Quality light for the outdoors. Yori IP66 is the brand new system of lighting products for your landscape projects.
The world’s most iconic architecture deserves premier facade lighting solutions to match. Lumascape is proud to o er a full range of best-in-class luminaires and control systems to transform any building into a dazzling display of performance art with the power of light.
Tryka have had 20 colourful years of illuminating prestigious projects.
In these 20 years Tryka have expanded the brand across the globe, including opening their Middle East offices.
Team Tryka thanks all their wonderful clients, partners, suppliers and industry friends who have supported them over the last 20 years.
Here’s to the next 20 colourful years!
A slimline 8mm colourchange tile, our first IP68 luminaires and ‘LinkLED’ - an industry first, high power flexible lighting system, showcased at PLASA lighting show.
Illumination of FIFA Globe for World Cup with Lightlife of Cologne.
Flect-O-LED. Flexible modules with RJ45 interconnectivity to enable customised pitch on site are launched.
Tryka deliver 25,000 downlights spanning 23 different variants within 6 weeks of order for ADNOC project, U.A.E.
Tryka
UK Pavilion for Expo 2020, illuminated by Tryka, Shortlisted for DARC award. Lighting Design by Atelier Ten.
The impressive Swansea Arena LED façade is record breaking, with 97,000 of Tryka’s LumiNode Pixel LED’s, a full-colour RGBW solution, designed to suit a 30mm aperture.
The
A series of events connecting the very best people creating exceptional lighting projects around the world. For more information contact Jason Pennington: j.pennington@mondiale.co.uk
The UK’s only dedicated lighting specification exhibition
The Revo represents all core values of CLS. Innovative, high quality, configurable and sustainable. This also means that the fixture is easily upgradable and repairable, with as little waste as possible. Controllable via (Wireless) DMX, Casambi or CLS Magno dim. Machined from a solid block of aluminium and built with the best components available. The Revo lasts a lifetime.
Bath Abbey, UK by Michael Grubb Studio
Well, that was a bit special, wasn’t it??
At the time of writing, we’re two weeks removed from LiGHT 22, and the [d]arc media team is still riding high on the wave of positivity that has followed. Organising a trade show is no easy feat, let alone lauching a brand new one, but we’re over the moon with how successful it was, and are unbelievably grateful for the many positive comments that we’ve had in the show’s aftermath.
At [d]arc media, we like to think that our portfolio of events, in one way or another, brings people together; and that was very evident during LiGHT, as we caught up with friends new and old, and really felt the sense of community that is so strong in the lighting world.
On a personal level, I was also completely bowled over, and immensely humbled by the response to our [d]arc thoughts programme of panel discussions, and particularly to the Masters of Light session with Mark Major, Sally Storey and Nick Hoggett. It was amazing (and fairly terrifying!) to look out and see so many people in the audience, so a huge, heartfelt thank you to everyone that came along to that special discussion. It was a
moment that will live long in the memory. A massive thank you also to everyone that visited the show across the two days, to all of our exhibitors, to Lutron for supporting the talks programme, to Streeem for capturing it all (videos of the talks are now online on the [d]arc media Vimeo channel), and to all of the staff at the Business Design Centre who helped make the first edition a success. We’re already wondering how we’ll top it for LiGHT 23!
After all that, it’s not hard to forget that in the months since the last issue went to press, we’ve also been over to Frankfurt for Light + Building (check out Kevin Grant’s CoolKitList from the show later in the issue), and also back to Mykonos for the third edition of [d]arc sessions - another incredibly fun, successful event. It’s a wonder that we find the time to put a magazine together as well, but put a magazine together we have, and in between our travels we’ve created another issue packed full of insightful comment and inspiring projects. I had the pleasure of speaking to Silhouette Awards winner Iris Molendijk about her rapid ascent in the lighting world, while our Transport Lighting focus sees us journey through planes, trains and, erm, superyachts. Who says we don’t travel in style?!
Enjoy the issue!
Matt Waring Editor
Front cover: Bergen Light Rail, Norway
(Image: Thea Collett)
In Conversation Mark Vowles and Danish Sayed of Nulty fill us in on the firm’s new studio in Pune, India. Snapshot Lucespazio
Designers Mind Martina Frattura examines the separation between the person and their persona.
Collected Light Light Collective and formalighting hosted an intimate light art exhibition.
[d]arc sessions
A recap of the third [d]arc sessions event, held in Mykonos, Greece
Iris Molendijk arc sits down with the Silhouette Awards-winning designer.
Lights in Alingsås
The 23rd edition of the popular light festival took place this October.
ROLAN Manifesto
A series of principles for lighting designers to protect dark skies.
LiGHT 22 Review
A look back at the hugely successful debut LiGHT exhibition
IALD Enlighten Americas
The IALD Enlighten conference came to Palm Springs, California.
Light + Building CoolKitList Kevin Grant of Light Alliance shares his favourite finds from Frankfurt.
Private Gallery
Infusion Lighting brings a private gallery in Chiang Mai, Thailand, to life through light.
Elizabeth Line arc takes a ride on Crossrail’s new Elizabeth Line, and speaks to Equation Lighting about its lighting concept.
Transport Lighting
A selection of transport lighting projects, including work from Speirs Major, Light Bureau, L’Observatoire International and Lighting Design International.
Light Middle East 17-19 January Dubai, UAE www.lightme.net
Integrated Systems Europe 31 January - 3 February Barcelona, Spain www.iseurope.org
Euroluce 18-23 April Milan, Italy www.salonemilano.it
Prolight + Sound 25-28 April Frankfurt, Germany www.pls.messefrankfurt.com
Surface Design Show 7-9 February London, UK www.surfacedesignshow.com
Euroshop 26 February - 2 March DÜsseldorf, Germany www.euroshop-tradefair.com
LEDucation
7-8 March New York, USA www.leducation.org
Architect@Work 22-23rd March London, UK www.architect-at-work.co.uk
[d]arc awards 30 March London, UK www.darcawards.com
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
MAY
[d]arc sessions Europe 15-17 May Rovinj, Croatia www.darcsessions.com
Lightfair 21-25 May New York, USA www.lightfair.com
GILE
9-12 June Guangzhou, China www.guangzhou-international-lighting-exhibition. hk.messefrankfurt.com
Plasa
3-5 September London, UK www.plasashow.com
ArchLIGHT Summit 19-20 September Dallas, USA www.archlightsummit.com
*NOTE: All dates correct at time of publication*
Design Manager David Bell d.bell@mondiale.co.uk
Production Mel Robinson m.robinson@mondiale.co.uk
CORPORATE
Chairman Damian Walsh d.walsh@mondiale.co.uk
Finance Director Amanda Giles a.giles@mondiale.co.uk
Credit Control Lynette Levi l.levi@mondiale.co.uk
[d]arc media
Strawberry Studios, Watson Square, Stockport
SK1 3AZ, United Kingdom
T: +44 (0)161 476 8350 www.arc-magazine.com arc@mondiale.co.uk
Printed by Buxton Press. To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc, ISSN 17535875, is published bi-monthly by Mondiale Publishing, Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ.
As part of the 2022 edition of Noor Riyadh, Belgian artist Arne Quinze created Oasis, a public installation that embodies the artist’s ideology of an oasis in the desert –a vibrant place where life emerges.
Designed to immerse the viewer in “the unbridled beauty and diversity of nature,” the sculpture presents an inspiring and refreshing vision into the powerful yet fragile biotope of nature in an overflow of light, colour, and form.
Constructed of aluminium, the power of colours is strongly reflected in the piece, which makes a statement that the effervescence of all spectrums of light is needed in our society.
“Our cities can learn so much from nature’s diversity. It is a crucial moment in time to bring colour and nature back into our society,” said Quinze.
“To date, I have been creating work for more than 30 years with the aim of encouraging people to re-energise themselves with new insights. To open them up and learn to embrace nature back into their daily lives and communities.
“Since my birth in 1971, more than 30% of our flora and fauna has disappeared
because of our human intervention. I see it as my duty as an artist to plant a seed in your mind with my artwork and inspire you to join me in rethinking our society and empowering nature.”
The 16-metre-high installation, spanning nearly 40-metres wide, is one of the largest public light sculptures ever created, and places the observers in an open-air museum setting, where public art seems larger than life.
“Oasis is a bright spot in the dark desert at night,” Quinze continued. “A place to which people are drawn to. The sculpture seems almost unearthly, as if it comes from the outside world. Viewers are completely triggered by the astonishment of nature. Their minds are stimulated in all dimensions: dynamic light, futuristic soundscape, elegant shapes and dynamic colours. Just like a story you dive into, the sculpture is taking you on an adventure.”
The theme for Noor Riyadh 2022 is We Dream of New Horizons, responding to a motif that is both literal and metaphorical in meaning. Organisers believe the theme “alludes to the distant glow of sunrise or sunset and the shining light of our dreams, with a sense of hopefulness for the future. Its connotations are positive, optimistic and reflective of a confidence in renewal and transformation”.
To that end, Quinze aimed for Oasis to bring people together and open themselves up to new horizons through the beauty and power of public art. www.arnequinze.com
As part of a programme entitled Toomemägi Revisited, which is part of the main programme of the European Capital of Culture Tartu 2024, a new lighting design proposal has been put forward for Tartu Cathedral.
A competition for the new lighting design saw three lighting teams submit proposals, with the winning concept going to Ensemble. A team of international professional lighting designers assembled specifically for this competition, Ensemble comprises Fiorenzo Namèche (team leader and project holder, Light-to-Light, Belgium), Alfred Sa’ (technical advisor, Spain), and Chiara Carucci (project manager, Italy).
The concept that Ensemble presented to the Tartu Cathedral lighting competition was entitled Koit ja Hämarik (Dawn and Dusk). The design was inspired by the rich, nuanced light of the Nordic sky, the changing seasons, and the light and shadows in the architecture of the building.
“Although in the legend, Koit and Hämarik could only meet within four weeks once a year, we wish to celebrate love as in their engagement, where love is young and new every day. Our lighting design, like their story, connects the power of love with the Estonian values related to the cycle of light and darkness through the seasons,” said the design team.
The competition was judged by Director of the University of Tartu Museum Mariann Raisma, alongside artist Elo Liiv; Kati Ilves, Artistic Director for the European Capital of Culture Tartu 2024; Heiki Pagel, Head of the University of Tartu Estates Office; lighting designer Eva Tallo; and Anna-Liisa Unt, architect at the Department of Urban Design of Tartu City Government.
Elo Liiv said of the winning concept: “Instead of a classic, static lighting solution, the winning entry offers a dynamic play of light and shadows that makes the old walls breathe to the rhythm of nature. We are particularly pleased that the proposed lighting solution avoids light pollution and considers human wellbeing as well as the preservation of the nocturnal fauna of Toome Hill.”
Chair of the jury Mariann Raisma added: “The winning design is further enhanced by an added inclusive layer allowing, by the shadows it creates, every visitor to be part of the artwork and be a creator. While creating a personal connection, it also builds a strong link with shadows from the past, with those who have left their mark on the cathedral over centuries.”
