really embrace challenging projects. “Zerostrasse affects the redefinition of public space and infrastructural communication networks by providing new opportunities for movement. The isolation from external influences – public content, atmospheric conditions, daylight and sound – is the opportunity for developing a specific multimedia exhibition space. The establishment of vertical communication between the tunnel and the fortress, and the high-quality lighting, made access easier for visitors with disabilities, while the museum has already recorded a significant increase in visitor numbers. “We wanted to provide a high-quality lighting solution that would ensure a ‘wow’ effect; people seem to recognise this and react to it. Many visitors during tourist season walk through Zerostrasse and post photos to social media with positive comments; they share their experience and enjoy the venue, so our goal is achieved.” www.skira.hr
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West End Square Dallas, USA With lighting design from HLB Lighting Design, a next generation-park, framed by an innovative technology trellis, transforms a former parking lot into a lush urban retreat within the heart of Dallas’ Innovation District.
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Elsewhere, the footpath was considered a medium intensity and transition zone as the team needed to provide lighting for the street, in addition to the park interior. While for the Prairie Garden, general ambient lighting and low-level nuance lighting layers were introduced to maintain a relaxed, romantic, and warm atmosphere.
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The project’s concept was organised around three main activity zones: the Frame, which houses task-focused programmes; the Prairie Gardens, featuring meandering garden pathways for a more relaxed and contemplative atmosphere; and the perimeter footpath providing direct access to the Thepark.park’s context, surrounded by multi-family and commercial spaces, called for a transformative lighting strategy that enhanced the human experience while focusing on safety, wayfinding, and Usingsustainability.technology and activity zones, the park’s overall goal was to create a space residents could use to increase social interaction and work outdoors. This concept guided the lighting design process in creating a balanced luminous environment, while focusing on each task performed within the different activity zones. Responsible for the lighting scheme was lighting design firm HLB, which became involved in the project through a collaboration with James Corner Field Operations; together they share a longstanding working relationship spanning several projects, including the Miami Underline, Metrotech Commons and Ganesvoort Peninsula.
HLB approached the lighting design by combining cool and warm light sources, as well as using a play of intensity and uniformity to define and separate the park’s high activity areas and contemplative moments. The team developed a hierarchy based on important architectural and landscape features worth highlighting, and the unique programme of each area. Three main elements were identified, starting with the floating technology trellis, which would become the primary feature and utilise the brightest intensity of light, since it houses most task-related programmes, including ping pong tables, swings, and worktables with integrated power. To keep the trellis canopy completely free of visual clutter, cooler column-mounted direct/indirect sconces illuminate the underside and activities below.
A 4000K CCT was utilised for the Frame and the sidewalk; and a moonlighting approach adopted for the Prairie Gardens, which provide a natural and soft wash of general ambient light filtered through canopy trees. The internal central garden was designed with two additional layers. The first layer was achieved through column-mounted adjustable area lights casting a cool wash of light through the garden trees, providing general W
est End Square is a smart park located in the centre of Historic Dallas, Texas, recently rebranded as the Dallas Innovation District. The park has become a testing ground for various technologies within the urban environment, such as WiFi, data collection, smart lighting controls, and remote water management and calibration. At the heart of it all is an intelligent water feature with three distinct operational modes that respond to wind conditions.
“The technology trellis allows for a shaded environment under the intense Texas sun,” said Eddy Garcia, Associate at HLB. “The challenge arose from the structure itself; we had limited space to mount various systems, including lighting equipment. We had to carefully coordinate with all disciplines (the Landscape Architect, Electrical Engineer, and Construction Manager) to ensure that when installed, these systems did not make the exposed structure look cluttered. As such, all equipment mounting, wiring, and conduit routing was 3D modelled in advance to provide a clean detail for the trellis. “Our design intent for the project focused on creating a balanced luminous environment that supported the overall vision for the park. Using warm and cool colour temperatures, not only did we provide task-oriented lighting, but by including an indirect component at the Frame we ensured that the overall architecture was highlighted in a cooler light to not skew the finishes within the Frame. In addition, to correctly detail all the fixture and conduit mounting, all luminaires were custom painted to match the technology trellis and minimise seeing the light fixtures.”
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Commenting further, Garcia said: “Architectural lighting design is a practice where we often engage both sides of our brain – art and science – and I like to say that we create poetry when we find the delicate balance between science and art. While designing, we must abide by local codes and ordinances, as well as best practices guidelines including energy codes, path of egress, or light trespass and sky glow requirements. As designers, we need to interpret these codes and guidelines to achieve the requirements properly, while designing for an inspired human experience. “Shadows and the absence of light is critical for exterior spaces as we must balance not only the lighting within our project, but also the lighting in our surrounding environment and how that impacts our design. As we create spaces, we should consider how to incorporate these elements into our designs, and how the end user will interact with them. Think of evenly illuminated, shadowless spaces such as hospital rooms, which start to feel almost sterile and undesirable to be in. Creating safe outdoor spaces through appropriate lighting for the project and community creates a desirable space while also giving a sense of security through visibility by incorporating a balance of horizontal and vertical illumination, long distance visual cues, and excellent glare control, something that we often lose by over lighting spaces. “Additionally, by incorporating various layers of lighting through the use of different colour temperatures, a brightness hierarchy, and various high and low-level nuance lighting, we can start using lighting to enhance not just safety, but also wayfinding and placemaking within our exterior environments at night.”
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ambient illumination and dramatic shadow play through the canopy trees. A secondary garden layer is achieved through warm low-level bollards with a 3000K CCT at crucial decision points to enhance wayfinding and tree uplights for vertical illumination throughout the garden. “Light fixtures were strategically selected based on performance requirements to adequately illuminate the various spaces while minimising glare, energy consumption, and optimised optics to provide the light levels and uniformity appropriate for each task,” said Garcia. “Additional consideration was taken to ensure the integration of occupancy sensors within the light fixtures.”
Through the extensive use of BIM modelling, collaboration between the design and construction team, and the use of various IoT technologies, the project sets out to be an example of the future of the urban environment. West End Square provides a venue for community connectivity and interaction in a challenging time of social distancing. Since its opening in the Spring of 2021, the park was immediately embraced by the community and serves as an economic driver for the neighbourhood. The lighting improves visual acuity and supports human wellness, as residents now benefit from access to this safe outdoor space to live, work and play well into the evening. Reflecting on the project, Garcia told arc: “The resulting project is a beautiful and balanced space for interaction and work. I visited the park after it opened and just sat and observed how users interacted with the park, from people working on their laptops to others walking their dogs or even playing ping pong. Nothing is more rewarding than seeing the impact and life that properly illuminated spaces can bring outdoors. Light can make all the “Idifference.oftenlook at Google reviews and see comments like these that bring a smile to my face: ‘Late evenings, the sun is perched behind a five-storey apartment building. The air is cool. The park is inviting as many visitors stop by to admire its beauty. The park has a calming effect on me, and I am sure others. I could sit for hours. I sat for hours.’” www.hlblighting.com
The park’s programmatic needs and proximity to adjacent properties called for a transformative lighting strategy that not only enhanced the human experience at night but aided in sustainability goals and minimised light trespass. As a steward to the environment and the various sustainability goals, the lighting design and lighting controls were strategically designed to minimise light spill into adjacent properties and minimise sky glow. Most luminaires were selected with appropriate optics and integrated shielding or strategically positioned, where they were either oriented down or shielded by landscape or an architectural element. Additionally, a wireless adaptive dimming control system was integrated into the luminaires and trellis to lower energy consumption and minimise light trespass within late-night hours. After hours, the lights are dimmed to 10% intensity, activated by movement detection – an invisible forcefield of motion sensors strategically located within luminaires, signage, and the trellis. The lights then remain on at full intensity until five minutes of stillness. In addition to being 46% below the energy code, with this leading-edge exterior control strategy, the project achieved a 64% reduction of the overall connected load. “Typically, adaptive dimming solutions (automatic occupancy driven dimming) have been widely used for indoor applications via occupancy sensing, but over the last few years it has become a widely viable solution for exterior applications,” continued Garcia. “Most of the dimming response in exterior environments has been used for street lighting, where the lighting control system dims the light at a specific time during the night. When motion is detected via occupancy sensors, each independent streetlight will dim up in response to the motion as the car approaches that individual light fixture. This technology provides operational cost savings and can also enhance safety. Imagine walking down a long pathway and seeing lights getting brighter. You can already be on alert that someone is coming towards you.”
Client: Parks for Downtown Dallas Lighting Design: HLB Lighting Design, USA Landscape Architect: James Corner Field Operations, USA Lighting Suppliers: BK Lighting, Cooper Lighting, GE Avery, Landscape Forms, Ligman Photography: Chad Baumer, Sam Oberter
Atlas Passage Istanbul, Turkey An important landmark in the fabric of Istanbul, Atlas Passage has recently undergone a restoration. Lighting for the project was delivered by Lab.1 Lighting Design & Daylighting
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As part of a wider restoration project led by Sold Lighting Design & Engineering, which was responsible for the lighting and electrical work of the entire structure, Lab.1 Lighting Design & Daylighting was invited to work on the entrance, passage circulation areas, and the special staircase hall leading to the cinema museum.
The studio’s brief included several important points: the passage should be “remarkable”, inviting people in from Istiklal Street, and more specifically there should be a directive lighting design once inside. Alongside this, as temporary exhibitions can be held in the area, the lighting system needed to be flexible. Finally, since the team was working in a historical building, the surfaces could not be altered in any way. As such, the Lab.1 team decided to produce a simple, inviting, and elegant lighting design. One of the most important aspects was to ensure the historical building was touched as little as possible.
“Our main goal was to reveal the form and details of the building itself. It was already remarkable and through the restoration project it had been stripped of all the excess that accumulated over the years. With the building’s beauty exposed, we didn’t want to start adding ‘role-stealing’ elements back in. We just focused on the light, showing the beauty of the structure.”
Because of the historic nature of the project, the Lab.1 team was not free to place lighting products wherever they wanted. The lighting was therefore designed in a linear concept, reflective of the A
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“We aimed to design lighting that would not steal the limelight from the building, yet work to enhance its architectural design,” said Elif Uyan, Co-Founder of Lab.1 and project lead for Atlas Passage. “For this, we analysed the building and its surrounding environment and tried to tune into what the building wanted from us.
tlas Cinema and Passage was built in 1870 as the winter mansion of Agop Köçeyan, one of the leading figures of the Istanbul Catholic Armenian community of the time. Opening on to Istikla’, the most famous street of Istanbul, the passage today has an important place in the hearts of Istanbul’s citizens.
Client: Sold Lighting Design and Engineering Lighting Design: Lab.1 Lighting Design & Daylighting, Turkey Lighting Suppliers: Avolux Lighting Photography: Johannes Moths, Faruk Uyan
architectural plan of the passage, emphasising the circulation line. The team positioned a track system in a detail that they discovered in the original state of the building. The spotlights mounted to this track system create illumination on the floor, while the indirect hidden light shows the specially restored vaulted ceiling. Thus, this linear axis extending from Istiklal Street to the other parts of the passage, was emphasised with simple and pleasant lighting merged with the building architecture. In terms of the light fixtures chosen for this project, Lab.1 paid particular attention to competencies relating to light technique and quality; good glare protection for the spotlights; and the spotlights mounted on the track system needed to have flexible mobility. While the passage and the building are not among the prime tourist buildings of Istanbul, they are areas that are of great importance and woven into the hearts and memories of most local citizens. The Lab.1 team felt a huge sense of responsibility while working on the project, with their plans checked multiple times before finalising. “The project had a large-scale restoration, design and inspection team that we worked with for the first time,” said Uyan. “Everyone was very sensitive to the history of the building and in such an environment it wasn’t easy to explain our ideas and have them accepted. We tried to overcome this challenge by showing concept visualisations, examples of good projects and lighting “Whatsimulations.wasuseful was to be able to physically show samples of the products and make small mock-ups.
In this regard, the fact our project partner Sold, which invited us on to the project, was also the general electrical contractor, made our job much Ineasier.”theend it was a project where the entire design team was involved in the process and believed in the end result. Uyan concluded: “The lighting helps to express the architecture’s existing beauty without competing with the structure.”
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www.lightinglab1.com
As unique as your project – ADO Lights puts public places in a good light Individual LED solutions – for interior and exterior matching the architecture by TTC Timmler Technology ® T +49 2255 921 200 E LEDwww.ttc-technology.euwww.led-luc.comwww.ado-lights.cominfo@ado-lights.comLightlines|LEDDrainlightZwickauStadtPigage,vonPeterFouillet,Fabriceartdoku,TTC,Pictures:
Eleftheria Square (“Freedom Square”) is located on the edge of Nicosia’s historic old town and thus directly on the Venetian Wall and the associated moat that surrounds the old city. Built in the Middle Ages and significantly extended by the Venetians in the 16th century, these defence walls define the boundary of the oldest part of the capital and still separate the historic city from the new neighbourhoods outside the walls. During the British occupation, the ramparts were opened at this point, and the old town was also made passable for cars by means of a bridge. Today, the new bridge that forms the square is closed to cars. Zaha Hadid Architects envisioned Eleftheria Square as the initial phase of a much larger urban plan that could be a catalyst for the reunification of the divided capital and, by extension, the whole of Cyprus. At the same time, there was the idea of designing the square like a large flat bowl as a citizens’ forum. The design of the square contrasts greatly with the Venetian walls, emphasising the old fortifications as an integral part of Nicosia’s identity, while opening up the ramparts for public use as a park. A now very popular staircase leads from the bridge into the moat. Handrails and balustrades on the ramps and stairs are fitted with luminaires from LED Linear’s Venus family, emphasising the extraordinary architecture. The lighting concept from Kardorff Ingenieure Lichtplanung provides for different light colours for the different areas: The new surfaces of the square, i.e. the bridge and its elements, are illuminated at 4000K, while the old walls, the areas in the park and the surrounding area are lit at 3000K.
The lighting concept is based on a linear lighting system. On the spectacular square there are more than 500 recessed light points, which can also shine in colour in dynamic lighting scenes. The redesign of the ramparts, including the moat with new public paths, gardens, water features and palm-lined promenades, gives the moat a new significant role as a “green belt” around the city. The new city park with its flowing geometries follows the old fortifications, but also refers to typical Cypriot patterns to create points of “intensity” such as seating areas, defined green spaces or water features. Often the designed elements develop from an abstract triangulation that can also refer to the fortification. Light contributes to the order of the square and creates multiform islands of light in the park. To highlight the seating areas and green spaces, the flexible Phobos designer light line from the Venus family was again installed. The luminaires were particularly suitable for illuminating the water features, as they could be perfectly integrated into the contours of these features to successfully set off the unusual shapes, even at night. The complex geometries could be tracked very well by designing the linear luminaires as Side View and Top View constructions. The play with light colours continues in the water features, as 4000K was chosen for the linear luminaires in the water. Occasional coloured accents are set in the park, which can also be controlled dynamically. In the still divided capital of Cyprus, a bright, lively square with an enchanting garden has been newly created.
www.led-linear.com
Image: Linus Lintner
Eleftheria Square Nicosia, Cyprus Linking Nicosia’s historic old town with new fromlook,beenEleftherianeighbourhoods,Squarehasgivenavibrantnewwithlightingfixtures LED Linear LIGHTINGSPACEPUBLIC 092 / 093 studycase
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Superbloom London, UK Designed to mark the Platinum Jubilee, Superbloom turns the moat around the Tower of London into a beautiful, colourful wild garden.