The lighting design competition for the Tartu Cathedral was organised in two phases. In the first phase, the jury assessed the 19 submitted
portfolios and selected the three best. Alongside Ensemble, the two participants who made it to the final round were Kevan Shaw Lighting Design (Scotland), and ITK Lighting & Mihkel Pajuste Studio (Estonia).
The new lighting solution will be completed in 2024, coinciding with Tartu’s year as European Capital of Culture. www.muuseum.ut.ee
Michael Grubb Studio has been appointed by globally integrated and recognised real estate group Lendlease to create the lighting design scheme for £3.5bn Silvertown development, a vibrant new community situated in the heart of London’s Royal Docks.
Silvertown is at the heart of the regeneration of London’s Royal Docks and will become a waterside destination for people to live, work, and socialise. Around 6,000-6,500 new homes will be built, as well as many spaces for local talent to work and network. It will embrace East London’s vibrant and creative future.
The regeneration of Silvertown is being led by Lendlease and Starwood Capital. Michael Grubb Studio will work in collaboration with these partners, as well as other key stakeholders across the project.
Having successfully worked on the lighting strategy for the scheme in 2019, Michael Grubb Studio was commissioned to create the sitewide masterplan for the entire development. The team is currently
developing the detailed public realm lighting design for Phase 1.1.
The wider team includes Prior and Partners, AHMM, dRMM, Pollard Thomas Edwards and Maccreanor Lavington. Arup is advising on transport, Aecom on infrastructure and West 8 and Churchman Thornhill Finch on landscape.
The finished scheme is expected to generate thousands of jobs, as well as contribute to the wider regeneration of an important part of East London. It has an estimated end development value of £3.5billion.
www.michaelgrubbstudio.com
Insight’s proprietary wayfinding system combines custom laser etching technology with simple mounting options to create consistently elegant wayfinding solutions. With minimal profiles and clean luminous surfaces, your message is delivered loud and clear. Insight’s SmartSign: helping you find your way through the world’s busiest terminals.
Images courtesy of DEN Airport
by insightlighting.com/smartsign
Lights On is a light sculpture proposal from Greece and New York-based design studio Objects of Common Interest, created with the goal of breathing new life into the Piazza de la Liberta in Bergamo, Italy.
Conceived with the goal of activating the public space across all scales, the concept uses solarpowered light tubes, alongside leftover marble blocks from local quarries and reused rubber tyres as seating furniture.
The installation has been designed around three core principles: Reactivate, Reuse and Renew. Objects of Common Interest hope that through the light sculpture, the underused public space will be reactivated and transformed into an entirely new landscape, an “illuminated city” square that “inspires and brings joy to passers-by”.
“By using the neighbouring abandoned building as our framework, the intervention brings the plaza back to life and back to its people and to a human scale, thus making it possible to be a part of their everyday life once more,” said the studio. “The city is uplifted by its reactivated public space, giving citizens somewhere to sit and gather throughout the day, watching as the light sculpture transforms after dark, illuminating the plaza within its glow.”
Rethinking the relationship between the community and its natural resources was also key in the design proposal, creating a “city that invents with that which it already holds”, proposing solutions by looking at the past and the city’s
heritage for inspiration. Alongside the repurposed marble blocks and recycled rubber tyres, the light installation is solar powered, meaning that it becomes entirely self-sustained.
“Every step we have taken, we have done so to renew this public space and transform it into a ‘city of hidden treasures’ that cures and uplifts its users,” the studio added. For the first time, the fountain on the piazza can be seen up close, as an artificial hill of reused rubber tyres slopes up to the fountain level, creating a viewing and seating platform overlooking the whole plaza from a higher perspective.
Each piece, the hard scape and floor patterns, the seating blocks and the light sculpture, all tie together to become a public art piece that creates stages for public interaction along the plaza. All elements have been designed to have an afterlife, emphasising the studio’s belief in repurposing; either as a whole, or in parts, they are able to be reassembled in a variety of clusters at different locations.
The light sculpture is made of repetitive fragments that can be broken down to create different variations of different scales; the marble seats can easily rearranged in various combinations; the glowing rocks are standalone pieces, and the rubber platform can be reshaped and easily relocated. Moving the installation to anywhere that may need to bring life back into its core.
www.objectsofcommoninterest.com
VOWLES & DANISH SAYED
As Nulty continues its international expansion with the opening of a new studio in Pune, India, arc sits down with Mark Vowles, Managing Director, and Danish Sayed, Technical Design Manager, at Nulty, to talk about the move and what it will mean for the studio as a whole.
How did Nulty Pune come about?
Mark Vowles (MV): Branching out into India was always part of our plan but the idea gained momentum after the launch of our Bangkok studio. Setting up a base in Thailand allowed us to lay the foundations by developing relationships with clients based in Southeast Asia. By gradually and deliberately building up our profile in this way, we were able to widen our network, strengthen our knowledge and look further afield to countries like India. It also meant that by the time we came around to launching the Pune studio, we already had a number of Indian projects under our belt. We started out with a team of five lighting designers and have already ramped this up to nine to meet demand for our services. It’s a positive step as we look to grow the studio’s profile and make the most of the exciting opportunities that an emerging market like India presents.
Why did you choose Pune as the location?
Danish Sayed (DS): Geographically, Pune sits between financial cities such as Mumbai and Bangalore. From a business point of view, it’s home to manufacturing firms, tech companies and a large network of architectural engineering clients. All of this means we’re well-placed to respond to India’s thriving construction industry. Pune is also a university city and has a pool of talent that we can tap into when we’re looking to recruit and develop young designers. Ultimately, it’s a great place to live and has a more laid-back feel to it, which enables us to offer our team the right level of work-life balance.
What benefit will the new studio bring to Nulty as a whole?
MV: It’s always a huge advantage to have a local office, because projects can move pretty fast once they get the go ahead. Having a studio on the ground enables us to respond quickly and adapt to the needs of the market. It’s also significant on a global level, because we’re always looking to push ourselves as a practice and grow as designers. Expansion into India helps us hugely in this respect because the industry is producing some incredible architectural projects, particularly in the commercial workplace, hospitality and retail sectors where we have a lot of experience. There’s a real spirit of innovation from what we’ve seen.
How does it fit within the wider Nulty brand?
DS: With all of our studios we’re focused on how we offer clients localised, one-to-one support, backed up with the wider knowledge and creativity of the Nulty brand. Pune is no different. India is a
vast country where every state comes with its own architectural and cultural considerations, so we’re taking the time to learn about the different areas to gain a better understanding of the country as a whole. Beyond this, the Pune team will work in line with the wider Nulty team to explore how we use light in relation to key issues such as sustainability, wellness and technology.
With a growth plan to expand the studio already in place, are you confident that it will be a success?
MV: It’s always a risk opening up a studio in a new part of the world, which is why we got a feel for the local market and gauged demand for our services before we launched. As a practice, we’re committed to producing inspirational lighting schemes that put people at the heart of the design. It’s clear to us that the Indian market is already on board with this way of thinking, so we feel optimistic that the industry is more than ready for Nulty.
What sort of collaboration will there be between the Pune office and the London, Bangkok and Dubai studios?
MV: Nulty has one global vision, mission and culture. All of our teams are responsive to this and do everything they can to maintain a clear, consistent dialogue between studios. There’s a great synergy between the work we’re doing in the Middle East and Southeast Asia, particularly in the heritage, religious building and public realm sphere. On a more overarching level, we’re constantly sharing ideas on the issues that are important to us as a practice. Our London team is currently working on a handful of highly ambitious schemes with a core focus on carbon neutrality, so we’re sharing insights to help the entire company adopt more sustainable working practices.
What is next both for the Pune office, and for Nulty as a whole?
MV: India is a large and emerging market that we’ve had limited exposure to until now. Our aim is to give the Pune team time to gel, as we use our lighting design experience and brand values to gain a strong foothold in the market. For Nulty globally, we see the next year as a period of consolidation while we give our studios space to mature and the scope to work on exciting, marketleading projects.
www.nultylighting.co.uk
Working out of Lugano and ZÜrich, Swiss lighting design studio Lucespazio has a broad, diverse portfolio that encompasses interiors, urban spaces, and light art installations. Lighting Design Partners Michela Bonzi and Jörg Frank Seemann share some of the studio’s highlights.
Scandit’s Headquarters in Zürich is a versatile and communicative working landscape designed by helsinkizurichoffice for future needs and growth. Straight lines and clear contrasts create visual sharpness and clarity, resulting in a weave of typologically differentiated areas for varied needs. The heart of the 4,000sqm space serves as a flexible social arena reflecting the innovation culture of the user. Ecological awareness is visible in the choice of materials: timber and various upcycled materials. The reduction of built elements ensures flexibility and adaptability. Lucespazio’s lighting scheme demonstrated how little and how much is possible in the workplace. While the initial lighting ideas were an explosion of colours, eclectic, anti-intuitive, or outrageous approaches to the various open and glass partitioned spaces, the client strongly reacted to black and white, linear schemes, interested in the magic and rectangularity of Donald Judd-like American minimalism, stimulating and economically competitive. A collage suggestion to paint barcodes as post-jail-break-prison-bars along all telephone booths, conciliated the general lighting approach into utilising the structural verticals for general lighting for visual coherence and not to overpower, but add a stylish stimulation of pattern recognition, while clearly setting the project in Zürich’s local lighting aesthetic. Reminiscent to the great train station halls of the past, an all-linear scope was applied to all corridors, group and meeting spaces as a general lighting frame work.
The lighting dramaturgy for The Innocent Chair - an installation of 10 chairs presented at Milan Design Week, hung in space and presented as objects whose use is removed from function - was derived in direct response to a landscape imagined by the designer/author Antonio Scarponi: “Two people meet in an empty landscape in the shade of an olive tree, or perhaps in the shadow of a rusty tin roof. They are a farmer and a lawyer. The farmer needs legal advice to solidify his claim to land which
has been confiscated from the mafia. “This scene is fictional, from my imagination. However, it is a clear image that emerged as I worked on a project to create a mobile pavilion to host this activity in southern Italy, imagining these kinds of encounters and this kind of relationship between courageous men and women rebelling against their destiny. It is in this context that the Innocent Chair was born, as a symbolic way of rebelling against destiny. It is conceived as an impetus to reject the reality of the world, transforming it instead.” The suggestion of Mediterranean lights and shadows determine the “luminous space” in which a lawyer and a farmer meet. The lighting had to emphasise the abusive power, quote the harsh southern shadows, mixed with highjacked religious iconography, tease and invite to touch while also repulse – here, too, the run down, cobwebbed cellar space with its whimsical daylight openings, helped immensely. The aim was to create a feeling of creepy unease, while the careful individual lighting and positioning attention given to the 10 wooden chairs helped the visitor to lend attention to the objects and their story. It is the distorted and “frightening” shadows that unequivocally determine the lighting and scenographic language.
In 2008 the team of architects, GrilloVasiu + Cristina Bellucci, was commissioned by the LAC Museum to renovate its hall and bookshop spaces. From the beginning, the architects imagined redesigning the existing space by inserting a triangular volume to accommodate the new functions requested by the client: reception desk, ticket corner, bookshop and cash desks. The new volume appears as a strong and decisive gesture, housing the reception, information and retail spaces.
The essentiality of the reception’s desk must match with a lighting solution that wants to be minimal, and at the same time impactful.
The result is the creation of a large luminous disc, nine metres in diameter, suspended above the new welcoming desk, while the surrounding ceilings and walls are painted black to further abstract the large luminous volume in the dark space.
“The Sun” is a custom-made pendant lamp: a metal, structural shell accommodates and energises a diffuse backlit fabric by linear LED profiles. The result is a luminous, flat, bidimensional body that emits a soft and homogeneous diffused light onto the underlying work surfaces.
To counterbalance the almost two-dimensional shape of the disc, the architects inserted an all-round suspension, a sphere of two metres diameter, covered with rice paper and emitting a soft, almost nocturnal light.
“The moon”, installed above the LAC kids table, wants to bring a dreamlike component, certainly playful and welcoming for the youngest users of the museum.
As part of the studio’s passion to spread knowledge to the next generation of lighting designers, Lucespazio took part in Lights in Alingsås 2022 as workshop heads. Using this year’s topic of Only One Earth – 7.9 billion Reflections as a reference, Lucespazio’s response was to search for the commonalities between us all: we all had a relatively protective childhood, we all had to make the transition to adulthood, we all want to be something special, which leads us onto unknown paths and adventures from which we all return and help to create a new normality.
A core source of inspiration was Joseph Campbells book, The Hero with a Thousand Faces, which outlines the Hero’s Journey, a universal motif of adventure and transformation that runs through virtually all the world’s mythic traditions, inspiring all those interested in the human need to tell stories.
Lucespazio worked with the natural site of a 150-metre wide and 45-metre deep rock face as a canvas to tell a the journey in five stages, while leading its group of lighting design students and electrical students through a hands-on exploration of a full lighting design schedule: from analysis, research, concept, synthesis, presentations and feedback implementation over testing, installation, programming, safety sign off, cleaning up to client handover for this storytelling with light workshop.
Lucespazio is a fun, experience, and quality driven, independent lighting design collective established by Michela Bonzi and Jörg Frank Seemann in 2018. As a practice, Lucespazio believes in revealing beauty by challenging the visual perception; in being part of its client’s journey, and collaborating, sharing, and supporting client, architecture, design and expert teams along the still moving frontiers and innovate aesthetics in answer to the mutually identified, real world problems. It believes in open, democratic exchange and in celebration of our differences towards developing a lighting solution, that speaks a clear, multifaceted, and differentiated language, serving the genius loci of environments that consider, preserve and improve physical, emotional, environmental, financial and social wellbeing. Lucespazio collaborates with international clients, architects, interior designers and public institutions to design lighting for people in kindergartens or super yachts, residences or retail stores, clubs, schools, mountains or bus stations. It transforms spaces with light into profound, intense, beautiful moments of architecture, products and experiences. www.lucespazio.com
To celebrate the launch of the book Collected Light: Women Light Artists, Light Collective and formalighting hosted an intimate exhibition at London’s SoShiro gallery, showcasing the work of six female artists.
In celebration of the launch of the book, Collected Light: Women Light Artists, an intimate exhibition of the same name was held at the boutique SoShiro gallery in London, with the support of formalighting. Collected Light comprised of six artworks created by six different female artists and featured a range of mediums, from neon to projection. The exhibition was curated by Light Collective, also authors of the book, and included talks with each of the artists, and the gift for every attendee of a limited edition, signed and numbered copy of Collected Light Volume One: Women Light Artists, courtesy of formalighting.
The artworks on show included In Lucem (2019) by Tamar Frank (NL). A series of 20 small light panels – four of which were on display at this exhibition – illustrate a seemingly still image with a central focus that gradually blends into 20 different colour compositions. The colour gradients are inspired by the changes in natural light over the course of one day and change very slowly so that the transition itself is not perceived. The artwork is a response to the perception of light as a natural presence. The central focus invites the spectator to slow down and allow the light to draw the viewer in.
Also on show was Peacock (2020) by Chila Singh Burman (UK). Burman is celebrated for her radical feminist practice, which examines representation, gender, and cultural identity. Peacock was part of the hugely popular neon installation on the exterior of the Tate Britain, Remembering A Brave New World in 2020.
Another installation displayed was Halo (2019) by Karolina Halatek (PL). The circular-shaped immersive installation is designed to draw out a very personal experience. Visitors interacting with the work have the possibility of discovering a new dimension of their own presence in the contemplative, pure, and abstract environment.
The title, Halo refers to the natural optical phenomena seen around the sun or moon, produced by light in the interaction of ice crystals. The place of the celestial body is given to the art viewer, who becomes a central part of the piece. Halatek is a Polish artist who uses light as a catalyst for experience.
The Lost Girl (2020) by Kate McMillan (UK/AU) is an immersive film-based installation centred around the fictional character of a cave-dwelling girl on the east coast of England. Using DH Lawrence’s book of the same name as a starting point, the film narrates the experiences of a young woman seemingly alone in a dystopian future, with only the debris washed up from the ocean to form meaning and language. The film combines McMillan’s various research interests, including
the Anthropocene; the role of creativity in forming memory and the consequences of neglecting female histories. McMillan is based in London and is the author of the annual report Representation of Female Artists in Britain commissioned by the Freelands Foundation.
The Off Grid Series (2022) by Jacqueline Hen (DE) investigates the perception of the body in space in the face of the digital realm. How is social media influencing our perception and interaction with the physical space? Mirrors and a carefully designed and constructed grid of light create the illusion of an infinite space of luminosity and darkness. The perception of this space changes with the viewer’s perspective inviting them to investigate their self within infinity.
The final installation was Stardust - The Deep Field (Lenticular) (2018) by Lauren Baker (UK) –a six-image lenticular backed by an LED light box, described by Baker as depicting ‘a galactic explosion of shooting stars and space matter’. Because of the way the lenticular lenses shift how the images are perceived, moving past the artwork brings it to life: suggesting a celestial dance of explosion and implosion, separation and unison, change and repetition. The artwork depicts a galactic explosion of shooting stars and space matter, inspired by the findings of the Hubble telescope. As people walk past, six images appear and merge into one another from different angles, creating a moving image of an exploding star.
The SoShiro gallery was also illuminated by a range of motorised luminaires from the formalighting MotoLux range. These served to enhance the visitor experience with the Moto-JoJo pendant on the first landing being a particularly popular attraction as it created a mesmerising and relaxing effect illuminating the niche, sculptural planters and planting in an array of colours and shade.
In 2019, Light Collective started the global project, Women in Lighting, also supported by formalighting, creating a huge community and network of women around the world working with light. Collected Light is part of the project and the start of the creation of a permanent collection made up solely of women light artists. The Women in Lighting project inspired Light Collective to look at all aspects of representation in the field of light. They found and researched more than 150 women creating light-based art, which led to the curation of the book. The book is a small step towards trying to redress the unfair imbalance in visibility of women light artists.
www.lightcollective.net
In Lucem by Tamar Frank (Image: Gavriilux)
Peacock by Chila Singh Burman (Image: David Thrower)
Image: Light Collective
Image: David Thrower
Halo by Karolina Halatek (Image: Karolina Halatek)
Stardust - The Deep Field (Lenticular) by Lauren Baker (Image: David Thrower)
The Off Grid Series by Jacquelin Hen (Image: David Thrower)
[d]arc sessions returned to Mykonos this October, inviting specifiers and suppliers to the beautiful Royal Myconian for three days of networking.
One hundred attendees joined the [d]arc media team for the three-day networking event, which saw senior designers, working within the European lighting specification market, meet with high-end lighting suppliers for a series of speed-dating inspired 20-minute meetings, where they learned about the latest innovations and products to market.
In between meetings, delegates attended a talks programme that saw panellists and the audience discuss various hot topics in lighting. On the first day, the opening panel discussed: “Should there be a Post-Pandemic Business Model?” with panellists Mustafa Akkaya of Line Lighting Design (Turkey); Jörg Frank Seemann of Luce Spazio (Switzerland); Anna Sbokou of AS Lighting Design (Greece), and Ellen Goulmy of Berlux Lighting Design (Netherlands) taking to the stage. This was followed in the afternoon by a keynote presentation from Zoi Katsarou of Metis Lighting (Italy) on ‘a nature-centric approach to design’.
The second day opened with a lively discussion on ‘The Challenges of Working with LED Sources and Dimming’, panellists included Ted Ferreira of CD+M Lighting Design Group (US / UAE); Gé Hulsmans of Summa Systems (Netherlands); independent lighting designer Chiara Carucci (Italy); Carolina
Florian of Buro Happold (UK). In the afternoon the topic of “The Importance of Sustainability Strategies,” was discussed with the panel including Kristin Bredal of Zenisk (Norway); Martina Weiss of Licht Kunst Licht Design Hub (Spain); Laurence Titton of Visual Energy (UK / Germany); and Marcus Steffen of MS Lighting Design (UK). Each day concluded with further networking opportunities in the form of an informal meal and drinks reception, where designers and manufacturers alike could continue their conversations from the meetings earlier in the day.
[d]arc media Managing Director, Paul James, commented on the event’s success: “This was the best [d]arc sessions yet. The engagement of the delegates from all over Europe, both specifiers and suppliers, ensured that everyone gained knowledge, contacts and friends. The positive feedback from the participants proves to me that the event is the perfect combination of a relaxed environment in beautiful surroundings with valuable business meetings and thoughtful education content.”
Planning for the 2023 [d]arc sessions europe event is now well underway with the details confirmed as 15 – 17 May at Hotel Lone in Rovinj, Croatia. www.darcsessions.com
When Designers Mind held its regular conversations on social media platform, Clubhouse, there was a recurring theme of being able to have a holistic approach to our days; or in other words, how important it is to have a perception of ourselves that is not split between the various roles that we have, that needs to be held together.
It is often common to have the feeling of ‘wearing a different hat’ based on the context and the people around us, calibrating some of our characteristics with the notion of better integration as a result.
Aside from the etiquette that is rightly required in some situations, the possibility of embracing all our nuances and not having to impose certain behaviours on ourselves would seem to be the key to lasting wellbeing.
But then, why do we do it? Why do we find it necessary to retune our behaviour every time we walk through a door?
The answer is probably linked to the perception of “professionalism”.
If we wanted to draw a valid guideline for all types of work, professionalism could be defined as the quality of performing one’s role in the best possible way. Expertise in one’s field and effective communication are certainly two of the main attributes of a professional, who continues to increase their knowledge over the years.
Above all, a professional is a person with a strong work ethic.
Obviously, all of these definitions are only suitable outside the private context, but considering that everything is based on the exchange with other people, the clear separation of roles is shortened in the presence of transversal skills.
Social skills, typically teamwork, problem solving, communication, adaptability, critical thinking, time management, and interpersonal skills, are considered essential for the final assessment in the work environment; but being fundamental for every interpersonal relationship, they act as a bridge between the two worlds.
If on the one hand, we have the capacity for a specific action, on the other there are the psychological, relational, and communicative skills that are the basis of social interaction.
The difference between these is of great scientific interest both as different applications to different tasks, and because they are connected to different areas of the brain for their processing.
One of the most important social skills is the ability to empathise, and in some cases even adopting another person’s point of view.