Sebastian Winnig, Head of Sales EMEA for We-ef, said he was thrilled to be involved in this high profile project: “Initially, We-ef explored using white projectors and colour filters. The challenge here was that installing more than 65 projectors on the perimeter walls would be very labour intensive. Not to mention having to change the colour filters to provide different lighting schemes at different stages of the installation. “Instead, the final solution uses We-ef FLC
Wireless lighting control also means there is no need for personnel to physically change colour filters whenever the display demands a new effect. The lighting designer can simply adjust the colours using the Casambi app, even when walking inside the moat, creating a striking effect. To illuminate the moat sufficiently, spotlights were mounted on top of two walls surrounding it, strengthening the shooting distance of light. Careful installation was required to prevent any damage to the historical site.
“With flowers blooming at different times – and a desire for the attraction to be spectacular both day and night – we required lighting that could respond to changes in the natural colour environment. We-ef helped to specify a lighting solution that delivered exactly this.”
Lighting from We-ef helps to showcase the vibrant flowers and bring the garden to life.
260 RGBW LED projectors whose colour can be changed via Bluetooth, giving the lighting designers great flexibility over the colour schemes.”
Durability was another consideration, as there are plans to reuse the lighting once Superbloom comes to an end. We-ef’s unique 5CE system – with its long-lasting anti-corrosion properties – ensures the lighting remains vibrant and can be reused in other legacy events and locations within the Historic Royal Palaces beyond the duration of the Evaexhibition.Koch-Schulte from Historic Royal Palaces praised the display: “This project has been a great success thanks to everyone involved. It’s such a pleasure to hear the positive visitor comments and to see people of all ages enjoy the experience of the flowers, day and night. The lighting brings out a magical quality in the flowers at night – they seem to glow from within.” www.we-ef.com
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Shigeki Fujii, Principal at Nipek, was very proud to work on such a special project: “The installation was designed to be interactive and inclusive, with a slide entrance into the moat and paths for people to walk through the wildflowers, allowing visitors to immerse themselves in nature.
The moat surrounding the Tower of London has been adorned with millions of colourful wildflowers to celebrate the Platinum Jubilee. The event - called Superbloom - is running for over three months throughout the summer, during the days and some evenings. At night, the colours of the flowers are richly enhanced and accentuated using tailored Germanlighting.
lighting manufacturers, We-ef, collaborated with Japan and Singapore-based lighting designers Nipek and Beam Lighting Design located in the UK, to provide a truly global solution.
Image: Richard Lea-Hair © Historic Royal Palaces
The projectors were integrated with DMX control drivers linked to Casambi modules, allowing the lights’ colours to be changed remotely.
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A combination of fixtures from ADO Lights has been utilised to create the sleek lit finish. From its TTC Drainlights and slot channels, to recessed floor spotlights and its LED Light Lines.
The highlight inside the inner courtyard is an oval basin, subtly illuminated with a curved light line in combination with drainage channels and cover grids made of stainless steel. Gutters and gratings have the same look on the passages and façades, terraces, and balconies. In addition, slotted channels ensure optimal surface drainage.
In the middle of Düsseldorf’s old town sits the former district and regional court – a listed building from the Wilhelmine era. Following an extensive renovation of the building, it now houses an exclusive residential estate – an ensemble of new and old buildings with a wide variety of uses: in addition to condominiums, the estate also includes a hotel, serviced apartments, and a diverse range of catering, art and culture. The stairs to the main entrance are equipped with slot channels made of stainless steel, which contribute to a clean, welcoming reception alongside entrance mats fitted with black burnished angle frames and sideward LED light lines. Recessed floor lights in the stairwell of the hotel/apartment area are also burnished.
Lighting fixtures from ADO Lights have been used in the renovation of a listed courthouse as it has been transformed into an exclusive residential estate.
www.ado-lights.com
Residential Estate Düsseldorf, Germany
Image: Peter von Pigage
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TuscanyinMade by A high-end architectural light that starts to integrate pro audio announcing a new era for designers who want to innovate ambiences for human centric Designdesign with SOUND
COMMENT RUNE HERMANNSSONBRANDT 098 / 099
Some might claim that more light is better, but better for whom? Rune Brandt Hermannsson, Designer and Visualiser at Light Bureau discusses the impact of light pollution, and offers an interesting solution.
The colour of light and its influence Using narrow spectrum red light is a rarely seen approach in outdoor lighting. We are used to preferring as broad a spectrum of light as possible to ensure a good colour rendition and get as close to daylight as possible without considering any negative consequences that this might have. Nocturnal animals are active in the light from the moon and the stars, which does not contain the red wavelengths. Therefore, their eyes have become highly sensitive to the “cold” wavelengths, while red wavelengths are invisible or only barely visible to them, in the same way that infrared and ultraviolet are to humans. The use of narrow spectrum red light can therefore be used to lower, though not removing, the environmental impact from a lighting installation at night. As a bonus the human night vision is affected less by red light than by full spectrum light. We can maintain the ability to perceive the night sky and effectively read our surroundings in the narrow spectrum red light.
As humans we have become accustomed to using light to prolong the day wherever we need it. The illuminated night makes us feel safe and we are inclined to feel that more light is better. However, every time we use outdoor lighting we are intervening in systems, disrupting rhythms, and shifting balances. Spill lights from a stadium will drown out the stars in the sky, making it harder for migratory birds to find their way. Cold streetlights shining into a bedroom disturb the circadian rhythm of its inhabitants. A streetlamp that attracts insects will provide better hunting possibilities for the species of bat that are bold enough to fly higher than its more timid fellow species. As lighting consultants, it is our responsibility to understand how light affects our surroundings, and how we can use current technologies to adapt our lighting solutions to have the lowest possible negative impact. We call for a more balanced approach to when, where and how much light we use. Light pollution, circadian rhythm, and biodiversity Light pollution has become such an integral part of our nighttime reality, that we don’t notice it anymore. The spectacle of the Milky Way spread out across the night sky is an experience that most people in the western hemisphere regards as extraordinary. To humans it is natural heritage lost or rarely experienced. To migratory birds it is confusing, and to sea turtles even deadly when the night sky doesn’t match with what is coded into their genes, and the nearby streetlight is mistaken for the full moon. We know that sound pollution from a busy road shortens the lifespan of people living nearby. Even though the effects of lighting pollution are not as obvious or thoroughly researched, we need to consider if we should seek to limit light pollution that disturbs our circadian rhythm. Streetlights and other light sources may not be the main culprit, but when all other light sources in our homes are turned off, it is the trespassing outdoor lighting entering our bedrooms that affects our circadian rhythm and sleep pattern. Any artificial light will affect behavioural patterns of nocturnal animals to a certain extent. Either directly, because they seek or avoid the light, or indirectly because their prey, potential partners or enemies do. Different species react differently and as with all other human interference, a change also causes an adaption. We need to attempt to analyse and understand the changes we generate in both the short and the long term to make sure that the light we introduce has the lowest possible impact on the biotope. For our own sake and for the sake of our environment, we need to consider our use of lighting to avoid light pollution, impact our circadian rhythm as little as possible and lower the amount of stress we impose on natural systems.
The red light can, in some if not all situations, be used to accommodate the human needs. We can find our way with minimum impact on our night vision, circadian rhythm, and the natural
We Share The Night
environment. However, the use of narrow spectrum red light is not a one-size-fits-all solution. No two projects are the same. There are always compromises between the need for human safety, way finding, and the impact on the environment.
The important thing is that we analyse and understand the impact that light can have on our surroundings and implement these results in our projects to mitigate their negative impact. When you know better - you do better When we use light outdoors, we need to consider who we are helping, who we are harming and how we can best help and harm the least. We need an analytical approach to understanding the impact of lighting on the individual project and on the specific biotope. When we have decided what needs are to be satisfied and what negative impacts are to be avoided, we can use the available technology to reach our goals. With proper knowledge of modern fixtures, sensors, light controls, programming, and wavelength specific LEDs we can design lighting solutions with as low impact as possible and still fulfil the needs identified. The progression towards a more sustainable future is a brilliant opportunity to test out new solutions and new collaborations across disciplines. We need to put our common knowledge to good use and start sharing the night. www.lightbureau.com
Along Frederiksborgvej in Gladsaxe, Denmark, Light Bureau has used narrow spectrum red lighting in an attempt to limit bevavioural effects on bats and other nocturnal and light-shy species. The design is based on studies on bat-friendly lighting, which shows that red light is less disruptive on wildlife while maintaining people’s dark adaptation for nighttime viewing. (Image: Rune Brandt Hermannsson)
Creators En Temps Et Lieu drew inspiration from both meteorology and old wives tales that were popular with people who have a deep connection to the land, such as farmers. For instance, the belief that observing the sky at sunset and the colour of the clouds predicting the forecast the following day. En Temps Et Lieu created the installation following a design competition launched in November 2021 by the Société de développement de l’avenue du Mont-Royal, in collaboration with Odace Événements and the Plateau-Mont-Royal borough. www.entempsetlieu.com
Partly cloudy with a strong chance of “wow”! Montreal, Canada As part of the transformation of Montreal’s Mont-Royal Avenue into a 2.5km pedestrianonly zone this summer, passersby at Place des Fleurs-de-Macadam can look up to see Partiellment nuageux avec de fortes probabilités de “wow”! (Partly cloudy with a strong chance of “wow”!), an installation suspended 30ft above the ground. The piece is designed to resemble a giant fluffy cloud that creates shaded zones that slowly move with the motion of the sun. The concept is a nod to the dichotomy of nature and city living, organic life and technology. It also symbolises water and two of its states – liquid and gas – while complementing the multipurpose water square at Place des Fleurs-de-Macadam and celebrating the importance of rain in the public space. The artwork provides a unique experience that evolves in real-time. At night, it emits a glow that changes according to 12-hour weather forecasts, while reacting to heat waves, storms, rain, sunshine, etc. The piece is a genuine embodiment of atmospheric poetry, shimmering in an iridescent palette of colours, depending on the weather expected.
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Image: Latrompette Studio
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The Radiance Award Project: Chamber Chapel, Qingdao, Shangdong, China Lighting Design: Beijing Puri Lighting Design, China IALD Awards
Presented by Acuity Brands, the online awards ceremony recognised 22 projects from across 11 countries. Of these, seven won Awards of Excellence, with eleven picking up Awards of Merit. The top prize, The Radiance Award went to Beijing Puri Lighting Design for the Chamber Chapel in Qingdao, Shangdong, China.
The Chamber Chapel stands quietly in the small town of Qingdao Zangma Mountain, its white body complementing the green hills and cypresses of the surrounding environment. The lighting design by Beijing Puri Lighting Design expresses the divinity of this space. The light on the main façade is divided into three levels, using different intensities and colours.
This June, the winners of the 39th annual IALD International Lighting Design Awards were announced.
The spotlight on the spire of the bell tower is the brightest; the next level being the warm light of the entrance and bell-gable; the third is the soft light of the façade on the first floor. Floodlights project from both sides of the building to create a uniform surface. To account for height, the lighting designers chose a lamp with a power of 300W and an 8° angle. Anti-glare honeycomb nets on the lamps reduce glare for Warmpedestrians.yellow light at the entrance and bellgable helps to increase the sense of security, and makes the building look richer, with more layers. Linear sources are concealed so light is evenly on the ribs of the entrance, but the lamps themselves are not seen. During the day, natural light enters the building through the gaps; this is replaced at evening by 4000K white light, expressing purity and Inside,tranquility.12W in-ground lamps with a 10° angle were used between the boards, in addition to linear lamps. Light is placed at the turning point of the arc, so that the retreat of the light occurs naturally. Frameless downlights with customised curved surfaces are used to ensure a clean ceiling. At night, a water pool around the chapel reflects the chapel and the activities of the people inside.
Daylight simulation testing defined daylight intensity and scope of influence and a system of light using minimal lamplight was constructed based on artificial light and the natural effects of daylight. Light strips in the floor and wall washers along the ceiling and at luminous surfaces form the space’s boundaries. The light is gentle, yet it creates a strong visual presence in the blank space. In the exhibition space, there is a shallow water area at its centre where water drops from the ceiling. Boundaries enclosed by the light are warm and visible and inverted images of the space form on the water’s surface. The light in the exhibition space and the void atrium is configured to shape the space while leaving full potential for various exhibition forms. In the experience space, flashing façades and hidden light strips on the floor are used. Downlights arranged in sets combining wide and narrow light beams create atmosphere for the rest area. The light is centrally distributed and gentle, making the entire area warm and quiet.
Project: Fusheng Art Gallery, Wuhan, LightingChina Design: Beijing Bamboo Lighting Design, China
Project: Four Seasons Bangkok at Chao Phraya River, Bangkok, Thailand Lighting Design: Project Lighting Design, Thailand
Project: Humen Transit Oriented Development Exhibition Centre, Dongguan, China Lighting Design: Brandston Partnership, China
The mobius ring inspired architecture of the Humen Transit Oriented Development Exhibition Centre reflects speed and infinity through a highly dynamic architectural silhouette. Based on the concept of “light·infinite change”, the lighting design by Brandston Partnership uses flexible lines to construct an architectural outline with great visual impact. Illuminating the fluid lines and coloured glazed glass, the light grows organically around the geometric volume of the building. Constant changes of light and shadow express the beauty of the building through the colour, brightness, and contrast of the light. The lighting uses an integrated dimming control system to create different light intensity at different times. A rigorous lamp node design is integrated with the curtain wall or hidden in the inner cavity of the building so that the architectural beauty is not affected during the day. The starry lighting effect of the perforated aluminium plate adds vitality to the whole building. By strengthening the sense of composition and layering of the façade space, it expresses restrained and orderly artistic tension and witnesses vitality and texture. The architectural lighting is like a sculpture intervening with lighting aesthetics and constructing an excellent public art space that nourishes urban civilisation.
The lighting design of the Fusheng Art Gallery not only creates the space’s atmosphere, but also presents the power of silence. The first-floor exhibition space and second floor experience space, both with floor-toceiling glass curtain walls, are connected via a void atrium. Sunlight has an intense influence and balancing the impacts of daylight on the space became the most difficult part of this project.