Understanding what others want, in addition to being a specifically human trait (according to studies at Caltech with Chimpanzees, for example), is a bridge to better relationship networks – being sensitive to ourselves and to others without having feelings and thoughts fully communicated explicitly. In the world of work, and beyond, this specific skill is transformed into a magnifying glass for factors such as understanding, validation, and listening, which, again, are the foundations of any interpersonal relationship in any field.
So, does feeding our more creative or logical side with activities that implement soft skills help us broaden our point of view? Is empathy the key?
Empathy could be considered one of the main characteristics with which we label “a good person”, but considering essential any transversal competence is a limit because not everyone can have access to the same experiences and therefore develop particular areas. The risk, in this case, would be a very non-inclusive environment.
Then the right question could be, how do you feel when you watch someone behave selflessly?
In neuroscience, among the different experimental programmes that analyse rather complex psychological problems, there is the one that studies the feeling that people get when they observe someone else engaged in something very altruistic.
Designers Mind contributor Martina Frattura examines the separation between the person and their persona, and the ability to look at the “bigger picture”.At the University of Cambridge, particularly the Body, Mind, and Behaviour Laboratory, they study brain activation following exposure to what they call a “moral beauty” event.
At a neuronal level, there is an interplay, much like the one that occurs when you start referencing the big picture instead of being attached to your current concerns. That is, when we experience a feeling of moral uplift, our brains respond very differently than when we only appreciate the other person’s share of abilities.
It is linked to the sphere of abstract thought, of wonder, that we would not normally see react as a function of a purely working discourse.
The answer to the question above would be, then, being uplifted and inspired. What can be called an exceptional act of moral beauty towards another person actually leads to the direct benefit of feeling inspired to do the same.
Whether it’s being aware of a co-worker’s emotional state, or interacting and sharing your emotions, or actively supporting someone, it’s probably not a speech of specific skill or exponential empathy that makes us good people. In fact, that’s not even the ultimate goal. For years we have been making our own definitions inherited from the past that separate the private sphere from the professional one. However, whether it’s in a work environment or not, our days are dictated by our exchanges with others, which often makes us an inspiration to someone.
The semantics of each language constitutes a reference system for human thought and behaviour. That’s why stepping away from narrow scopes might help us to become the only role model needed: ourselves.
www.designers-mind.com
“Understanding what others want, in addition to being a specifically human trait, is a bridge to better relationship networks.”Image: Youssef Naddam, courtesy of Unsplash
Icelandic-Danish artist Olafur Eliasson has launched Nel tuo tempo (In your time) at the Palazzo Strozzi in Florence, Italy. Eliasson’s largest exhibition in Italy to date, Nel tuo tempo brings together new and old works that feature light, shadows, reflections, patterns, and intense colour to create a powerful dramaturgy of immaterial artworks that address subjective perception and shared experience.
Opened in September 2022 and curated by Arturo Galansino, the exhibition comprises works that directly interact with
the architecture and spaces of Palazzo Strozzi. New installations and older works subvert and refract perceptions, using the museum building itself as an instrument for producing the art. The Renaissance building becomes a dynamic body in which architecture, windows, ceilings, corners and walls are activated. Subtle interventions employing spotlights, screens, and colour filters draw attention to what is already there.
Among existing artworks from across Eliasson’s portfolio, the exhibition opens with a major new, site-specific installation, Under the Weather. Situated in the public space of the Palazzo Strozzi courtyard, the piece comprises a large elliptical structure more than 10-metres-tall, suspended eight
metres above the ground. The installation conjures a moiré effect, which destabilises the viewers’ perception of the site’s strict orthogonal architecture, challenging its stable, unchanging historical structure. As visitors move around the courtyard, looking up at the work, the moiré pattern changes and shifts, interacting with everyone individually – it is the exchange between the viewer’s movements that activates the work, and their personal visual experience that completes it. Only when seen from specific vantage points at either end of the courtyard does the ellipse appear circular.
Nel tuo tempo will run until 22 January 2023. www.olafureliasson.net
Iris MolendijkRecognised in the inaugural Silhouette Awards last year, Iris Molendijk has quickly made a name for herself in the lighting design community. Here, she tells arc about her fascinating, concepual Master’s thesis, and her career’s rapid ascent.
“I find it so fascinating that everyone is constantly surrounded by light, but a lot of people never think about it, don’t know the risks about bad lighting and the importance of good lighting. This is something that I want to change.”
Expanding on her thesis experiment, Molendijk created a “2.0 version” in which people look into a completely clean sphere where a light stimulus is given over time.
While many burgeoning lighting designers will use their Master’s theses as an opportunity to apply theory and research to real-world applications, Sweden-based Dutch designer Iris Molendijk has instead gone down a more conceptual route, looking at the ways in which light can merge reality and imagination, the conscious and the subconscious.
Inspired by Gaston Bachelard’s book “The Poetics of Space”, in which he focuses on the personal and emotional response to buildings and of the phenomenon of daydreaming; and also by the research of Wolfgang Metzger, Molendijk wanted to investigate how light can blur the lines between the real world and the imaginary.
“In his book, Bachelard said ‘Daydream transports the dreamer outside the immediate world to a world that bears the mark of infinity’. I wanted to combine this abstract way of thinking, daydreaming – how do we observe these dreams? Can this also happen in an environment around us? This inspired me to look into the options of building an installation that would trigger people,” she told arc “In my opinion with lighting design, you can create scenarios that are not real or not there. This is the same with a dream – it seems real, but it is not. Or is it?
“Dreaming is the main function of our brain. During the night, our mind is free to drift off but when we are awake, the mind has a material frame that makes us perceive the world around us.
According to research, approximately 80% of our perception of the environment is through sight. We often think that what we see stops at our eyes, but human perception is an active informationseeking process that both includes the eye and the brain, some is conscious and some unconscious, the brain filters the information that is worth our attention. Humans need to understand the nature and structure of environment. Based on this understanding, we evaluate the space.”
The environment that we look at, Molendijk explained, can be categorised into two visual fields: a structured and unstructured environment. A structured visual field shows a clear hierarchy in the space with clear focal points, contrast and depth; while an unstructured environment misses contrast, depth and focal points.
“When the environment is not structured, our perception is affected and the image given by our eyes is interpreted differently in the brain. Our brain is not able to structure the complete space and will fill in the parts that are missing,” Molendijk continued. “The feeling of not being able to focus on a reference point often results in a feeling of disorientation. Our mind then takes over and creates thoughts and imaginations.
“In the 1930s, psychologist Wolfgang Metzger found out through an experiment that when subjects gazed into an unstructured or homogenous visual field, with no stimuli, they started hallucinating. This was called the Ganzfield effect. Participants referred to being in an unreal, almost dreamlike world. The lack of structure seen during the Ganzfield effect stimulates the brain to look inwards instead of focusing on external stimuli. Since it is our brain that is involved in these hallucinations, and our brain uses our past experiences, this experience might be different for everyone.”
Molendijk’s thesis, completed at Stockholm’s KTH, used the Ganzfield effect as an outset to “investigate loss of contrast, depth and perspective, to investigate the thin line between reality and imagination”. To do this, she looked at the possibility of adding a light stimulus over time to shift between reality and an imaginary state of mind to make people aware of their visual abilities.
“Within the experiment, I wanted to trigger people’s minds to show how light can change perception, since most of us take what we see for granted. But is everything we see real, or are some things illusions?”
For the experiment, Molendijk created a tunnel that simulated an unstructured visual field. The tunnel was homogeneously lit, and at five-minute intervals, a light stimulus was given, illuminating the end of the tunnel. Participants were asked to sit in the tunnel and look straight towards the end into the unstructured visual field.
The results found that when exposed to an unstructured visual field, focusing became hard. The whole tunnel looked the same, and the mind could not find any visual clues in the space, resulting in a field where participants had trouble understanding the space in terms of depth and contrast, with some even starting to hallucinate.
Paint the ceiling, no puttying needed.
Make a hole with a standard 80 mm hole saw.
Twist and level the RI kit with the ceiling.
Click in the spot and the funnel.
Top: In association with the IALD, Molendijk was invited to speak on the LEDFlex stand at Light+Building, sharing her experiences of life as a young lighting designer.
Bottom: During her studies at the Lighting Design Academy in the Netherlands, Molendijk was given a practical project, in which she created a lighting plan for a small island town.
“When a light stimulus was given, the space became clear again, it gave the participants structure, and they could interpret the surroundings again. The light stimulus could be seen as a bridge between our imagination and reality.”
Although her research appears to be very conceptual, Molendijk feels that there are some practical takeaways that can be applied to everyday design practices. “Our environment is always connected to our mind, and the other way around,” she said. “The Ganzfield effect is something that might be far away from our daily reality, however it does show the importance of focal points, light stimuli, and a light stimulus over time.
“When creating lighting strategies, the effects of light to its surroundings and its changes should always be considered. Creating a lighting strategy with focal points in the space, so that there is contrast and depth in the space, results in the mind being able to structure the environment.
“My thesis was also about awareness; it highlights how amazing our brain is. We always think that we understand our surrounding, but our brain is so much more complex and is often filling in information for us. Being aware of that made me look at the world with a new view. I started questioning my surroundings more often; observing is one of the most important skills to have as a designer, knowing how a space is built up and where you can make a change.”
Before she was breaking down the boundaries between the real and the imaginary, Molendijk first discovered the world of lighting design while studying Interior Design at the Jan des Bouvrie Academy in the Netherlands. Here, during her first semester, she had a course about materiality, and her teacher shared a story about her work in a New York theatre. “Filling a black box with light fascinated me, and I was inspired to dive more into lighting,” she recalled.
“During my Bachelor’s degree, I tried to look for the limits, and tried to get the most out of it –only working in interior design was not enough. I realised that there was a bigger picture than just the interior or architecture. With light, I can create that connection. You can create an amazing interior design, but if you forget about the lighting, no one will see your hard work on the interior. The same applies for architecture, if you create amazing forms and shapes, but these stand in the shadow, no one will notice them. Working with lighting, you help to highlight parts of the design. You make an existing design even better.”
Keen to pursue this interest in lighting, after her Bachelor’s degree, Molendijk enrolled in evening courses in lighting design at the Lighting Design Academy, led by Berry van Egten. It was here, she said, she found her passion. “We had classes once a week, and every week I looked forward to the next class. There were visits to manufacturers who showed their products, lectures about the physics of light, and design sessions, culminating in our own practical lighting projects. After this, I knew that I wanted to create more lighting designs and continue working in a practical way.”
From here, things began to snowball for the Dutch designer. Only a few weeks after enrolling in the Lighting Design Academy, Molendijk was given the opportunity to start working as a lighting designer at Beersnielsen in Rotterdam. While working here, she joined the IALD lighting design workshop for Lights in Alingsås, where she got to work with Johan Röklander, and met fellow students who were completing their Master’s at KTH. “That showed me my next goal,” she continued.
“I had always fancied living in Sweden, so when I heard that I got accepted for the Master’s degree in Architectural Lighting Design at KTH, I was more than excited. When I started studying in Sweden, I knew from the first day that I did not want to leave the country – a feeling of coming home overwhelmed me when I arrived at the airport, and when I got to KTH, I had the feeling that I had arrived at Hogwarts.