A celebration of lighting, water and Thai art was envisioned by Project Lighting Design for the Four Seasons Bangkok at Chao Phraya River. The interior lighting and its reflections are crucial to the exterior night-time expression. Ambient lighting allows wall and ceiling surfaces to be gently lit and reflected in water. Deep recess downlights are deployed sparingly with trims matched to the grey ceiling hues. Bespoke lighting solutions were devised for several large-scale art installations in both indoor and outdoor spaces. For the gold cabinets flanking the hotel entrance, lighting enhances the richness of the gold and concealed linear grazers at the base accentuate texture. Small spotlights provide dramatic punch. In the nine-metre-high lobby, folds of fabric towering over a reflective pool are grazed with discreet spotlights with spread lenses, concealed in deep narrow ceiling Customslots.decorative lights are infused with Thai influences, such as curved tips in outdoor lanterns inspired by Thai stupas. Light sources are low wattage, discreet or concealed carefully, so as not to distract from fixtures themselves. 2700K lighting is used for interiors, with a subtle shift to 2400K in bars and restaurants to evoke dimmed tungsten, contrasted with 3000K for landscaping. High-quality drivers controlled by a DALI system achieve low dimming when required and smooth transitions between lighting scenes.
Award of Excellence
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Project: Guanyin Altar, Zhoushan, Zhejiang, China Lighting Design: Shanghai ATL Lighting Design, China
The Guanyin Altar in Zhoushan, China is the largest contemporary Buddhist building in the world, facilitating Buddhist cultural exhibition and pilgrimage in a 62,000sqm space. Combining modern architectural style with Buddhist and traditional Chinese culture, the unique architecture is enhanced by the lighting design by Shanghai ATL Lighting Design. The inner structure of the building is rooted in the Buddhist legend of “Mount Sumeru”. The Yuantong Hall is at the bottom, consisting of 216 Guanyin statues and 24 Dharma gates forming a dome-shaped space. During worship, the hall becomes a pure white environment and during an immersive showcase the space is transformed into a dynamic atmosphere, where Guanyin appears to interact with visitors and promote the Dhamma through the light. A light guide column encloses 4,872 RGBW luminaires and 816 pieces of customised glass creating a gently changing light effect. Guanyin sculptures are displayed in the Buddhas Halls, each with unique Traditional Chinese architectural styles. Distinctive lighting methods reveal the architectural details and highlight the Thesculptures.mostsacred place in the building, the Brightness Hall houses an elegant jade sculpture of Guanyin. Regular and worship lighting renders a simple, pure, and warm atmosphere. During the light show, customised UVA LED luminaires stimulate 28 fluorescent paintings of Buddhas on the surrounding walls.
Award of Excellence
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Project: 600 West Chicago Lobby Renovation, Chicago, IL, USA Lighting Design: Schuler Shook, USA
The new lighting for the 860-year old Nidaros Cathedral is designed to expose and enhance the architecture, while creating desired atmospheres for ecclesiastical activities and artistic performances. The cathedral’s spatiality is emphasised using warm-white light on the front of the arches, pillars and ornaments, with cooler light in the back. On the ground floor, LED strips with a 7 lens light the window niches and spotlights hidden on the triforium provide fill-in light for the ceiling and opposite wall surfaces. Elliptical lenses highlight the main pillars, while narrow angled spotlights mark the reliefs in the triangular wall surfaces between the arches in the nave. Most luminaires are not visible from the ground floor. For artistic performances, movable washers are mounted on extendable rigs in the nave, chancel, and transept. Washers and profile luminaires highlight the main rose window, tower arches and octagon. Project: Nidaros Cathedral, Trondheim, LightingNorway Design: Erik Selmer, Norway Babyn Yar is a historical place in Kyiv, the site of one of the largest Jewish massacres of the Second World War. As part of the 80th anniversary, a unique new synagogue and place of prayer was Theopened.synagogue has two forms, a folded or an open book, changing its appearance using a manual winch to move one of the walls. Designers enhanced this concept of transformation with the lighting, creating two lighting scenarios for the closed and open structure. Inside, everything is saturated with deep symbolism. The wall is covered with patterns and texts of prayers that adorned ancient synagogues in Western Ukraine. The ceiling is painted with colours that reflect the starry sky of 1941, emphasised with light, excluding the illumination of the walls. The adjusted light draws separate architectural accents on the walls, serving as dark background, and windows are painted with light. Considering the dynamism of the folding structure, the lamps on the floor are positioned so that the synagogue could move and still be illuminated. The light is uneven, accentuated, adding a subtle dramatic atmosphere.
AWARDSIALD
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Celebrating the story of Copenhagen’s transition to sustainable energy, BIO4 is a collaborative intervention of architecture and light. Viewed across the harbour, the forest-inspired façade of the power station is activated by dynamic light, creating a powerful and softly nuanced visual identity referencing the forest as design inspiration. Distinctively soft, organic light shapes a powerful external identity, crafted using marinegrade theatrical projectors housing a combination of filters, lenses, gobos, and motorised animation disks combined with digital source and controls. Within the façade itself, an immersive experience is available to the public. Accessed from a platform beneath the façade, a staircase leading to a viewing platform cuts through the six-metredeep cladding made from hanging tree trunks. Ascending the stairs, warm, everchanging ripples of light filter through the tree trunks, immersing visitors in the dappled light of a luminous forest.
The Xu Wei Art Museum’s black and white granite façade represents purity and lightness as the lighting creates a contrast of the virtual and reality, reproducing the purity and clearness of black and white Chinese paintings.
Project: Xu Wei Art Museum, Shaoxing Zhejiang, China Lighting Design: Lighting Design Institute of UAD, China
The task for the team at Eleftheria Deko & Associates Lighting Design was not to simply illuminate the Acropolis of Athens and Monuments, but to make the monuments reflect their own incredible light. It was important to distinguish for the first time in light the three layers of the Acropolis: The Sacred Rock, the Walls, and the Monuments and Temples. In addition to different materiality, each layer bears the symbolism of its time and purpose, inspiring different lighting layers through the use of colour temperature, angle, and intensity. Using a completely new lighting approach for the site, designers specified a customised LED luminaire that combined all the required characteristics according to their study for the lighting of ancient monuments: tunable white, high CRI, elliptical lenses, antiglare accessories, elegant design and size, with specific RAL for the casing.
For the opening of large exhibitions, distinctive scenes are displayed on the façades by four 32,000lm projectors. There are two raised areas on the outdoor square: one functions as a viewing platform; the other is decorated with jumping fountains and trees. Lit trees contrast with the tranquil fountains in the dark, creating a subtle balance of lightness and darkness. The bronze statue of Xu Wei is intentionally not highly lit. Instead, two in-ground fixtures with low power are used to brighten his face and the brush in his hand with small angles.
The use of light is precise, accentuating the charm of the architecture and surroundings at night. Linear wallwashers are embedded in the L-shaped grooves hidden in the waistline, brightening the rough granite walls.
Project: Acropolis of Athens and Monuments, Athens, Greece Lighting Design: Eleftheria Deko & Associates, Greece
Award of Excellence
Project: BIO4, Copenhagen, Denmark Lighting Design: Speirs Major, UK Award of Merit
The sales centre spans three floors including the entrance on the ground floor, the model room, and the exhibition and negotiation area. The interior design takes light and shadow, space, art, and experience as the core of its design. In the reception area, functional lights are hidden in the ceiling clip and soft light is concealed in background gaps. A linear uplight effect behind the frame of the bamboo net over the sand table area simulates natural light, emphasising the details of the woven frame. Downlights embedded in the junctions provide functional lighting. The negotiation area uses a light box to simulate the natural light and uses direct light on the waterwave stainless steel of the bar table to create ripples of light. Along the stairs to the model room, linear LEDs reflect light on the textured stainless steel side of the stairs while the light box on the ceiling creates a layered texture on the wall.
AWARDSIALD
Award of Merit
Project: Chongqing Qiansimen Sales Centre, Chongqing, China Lighting Design: Brandston Partnership, China The design of the David Rubenstein Forum fuses lighting within the architectural detailing to serve as a strong backdrop for gatherings at the University of Chicago. Dimmable LED lighting integrates within the architecture with consistent colour quality. Lobby and gathering spaces are softly illuminated with minimal aperture accent lights and low glare downlights. By contrast, lensed linear ceiling fixtures in meeting rooms announce the building’s primary function. Washing walls with light and minimising lighting in the ceilings bolsters the architect’s vision for a strong vertical form and calm interiors. Accentuating the core materials, art, and furnishings allows for the building to glow from within, serving as a beacon on campus.
Project: David Rubenstien Forum, University of Chicago, Chicago, USA Lighting Design: Tillotson Design Associates, USA Guangming Culture and Art Centre’s architectural design concept is “Humanistic Eyes”, as the semi-circular entrance looks like an “eye of light” under the reflection of the lake. Floodlights are used on the building façade to illuminate the “eyebrows” of the entrance, spirally dividing the plot into areas of different brightness with the entrance as the centre. Coloured lights fill the large-span overhead space and the changing light and shadow enhances the entrance. The high elevated space at the secondary entrance becomes an interactive place for visitors. Over 100 150W stage lights are arranged in an array on the top and the beams are used to create an artistic lighting forest. Camera capture technology creates gradual brightness and darkness, forming an interesting contrast at night.
Project: Guangming Culture and Art Centre, Shenzhen, China Lighting Design: RDesign International Lighting, China
The primary task for illuminating the bridge was to highlight its historical value, its sophisticated proportions, and its original riveted steel structure.
Instead of high-powered projectors, the designers used small and medium-sized, precisely directed luminaires, optimally positioned not to be visible from the average height level. Subdued and precisely directed lighting allowed the natural beauty of the bridge structure to be emphasised with light, while the light’s cool colour perfectly complements the bridge’s blue colour. The bridge’s unique silhouette as a vital element of Kraków’s space has been attractively exposed and the new illumination has become a permanent fixture in the city’s night-time panorama.
The Piłsudski Bridge is Kraków’s oldest existing and still functioning road bridge.
Award of Merit Project: Jiaxing Train Station, Jiaxing, Zhejiang, China Lighting Design: Ning Field Lighting Design, China Lun-Ping Cultural Landscape Park, located in a verdant belt of forest, has a pavilion inspired by fallen leaves in the wood. With “friendly illumination” as its premise, lighting was carefully planned to meet the needs of both people and the environment, highlighting the textures and beauty of the building while providing comfort to citizens, without exposing the park to excessive light pollution. Paired with the wooden truss of the building, aluminium extruded linear light fixtures are concealed among beams and pillars on either side of the leaf veins. Uplights accent the building’s dome and along the veins, making the entire leaf look three-dimensional and serving as a spectacular and perfect rendering of the building’s inner curves and textures. Two rows of ceiling downlights are carefully installed on two midribs of the curved beam, providing basic illumination needs with nighttime safety and comfort in mind.
The renovated Jiaxing Train Station combines new and old with modern and traditional architecture. Lighting designers employed warm light and classical layouts for the old building, and neutral white linear lights for the new one.
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Project: Piłsuski Bridge, Kraków, Poland Lighting Design: Qlab, Poland
Lighting of the underground tunnel between the waiting hall and the platform is derived from the idea of the hall. Linear light on the wall extends to the ceiling, enhancing the idea of a gate of light.
Project: Lun-Ping Cultural Landscape Park Pavilion, Taoyuan City, Taiwan Lighting Design: CosmoC Lighting, Taiwan
The station’s halls are below ground, with glazed curtain walls, structural glass walkways, and skylights at or above ground level, providing daylighting for the space. At night, they glow from inside. Linear lights around the skylight softly permeate the hall, mimicking natural light, and linear lights recessed into the walls and soft ground to ceiling floodlights provide ambient lighting.
Award of Merit Project: Sea Change, Lonsdale Quay, Vancouver, Canada Lighting Design: Arup & Jill Anholt Studio, Canada This building in Shanghai’s Rock Bund is a combination of traditional and modern architecture: the lower three floors bear the façade of the 1897 Queen Anne style building and the upper 11 floors are minimalist and modern. Brandston Partnership use light to combine the old and new in the renovation. The colours of the upper and lower red brick walls have slight difference of shade and age, but are integrated with warm light to create a more emotional visual effect. The arched windows of the first three floors are softly illuminated, presenting a sense of light extending from the inside. The wall luminaires align with the architectural style, providing ambient light as well as showing architectural details. On the upper floors, the size of window frame is used as the modulus for setback of the building volume. Gradient lighting is applied on the fourth, seventh and 11th floors. Through the combination of 4º and 10º beam angles, spotlights illuminate the entire window more evenly.
AWARDSIALD
Project: Shanghai Rock Bund, Shanghai, China Lighting Design: Brandston Partnership, China Xapo, a cryptocurrency digital bank’s first physical location, is situated in an 1817 army barracks in the historical centre of Gibraltar. The lighting concept for the bank hall, to be used for art exhibitions and cultural events, was to create a visual metaphor of the connection between physical and virtual space. In order to achieve the black mirror effect, several studies and mock-ups were conducted, from an initial model with a small pool of black ink to a full-scale detail to demonstrate how linear indirect luminaires flanking both pool sides would be hidden. Projectors above were carefully aimed to avoid any direct reflection, using narrow beams and antiglare accessories. The catwalk includes linear light in the perimetral skirting, its shape clearly outlined on the black background. Indirect linear lights rest above the water surface, flanking both sides of the pool and enhancing the texture of the limestone.
Heritage regulations and installation restrictions, combined with budget concerns, were addressed using indirect lighting and custom skirtings in order to preserve the existing walls and floors.
Project: Xapo Bank Hall, Gibraltar, UK Lighting Design: reMM Lighting Design, Spain & MMAS Lighting Design, Spain
Sea Change marks the location of North Vancouver’s historic tideline and mimics the ephemeral feeling of being immersed within a body of water. Jill Anholt Studio and Arup were challenged to light what was once a dark and menacing underpass with a harsh exterior environment adjacent to well-travelled roadways, a small public budget, and the need for durable solutions. Additionally, there were limitations to the available mounting positions and solutions needed to address the limited maintenance plan available. This watery effect is created using a series of LED lights mounted near the wall to aim at textured stainless steel mirrored panels that reflect light patterns back onto the wall and walkway, spilling into the ceiling above in curved water-like patterns. Exterior colour changing luminaires with a multi-diode array were used to create additional texture. Occupancy sensors trigger individual ripples of colours across the wall for pedestrians and cyclists, while scenes sit in a lower energy ‘resting state’ during less active times.
For the past 12 months, the Virtual Lighting Design Community has been making waves as a new, online hub for the lighting industry. We learn more about this thriving new digital space.
The Virtual Lighting Design (VLD) Community is a social networking platform on a mission to foster personal relationships by providing a sense of place situated within a virtual space. All of us use social media for every part of our lives – in our personal relationships, for entertainment, at work and in our studies. Howard Rheingold in his book, The Virtual Community, defines virtual communities as social aggregations that emerge from the Internet when enough people carry on public discussions long enough and with sufficient human feeling to form webs of personal relationships in cyberspace.
The VLD Community is a social aggregation that provides such a platform for public discussions (via interactive chats, posts, etc.) and sharing knowledge (via educational blogs, videos, etc.), thereby building a vibrant virtual community. A good community is a cohesive, confident, happy, prosperous and safe place that values and promotes open, participative development processes underpinned by a continuous culture of trans-generational learning. Exchanging and sharing commonalities is our basic psychological need, which in today’s world is becoming harder than ever. Now, imagine a nextgeneration online lighting community that allows a global conglomerate of academics, designers, experts and industry partners to build personal relationships by sharing common feelings, ideas and interests through a social media-styled platform, thereby crossing geographical and political boundaries to pursue mutual goals. This is what the VLD Community aspires to be: a pervasive online lighting community for communication, education, information and interaction operating under a social networking platform. It provides a dedicated and focussed discussion platform only for lighting (and nothing else!), which sets it apart from other social media platforms.
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The VLD Community comprises three types of VLD-ers: Members, Supporters and Thought Leaders. Members are the heart of the community, and include all VLD-ers, all who learn, work and play within the community such as architects, builders, consultants, designers, developers, educators, engineers, sales reps or students. Member participation in the community activities is key to its success. Supporters are VLD-ers with common experiences or interests who provide the community with various types of help and financial support, such as government agencies, hospitality chains, manufacturers, media houses, museum authorities, NGOs, retail brands or universities. Their primary goal is to promote development of the community through pooling resources. Supporters may also work to inform the general public or engage in advocacy as inspirational partners. Thought leaders are VLD-ers who present ideas and thoughts to the community so as to stimulate a discussion. It is leadership in, for and by the community, although it can also represent its common interest, purpose, or practice. Thought leaders also determine the general feeling within the community, and act as points of liaison between the community and the general public.
The personal relationships made within the VLD Community are built around three main activities: Information, Innovation and Inspiration. Supporters keep members updated by sharing the latest information about their products and services. Thought leaders constantly drive supporters towards newer innovation in products and services. Members draw inspiration from the ideas and thoughts shared by the thought leaders.
The Virtual Lighting Design Community
3. VLD Community embraces Member Personalisation We cultivate and inspire our community by providing VLD-ers a curated feed that shows content that is relevant to them, motivating them to contribute more. These personalisation features enable us to treat VLD-ers as individuals.
The VLD Community: Origins • The founding VLD-ers – Amardeep M. Dugar, Ingmar Klaasen, Katia Kolovea, Martin Klaasen, Martin Lupton, and Sharon Stammers
“The importance of empathy; lighting design is more than lighting for architecture, it is lighting for people and out society.”
• We are a platform for Education and Information
• We are a social media network for Illumination
• We are not an Association or
•OrganisationWearenotan establishment for •EducationWearenot in Competition
1. VLD Commuity affords MemberEngaging Content We create visually appealing content by giving control to our VLD-ers who can add photos and videos in their posts to drive more debates and discussions. VLD-ers can use images and videos to engage with other members, answer questions and leave reviews.
5. VLD Community endorses Member Advocates We endorse, honour and showcase our highly engaged VLD-ers as ‘super VLD-ers’ in order for them to participate more and help us identify quality content. We believe that when the most passionate VLD-ers are empowered, they develop into brand advocates, who often contribute the majority of content while also actively assisting other VLD-ers.
We believe that for a community to succeed, VLD-ers have to be motivated to get to know and trust one another. This can be done through a robust reputation system, which is a structure that recognises VLD-ers for their participation in order to build trust. By giving up some control of the community to the community itself we ensure that VLD-ers can make the community into what they want it to be. Therefore, decisions are made with input from VLD-ers about what activities matter most in the community.
• We are a platform for Communication and Interaction
The VLD SupportersCommunity:
• Aero • CLA • Erco • Filix • formalighting • K-Lite • Photizo • Signify The VLD Community: Thought Leaders • Season-1 consists of over 20 hours of thought-provoking presentations and discussions spanning across nine episodes from 36 Thought Leaders, who are visionaries from the lighting •industry.Season-2 will include several parallel streams of thoughtprovoking content in even more exciting formats such as blogs, demos and presentations on lighting applications, live discussions, podcasts, virtual booths, etc.
The VLD Community: What we are… What we are not
6. VLD Community tracks Member Interests We use data for VLD-ers’ advantage by using analytics to keep an eye on our existing and potential VLD-ers’ interests, any shift in their sentiment, or topics they are searching for, allowing us to create relevant content or adapt to changing VLD-ers’ attitudes. Through tracking features, we analyse which VLD-ers are more likely to participate in discussions and answer questions, and thank them with personalised responses. Living independently and participating in the lighting community is a priority for many of us. As the VLD Community emerges as a group of individuals with diverse characteristics who are linked by mutual interests, share common perspectives, and engage in joint action, we encourage anyone and everyone, even with the slightest interest in lighting, to join this community of over 200 VLD-ers and be a part of this action. www.vld.community
Florence Lam
4. VLD Community encourages Member Reputation
2. VLD Community builds MemberGenerated Content We understand the value of creating an environment that encourages VLD-ers to produce authentic and useful content as it increases engagement between VLD-ers, which ultimately strengthens our bonds and perceived value.
Psychogeographies
Senior Director, Architecture for Lutron, Cecilia Ramos, added: “Working alongside Dustin to find the best light for his pieces was an adventure, an education, and an inspiration. To watch him use light as an integral part of his art and witness the transformation of his pieces exemplified the power of light as a medium. “Through his careful calibration of Ketra Light, Yellin found ways to neutralise the green tint of the glass and to bring forth and crystalise the amazing details of his creations.” www.dustinyellin.com www.lutron.com Szczesna
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Brooklyn, USA
For the last decade, multi-disciplinary contemporary artist Dustin Yellin has received international acclaim presenting his Psychogeographies sculptures and other works at museums and gallery exhibitions, art fairs and commercial installations around the globe. His process of making each piece involves embedding thousands of tiny painted and collaged images within layers of glass. Measuring as high as six feet tall, Yellin’s three-dimensional sculptures take the form of entire built landscapes, individual figures, or sometimes both simultaneously. Yellin has recently installed Ketra lighting, with a Lutron system, at his home and studio in Brooklyn. With Lighting by Ketra, he can dial into a broad spectrum of tunable lighting options, recreating natural daylight with vibrancy and intensity from a hand-helpd personal device. Yellin’s Psychogeographies contain infinite layers of “frozen cinema” collages; using Ketra technology, the artist can neutralise the greenish tint of the class in sculptures; punch-up the colour’s saturation; and mimic midday sunlight – Yellin’s preferred time of day for how pieces should be lit. “Every work I make is a frozen cinema of images and desires and dreams, suspended in layers of glass,” he said. “Collectively, these elements make up a whole universe for the viewer to engage with and be immersed within. Working with Lutron has helped to bring all of these universes to life, revealing the subtleties of the contrasting forms, and giving shape to the narratives that live within every sculpture.”
This article examines the new ROLAN movement and points out why this might be the next big thing for lighting professionals.
The broad scope of the conference includes how light is produced (e.g. technologies, industry, and lighting design), where it is present (e.g. remote sensing); what effects it has on humans and the environment (e.g. ecology); how it is perceived by the public (e.g. perceptions of safety and security), and how the benefits and detriments of lighting may be better balanced, controlled and managed by Moreregulations.recently,in the general consciousness, the term ALAN has been connected to the work of the International Dark Sky-Association (IDA), a nonprofit organisation, whose mission it is to protect the night from light pollution [6]. The IDA is known for its award-winning International Dark Sky Places (IDSP) programme that encourages communities, parks and protected areas around the world to preserve and protect dark sites through responsible lighting policies and public education, as well as via their Fixture Seal of Approval (FSA) programme, global conference series Under One Sky, and other initiatives.
Artificial light at night (ALAN) is a term that was first used in an article published in Science News by Ben Harder in 2002 [1]. It described the noticeable effects of artificial light at night on ecology, then a few months later, another researcher, Ben Clarke, used this term when investigating outdoor lighting and crime [2]. ALAN was also used in the context of astronomy in 2004, by Kohei Narisada and Duco Schreuder, in their Light Pollution Handbook [3]. As years passed by, numerous researchers began to refer to this term and there is even an ALAN Research Literature Database [4]. However, it took another decade for ALAN to become a larger movement. This began in 2013, when the first ALAN conference took place in Berlin/Germany (arc reported about this event at the time) [5]. Following this, a series of conferences were held in Leicester, UK; Sherbrooke, Canada; Cluj-Napoca, Romania; and Salt Lake City, USA. Then more recently, two conferences were held online, due to the Covid-19 pandemic. The next conference is planned for 2023 in Calgary, Canada. The ALAN conference series is dedicated to examining all aspects of artificial light at night.
The term ALAN was also used in 2021, in conjunction with the work of the Artificial Light at Night Working Group, which gathered 20 experts from various fields to participate in the “Dark and Quiet Skies for Science and Society II” conference, which was co-organised by the United Nations Office for Outer Space Affairs (UNOOSA), the International Astronomical Union (UIA) and the Government of Spain. After the event, the main results of the conference were published in the Dark and Quiet Skies II Working Group Reports [7].
RESEARCH DR. KAROLINA M. ZIELINSKA-DABKOWSKA
Have you heard about ALAN? Now, there is also ROLAN!
Interestingly, the International Commission on Illumination (CIE) [8], which is the international authority devoted to worldwide cooperation and the exchange of information on all matters relating to the science and art of light and lighting, colour and vision, photobiology, and image technology, never recognised and adopted this term in their vocabulary (the terms and definitions contained in the international standard CIE S 017:2020 ILV: International Lighting Vocabulary, 2nd edition) [9]. Considering their role, it’s crucial that the term ALAN is recognised by the CIE and other lighting bodies, and that this occurs in the very near future in order to reduce the light pollution produced by ground-based lighting installations; this is necessary to support night-time professional and amateur astronomical observations, undisturbed human sleep, and the correct functioning of flora and Althoughfauna.the ALAN movement and the ideas behind it are very valuable and important, it involves quite an enclosed circle of researchers whose recent findings are often highly scientific, with very little direct applicable knowledge for lighting Additionally,professionals.thelanguage and physical quantity/ measurement units used differ from those that lighting professionals currently apply in their daily practice, which also hinders communication and the application of these new research findings (Table 1). Today, there is an awareness of water, air, and soil pollution and the impact that they have on the entire biosphere, including humans, flora, and fauna. However, artificial lighting as a pollutant
Asst. Prof. Dr. Karolina M. Zielinska-Dabkowska IALD, IES, CIE, MSLL, RIBA is an architect, educator, and an award winning practicing lighting designer. She is also an Assistant Professor at the Faculty of Architecture, Gdansk University of Technology, Poland, and Co-Founder of GUT LightLab, where she conducts research on various aspects of light and lighting in the built environment. Since 2019 she is a Head of ILLUME the interdisciplinary research group as part of the EcoTech research center at Gdansk Tech, created to minimise the impact of artificial light pollution on people, flora and fauna. She is actively engaged in the work of international organisations such as the International Association of Lighting Designers (IALD), the Illuminating Engineering Society (IES), International Commission of Illumination (CIE) and International Dark-Sky Association (IDA), providing guidelines and sharing best practice for night-time illumination in the built and natural environment.
ROLAN 2022 was organised by the ILLUME research group from the Gdansk University of Technology, Poland, [12] and the Society of Light and Lighting (SLL) from the UK [13].
ROLAN 2022 Takeaways
In the third session: Light pollution legal aspects – the participants learned about the legal frameworks and light pollution laws and guidelines that exist in different countries, including Slovenia, Germany, France, Poland, and the UK. In the fourth session: The impact of light exposure at night on the environment and humans – researchers discussed the negative consequences of improperly designed outdoor illumination on nature and all living beings. Each one of the four sessions was summed up with panel discussions to point out the most important findings. In the afternoon of the last day of the event, representatives of the ROLAN Founding Partners had the opportunity to give their feedback on the event, and to also explain the reason why each organisation decided to support the ROLAN conference and Accordingmovement.to Ruskin Hartley, CEO and Executive Director of the International Dark‐Sky Association (IDA): “It has been absolutely fascinating, almost like a universitydepth course. There seems to be a violent agreement in terms of what needs to be done, in terms of high-level principles. We have Physical Quantity Lighting ProfessionalsALAN Researchers Irradiance, Ee (W/m²) Rare Common Illuminance, Ev (lx) Common Rare PAR* photon flux density (PPFD) EPAR (µmol photons/m²) Not Used Rare Radiance, Le (W/m²·sr) Not Used Rare Luminance, Lv (cd/m²) Common Not Used Sky radiance (astronomy) Lsky, SQM (mags/arcsec²) Not Used Rare Radiant flux, Φe (W) Not Used Rare Luminous flux, Φv (lm) Common Rare PAR* photon flux (PPF) ΦPAR (µmol photons/s) Not Used Rare Spectral power distribution (SPD; e.g., spectral irradiance in W/ m²·nm) Rare (increasing)Rare (increasing) Correlated colour temperature (CCT; K) Common Rare Colour rendering index (CRI; Ra)Common Not Used Flicker frequency Rare (increasing)Not Used Flicker % Rare (increasing)Not Used (Degree of) Polarisation Not Used Just Emerging
118 / 119 has been neglected for a long time and only recently has it been considered a potential There’spollutant.no denying that lighting professionals need to educate themselves – when they are better educated, the benefits of this extend to everyone, not only human beings but the entire ecosystem. With the recent climate change emergency and environmental degradation, a different approach to designing outdoor lighting is necessary, instead of relying upon the outdated, traditional, human-centred approach that lighting professionals have used in the past. This involves a new paradigm shift in exterior illumination that provides responsible outdoor light at night in order to protect planet Earth, and to also transform the existing world into a healthier environment. The immense challenge for the implementation of the above goal involves skilful lighting design based on a foundation of solid research, so the negative aspects of outdoor lighting on the environment, public health, wellbeing and life quality are minimised. This inspired me to think about the most effective and practical way to educate lighting professionals. It seemed necessary to have a dialogue with ALAN experts, and to also translate the scientific research and complex knowledge into easy-to-understand Outinformation.ofthisneed, the Responsible Outdoor Lighting at Night (ROLAN) movement was established in 2022, with the first conference held online [11]. This two-day event gathered not only well-respected ALAN researchers but also esteemed lighting professionals whose recent work is more environmentally conscious and sensitive to protecting dark skies and the nocturnal landscape. This platform provided a new form of communication and exchange between these two divergent groups, as well as the possibility of presenting their work and sharing their unique knowledge.
Table 1. Overview of the usage of terms that describe the physical quantities of artificial light by lighting professionals versus ALAN researchers, modified from [10]
These talks were divided into four dedicated sessions. In session one: Losing our dark nights – the audience heard from astronomers and astrophysicists about the extent and consequences of light pollution from urban environments. In session two: called Best lighting practice(s) to reduce light pollution – experienced lighting professionals used different case studies to explain and demonstrate the various ways in which we can minimise the impact of outdoor illumination, by reducing light pollution.
ROLAN 2022 was born out of the need to facilitate a much‐needed collaboration, and to offer the support necessary to improve lighting practice, enhance research, and provide networking opportunities between practitioners, researchers and manufacturers. The conference was held over two days between 12-13 May 2022, with stimulating talks and panel discussions that involved 32 speakers from around the world. An interdisciplinary format was used for the event, which allowed for an increased understanding of ROLAN topics [18].
There were also other Founding Partners that were invited to join this movement, including the International Dark‐Sky Association, the International Association of Lighting Designers [14], the Illuminating Engineering Society [15], the Institution of Lighting Professionals [16], and the Lighting Industry Association [17].