“When I was younger, I always thought of a Master’s degree as reading for hours through thick books and writing articles about difficult topics.
Something that I learned at KTH is that light cannot be taught through books. Light is a medium that you need to experience, you need to surround yourself with it, place yourself in a room and observe where the light is coming from.”
After her studies, Molendijk got a job as a research and teaching assistant at KTH, and got the opportunity to join the Erasmus+ Strategic Partnership project Light4Health – a crossdisciplinary course on the intersection of lighting design and health research. Keen to continue learning and “studying lighting on a more technical level”, she joined the Swedish University of Applied Science. “Here I learned more about electrical engineering, programs like MagiCad and the Swedish way of working with light,” she added. Through her further studies, and her teaching assistant role at KTH, Molendijk realised the different between working in practice and working in research. “I loved being surrounded by students and helping them finding their signatures as designers and helping the projects progress. But I also missed the hands-on creative process,” she said.
“Through one of my classmates at the University of Applied Science, I got the opportunity to start working for Helmet Experience Design, my current position.”
Based in Stockholm, Helmet Experience Design is a small, three-person team led by Ola CarlssonFredén and Alexandra Manson, who Molendijk said “believed in me and gave me the opportunity to join the studio”.
“Since we are only three people, I took on a lot of responsibility right from the beginning. We have only worked together since January of this year, but I already have the feeling that I have grown a lot, both professionally and personally.
“At Helmet, the work that we do is really diverse, but in every project we focus on the experience that the end user will have. We create visual experiences that make people see, feel and interact. Every project has a clear expression and a strong identity.”
“Light is a medium that you need to experience, you need to surround yourself with it, place yourself in a room and observe where the light is coming from.”
One particular project that stands out for Molendijk is Helmet’s Circular Concept; working together with Rebel Light, the studio has created a sustainable office solution for office spaces. “Helmet wants to contribute to a more sustainable future and working with circular products is a first step in the right direction,” she explained.
“Together with Rebel Light, we designed a ‘toolbox’ that creates a well-balanced, inspiring office space with fixtures that can be re-used again. Our design solution also works with as few fixtures as possible, and still creates the right light environment needed for an ergonomic workspace.
“Clients often think that lighting design is only for the high-end market and often go with a cheaper option if their budget is low, but with this model, we want to show that a good lighting design can be for everyone, and at the same time be more sustainable.”
As she was starting out at Helmet Experience Design, Molendijk was recognised in the inaugural Silhouette Awards, whose winners were announced at the end of January. Looking back on the announcement, she said that it “felt really special” to be recognised.
“I was so surprised when I saw my name during the award ceremony, for a second I did not even realise that it was me,” she recalled.
“When I applied, I was working at KTH and I started to realise that I wanted to focus more on working in practice, but I had no idea how I would be able to combine the two fields, especially since I felt that there was such a big gap between them. When I saw an advertisement for the Silhouette Awards, it felt like something I should do.”
Through the Silhouette Awards, Molendijk was partnered with mentor Rouzana Kopti – a Dubaibased freelance lighting designer who specialises in architectural lighting and landscape design. Over the course of the six-month mentorship programme, Molendijk explained how Kopti both inspired and helped her progress.
“When we started our journey together, we did not know each other, but after our first meeting, where we shared our journeys so far, I could feel a strong connection. Rouzana had been in similar situations and made similar choices in life,” she said.
“Something that I really appreciated was her determination. She knew what she wanted to do during the programme, and she made that happen. She also inspired me in the way she stands in life – her philosophy and eagerness to learn more and get everything out of a situation or a project.
“During the programme, Rouzana really pushed me to take everything out of it. She told me that you have to keep working, and while working enjoy every minute of it. When putting so much effort into something you enjoy, you will get a lot of energy out of it again too.
“We also had great help from our sponsor LEDFlex. They were really involved during the whole journey as well. Through them, the IALD and the Silhouette Awards team, I was able to present at Light+Building, an amazing experience that I could only have dreamed about before.
“The official programme has now ended, but Rouzana and I are still in contact with each other. The Silhouette Awards is just the beginning of a great collaboration, and more importantly a great friendship. I can see a collaboration happening at some point, combining our skills, and creating a project together.”
Her partnership with Kopti is just one example of a mentor relationship that Molendijk has had throughout her career, and she believes that such opportunities are essential in helping young, emerging designers find their feet.
She said: “When studying, they tell you that it will be easy to get a job, but when you start applying, you come across vacancies that ask for a graduate with three or more years of experience and an endless list of programs that you should know. The transition between being a student and trying to find a job, is huge. Mentorship programmes are the perfect solution to help decrease this gap.
“As you grow up, you are inspired by classmates, teachers, friends, parents, social media, and through all of these you create your own personality and preferences. This is something a mentor can help with too. During your studies, you’re exposed to so many possibilities and it’s up to you in what direction you want to continue. A mentor can discuss these options with you, and
also hold a mirror up to you to make you reflect. These reflections mend so much.
“But mentorship does not need to be in the form of a programme. Showing someone that you are there to help is also a great help. When I applied at Beersnielsen, I had only studied lighting design for two months. I told them my concerns and they quickly told me not to worry - they had years of experience and would help me to gain more myself. Giving someone that security of knowing that it will be alright shows great mentorship.
“I hope that the Silhouette Awards will be a programme that will grow - it shows the community feeling in our community, The lighting industry really feels like a big family, and a programme like the Silhouette Awards only highlights that feeling. People are willing to help one another, and I hope that we can continue with these initiatives and work together to create good lighting for everyone.”
As for herself, Molendijk has a number of exciting plans for the future, but primarily she hopes to “spread the importance of good lighting and how light influences us”.
“I find it so fascinating that everyone is constantly surrounded by light, daylight during the day and artificial light by night, but a lot of people never
think about it, don’t know the risks about bad lighting and the importance of good lighting. This is something that I want to change, I want to inform people, inspire them and spread the word about lighting.
“During my time as a research assistant and as a practitioner, I have noticed that while working in research, the day-to-day problems are often forgotten about, and while working in a practice there is hardly any time for research. I hope to bridge that gap and find a way for designers to easily combine research and show how important research is.”
Philosophising further on what she hopes to bring to the lighting community, Molendijk concluded: “It’s quite a vague and abstract thought, but I hope that in 50 years I can look back at my career and feel satisfied that I have connected with a lot of people who have seen the importance of good lighting, and continued to share their knowledge. I hope that we can connect and grow a strong network that will focus on light experiences, sustainable lighting solutions, and a beautifully lit world that will be there for our next generation.”
www.wearehelmet.com www.silhouetteawards.com
Left: Through her partnership with Silhouette
mentor
LEDFlex, Molendijk
Kopti
work on Island of Light, an international light art festival on the Swedish island of Smögen. Here, Molendijk and Swedish lighting designer Emma Kara-Nilsson planned the lighting in between art pieces to create a “complete tour” while highlighting paths along the water.
TALKING WITH... IRIS MOLENDIJK Above: At Helmet Experience Design, the team has a visual lab, in which it tests different light expressions, which they call their “light toolbox”. Awards Rouzana and sponsor was able to (Image: Catarina Loureiro)
Alongside its varied collection of silverware, fine china and porcelain, a private gallery in Chiang Mai, Thailand features a vast, undulating rattan sculpture, brought to life with lighting design from Infusion Lighting
n Chiang Mai, Northern Thailand, a private art collector has commissioned Enter Projects Asia and lighting design consultancy, Infusion to design a new gallery space to showcase their extensive collection. Consisting of several interior pavilions enclosed by intricate gardens with exterior sculptures and ornate water features, the gallery space houses displays of bespoke artworks, all using natural materials; the international collection of silverware, fine china and porcelain includes the largest Wedgwood collection in South East Asia, and the owner hoped to contextualise a lifelong ambition to exhibit these treasures, gathered over a 50-year period.
Traditionally clinical spaces in which art objects are presented to an audience, here the design team was challenged to bring life to the gallery, with zoning, lighting and seating blending 3D geometries with traditional Thai craftsmanship. Patrick Keane, Enter Projects Asia Director, said: “We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries.”
Lighting played an integral role in creating the desired immersive environment. Bangkok-based lighting consultants Infusion had an existing relationship with Enter Projects, following a chance encounter at an exhibition at the Museum of Contemporary Art in Bangkok where they discovered a common interest in Thai arts, crafts, and sustainable architecture.
Looking back at the original design brief, Infusion founder Spencer Baxter said that there wasn’t a specific brief for the lighting, but rather an overall vision for the project. “Collectively, the design team understood the client’s overall vision to create an enchanting, living project,” he recalled.
“The synergy between the design team accelerated and the client’s belief grew in his selection of consultants. A simple brief was then casually agreed: bring to life an immersive experience through the use of light. What then followed was a lighting concept that evolved in parallel with the overall vision of the project.”
This concept, Baxter continued, was based on creating a sense of wonder and discovery in a balanced design that had a clear visual hierarchy in tune with the architect’s overall vision, “exploring the irregular textures, contrast and drama to create not only a beautiful aesthetic but an emotional response to the space itself”.
“We aimed to bring ‘life’ to the space through light, delivering a subtle but ever-present dynamism to the project while connecting all spaces in keeping with the design language of the entire movement,” he said.
The wider architectural concept focuses on contemporary design ideologies of fluid space, parametric work techniques and dynamic forms that cannot be viewed from a single vantage point. Central to this are vast, undulating rattan sculptures that dominate the space. Using specialist software to simulate the movement of clouds and steam, the rattan structures weave their way seamlessly through the various zones – interior and exterior – culminating in a series of pod structures that serve as armatures for the art collection.
Elevating the sustainable, recyclable materials, the rattan structure comes to life after dark through the integration of light within the structure itself; bringing contrast and drama to its organic shapes, the sculpture becomes a living experience through the layering of light.
Baxter explained: “In the gallery areas, covered terrace and dining room, the undulating linear rattan elements were internally illuminated using a concealed flexible profile, creating sharp shadows while highlighting the distinctive internal rattan structure. The team balanced this with high level accent lighting framing the exterior structure.
“We considered the sculpture as the primary layer of ambient lighting; it is in essence an enormous luminaire manufactured from nearly two tonnes of natural rattan. We used concealed flexible grazers from Vexica on the vertical interior surfaces of the three main gallery pods to highlight their textural details. We took inspiration from the traditional Thai lanterns to cast playful shadows
PROJECT PRIVATE GALLERY
on the surrounding surfaces. For an added layer of visual interest, the rattan lamps were internally illuminated using miniature projectors from Unonovesette.
“Across the surfaces of the snakes, two different lighting techniques were used. Internally, a continuous line of lighting washes upwards with warm light, creating the illusion of a sweeping band casting deep shadows on the ceiling. The exterior of the snakes is intermittently illuminated with projected blades of light to balance the scheme and reinforce the emotional response to the material and space.
“We then contrasted this by adding a third layer of light to the collection of silverware, fine china and porcelain; here we used an area source linear profile discreetly integrated into the joinery to ensure what was displayed was beautifully illuminated.”