RESEARCH
19. LG21 Protecting the night-time environment (2021). Available online: https://bit.ly/3OZgvJ4 (accessed on 2 August 2022).
20. SLL Light Lines 2022,15, 3. Available online: https://bit.ly/3P98hhw (accessed on 2 August 2022).
14. About IALD. Available https://www.iald.org/About/About-the-IALDonline: (accessed on 2 August 15.2022).About the IES. Available online: https://www.ies.org/about/ (accessed on 2 August 2022).
Lastly, Graham Festenstein, Vice President of the ILP, said: “This has brought together different disciplines and specialisms across lighting and has facilitated great discussions. Collaboration is really important, and hopefully this will kickstart more collaboration between us all. At ILP, our role is furthering best practice in exterior lighting, and the environmental impacts have been important to us for many, many years. As a professional body, from a practical perspective we want to collaborate, we want to be able to work with our research colleagues who can give us the evidence. What we want is evidence-based research, and to incorporate this into best practice, and our application guidances – and with that, hopefully influence standards. And that follows on, in terms of being able to bring the evidence to policy makers, politicians and the public. Lighting strategy is a social and political project and I think that really sums up our view as a professional body – and it’s one of our priorities.”
17. The Lighting Industry Association. Available online: https://www.thelia.org.uk/# (accessed on 2 August 2022).
What next? At the moment, seven Founding Partners are working on the ROLAN manifesto, and this declaration will be presented to the lighting community in October 2022 during Light + Building in Frankfurt. The SLL are in the process of making all recordings from the conference available to be purchased on demand, so all this knowledge will soon be available to a wider audience. There was also a special issue of Light Lines from the SLL on the occasion of the ROLAN 2022 conference, with written contributions from selected participating experts in lighting design, biology, medicine, astronomy, and public engagement [20]. ROLAN was possible with the financial support of four dedicated sponsors. Diamond sponsor: Thorn Lighting from the UK, Gold Sponsor: Filix Lighting from Croatia, and two silver sponsors: GL Optics from Poland, and Selux from ThereGermany.arealsoother lighting manufacturers who are adapting their products based on recent ALAN research in order to provide lower CCT options, along with reduced blue light content, directional, full cut-off and fully shielded luminaires with integrated lighting controls, and this trend continues to grow. It will be interesting to see what the lighting industry is going to present during Light + Building this year, and if spectral power distribution (SPD) and flicker will be considered in the luminaires exhibited at the Forevent.more information about ROLAN 2022 event please contact Conference Chair: k.zielinska-dabkowska@pg.edu.pl
5. Zielinska-Dabkowska K.M., The Value of Less Light. arc 2013, 77, 6p.150.Who we are. Available online: https://www.darksky.org/about/ (accessed on 2 August 2022).
9. E-ILV. Available online: https://cie.co.at/e-ilv (accessed on 2 August 10.2022).Pérez Vega, C.; Zielinska-Dabkowska, K.M.; Schroer, S.; Jechow, A.; Hölker, F. A Systematic Review for Establishing Relevant Environmental Parameters for Urban Lighting: Translating Research into Practice. Sustainability 2022, 14, 1107.
ZIELINSKA-DABKOWSKAM.KAROLINA
13. Society of Light And Lighting (SLL). Available https://www.cibse.org/society-of-light-and-lightingonline:(accessed on 2 August 2022).
Susanne Seitinger, President of the IES, considered this event to be a great opportunity: “IES’s mission statement is to improve the lit environment by bringing those together with lighting knowledge, and by translating that knowledge into actions that benefit the public – and I think everyone here has talked about how what we do has a significant impact on urban life, on home life, on health and wellbeing. Emerging from the pandemic, I felt this strong new resurgence and interest in how people structure their environments. We all had to, for better or worse, figure out how to create environments that are healthier, that we can inhabit 24/7 in very different ways – and now thankfully, we are able to re-inhabit the public space too, which is the most important part, because this is where we find connections.”
Andrew Bissel, President of the Society of Light and Lighting (SLL) said of the conference: “It was fascinating, there is so much information that has been shared with everyone. From an SLL point of view it is something that has become a topic that we want to take further and explore with our lighting guides. We have LG21 Protecting the night-time environment [19], which is designing for dark skies, but we need to expand on that. We need to start looking at all of our lighting guides, such as the office lighting guide - office lighting its current brightness, when it is left on at 4pm, emits a huge amount of light into the streetscape and into the night sky. We need start putting a Dark Sky section into every lighting guide that we have within the SLL and get people to understand the sheer scale of the impact that every building has. When you add up each building, the school, the hospital, the offices, not just the public realm and roads – we have a huge problem with too much light at night. So, from an SLL point of view, if we provide the right advice and the right education, we will bring about change, so it was absolutely important that we were part of BobROLAN.”Bohannon, Head of Policy & Academy of The Lighting Industry Association (LIA) highlighted the need for this kind of event, saying: “ Part of what we do at the LIA is we teach. We communicate with the Government, with manufacturers and out to local authorities. How do we take these emotional methods and explain what we have to achieve? ROLAN was a great two days of joining up the gaps so we can make this real, street by street, town by town.”
18. Programme. Available online: https://sforce.co/3Sr8DTU (accessed on 2 August 2022).
Monica Luz Lobo, President of the IALD, added: “It’s an honour to support this opportunity to give light to this topic with this highly skilled line up of panelists. We are sure the collaboration between research and practice is key to deliver excellence in lighting and to improve human light.”
16. About The ILP. Available online: https://theilp.org.uk/about/ (accessed on 2 August 2022).
References some wonderful examples of projects from around the world, where in a sense money is no object, so you can bring the right people and the right team together to get this right. There also appears to be an agreement on the real challenges. How do you get this out to scale, how do you take it out beyond the design community, down to the consumer level? How can we take this energy and make it simple and actionable for anyone who wants to be part of the solution? The other key message that came out of the conversations was how do we make this an emotional issue that everyone cares about? For IDA, that is why we have been involved in this. The conference brought the whole world together to talk about this set of issues. How do we take it forward so that the growing number of people around the world, who want to be part of the solution have access to the tools and resources that they need? To talk to their neighbours, to talk to their communities, to talk to officials about the steps they can take. I hope this is just the start of the conversation as we move forward together to put the right tools in place.”
7. https://noirlab.edu/public/products/techdocs/techdoc051/ 8. About the CIE. Available online: https://cie.co.at/about-cie (accessed on 2 August 2022).
1. Harder, B. Deprived of darkness: The unnatural ecology of artificial light at night. Science News, 2002, 161, pp. 248-249. Available online: (accessedhttps://www.sciencenews.org/article/deprived-darknesson2August2022).
11.https://doi.org/10.3390/su14031107ResponsibleOutdoorLightingatNight (ROLAN) 2022. arc 2022, 127, s.118-119. Available https://issuu.com/mondiale/docs/arc127/118online: (accessed on 2 August 12.2022).ILLUME. Available https://wilis.pg.edu.pl/en/department-geodesy/illumeonline: (accessed on 2 August 2022).
2. Clark., B. Outdoor lighting and crime. Part 1: Little or no benefit. Astronomical Society of Victoria, Inc. 2002. Available online: https://bit.ly/3QhJEQY (accessed on 2 August 2022).
3. Narisada, K.; Schreuder, D.A. Light Pollution Handbook. Dordrecht: Springer, 2004. 4. ALAN_DB. Available online: http://alandb.darksky.org (accessed on 2 August 2022).
The global warming potential embodied in an LED driver arises from the materials that it contains, such as copper, aluminium, brass and plastic. Energy is required to mine, process, and refine the raw materials, to shape them, then to transport them to the factory where they are assembled into a new LED driver. At the end of a luminaire’s life, the materials in the driver will be transported to a waste treatment site, where they will be either buried in landfill, or better, recycled. Every part of this process uses energy, and so generates GHGs.
The global building industry’s response to national net-zero carbon targets will be a big factor in determining whether humanity avoids a catastrophic climate crisis in the coming decades.
The total GHG emissions attributable to a product can be declared in an environmental product declaration (EPD), having executed an exhaustive LCA (Lifetime Carbon Assessment). A full LCA verified into a legitimate EPD is time consuming and expensive, hence, very few building services equipment manufacturers offer them. This is why CIBSE devised TM65, a toolkit to enable consultants or designers to calculate the embodied carbon associated with mechanical, electrical and public health (MEP) systems in buildings when no EPD is available. Lighting professionals can use TM65 calculations to build a reliable estimate of the global warming potential of a lighting scheme early in the design phase. With the information provided by TM65, the industry can make informed choices
And what is the experience of performing TM65 calculations for a manufacturer of lighting equipment? TM65 explained The embodied carbon in a product is the GHG emissions associated with the extraction of the materials from which the product is assembled, its manufacturing process, repair, and treatment at the product’s end of life, as well as any GHG produced in the shipping of the product. TM65 can be carried out at a basic level (where stages A2, A3, A4, C2, C3 and C4 are simply scaled via a buffer factor (fig. 1) or at mid-level where they are individually accounted for.
To illustrate the point, let’s use the example of an LED driver, since this is eldoLED’s area of expertise.
120 / 121 ALLIANCEGREENLIGHT ROB BREMMERT & PATRICK VAN DER MEULEN
Figures for the UK published by the UK Green Building Council (UKGBC) show that the built environment is responsible for more than 25% of total UK greenhouse gas (GHG) emissions. Annual emissions from the building sector have fallen by around 30% since the turn of the century, but this is largely attributable to the growth in renewables, mostly wind and solar, as a proportion of total electricity generation. In other words, it is not the result of any specific initiative for which the building sector can take credit, but is largely the result of government policy for the electricity Nevertheless,industry.
this means that operational emissions – to heat and light buildings and to power appliances – are on a downward trajectory. Harder to reduce are the embodied carbon emissions generated by the production of building materials and appliances, by the construction process itself, and by the disposal and decommissioning of equipment and structures. But without a massive reduction in embodied carbon emissions, the building sector has no chance of reaching net zero. The first step in reducing the carbon built into new construction projects, refurbished, or re-equipped buildings, is to understand how much embodied GHG, measured in equivalent kilograms of carbon dioxide (kgCO2e), is in the various components of a building project. This is why the TM65 initiative from CIBSE has attracted the attention of environmentally aware individuals and organisations in the lighting industry, not only in the UK, but around the world: for the first time it gives lighting designers, specifiers and architects a clear and transparent way to calculate the carbon embodied in new lighting equipment. So what is the purpose of the TM65 standard? How is embodied carbon calculated according to TM65?
TM65: a driver manufacturer’s perspective Rob Bremmert, Quality Engineer and Patrick van der Meulen, Business Development Manager at eldoLED, break down CIBSE’s TM65 initiative, and explain what it means for driver manufacturers.
The basic method of calculating a TM65 embodied carbon value has four stages (ignoring refrigerants. See Figure 1). It starts with an analysis of the components of a product. The product’s manufacturer will:
· Apply an embodied carbon coefficient to each material. The coefficients are provided in the TM65 specification. The sum of these gives subtotal 1 (fig.3). In the second stage, subtotal 2 incorporates a repair allowance. During a product’s life, it might be repaired. TM65 adds a step after the initial calculation to allow for the embodied carbon in parts that are typically replaced before a product reaches the end of its life. In the absence of specific information about replacement, it is assumed that 10% of the weight of a product will be replaced during its life (fig. 3). The third stage is to apply a ‘scale up factor’: this takes account of the carbon embodied in the processes of shipping, assembling, decommissioning and disposing of a product. The scale up factor is lower for simple products and higher for complex products: for an LED driver, the scale up factor is x1.4 and is applied to the total embodied carbon value for the manufactured and repaired product. (see subtotal 3 in fig. 3)
The fourth stage is to apply a buffer factor, set at x1.3. The buffer factor allows for the simplicity of the calculation method (eg. not requiring more elusive data such as multiple factory geographical locations and respective energy profiles). Applying a conservative margin to ensure that the GHG calculation does not substantially underestimate a product’s global warming potential (see grand total in fig. 3). A lighting professional can then use this data to perform embodied carbon calculations for their project.
Fig. 1: the process of performing a TM65 basic level calculation. TM65 is a start, and a good one, because in the absence of the rigour of EPDs for most of the industry and the punitive cost that they incur to a manufacturer (particularly a small one with a large legacy catalogue), it provides a manageable and meaningful route to embedded carbon declaration. And it is inevitable that this declaration is coming our way, both as manufacturers and designers through European and national regulation and in most likelihood the sustainability evaluators such as BREEAM, LEED, ESTIDAMA etc. I have slight reservation about some of the details: the bluntness of the scale up factors about which no designer or manufacturer can influence and accounts for almost half of all lighting declared carbon; the anomalous distinction made between “product” and “building” that means a product with a nonrepairable lamp scores better than one with one. But this is minor because the TM is designed to be readily and regularly updated. Fail fast and learn fast, which I support. My real misgiving, however, with embedded carbon and lighting is that until we decarbonise the grid in the nation where the luminaire is installed, the carbon in use dwarfs embedded carbon by two orders of magnitude. If you use a bit more aluminium in the heat sink to drive greater longevity or efficiency, then the embedded carbon price is worth paying for the carbon in use benefit. Embedded carbon is already being seen as a driver for the circular economy in lighting and it should not be, because if it is, then throwaway efficient luminaires will prevail as they have since the 90s. The obscenity of the linear economy is in its assault to the biosphere and its insanity in terms of resource depletion. Those should be the drivers of a circular economy. So, TM65 is just the beginning. The industry needs to build on this to incorporate full life cycle assessments (LCA) which would drive better evidence-based decisions both in design and manufacture. That all said, and if you agree with me or not, the fact that this debate is happening at all is because of visionary manufacturers who are investing in this field and discovering actions they can take in the short and medium term to lessen their/our impact. They are to be applauded. Mark Ridler BDP REACTION
to reduce the carbon embodied in the lighting equipment installed in new or refurbished buildings. Weighing and measuring: what it takes to perform a TM65 calculation
· Break down a product into its basic materials, such as various metals, plastics, rubber, and in the case of an LED driver, electronic components and the PCB. · Weigh each material separately, up to at least 95% of the total product weight.
Now the user has calculated the total embodied carbon of a product. CIBSE strongly encourages users to fill out its TM65 reporting form and submit their results, so that it can build a database of products. The TM65 process: an LED driver manufacturer’s perspective CIBSE’s intention is that the industry will take the initiative to provide TM65 calculations for MEP products, and publish the figures to the CIBSE database. eldoLED has already started this process: it has performed TM65 calculations for four of its most popular products, with more planned. As we will see, though, the TM65 process has prompted some new thinking about ways to reduce the global warming potential of the company’s products. This new thinking was accelerated by a request from an eldoLED customer, Stoane Lighting, who provided fixtures for Our Time on Earth, an exhibition at the Barbican with lighting design by Speirs Major, covered in arc #128. On eldoLED’s part, the TM65 process involved stripping a driver back to its raw materials (see fig. 2), classifying each material type, weighing each, applying the embodied carbon coefficient, and then summing the results. A report page for the
*See
Fig. 3: TM65 calculation of the embodied carbon of a 50W SOLOdrive 561/A driver.
Lighting Design REACTION Product weigth (kg)0.3065 SOLOdrive 561/A Embodied carbon coeffiecient (kg CO2e/kg) Material % by weight carbonEmbodied STEP 1 ABS ( acrylonitrile butadiene styrene) 3.76 Aluminium 13.1 Brass 4.8 Ceramic 0.7 Copper 3.81 7.8%0.09 Expanded polystrene 3.43 Glass 1.44 Insulation 1.86 Iron 2.03 Lithium 5.3 Plastics 3.31 17.8%0.18 Polyamide 9.14 Polycarbonate 7.62 Polyethylene 2.54 Polyurethane foam 4.55 PVC (polyvinyl chloride) 3.1 PVC pipe 3.23 Rubber 2.85 Stainless Steel 4.4 Steel (general or galvanised) 2.97 33.9%0.03 Zinc 4.18 Cast Iron 1.52 Silicon 13.8 0.7%0.03 Electronic components 49 28.5%4.28 Printing wiring boards, mixed, mounted 154 10.9%5.14 99.6%10.04Subtotal 1 STEP 2 If there is no specific information from the manufacturer on repair or replacement of components within the product lifetime, a standard assumption of a 10% increase in weight should be used. (10% from Subtotal 1) 10%1.00 11.04Subtotal 2 STEP 3 Scale factor 1.4 for lighting control devices (subtotal 2 multiplied with 1.4) 1.4 15.45Subtotal 3 STEP 4 Buffer factor (subtotal 3 multipled with 1.3) 1.3 Embodied carbon result with scale-up and buffer factors 20.09kgCO2e
Kevan
EFLA | Kevin
It is heartening to see eldoLED beginning to dig into the sometimes confusing world of the circular economy and environmental impact assessments. Given the drift of the climate change discussion firmly anchored on CO2, looking at this through the lens of TM65 is a good starting point. TM65 is very much a simplified broad brush tool to cover the wide spectrum of building services, and doubtless it will spawn more specialised and detailed tools for other building services systems and equipment. In the case of eldoLED it has certainly focussed thoughts on future product development by identifying the printed circuit board as the most CO2e intensive element of the product. But this is only a part of the circular economy story. For lighting we now have TM 66* and the associated Circular Economy Assessment Methods for both manufacture (CEAM Make) and design (CEAM Specify) these go much further into the lifetime impacts of lighting products looking beyond the manufacture into the maintainability, repairability, length of service and ultimate recyclability all of which add to the total environmental impact of these products. For lighting this is very important. As mentioned, the focus has been on energy in use as the principle generator of CO2. This is changing quite rapidly, though not equally, in each country. Based in Scotland and focussed on Iceland, both these countries are as near as dammit producing all the electricity they need from non CO2 emitting generating capacity - hydro and geothermal in Iceland, wind, hydro, nuclear and tidal in Scotland. For projects in these countries, and in fact most of the Nordic countries, we need to pay much more attention to all aspects of circular economy. In conclusion, well done to eldoLED for taking these issues seriously and incorporating consideration of embodied CO2 in their processes. As specifiers, we need to take the next steps and start asking all our suppliers for information needed to complete our carbon and CEAM Specify assessments for our projects. arc #124 p.48-50 an article on TM66 Shaw Shaw
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for
Fig. 2: An eldoLED 50W SOLOdrive 561/A driver and its basic elements, from the copper, metal and plastic to component parts.
50W SOLOdrive 561/A driver is shown in fig. 3. Compiling the product data was straightforward. Now eldoLED has a plan to perform TM65 calculations for any of its driver products on request from customers, and for all of its most popular models. The most interesting insight to emerge from the TM65 process was the overwhelmingly large contribution to embodied emissions contributed by the PCB and the electronic components, as shown by fig. 3. This is prompting eldoLED to rethink its approach to reducing the environmental impact of its Weproducts.nowunderstand that any reduction in the size and weight of the PCB has a disproportionately beneficial effect on the embodied carbon of a driver product. This is a big challenge for the design engineers at eldoLED. Miniaturisation of electronics systems is not straightforward. For instance, the closer that components are placed on the board, the harder it is to keep them within their maximum temperature limits. The techniques for board size reduction are well understood at eldoLED, and we think we can make some substantial reductions in the embodied carbon in our products over time by reducing the size of the PCB layout. For a driver manufacturer, power conversion efficiency also has a huge impact on sustainability: the more efficient the driver, the less power is wasted, directly reducing operational CO2 emissions. Increasing efficiency is another long-term project for eldoLED, which is working with customers to balance performance, cost and efficiency. Alongside these initiatives, eldoLED is in the early stages of investigating the scope to bring driver production closer to the point of end use, and to facilitate re-use and recycling of drivers after their first use. These initiatives are consistent with the principles of a circular economy, and of localisation, both of which have an important role to play in industry’s work to reach net zero. MEP products in the spotlight CIBSE’s work in devising the TM65 method, provides a consistent and clear way for the lighting industry to calculate the embodied carbon in the products it relies upon, a valuable tool for the industry to use in reducing its embodied carbon footprint towards zero. Equally important, it is providing information to manufacturers like eldoLED, helping them to understand the sources of embodied carbon in their products, and to use novel design approaches to reduce a product’s carbon footprint. www.eldoled.com
This series is curated by Dave Hollingsbee of Stoane dave@mikestoanelighting.comLighting,
ALLIANCEGREENLIGHT
Unusually for a street lighting luminaire, the Daytona range includes two tuneable white options, from 2200K to 3000K and 2700K to 4000K. The colour temperature can be configured via Bluetooth to create a fixed blended colour temperature output, a time-based colour change sequence during the night or dynamic control via a presence detector where the intensity increases, and colour temperature becomes cooler when motion is detected. Optics are based on the DW Windsor Diamond Optic range, utilising Ledil lenses, and available in 12 different distributions for different lighting applications. The Daytona is Dark Sky friendly with a ULOR of 0%. The design of the Daytona features a number of details to ensure long trouble-free working life and ease of servicing on site. The pressure die cast housing is produced in LM6 marine grade aluminium to minimise the chances of corrosion, while the soft disk profile ensures that water runs off, helping to achieve an IP66 rating. For marine applications, a C5 anti-corrosion coating is available instead of the standard polyester powder coating.
The mechanical design incorporates three over centre catches to secure the window cover assembly of the kind of that would have been Royal Windsor
Windows are available in toughened glass with an IK08 rating or polycarbonate with an IK10 rating. The product is assembled using mechanical fastenings so that it can be easily disassembled at the end of life and the components either recycled or possibly re-used.
The new Daytona range of exterior luminaires from DW Windsor offer tunable white street lighting solutions. David Morgan takes a closer look at the new collection.
The company has twice been awarded the Queen’s Award – first for Export Achievement and again for Environmental Achievement – the first lighting company ever to be granted this accolade. DW Windsor also previously held a Royal Warrant by appointment to HM The Queen. The latest product development from DW Windsor is the Daytona range, which is designed for use in a wide range of urban lighting applications, including inner city roads, footpaths, and public spaces. The Daytona range is based on a 460mm diameter luminaire, which can be fitted with four different output LED light engines. The smallest size 12 LED light engine provides up to 5,300 lumens from 38W while the largest 36 LED light engine provides up to 15,800 lumens from 107W. It is understood that two different brands of LEDs are used for the light engines – Seoul Semiconductor for higher colour temperatures of 3000K and 4000K, both 70 RA, while Nichia LEDs are used for the 2700K option.
Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk
David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting.
DAVID MORGAN
The starting point for David Webster when he founded DW Windsor in 1976 was to produce replica Victorian Windsor lanterns based on the original gas versions to fit onto original cast iron lamp posts. The name of the company is based on the founder’s initials, DW, followed by the Windsor from this lantern. The company has expanded over the years and has developed a wide variety of exterior lighting product ranges. However, the original copper Windsor lanterns are still produced and now even include the option of LED based faux ‘gas mantles’ that mimic the original gas lit effect. The company, which is based in Hoddesdon, Hertfordshire, UK, now employs around 140 staff. DW Windsor joined the Luceco Group of companies in 2021 and the Group employs around 1,650 people worldwide. Many of the mechanical components are made inhouse although it is understood that pressure die castings are sourced from suppliers in the Far East.
The street lighting sector is currently facing a variety of challenges. Issues manufacturers need to consider when developing new luminaires involve maximising energy efficiency, minimising the impact of lighting on wildlife, ensuring that the products are produced sustainably, and more widely fit into a circular economy model. These are all important considerations, and it is interesting to see how manufacturers respond and are developing their approach. Companies in this market have also needed to develop luminaires and columns that respond to their urban setting, whether the need is for heritage or contemporary designs, and in some cases this can cause a conflict with the wider considerations.
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found on a previous generation of lamp-based exterior luminaires, and therefore no tools are needed to open the luminaire for servicing. When the window housing is hinged down, access to the LED light engines and the driver is available. The light engines are mounted on a hinged, removable tray, which is fixed to the body casting with captive screws to ensure good thermal management of the LEDs. The light engines can be replaced on site at the end of their 100,000-hour life, or could be changed at an earlier point to take advantage of higher efficiency LEDs that may be available. Once the light engine assembly is hinged down, that allows access to the driver, which can also be replaced on site, keeping the luminaire in service for as long as possible.
The Daytona can be configured to incorporate up to two Zhaga book 18 sockets – one on top of the luminaire and one below. Alternatively, a NEMA-type socket can be installed on the top of the luminaire. A wide variety of controls, network nodes, and sensors can be installed into these Anti-glaresockets. shields that follow the design theme of the Daytona can be fitted to control light trespass. Post top and side entry adapter castings for standard pole sizes are available. The Daytona was designed and developed by the in-house DW Windsor team over a 12-month period during the pandemic and has recently been launched. It is understood that feedback from specifiers and potential customers has been positive with particular interest in the tuneable white options, and the site changeable light engines and drivers, and the company reports that the overall product appearance is well-received. The Daytona is a well designed and manufactured luminaire. The tuneable white and 2700K options meet the increasing interest in wildlife-friendly outdoor lighting and the traditional construction fits well into a circular economy model. www.dwwindsor.com
www.ledflexgroup.com Thermoglo TM F15 Clear Lighting
126 / 127 Wyn It Darkon Wyn It is an indirect luminaire configurable to required length, with an asymmetrical light distribution suitable for surface-mounted, suspended and recessed applications, making it ideal for wall, ceiling or floor washing applications of all types. It features an easy install mounting box (or profile with trim for recessing) and an integrally located driver. Architecturally designed with no visible fixings, the curved internal reflector delivers high lumen output with low glare making this a highly versatile inclusion for all lighting designs.
A wellness solution for utmost relaxation in a sauna is replenished by an ambient glow that elevates your mood. The Thermoglo TM F15 conjures up your paradise while keeping your safety top priority, as it is thermally modified to adapt to hot and moist conditions up to 90°C. The dotless LED neon flex light enables you to create effects, either as direct or indirect lighting, that makes a wellness retreat cosier.
D-series OneEightyOne OneEightyOne has upgraded the D-Series. The pixel linear is available in RGB, RGBW (3000K or 4000K) and tunable white (2700-5500K). Every single LED is individually controllable. The fixture has a pixel pitch of 25mm. With 60 fps data transfer, super smooth colour changes are assured. Due to 48V input voltage long runs can be achieved. With its durable IP66 rated housing, this product is suitable for every façade lighting project.
LD51 LightGraphix
www.petridis-lighting.gr 9 4 3 10 52 7 11 1 6 8 12 Adelia LEDiL Adelia aluminium reflectors combine stunning high-quality aesthetics with premium light quality. With a beautiful shiny finish, the surface of these innovative reflectors is optimised to show no greyness or haze, ensuring an aesthetically beautiful look. Fitting seamlessly into beautiful lighting designs, Adelia takes track and downlight concepts to new heights. A perfect complement to LEDiL’s assortment of premium retail lenses and reflectors.. www.ledil.com
www.clearlighting.com LED Drainlight ADO Lights Fountains, water features, basins – water is a point of attraction in both public and nonpublic spaces. Drainlight is a combination of stainless steel drainage channels and cover gratings in combination with LED lighting. The fully encapsulated LED light lines delicately frame fountains and water basins. Like the channels and gratings, they are available in straight or curved versions. The radius is freely selectable and thus adapts perfectly to the contour of the object.
ZTA.35 is the latest addition to Stoane Lighting’s Circular Economy focussed product line-up.
DW Windsor DW Windsor has expanded its heritage lighting range to include tunable white technology, warmer colour temperature options, Bluetooth wireless control and improved LED efficiency. Two tunable white transition ranges – 3000-2200K or 4000-2700K – mean closer control of colour and intensity of light, while the warmer temperatures to the COB light engines offer a smoother transition from the former sodium bulbs typically associated with heritage lanterns. The upgraded luminaires now achieve up to 180lm/W – a 20% increase compared to existing options.
www.hacel.co.uk Heritage Lighting range
The smallest in the range at Ø35mm offers up to 700lm delivered. There are a wide range of dedicated optics to choose from depending on your source. It can also come with a zoom lens that rotates seamlessly from narrow to flood. True to ZTA form, it is flexible in choice of finish, control and mount type.
www.lightgraphix.co.uk Rigid Grazer LEDFlex Rigid Grazer is the latest addition to LEDFlex’s portfolio of lighting solutions. The nonencapsulated, rigid PCB offers long and seamless runs of fixture, ensuring a flawless grazing finish to any interior. Available in single and dual beam angles of 20°, 30°, 20x45° and 110x70°, Rigid Grazer offers a wider pitch, leading to higher efficiency for long term use, due to a reduction in power consumption. It is also available in a comprehensive range of colour temperatures, spanning 2600-6500K.
All of LightGraphix’s products are developed with glare control in mind, and the company is constantly evolving the ways in which it can improve this. As well as its existing half cowl, a full anti-glare cowl is now available on its LD51 miniature spotlight, helping to reduce glare from all angles. This cowl can be painted in any of LightGraphix’s standard, or custom RAL wet spray colours.
Storm Petridis Available in surface or recessed options, Storm is a 24V DC low voltage aluminium profile for tracking lights with smart magnet technology. It is an ideal solution for small showcases, homes, rest areas, museums, hotels, exhibition halls and generally for many architectural projects.