The exterior lighting has been kept intentionally subtle, toned down as much as possible to limit light pollution. Baxter continued: “We specified very little equipment for the exterior, a handful of submersible projectors from Unonovesette that are directed downward to a single white marble stone to delicately aid orientation along the pool steps. This is complemented by linear lighting details on the pool seating area to provide light at floor level, with a single projector mounted internally illuminating the Dale Chihuly glass sculpture.
“Our intention was for the reflection of the three-dimensional forms to be ever present and take precedence to become a natural part of the exterior lighting design and architecture.
“With the project in a rural area of Chiang Mai and the architecture itself surrounded by a very large tropical garden close to national parks, where the night skies are spectacular, we chose to leave our egos behind and allow for only orientation lighting to aid safe passage throughout the grounds. With the grandeur of the landscape design, this initially may have been considered as an opportunity lost, however as the scheme developed, the client came to realise that it was in keeping with the overall vision for the project.”
Developing this further, the lighting designers programmed multiple scene and scenarios within the lighting controls that were tailored to the people who use the space. All scenes include very slow movements of dimming levels, adjusting the levels of internal and external lighting to reveal the numerous dynamic layers of the rattan sculptures, bringing reflections in and out of focus. Meanwhile, subtle and intimate dining scenes transition gently as guests are led to view the collections.
Lighting also played an integral role in showcasing the rattan structure and creating a warm, immersive experience inside. To bring a lighting scheme that would feel effectively warm enough, Baxter and his team carried out a number of studies and tests on the natural materials present on site.
He explained: “We were initially confident that 2700K light sources would be required to create the warmth that we were looking for. However, we decided to carry out studies of the material, using multiple light distributions and sources at various colour temperatures.
“The material’s natural composition varied greatly in texture, with some portions being rough and others smooth; colours ranging from an almost
Lighting
soft green through to burnt orange; lengths that were matte finish and others semi specular. We soon realised that the light did not behave as expected and 3000K light sources were much more suitable in creating the warmth that we were looking for.”
Baxter continued that the more they began to understand how the light worked with the rattan, the team became more certain that a full-scale mock-up was required. “After completing several of these, we were surprised to find that we could create deep shadows using area sources, and accent lights typically better for creating drama worked wonderfully to frame the softer exteriors of the structure. This process of testing and more testing and playing with light dramatically lowered the amount of equipment required, making the project more sustainable while contributing to the lighting experience itself.”
With a visual hierarchy throughout the project, where the goal was for tradition to meet modern day, Baxter believes that the lighting was “the glue that joins all elements of design together”. “We also pursued an approach of integrating lighting into the architecture and sculpture, with
the only visual luminaires typically being designed to the golden ratio to ensure minimal visual impact,” he continued.
As such, he believes that he can look back on the project and call it a success, particularly given the positive response from both the client and visitors.
“Collectively, we feel the initial brief to bring life to an immersive experience has been achieved,” he concluded. “It is delightful to see guests engage with the spaces and see a clear sense of enjoyment that the project brings.
“Lighting has played a significant role in this project, adding another dimension and becoming an integral element to the space itself.”
www.infusionlighting.com
Optics made under licence from
Polish artist Karolina Halatek has recently unveiled Ascent, a large-scale, site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany.
A winding tubular swirl of white LED light, Ascent emerges from a raised platform, enshrouded in a cloud of fog.
Ascent also offers a unique, immersive experience; the viewer is invited inside the spiralling structure to become its central point, engulfed by bright light emanating from the spiral, and a rising mist of fog, transforming their perception on a sensual level. With the added human interaction, the piece shifts from a standalone piece to a monumental, dynamic and participatory space that opens up a new dimension, directing the attention towards the
bodily sensations in the explicit environment. The viewer is free to approach the work according to their own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.
Halatek’s work characteristically uses light as the central medium to create experiential, site-specific spaces that incorporate visual, architectural and sculptural elements. Seeing her work primarily as a catalyst for experience, Halatek’s installations have remarkable immersive characteristics that are often the result of collaborations with quantum physicists, founders of the superstring theory, and precision mechanical engineers.
Ascent is part of Sensoria. Art and Science of Our Senses, curated by Nina Czegledy at the Laznia Center for Contemporary Art (LCCA) in Gdańsk, Poland. The exhibition is focused on multisensory perception in the arts and sciences, exploring our sensory world through scientific, social, cultural and scholastic interpretations. The exhibitions, performances and a symposium link LCCA and Sensorium: Centre for Digital Art and Technology at York University, Toronto, Canada, in a crossinstitutional and inter-cultural collaboration. The participation of international artists span from New Zealand to Finland, Czech Republic and Poland, who reflected on the effects of recent ecological and socio-cultural alterations on sensory organisms in humans and other species.
www.karolinahalatek.com
Image: Adam BogdanOfficially opened in May 2022, Crossrail’s Elizabeth Line is the largest new infrastructure project in Europe, spanning 42km. Intended to be accessible and inviting, the subsurface station design features a delicate, indirect lighting scheme, designed by Equation
A core lighting strategy for the Elizabeth Line stations was to utilise soft, indirect light. This comes from the central “totems”, in which Future Designs’ custom-made Ikon luminaire uplights the curved, perforated ceilings; while on the station platforms, a luminous light panel from Designplan extends along the length of the platform, gently illuminating the cladding.
Spanning across 42km and six stations in central London, the newly opened Elizabeth Line has changed the game for underground station design.
The £14.8bn Crossrail venture, connecting east and west London, is the largest new infrastructure project in Europe. As part of this, the new stations were designed to be calm, safe, spacious, and accessible, creating a pleasant environment for London’s inner-city commuters. While the above ground stations and their surroundings are designed to respond to the local context, the sub-surface station design has a consistency and familiarity from end-to-end of the line, characterised by its gentle curves and soft, indirect lighting.
Coming from a public tender originally launched in 2009, the line-wide architectural components design was led by a consortium including Grimshaw Architects, Atkins, Maynard, as signage and wayfinding consultants, and Equation Lighting Design. The scope of this line-wide design, which was implemented across all stations, included the escalator tunnel, the lower concourse, cross passages, and platforms.
“An early inspiration was the simple, elegant and functional design of the Piccadilly and Northern Line underground stations,” said Keith Miller, Director at Equation. “In the first half of the 20th century, London Transport underwent a period of radical change under the stewardship of Managing Director Frank Pick. Modernist architect Charles Holden’s 1920s and 1930s station designs and his motto of ‘when in doubt, leave it out’ informed the development of the sub-surface station architecture for Crossrail.
“In those old underground stations, there was lots of indirect lighting, they were very design-led and minimalistic, with a slight Art Deco feel to them, that was the inspiration for the project.
“Grimshaw took a rigorous approach to the design, considering aesthetics and functionality, maintenance and sustainability when specifying materials and finishes. The reason why there are
highly perforated surfaces along the walls and ceiling is to optimise the acoustic properties of the cladding. The soft rounded corners of the cladding enhance visibility as passengers approach a corner.
And so, with lighting, we were part of a coordinated solution, with all components fully integrated to create an innovative, functional, cost-effective and sustainable set of products.
“We were also interested in creating a visual language of large luminous surfaces. On the platforms, rather than pursue a typical downlighting solution, we integrated lighting into the platform edge screen – creating a visually continuous luminous panel extending for 250-metres along the length of each platform. The lighting provides a soft ambient light to the space, which enhances the architectural design. It’s not at all glary. The panels have a controlled, consistent surface brightness. On the escalator tunnels, the lighting is concealed at low level, which creates an elevated feel to the space.”
The soft, indirect lighting was part of an overall goal to create a more inclusive environment for all passengers, as Miller explained: “We wanted to reveal the architecture to create a comfortable space that was legible and doesn’t feel gloomy.
“We even went to the extent of consulting specialists at University College London and Ophthalmologists at the City University about how partially sighted people see, what the issues are for them, trying to reinforce the principles of design for equal access rather than taking things at face value.”
With the general design spanning across six different stations, each with their own design team and separate tender, Miller explained the complexities of coordinating the overall principles across each site. “We made our design work as a generic station, and then the station design teams took that on for their site-specific work.
For example, Tottenham Court Road has a curved platform, while Paddington has got a very long underground concourse, so the design teams there adapted the generic design to their station, following our principles.
“The idea was that for passengers, as you arrive at each station the tunnelled spaces have a consistent architectural design, until you get above ground, and then it’s a site-specific and unique station design that responds to the local context.”
One of the ways that Equation implemented the indirect lighting was through a series of custommade “totems” that run along the centre of the lower concourses.
The totems incorporate various facilities such as signage and speakers, as well Future Designs’ Ikon uplighters. Intended to shine light onto the ceiling, which is then reflected back to the floor, Future Designs was approached by Crossrail to develop a custom luminaire that would fit into pre-existing dimensions of the totems. As an uplighter, one of the biggest challenges was heat dissipation, however the design of the Ikon allowed it to act as a reliable and effective heatsink, drawing heat away from the mechanics and regulating the device’s temperature.
The brand developed Ikon Emergency luminaires to be incorporated into the totems as well. These were designed to automatically illuminate in the event of a power failure, guiding passengers to safety. The design features high and low level lights mounted on the sides of wayfinding totems, and vertical luminaires mounted on the front faces of the totems to spread light in all directions and throw the light across a large distance on the floors -a particular challenge for Future Designs, as the positioning and spacing of the totems had already been set before they were brought on board to design the luminaires.
Future Designs also developed custom Plinth luminaires for the escalator tunnels, bringing a delicate glare-free uplighting to the space. Located within the deck area between each escalator, the fixtures are designed to diminish visual glare to
passengers, preventing direct view of the LED source while providing a balanced light. Elsewhere, further illumination in the Elizabeth Line’s cross passages came from Designed Architectural Lighting (DAL), who integrated luminaires within the tunnel construction and architectural detail. This lighting system incorporates the cable management system, with panels for speakers, CCTV and antennae running alongside the recessed, linear LED luminaires. Throughout the sub-surface levels of the Elizabeth Line, one of the key concepts for the lighting came through the smart use of colour temperature in differentiating ‘zones’. Miller explained: “We classified the underground spaces as being either ‘slow’ wayfinding spaces or ‘fast’ transition spaces. If you’re travelling down the escalator, it’s about moving from A to B quickly, seeing where you’re heading and moving in that direction. These spaces are lit in a cool, 5000K light.
“Then the other spaces, the ‘slow’ wayfinding spaces, are lit in a warm, 3000K light. When you’re in these spaces you can pause and reflect, while you’re waiting for a train on the platform or when you’re in the lower concourse, deciding which way to go. We wanted the transition between wayfinding and transition spaces to have a visible difference in terms of colour temperature. We thought that going from 3000K to 4000K was too small a variation that would perhaps look like it was a mistake, so by going from 3000K to 5000K, it was more obviously intentional. Whether people notice it when they move through the space or not, we don’t know, but we thought that subconsciously, it would influence users.”
For such a large-scale infrastructure project in the centre of London, Miller explained that there were a number of stakeholders involved, which impacted on the way that they approached the lighting design, when compared to a “typical” private client.
“The whole project was very evidence-based. For everything that the team wanted to achieve, we had had to set the scene, rationalise the objectives, demonstrate that we’re moving in the correct direction, we constantly had to provide evidence that we were going to fulfil the requirements,” he said.
“There was a rigorous design process, but all the design issues were ironed out at the design stage; we went through peer reviews, we had to present to London Underground. Our immediate client
Julian Robinson, Head of Architecture at Crossrail, was very supportive in terms of having a clear vision for the project, and he steered the team in the right direction right through to completion.”
One area where Equation had to be more assertive with its vision for the lighting though, was with some of the technical specifications in the early stages of the project. “At the beginning of the project in 2009, London Underground wanted to stick with tried and tested fluorescent light sources. It was quite a challenge to move confidently forward with only LED light sources in some ground-breaking custom luminaire designs envisaging what it should be possible to achieve ten years in the future,” Miller explained.
Whitechapel, Liverpool Street, Farringdon
Designed Architectural Lighting manufactured 1.2 kilometres of linear custom luminaires for the Elizabeth Line Cross Passage Tunnels.
The linear luminaires vary in length to match the architectural cross passage layout. Contained within the modules are secuity cameras, speakers and wi-fi antennas.
Engineered with a blast resistant diffuser and high effiency symmetrical distribution.
The use of differing colour temperatures was a deliberate move by Equation to create ‘slow’ and ‘fast’ spaces. Fast spaces, such as the escalators and cross passages are lit in a cool, 5000K light, while the platforms and concourses, deemed slow spaces, are lit at a warmer, 3000K light.
“We had to take the client on a journey and say, ‘this is the nascent LED technology’, and every step of the way prove to stakeholders that what we were saying could be verified.”
After convincing the client that LEDs were the correct way forward, Miller continued that the next hurdle to overcome was “proving that the technical design could work”. Through a whole prototyping phase, the client had a contractor in a secret location in Leighton Buzzard, Bedfordshire, where the sub-surface station environment and all the architectural components were being prototyped. The prototype stage evolved from visual mock-ups of the station environment like stage sets, through to the fabrication and testing of full-size cladding, seating, lighting and signage elements. These were developed as reference points for Crossrail to illustrate how the design could be manufactured and to iron out any issues and design details as the scheme progressed.
on board for the final designs for each station.
Gradually the entire process was de-risked.”
What is evident when travelling along the Elizabeth Line is how different it feels to other lines along the London Underground network, with the lighting and wider architectural design contributing to a pleasant travelling experience.
“Passenger safety and the passenger experience were first and foremost,” said Miller. “How people experience the railway, what they see and creating an integrated design. With our scope, and with Grimshaw’s scope, it was all about working together to get everything looking consistent throughout the sub-surface station environments, it’s all finely detailed and deliberate.”
Client: Crossrail
Lighting Design: Keith Miller, Philip Avery, Equation, UK
Architect: Grimshaw Architects, UK
Engineering: Atkins, UK
Lighting Suppliers: Designed Architectural Lighting, Designplan, Future Designs
Photography: Morley von Sternberg
“The C100 team would design something, for example the totem uplight, and it went through a number of iterations – a visual mock-up first, then a real prototype luminaire. We went out to market and commissioned UK manufacturers to build full size prototype luminaires, and these lived in the warehouse, where all project stakeholders could collectively review the design and refine the details. Eventually the station contractors took everything
As the final station on the line finally opened in late October, Miller is hoping that the Elizabeth Line will set the standard for London’s Underground network going forward: “I think it sets a clear benchmark in terms of passenger experience. It’s fresh, bright, it’s a comfortable environment for all users. The whole user experience has been well-considered from concept to execution. From a lighting point of view, it creates legible spaces and it’s easy to navigate, so it has fulfilled the brief. It looks good as well, and it’s a nice place to be, that’s the key thing.”
www.equationlighting.co.uk
Compact linear wall washer with asymmetric beam distribution
line
Advanced LED performance.
Photography: Gavriil Papadiotis (www.gavriilux.com)
Aile Est, the new, 520-metre extension of Geneva Airport, features a bright, airy lighting scheme, designed by Speirs Major, that complements the space’s abundant natural light while also enhancing the passenger experience and providing significant energy savings.
At Geneva Airport, architects at RSHP have created Aile Est (East Wing) – a new, 520-metre, seven-gate extension designed with the passenger experience as a top priority.
Replacing existing facilities that were originally built for temporary use in the mid-1970s, the new wing marks an important improvement for the airport, strengthening its position in the Central Europe region, while also acting as a gateway to the city of Geneva.
Emphasising quality of space, natural light and maximum transparency, the building is characterised by a unique rhomboid shape that maximises daylight to a neighbouring building on the landside, while avoiding airside glare from a fully glazed façade. The tilted façade lets in an abundance of natural light, and offers visitors breath-taking views out towards the runways and the Jura Massif mountain range.
Complementing the building’s unique architecture and enhancing the passenger experience, Speirs Major designed the lighting for Aile Est, creating an integrated, fully responsive scheme that maximises energy saving to support sustainability goals, while also assisting with wayfinding and orientation, and creating a vibrant, welcoming ambience for passengers after dark.
The lighting designers were invited onto the project by RSHP – the two firms have a long history of successful collaboration, particularly within airports, having worked together on Heathrow’s Terminal 5, as well as Barajas International Airport in Madrid.
In this instance, Speirs Major was tasked with “supporting the delivery of an energy positive building,” meaning that maximising the use of natural light while minimising energy consumption by artificial lighting was a primary driver in the design scheme.
Mark Major, Senior Partner at Speirs Major, explained further the lighting concept for Aile Est: “Airports are competitive businesses that rely on volume, and therefore it is important to make the customer experience as pleasant as possible.
“The lighting was designed to support an intuitive sense of how the space is organised, facilitating orientation and wayfinding, all of which help to alleviate potential stress. Passengers are often tired, jetlagged, and anxious, so prioritising available daylight and creating a warm, vibrant ambience after dark was critical to the success of the scheme. Controlling the lighting to help preserve the views out and create a sense of connection to the outside was also of paramount importance.”
In keeping with the core ambition of being an energy positive building, Speirs Major carried out extensive daylight analysis, verifying that the levels achieved throughout the spaces and across the year would allow for much of the artificial lighting to remain off during daylight hours. The stringent energy targets also meant that the lighting designers were constrained to using highly efficient direct light for the bulk of the artificial lighting, while still aiming to deliver a lighting solution that would express the identity of the building and create a positive character.
“Given this, we focused our creativity on the way fixtures were applied across the varying volumes, ceiling heights and constructions,” Iain Ruxton, Associate Partner at Speirs Major, continued. “We had to take care with how we integrated the light into the space, and worked with the architects on the choice of surface finishes to ensure that we maximised interreflections that would soften and balance the lighting. We also recommended floor finishes with a high reflectance value to support interreflections onto the ceiling planes to keep the spaces feeling light and bright after dark.
“The project demonstrates that despite the requirement to meet challenging targets, there are creative ways to achieve a response that is sensitive to people’s needs.”
The artificial lighting has been designed largely to boost light levels only when required through a light control system, gradually transitioning to a full artificial scheme in the hours of darkness. Overlaid on this are a series of “lit moments” that add character and support wayfinding.
“The Border Control kiosks are situated deep in plan and facing into the building, so for these we back-lit the curved glass screens to allow them to function as a beacon, funnelling passenger flow
and also making clear to passengers which booths are currently open,” Ruxton explained.
“At the gates, the gate numbers are routed in the Corian fronts of the desks and softly lit from behind; oversized toilet signage is integrated into the external walls in the form of frosted images on the back-painted and back-lit curved glass. On the main concourses, colour is applied to chilled beam ceilings, upholstery, lift car glass interiors, and stair structures. This changes every 80-metres to assist with orientation and add character. This colour is also applied to selected façade glass panels, which have been lit externally to create a bold graphic effect.”
The use of colour is something that Major believes is characteristic of RSHP’s architectural style. “The interiors are marked by a strong sense of legibility, accessibility, and efficiency, with visible structural elements and services shaping the experience of the space,” he continued.
“The positive use of colour to create a strong identity for a building is something that we are used to working with. From our point of view, we wanted the lighting to feel completely harmonious with the architecture. As well as considering the overall lit effect, we also took great care in choosing the size and shape of the light fixtures, and considering how we would integrate them so that they would become a core part of this visual language of the spaces.”
With this clear visual language in place, Major believes that the lighting serves to complement the architectural design, while also improving the passenger experience – one of the integral components of the original brief. “The clear legibility inherent in RSHP’s architecture is supported by the lighting design. We wanted to create a warm, vibrant ambience that preserves the views out and creates a sense of connection, which is important to calm people and smooth their transition. Overlaid on the carefully balanced lighting scheme, the lit moments highlighted details, added character, and boosted orientation and wayfinding.”
With plenty of experience in working on airports under their belts, the design team at Speirs Major was able to use this to their advantage, already being aware of some of the unique challenges that such environments can present.
“There are a great number of challenges working on airport projects; firstly, such environments are increasingly large, ‘open span’ volumes, which while highly repetitive in nature, can sometimes prove to be disorienting as a result,” Major said.
“One of the things we set out to try and achieve is to use the lighting to create human scale and visual comfort. Beyond the normal complexities of the segregation of landside and airside passengers, lighting for safety and security and delivering a solution that is easy to run and maintain, the main challenges are how to create moments of delight in spaces that are often quite linear and strictly controlled in terms of passenger movements.
“We have always seen the primary role of lighting in aviation environments to help easily route people around the building, but at the heart of every
scheme we work on is the wish to create a unique passenger experience specific to that building and to avoid a homogenous approach. We feel that despite the challenges that we faced at Geneva, and the need to create a highly sustainable outcome, that we managed to meet all of these objectives.
“We build our learning with every airport project we complete, having amassed a huge amount of experience of what works well and what doesn’t in these environments. In the case of this project, we always remembered that firstly it was an extension to the existing airport, despite its substantive size; and secondly that sometimes simple is best and less can be more.”
Despite abundant experience in airport projects previously, Ruxton believes that the energy goals in place here were far more challenging than anything that Speirs Major has previously faced. However, looking back on the completed project, there is a feeling that such limitations only pushed the team to work harder to create something special.
“The project posed some of the most challenging energy targets we have ever faced, but the result proves that this needn’t compromise passenger experience after dark,” he concluded.
“Restricting ourselves to a limited kit of parts and working with a select few key details, we were still able to create moments of delight for passengers. The secret is for the lighting designer to be involved from the beginning of the project, as we were here. This ensures that not only the lighting is properly integrated, but that the client appreciates its importance right from the outset of the design process.”
www.smlightarchitecture.com
Client: Geneva Airport
Lighting Design: Mark Major, Iain Ruxton, Speirs Major, UK
Architect: RSHP, UK
Lighting Suppliers: Bega, Cooledge, iGuzzini, LuxMate, Meyer, Thorn, We-ef, XAL, Zumtobel
Photography: Joas Souza
An extension to Bergen’s Light Rail has seen the opening of seven new stations, including the first underground station for the Norwegian city. The lighting concept for the stations was developed by Light Bureau, which sought to create a safe and fluid ambience.
n November, a new, 9km extension to Bergen’s Light Rail network was opened. Among the seven new stations opened was Haukeland Sjukehus - the first underground light rail station in the Norwegian city.