ZTA.35 Stoane Lighting
www.181.nl Cenaro Hacel A unique and creative wall light, Cenaro is available in a choice of lumen outputs, delivering up to 2970 lumens with efficacies of up to 131lm/W. Cenaro illustrates a seamless combination of curved, softly diffused opal polycarbonate and structured steel, creatively blended to offer a distinctively stylish LED wall light. Presenting a perfect balance of both uplight and downlight, Cenaro is available with the latest wireless lighting controls via an app, enabling users to interact with lighting to suit their individual, group, or special requirements.
www.dwwindsor.co.uk
www.darkon.com.au
Gamma Lumolamp The Gamma system is an elegant lighting system, specifically designed for public spaces. A combination of luminous tubes connected with precious metal details give the structure a distinctive character. The modularity of the system enables its exact fit into designated spaces. The most characteristic detail of this concept is a metal sling that, highlighted by subtle lighting, creates an evocative atmosphere of the place unattainable by traditional methods of lighting. www.lumolamp.eu
www.ado-lights.com
LaunchesProduct
www.stoanelighting.com
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Designed by Nieto Sobejano architecture studio, the 118,000sqft building is part museum, part brand immersion. The indoor atmospheres pursue the choice of light-coloured materials, while introducing a contrasting element at the centre of each Throughoutroom. the space, linear lighting guides the visitors in the exhibition halls, where special collections and memoires from the past are showcased. Reggiani’s Yori Linear solution combines soft, diffused lighting throughout, creating the ideal lit environment. Yori Evo Ghostrack is used in the exhibition halls to highlight all the products exposed with accent lighting.
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Montblanc Haus GermanyHamburg, Montblanc Haus, a new experience centre for the stationary brand, is brought to life through Reggiani’s Yori lighting solutions.
Image: Roland Halbe
Since the space doesn’t have the mere objective of being “just” a museum, but acts as a brand experience centre, Reggiani gave light to the common areas that can be found within Montblanc Haus: here, the brand’s Yori Evo Box illuminates the space, carrying a simple, elegant design that blends perfectly with the space. Montblanc Haus represents an unmissable hot spot of the city: the structure of the building’s façade draws the striking image of the Mont Blanc mountain range, with the Mont Blanc as the highest mountain of the Alps.
www.reggiani.net
Hamburg’s new Montblanc Haus is an exhibition and brand experience centre for the internationally renowned luxury stationery manufacturer. Its shape takes inspiration from the “Meisterstück”, the box of a writing instrument, in homage to the elegant practice of putting down words on paper.
Meet us at Light + Building 02-06 October 2022, Frankfurt am Main // Hall 3.0 // Stand no. D87 When your projects get ambitious don’t think ordinary here&after lighting solutions deliver effects, experiences and benefits with a subtle touch of exclusivity that gets noticed and appreciated – big time. The here&after design and manufacturing edge helps you set new standards for lighting ambition, visual impact, low cost of ownership and end-user satisfaction – in spaces, structures and displays from small to gigantic. hereandafter.com
Image: Tomasz Majewski
For more than 100 years, Liljevalchs Konsthall has been the leading exhibition venue for contemporary art in Stockholm. Its spring salon has a fixed place in the cultural calendar of the metropolis, and the building, designed by architect Carl Bergsten in 1916, is considered a breakthrough work of modern architecture in TheSweden.standards were correspondingly high when, after a competition, Gert Wingårdh’s architectural office was commissioned to build an extension in 2013: State-of-the-art presentation possibilities, security and air-conditioning contributed to making it possible to play a confident role in the worldwide exchange of art exhibitions. Wingårdh is one of Sweden’s most successful architects. Through his TV presence in the series “Husdrömmar” about private builders, the 70-yearold is also known to the wider public. For the Konsthall, he designed a compact, concrete cuboid in close collaboration with the glass artist Ingegerd Råman. Like a jagged crown, the roof features 166 chimney-like light shafts on a square grid. Only a few window openings break through the façade. This is structured by 6,860 round glass elements that are reminiscent of clear bottle bottoms and glitter in the flat Nordic light. The ceiling openings create a soft, modulated and atmospheric light in the room. The skylights create optimal presentation conditions for both small and large-format exhibits. Erco’s Eclipse spotlights form the Konsthall’s new luminaire pool. With their interchangeable lenses, accessories, and on-board dimming, they can be flexibly adapted to a wide variety of lighting tasks.
The carefully calculated, upward-tapered shape of the light wells screens out direct sunlight. Track segments in flush recessed profiles carry Parscan spotlights as basic lighting and Eclipse spotlights to set the stage for the exhibitions.
The feeling of space in the daylight halls of different heights under the freely spanned concrete grid is spectacular. The sophisticated ceiling geometry controls and diffuses the daylight. Tracks set flush into the sides of the light shafts carry spotlights, floodlights or wallwashers to illuminate the exhibits. In this way, the building manages the balancing act of providing a neutral background for the art and at the same time always remaining perceptible and present.
www.erco.com
KonsthallLiljevalchs SwedenStockholm, Complementing the brutalist architecture of Stockholm’s Liljevalchs Konstall, luminaires from Erco offer a flexible solution to highlight the artworks on display.
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Light
Revitalising an industrial monument that not only updates its appearance, but also gives it a new function, thanks to Unlumited Lighting
When thinking of old chimneys, this is likely not the first image that comes to mind. What led to the characteristics of this 70-metre-high landmark, called “Light Beacon from Venlo”, in the Netherlands? And how was it realised? Back in 1942, the chimney was built as part of a production line for roof tiles, owned by the Wienerberger company, and has been a symbol for the industry and the company for many years, as well as being the highest point in the region. The chimney was used for production up till 1995. Because of its prominent presence and symbolism, it was designated a municipal industrial monument in 2002. In 2018 designers Suzanne Berkers and Yvonne Rooding were requested to come up with a design for updating the monument. This, however, led to a completely new plan; not only updating the appearance but giving it a new function. The Boei! Foundation, which commits to maintaining monuments, funded, along with Wienerberger, local government, and others, the complete restoration and realisation of the beacon it is today. The chimney is now highlighted with 31 rings of colour, which can be individually and remotely set to create hypnotising colour shows, or display the colours of local, national, and international events. This playful way of re-using the monument updated the use and appearance of this wellknown and cherished local monument for many more years. The remote access allows for promptly adjusting the colours in response to main events as a show of support. When outdoors and towering above the surroundings, many factors come into play: wind, weather, UV radiation, large temperature differences, impact resistance, and more. At this altitude and restricted accessibility, reliability and durability are key factors to keeping costs within the limits. As a representative of Clear Lighting in the Netherlands, Unlumited Lighting Solutions closely cooperated with the parties involved. The requirements and circumstances were thoroughly investigated and a custom-fit plan led to the seamless result seen today. When realising outdoor projects and especially projects on this scale, collaboration and custom solutions are key. The FlexGlo series from Clear Lighting is made to order based on the required lengths and with the location of connections taken into consideration, and it enables seamless integration and faster installation. As there are no modifications required, the reliability remains intact. www.unlumited.com www.clearlighting.com Beacon Venlo, Netherlands
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Digital linear LED fixtures Ideal for facade lighting projects. Available in RGB, RGBW (3000K or 4000K) and tunable white (27005500K). Due to 48V input voltage, long runs can be achieved. With 60 fps data transfer, super smooth color changes are assured. Every single LED is individually controllable. oneeightyone.comLightingFacadeFor the Hyatt Centric Hotel in Dubai, our DiGi Linear fixtures are integrated in the facade. This resulted in an arrange of beautiful colors to match the ambiance of this magnificent hotel. oneeightyonelighting181lightingSales@oneeightyone.com
The Technical Museum is classed as a site of cultural heritage by the Croatian Ministry of Culture, making it a protected building. With this in mind, the team at Skira was focused on ensuring the lighting solutions are unobtrusive and do not impact on the appearance of the museum. To achieve this, many steps were taken. A custom metal gutter was mounted and painted in the façade colour, with luminaires from GVA Lighting attached to this. Landscape lighting is delivered through recessed floor lamps, while surfacemounted reflectors illuminate several exterior exhibits and trees. Dean Skira, Founder of Skira, said: “The Nikola Tesla Technical Museum is such an iconic cultural project, we were thrilled to design the lighting system. It was vital that the exterior lighting adds to the city nightscape and the experience of the museum’s architecture and does not detract from the exhibits and experiential aspects. GVA Lighting’s solutions deliver this perfectly, allowing for the precise blend of concealed lighting with the right lighting levels to ensure practicality.”
The architectural lighting is elegant and simple, and has ensured the museum looks attractive from the busy road it is located on. The way in which the lighting has been installed, as well as the integration of the solutions and dynamic features, further reinforces the celebration of technology that the museum is famed for. www.gvalighting.com www.skira.hr
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Tesla is best known for his contributions to the design of the modern alternating current electricity supply system. The exhibition is enhanced with a lighting design concept that reflects his achievements. A dynamic blue light represents the famous Colorado coil effect. The effect is programmed to appear every hour, and lasts for around 15 seconds each time. This lighting design was created by lighting design experts Skira. Skira was also appointed to develop a lighting scheme for the museum’s façade and landscape lighting. To fulfil the requirements of the carefully created lighting design, Skira specified lighting technology from GVA Lighting. Offering excellent versatility with robust IP66 or IP67 rated housing, GVA Lighting’s STR9 Series delivered the perfect solution for the museum. This family of solutions is an all-encompassing range of high-power wall washing and wall grazing linear LED luminaires. A completely concealed and integrated linear lighting system within the architecture of the building has been created by Skira using GVA Lighting’s STR9 Series. This ensures both ambience and practicality. Two independent rows of linear lights have been introduced, with two different colour temperatures – 3000K and 4000K – to meet the needs of the surfaces it illuminates. These are delivered by the Mono variant of the STR9 Series.
The Nikola Tesla Technical Museum is located in a busy and popular area of Zagreb city centre.
The museum opened in 1954 as a celebration of science, and showcases scientific and technical appliances that have played a role in the country’s history, including aircraft, cars and machinery. One key exhibition is the demonstration cabinet, which promotes the life and work of Nikola Tesla.
Zagreb, Croatia Croatian lighting designer Dean Skira collaborated with GVA Lighting for the illumination of Zagreb’s Nikola Tesla Technical Museum. Image: Jana Jocif
The MuseumTeslaNikolaTechnical
Join us at: Light + Building Autumn Edition 2022 - Stand No 3.0 F19 +48info@lumlamp.euo814610041 www.lumolamp.eu www.lumlamp.euo Find Gamma & more at: ADAPTABLE MODULAR LIGHTING
Achieving a relaxed atmosphere is the primary focus of modern living areas. Natural-looking, highquality illumination that adapts flexibly to people’s needs is shown to promote wellbeing. If creative light scenes are to be implemented as part of this, then conventional LED technology will quickly reach its limits. For a dynamic lighting solution being installed into a luxury villa in Grünwald, the technology that was employed therefore relied on Nichia’s next generation full-spectrum LEDs. In the private sphere, light is not just about establishing identity, but also meeting other requirements; a variety of uses and visual tasks must be addressed. That was the brief provided to lighting planner Katrin Rohr of Munich-based luxophil lighting. She was given the task of making the Grünwald villa shine in the best possible light. The owner wanted a flexible lighting solution that could be adjusted to suit different moods. This needed to be done in a harmonious, authentic, and comfortable manner. In addition, the owner wanted a lighting effect that was as homogeneous as possible, with artificial light complementing and improving on the natural daylight in the interior. With the expertise of lighting technology supplier feno and the high-quality LED solutions provided by Nichia, Rohr realised the dynamic lighting control her customer was looking for. Precisely modelled on natural light, it gives the owner a free hand in setting different lighting moods whenever they pleased. In order to create holistic lighting concepts, Rohr works closely with architects and builders, as well as highly specialised companies like feno. This LED specialist offers lighting technology that focuses on flexibility, so that illumination can be fully aligned with human emotions. The technical knowledge that feno could offer would prove invaluable for the Grünwald villa project - since it was clear from the initial discussions that the client had very high expectations when it came to the lighting quality of their residence. A general light was desired that would simulate natural light over the course of the day and, at the same time, serve as a background light for everyday living.
The task was to increase the daylight illumination in the interior by supplementing it with artificial light. This could then be easily regulated, depending on the villa occupants’ mood and activity. Variation of the daylight intensities in different areas of the villa also posed a challenge – which had to be balanced by general lighting, mood lighting and selective light sources. In addition, a homogeneous lighting effect was desired in rooms connected by openly designed transitions. In order to implement the dynamic illumination control planned by Rohr, feno developed an LED circuit board for the light coves, which had integrated dimming and DALI compliant electronics. Central to the system would be warm white Optisolis LEDs from Nichia. These full-spectrum LEDs have a colour temperature of 3000K, going far beyond the possibilities of tunable white and RGB(W) devices, with gentle dimming processes, a light spectrum similar to sunlight and excellent colour rendering.
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www.nichia.co.jp
Private Residence GermanyGrünwald, Munich-based lighting design studio luxophil lighting, used LED solutions from Nichia to bring dynamic lighting to a Grünwald residence.
Images: Jasmin Hirschbach, luxophil
www.kingfisherlighting.com 01623 415900 | sales@kingfisherlighting.com plcPart of the group of companies Distinctive Products, Outstanding Service
Horlicks Chimney Slough, UK Following refurbishment to the old Horlicks factory in Slough, UK, Tryka has paid tribute to the site’s heritage by illuminating its iconic chimney.
Tryka was selected to provide the LED lighting to illuminate the iconic chimney in the refurbishment of the Horlicks factory. The old Horlicks factory site in Slough has recently been renovated by Berkeley Homes into modern housing. The 10-year project saw the conversion of the old factory into 1,300 new homes. A key feature of the factory was the historical 46-metre-high chimney, which is a focal beacon of light for the community. Working in collaboration with Light Bureau, Tryka provided a complete turnkey solution to dynamically illuminate the chimney. The brief was to evenly illuminate the length of the chimney from one single base position, however due to the height of the chimney, standard grazing from a linear fixture would not achieve this.
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www.tryka.com
Tryka came up with an innovative solution, which involved stacking two rows of Stripline 69 high output linear in tandem, utilising two different beam patterns to create the even illumination of the chimney length from top to bottom. To house the Stripline linear products, Tryka created bespoke adjustable arm brackets to allow the fittings to be tilted to direct the light upwards. Michael Robinson, Tryka’s Specification Manager commented: “It was great to work on such a momentous project. We love a challenge here at Tryka, so when it was suggested that the tall chimney be evenly illuminated from a single spot, we got really stuck in to figuring out ways that we could make this happen. I’m glad to say that we did, and we are really happy with the way the even illumination looks.”
Image: Huw Evans Photography
in High Temperatures Up to 90°C www.clearlighting.com LED Flex Linear Light Expert THE MOSAIC SERIES THE RECESSED MOSAIC THE MOSAIC FLOOD LUMINAIRETHE MOSAIC PROFILE PROJECTOR MANUFACTURED BY The Mosaic Series features high CRI output with tunable white from 1800K to 8000K with a CRI of 90+ across the entire color temperature range. Rich blues, ambers, reds, violets, and greens can be added in gradients, or they can completely saturate the field being lit. Paired with our data track system, the Mosaic Series gives you the flexibility of a versatile lighting system in a neat, architectural package. Contact us to learn more. 5 Holt Drive Stony Point, NY 10980 | 845.947.3034 | tslight.com
www.pharoscontrols.com www.lightperceptions.co.uk Ely Cathedral Ely, UK As part of a move to be more energy efficient, Ely Cathedral has been given a new lighting scheme, controlled by Pharos Architectural Controls
A Pharos TPC (Touch Panel Controller) is now used, offering a customisable 4.3-inch touchscreen with a single Power-over-Ethernet (PoE) network connection. The touchscreen interface allows Ely Cathedral to create multiple pages of controls and configure their appearance to provide immediate visual feedback. The advanced technology of the Pharos TPC allows for control of lighting levels and playbacks that can gracefully transition between scenes, timelines, effects, and pixel-mapped media. To bolster the system further, a Pharos EXT has also been used. The EXT is an extension for the Pharos TPC and together they form a standalone, mains-powered lighting control system with flexible output and show control options. The EXT also provides local DMX and DALI output for the TPC, as well as power and other hardware interfaces.
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Bruce Kirk, Director at Light Perceptions said: “Ely Cathedral is visited by thousands of people every year, which makes us incredibly proud to know we have contributed to the new lighting system now that phase one is complete. The outdated lighting was no longer fit for purpose, using high levels of energy, and costing far too much. The new lighting system will give the Cathedral the ability to control the lighting easily and embrace this to its full potential. Light Perceptions has worked with Pharos on a number of projects and, as always, their contribution and market-leading technology has completed the lighting scheme perfectly.”
Ely Cathedral is located in the picturesque city of Ely in East Cambridgeshire. The site can be dated back to AD 763, when it began its life as an abbey church built by St Etheldreda. The current building dates from 1083, and Ely was raised to cathedral status in 1109. As part of the Church of England, Ely Cathedral is committed to being carbon neutral by 2030. To help achieve this, the lighting at Ely Cathedral is currently being upgraded to a more energy efficient and sustainable system. While the Cathedral is primarily a place of worship, it is also an important heritage attraction, a venue for music and events, and an occasional location for filming. It was therefore key to ensure that any new lighting scheme could show the architecture off to its full potential, while supporting a range of uses and enhancing its daily round of worship. The work has been split into phases, with phase one focusing on the exterior of the Cathedral’s Octagon Tower. Light Perceptions was appointed to the project with a brief to remove the existing flood lighting and design a scheme that was flexible and controllable while offering higher levels of energy efficiency. The flexibility of the external system is important as it allows the Cathedral to use colours and dynamic lighting to mark special occasions or events, such as red, white, and blue for the Queen’s Platinum Jubilee, or the colours of the liturgical calendar. The previous lighting allowed for only a single colour. In addition, the new system has removed the need for someone to change the lighting manually when required, which incurred time and cost. To deliver the control aspect of the exterior lighting design, Pharos Architectural Controls was selected.
The Basilica of the National Shrine of the Blessed Virgin of Ta’ Pinu is not just a religious building, but a pilgrimage destination for many years. A supreme testimony to Maltese spirituality, it sits in the northwest of Gozo, one of the islands that make up the Maltese archipelago in the Mediterranean Sea.
Image: Alan Carville
The chapel’s origins are unknown: the first real mention of it dates to the mid-16th century, as a place of prayer dedicated to Our Lady of the Assumption belonging to the noble family of The Gentile. A few years later, it passed into the care of Pinu Gauci, from whom its present name was taken. According to popular belief, the first miraculous manifestations took place at the end of the 19th century, when the chapel had been in a state of deep neglect for almost three centuries. In 1922, thanks to the appeal of the chapel of Our Lady of Ta’ Pinu to pilgrims from all over the world, a large sanctuary was built to “frame” the old chapel, which was incorporated into the new building. In 1932 this sanctuary was elevated to the rank of minor basilica by Pope Pius XI. The cruciform basilica is neo-Romanesque with Gothic elements and features a large rose window and a porch above the main entrance. The lighting on the entire tiered façade has been renovated – the final step of a new lighting design that has been developed in various stages over the last few years with the involvement of the Maltese light planning studio Light Design Solution (LDS). LDS chose L&L Luce&Light lighting fixtures as the ideal devices to bring out the site’s special features. The light emitted by Neva 1.0 linear profiles, 3000K 18W, with 60 pitch and elliptical optics, illuminates several architectural elements on the façade, including the pilasters of the main entrance and the lesenes in the upper section. The internal profiles of the window mullions are highlighted by Lyss 1.0 projectors, 3000K 5W, with 10°x180°optics, while, in the round arches of the side doors, Spot 1.6 projectors, 3000K, 2W, 40°, have been installed and outline the columns against the light. The spacious parvis features large Byzantine-style mosaics placed on curved walls suggestive of the open arms of a mother’s embrace that Pope Francis spoke of in 2017. The mosaics depict the 20 mysteries of Christ’s life represented by the rosary and were created between 2015 and 2017 by the Centro Aletti in Rome. They are lit by projectors, placed between the benches, that make the red and gold inserts stand out particularly well, thanks to the high colour rendering index of the LED light sources. On the raised area in front of the porch, there are three Rio linear profiles, 2.4, 2800K, 38W, recessed flush with the floor. These emit a diffuse light and are switched on during outdoor celebrations, when a temporary altar is set up to celebrate the services.
The Basilica of the National Shrine of the Blessed Virgin of Ta’Pinu Gozo, Malta A range of fixtures from L&L Luce&Light showcase the splendour of one of Malta’s most historic religious monuments.
www.lucelight.it
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ACEVEL 011 ADO Lights 091 Alto 015, 017 Archiproducts 016 ArchLIGHT Summit 116 Bright Special Lighting 089 Clear Lighting 139 CLS-LED 010 [d]arc awards 018 [d]arc sessions 006, 007 Darkon 021 dpa lighting consultants 144 DW Windsor 107 Erco 002 Feelux 014 formalighting 043 GVA Lighting 065 here&after 129 HLB Lighting 145 Insight Lighting 023 Intra Lighting 093 Kingfisher Lighting 137 KKDC 053 KScape 097 L&L Luce&Light 029 LED Flex 077 LED Linear 148 LiGHT 22 008, 009 Light.iQ 144 LightGraphix 147 Ligman 105 Lumascape 003 Lumo Tubo 135 Novolux Lighting 067 ON Lichttechnik 131 OneEightyOne 133 Petridis Lighting 083 Proled 095 Radiant Architectural Lighting 143 Reggiani 033 Seoul Semiconductor 012 Stoane Lighting 071 Times Square Lighting 139 Tryka L.E.D 004, 005 Wibre 013 Advertisers Index Advertising enquiries should be made to Jason Pennington. Tel: +44 (0) 161 476 8350 email: j.pennington@mondiale.co.uk Please contact Radiant for product information, to see demo samples, or for a presentation www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | david@radiantlights.co.uk | London, N6 5JW | All products designed by W Algarve, Portugal Lighting design and project photography by MBLD Custom Water Effect fixtures produce a dynamic lit-effect on the exterior facade Water Effect In-ground RAD 180 WE System IP68 In-ground, DMX controlled, dynamic LED effect lighting system IP68 Up to 3,500 lumens arc ad August-September 2022.indd 11 01/08/2022 16:25:13
• Strong IT skills, including full proficiency in Microsoft Office (Excel, Word and PowerPoint)
• Advanced proficiency of Dialux
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.
dpa lighting consultants has the following positions for suitably talented candidates:
commensurate with experience and includes bonus opportunities. The Dubai position enjoys a tax free environment subject to personal taxation circumstances.
• A passion for lighting and a natural interest in architecture, interior design and product design.
We are currently looking for Designers to join our London studio. 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. 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.
Remuneration will be commensurate with experience and includes bonus opportunities. 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 Elizabeth Grundy: dpa@dpalighting.com. Please clearly state on your covering email which position/studio you are applying for.
• Skilled at hand drawing
We are looking for a creative and technically knowledgeable Associate (Oxfordshire) and Senior Lighting Designers (all studios). 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.
Lighting Designers - Oxfordshire, London & Dubai Studios (Oxfordshire Studio is in a rural location and does require a car)
Associate - Oxfordshire Studio Senior Lighting Designers - Oxfordshire, London & Dubai Studios (Oxfordshire Studio is in a rural location and does require a car)
Junior Lighting Designer
• 3D modelling skills
• A relevant academic background at Degree level (i.e. architecture, interior design, product design).
light.iQ is recruiting for a junior lighting designer. The role will be to work alongside and support our intermediate and senior designers in hospitality, lifestyle and residential projects all over the world. The candidate will work from our offices in London and will be required to travel internationally. The ideal candidate will have a passion for creativity, excel at collaborating with both the internal and external project teams and have a positive can-do attitude.
This role would be ideal for a hard working graduate with the ambition to be running large and complex international projects in the future. The candidate must have a passion for lighting as well as the following skills and experience: All applications should include a CV, portfolio (printable format) and cover letter. Salary and benefits will be competitive and based on the applicant’s experience and skills. All applications should be emailed to jobs@lightiq.com and directed for the attention of Philip Moule (no agencies please).
• Advanced proficiency of AutoCAD
• Fluent in English language (proficient use of English in both written and oral format).
• Advanced proficiency of Photoshop
Light IQ is an award winning independent lighting design consultancy with partner offices in China and the USA. We design innovative and inspirational lighting schemes for both residential and commercial projects in the UK and abroad. For more information on the Company we recommend that you visit our website.
Only applicants with professional independent lighting design experience will be considered. Associate applicants should have a minimum of 8 years lighting design Remunerationexperience.willbe
• Uses communication tools to manage client expectations Working with Teammates and Managers – Management
Responsibilities
initiatives • Participation in and contribution to procedures and environment that are in the best interest of the firm. • Represent the firm in a professional manner. • Participation in Designing Our Future/HLB 10:10 Vision, C2Q initiatives. • Reinforce HLB values – Artistry, Curiosity, Balance, Integrity, Legacy. • Look for opportunities to collaborate with other HLB offices on project, DOF, C2Q, business workgroup avenues in a meaningful way. SkillRequirementsSet • Excellent Organizational skills • Proven technical skills appropriate to work area • Oral and written skills • Computer programs: Revit, Excel, Word, PowerPoint, Adobe Suite including Acrobat, Photoshop and InDesign, AutoCAD, AGI or Visual or Elum Tools, Diva, Grasshopper, Ecotect, Radiance, Daysim, Rhino, Radiance, Vision - as applicable to their role or business group • Ability to prioritize / time management skills • Self-motivated and self-directed • Team player • Motivator • Dependable Education & Experience • Bachelor’s degree or above in Lighting Design or Architectural Engineering or Architecture or Interior Design or Theatrical Lighting or related education and experience • 2 to 4 years’ experience • Certification in Lighting Design (e.g. LC) or certification related to their field / degree or endeavoring to obtain it. • LEED BD+C or endeavors to achieve • IALD Associate level or above or endeavoring to obtain it. • Participate in industry related professional organizations locally If interested, please visit our website to apply - hlblighting.com/careers/
Horton Lees Brogden Lighting Design is an internationally recognized design firm focused on architectural lighting, including electric lighting and daylighting, for both interior and exterior environments. We are inspired by the artistry of light and its impact on the natural and architectural environment. We infuse our core values of artistry, legacy, curiosity, balance, and integrity into every project. We thrive with intriguing projects that engage us conceptually and challenge us technically. We seek to enhance our clients’ experiences and create a legacy of design that respects its environment and promotes a better future. Our services are customized to provide the best lighted environments to meet our clients’ needs.
• Starts to develop good client and/or related business relationships - working well with their equal at other firms
Supports the work of 1 or more team members and displays judgement and independent thinking in the design process. Position is 70% designer / 30% project manager. Position can be in any of our HLB offices. Please visit hlblighting.com/careers/ to apply.
• Exhibit flexibility and cooperation with teammates.
• Manage own work time and priorities and show ability to also do this with the project team.
Achieving Results – Project Responsibilities
HLB is a collaborative firm that values flexibility and work/life balance filled with dynamic people whose enthusiasm for what we do infuses both our professional and personal lives. We are driven by an experienced team that is rewarded for its originality, commitment, and leadership. Our principals are engaged in every project from concept to commissioning to ensure the clients’ needs are realized at every step. Our design and technical experts hail from many parts of the world and form the basis for HLB’s proven ability to produce outstanding, award-winning designs. As designers, we promote a positive vision of the future, based upon the belief that many of the environmental problems we face are design challenges. We believe a successful project starts with a collaborative mind-set in support of a common goal: to achieve energy-effective, high-quality environments for owners through intelligent lighting design, design that holistically integrates daylight with supplemental light and controls. Our designers work closely with owners and architectural teams to optimize the integration and control of natural and electric lighting for energy-effective designs of the highest excellence.
• Assists the project manager in creating labor hour budgets for projects.
• Use critical thinking and discretion in assessing specific project needs and communicating effectively to the project manager.
• Begins to understand how to apply authorized scope of work to tasks and meet deadlines.
DescriptionDesigner
• Work independently on specific scopes of a project like calculations or documentation.
• Begin to familiarize/learn the process for reviewing monthly fee drafts with Project Manager/Associate/Principal.
• Understand good framework for resolving issues.
We are an equal employment opportunity employer. All qualified applicants will receive consideration for employment without regard to race, religion, creed (which includes religious dress and grooming practices), color, citizenship, national origin, ancestry, physical disability, mental disability, medical condition, genetic information, familial and marital status, sex (which includes pregnancy, childbirth, breastfeeding, and related conditions), gender, gender identity, gender expression, age, sexual orientation, military or veteran status, domestic victim status, caregiver status, or any other consideration made unlawful by federal, state or local laws, ordinances, or regulations. Horton Lees Brogden Lighting Design takes affirmative action in support of its policy to and advance in employment individuals who are minorities, women, protected veterans, and individuals with disabilities.
• Interface among the principals, design/technical staff and business team as needed.
Working with Clients – Client Responsibilities
• Enhance HLB’s value to the client and promote the firm
HLB’s Corporate Culture and Values – Responsibilities to HLB
• Supports the team to produce work efficiently and profitably.
• Assist in managing agendas, meeting minutes, and regular project status communications to build knowledge in these areas.
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Why Where the fresh water in the cave meets the sea water from the ocean it forms a Halocline, you can move between the two and savour the change in light streaming from above. Cave diving is a little intimidating as most times you cannot surface but, like our work, some things are worth anxiety to experience, and when light does enter the dark domain this is one of my favourites. www.durhamld.com
Durham Marenghi Durham Marenghi Lighting Design What Cave diving in the Cenotes. Where Natural underground reservoirs in the limestone of Yucatan, Mexico.
When Anytime you have the bottle (and not only air!).
curated by “Staying on the surface of the ocean all the time is like going to the circus and staring at the outside of the tent.”
Dave Barry
REPLACEABLE LIGHT ENGINES
THE DIFFERENCE IS IN THE DETAIL. Our RLE system provides customers with an unlimited ability to repair and upgrade miniature LED fittings at any stage in their lifecycle, renewing them for decades, with minimal material waste as a result. Based on a single modular engine insert, fittings can be restored onsite rather than awaiting repair. We are the first manufacturer to implement an innovation of this kind across a range of miniature products, which maintain an IP67 rating. Scan the QR code to watch our RLE video or visit www.lightgraphix.co.uk to find out more. Modular engine insert resulting in minimal waste Interchange optics or colour temperatures Easily replace or upgrade LED engines whilst onsite Integrated into exterior IP67 rated products