Alongside 3RW arkitekter and engineers at Sweco, Light Bureau developed the lighting concept for the new stretch of the Light Rail, with a particular focus on the new underground station.
Thea Collett, lighting designer at Light Bureau, told arc about the overall vision for the lighting concept:
“Our aim was to create the impression of moving towards a clearing, and the feeling of always moving towards a brighter area, to make sure that one would always feel as if moving towards a safe area. This naturally resulted in the discussion to keep the escalators more dimmed, for example.”
All vertical surfaces that the travellers move towards have been treated with light, to make sure that people always move towards a bright and safe place. The main goal was to create a project where lighting and architecture work seamlessly towards a common goal of creating the right atmosphere.
“We believe that the magic happens when we work as an interdisciplinary team; this project is a great example of that. We participated in several workshops together with the architects and electrical consultants at an early stage, shaping the project jointly.”
As the Light Rail in Bergen moves along an unlit track, Collett explained that the overall concept for the lighting was to create an experience like arriving at a clearing. This was particularly prevalent within the underground Haukeland Sjukehus station, where the designers wanted to create a safe journey from the platform and out into the daylight.
To bring this concept to life, the lighting design team carried out a careful processing of the visual and technical qualities of all areas of the station, to make sure the traveller had the desired experience of moving towards a clearing.
“From the platform area, you should experience this as a clearing as you move towards the outside,” continued Collett. “The contact with the exterior, and the daylight entering the shaft through the glass façade at the entrance of the building, is of great essence for the architecture. The task was to make sure that daylight enters as far into the building as possible.
“We adapted the lighting levels and colour temperatures within all zones, to make sure the contrast between the areas was right. We used tunable white and RGBW luminaires in some areas to make sure that we have the possibility to tune the light to the correct temperature.”
The use of tunable white and RGBW lighting was integral in creating the right ambience throughout the stations, particularly given the simplistic material finishes and abundance of glass.
Collett continued: “We had to find the right balance between what surfaces to prioritise and emphasise, to set the mood and rhythm of the space. The station is designed in primarily robust and simple materials, and we chose to emphasise and add high light levels to the materials and surfaces that define the room.
“For instance, on the platform, the white and curved ceiling reflects both cold and warm white light. We also chose to illuminate the stone floor with high lux levels. The end walls, however, are left completely unlit, since they consist mainly of glass and open fire doors, leading to the lift and escalators.”
The escalator shaft at the underground station proved to be one of the most challenging aspects of the project, particularly given the lack of mounting options for luminaires. “The main shaft area with several escalators and lifts consists of mainly concrete and glass,” said Collett. “The area is 40-metres deep, and there are very few areas to mount lighting. Because of this, the room has no lighting, aside from some vertical lighting on the very high walls lighting the shaft itself, and lighting in the escalator. We did not make use of traditional wall mounted or ceiling mounted luminaires. In the design process, we used light calculations to make sure the journey through this room would appear as bright as we wanted it.”
Lighting Design: Petter Kvamsdal, Andreas Ramdahl, Frederik Friederichs, Wiggo Evensen, Morten Jensen, Thea Collett, Light Bureau, Norway
Architect: 3RW arkitekter, Norway
Engineering: Sweco, Norway
Lighting Suppliers: Color Kinetics, Fagerhult, iGuzzini, LED Linear, Meyer, Osram, Signify
Photography: Hugo Lütcherath, Thea Collett
Elsewhere, the onus on safety meant that there were several further criteria for the lighting to fulfil, as Collett continued: “All material used in the station needed to be within a certain fire certification. This gave us some limitations on how to create a glowing expression from the glass in front of the lift. We wanted to add a layer of side lit plexiglass, but this proved to be impossible due to fire restrictions. Our plan B was to sandblast or frost parts of the glass in front of the lift so that it catches some of the light from inside the lift shaft. This became a successful solution.”
In the lower concourse areas, where natural light was lacking, the artificial light therefore became an active wayfinding tool, designed in a way that it would “move people in the right direction”, guiding travellers to and from the platform and the naturally lit escalator shaft.
“Lighting is used very actively as a wayfinding tool, as the traveller is always moving towards the brighter area. In any project, we deliberately use light as a tool to move people in the right direction, to add the right atmosphere, and to facilitate the necessary functions,” Collett explained.
“From a secondary entry point of the station, travellers must pass through a 100-metre-long corridor before entering the platform area. In this area we deliberately designed unevenness in the lighting, to make it easier for the traveller to read the distance they move through. Just like the numbers and lines on a ruler, both the architecture and the lighting create a rhythm that helps the
traveller to read the room intuitively.”
Throughout the lower levels, and particularly on the 100-metre-long concourse, Light Bureau opted for a mixture of direct and indirect lighting, which contributes towards a brighter and more pleasing environment for travellers passing through.
“In the corridor between the secondary entry point and the platform area, we added high light levels to the curved ceilings and the floor tiles,” Collett continued. “The walls are left completely dark. This contrast makes it easier to read and understand the geometry. The indirect and integrated solutions make it possible for the materials and the geometry to stand out without barriers from visible luminaires.
“Indirect solutions allowed us to emphasise the different surfaces and materials without the obstacle of glaring luminaires. Our eyes will always be attracted by brighter areas in our field of vision. When the brightest area is our destination or our path, instead of a luminaire, this allows for a more natural orientation through a space.”
To that end, Collett is satisfied with the finished lighting scheme, and particularly how it sits within the wider architectural design of the stations.
She concluded: “We are very happy to see how the lighting has become an integrated part of the architecture.
“We think that this is a great example of interdisciplinary teamwork, and we are proud of the result.”
www.lightbureau.com
As Virgin Voyages launched Brilliant Lady, the latest addition to its cruise line, this summer, arc talks to lighting designers L’Observatoire International about the lighting concept across the four ships.
omplementing and accentuating the luxurious surroundings of the new Virgin Voyages Cruiseline, which entered service in 2020 with the Scarlet Lady and has since seen the launch of the Valiant Lady, the Resilient Lady, and finally the Brilliant Lady in the summer of 2022, L’Observatoire has designed the lighting for the full traveller’s experience.
From port to island, from the beginning of their journey to their return, travellers discover a variety of atmospheres, designed to serve as markers in their passage, while enhancing the excitement of their voyage.
Setting sail from Port Miami, the Virgin Voyagers ships are home to a variety of experiences for passengers, including a spa, beauty salon, gym, fitness classes, a tattoo parlour, nightclubs, and more than 20 dining choices. L’Observatoire International, which was invited to join the project having previously worked on the Virgin Atlantic VIP Lounge at JFK Airport, New York, wanted to punctuate and amplify these experiences through a broad spectrum of lighting scenes. Carlos Garcia, Associate at L’Observatoire International, explained the original design brief for the ships: “Virgin Voyages was born as an adult-only cruise ship line, and the intent was attracting younger holiday makers to the cruise ship experience. This drove our lighting design, creating a fresh and dynamic experience on board that changes along the day, contrary to previous traditional cruise ship design.
“The environment we create through lighting design is a very important part of our philosophy. We put the project in context by acknowledging the locations, the identity, and then of course, the purpose. With these elements, we were able to achieve an extremely contextual and unique project.”
Throughout the ship’s interiors, L’Observatoire International developed a multi-layered lighting strategy that helps define high and relaxed activity venues. “Individual lighting layers were incorporated to elevate features of artwork and architectural details, decorative lighting fixtures and a system of adjustable lights creates a dynamic atmosphere within the ship from day to night,” Garcia continued.
One of the defining attractions of the ships is the infinity mirror on the lower deck – illuminated through a constellation of lights, endlessly multiplying and reflecting on the faceted surface, the lighting creates a visual destination within the ship, and acts as an “experiential portal”, welcoming sailors to nightime venues like The Manor nightclub.
In the theatre space, designed by WORKac, the zebra-pattern interior is enhanced with saturated red illumination. Other entertainment areas, such as the restaurant, lounge, exterior lounge and nightclub, all designed by Roman and Williams, are also given their own distinct characters through lighting, as Garcia explained: “The club is defined by a colourful and retractable LED centrepiece; a custom-designed chandelier, inspired by the wrapping curves of a seashell and featuring handblown glass elements, marks the entry to the highend restaurant.”
The lighting designers also worked closely with Concrete Amsterdam on lighting the upper deck. The design includes a perforated LED video screen to frame the pool club, as well as the gym and yoga area, which features a duality of lighting. Through different colour temperatures and light levels, the space can be transformed from a calming space at sunset into a pool party, guiding active movement. A lounge net is suspended above the upper deck; here, lighting heightens the sense of weightlessness, creating a feeling of floating above, with nothing but the ocean below. With all deck lighting set below eye level, travellers have unobstructed views over the seascape, and as the ship travels through the water, it emits a trace of light, marking its voyage.
Garcia explained how the lighting design team brought a level of human-focused lighting design and narrative to each space they worked on. “Collaborating closely with Virgin Voyages’ team and Fincantieri from the beginning of the process, as well as a tight coordination with all the interior design firms, was key to creating a unique ambience through fully integrated lighting design, avoiding visible lighting sources.”
With the variety of spaces and environments across the vast cruise ships, Garcia explained how the lighting was used to highlight and accentuate each area: “While we established a lighting fixture performance common thread used throughout,
we followed Virgin Voyages’ vision to create a ‘ship of contrasts’, balancing casual and refined experiences. We constantly worked to pinpoint this tension, balancing formal and irreverent. High energy lighting at areas such as the Red Box Theatre and the upper decks was balanced with a quiet, inviting, and elegant atmosphere at The Wake restaurant.”
The four ships across the Virgin Voyages fleet are intended to be almost identical in appearance, even down to the interior and lighting design. However, certain elements that may have proved challenging in one ship were able to be tweaked in later models, as Garcia revealed: “All four ships are almost clones of each other. The construction was staggered by almost a year, so there was very little room to change the interior and lighting design. That said, we used this opportunity to fine-tune lighting fixture specifications and lighting details, mainly finding ways to be able to streamline and build venues more efficiently.”
With this in mind, Garcia explained the unique challenges that come with working on a crusie ship, compared to more traditional, static pieces of architecture: “The cruise ship industry is very regulated, and the lighting design must meet specific lighting levels per application and restrictive lighting loads.
“There is limited space on board, and control system limitations are mainly driven by the lack of space to allocate the hardware. Lighting fixtures follow certain rules for IP protection, but more importantly, stability. Lighting fixtures, especially adjustable spotlights and large decorative lighting, need to be prepared to withstand the dynamic forces of a constantly vibrating ship.
“Low ceilings and reduced space above these to conceal recessed lighting fixtures and indirect lighting details to provide ambient illumination are a big constraint that challenged us to be creative.”
Despite these limitations, the Virgin Voyages fleet still has the luxurious feel of a high-end hotel, giving passengers a lavish experience as they travel across the sea. The lighting design plays an integral role in creating this ambience, as Garcia concluded: “The right lighting should create a sense of wellbeing among sailors, and elevate their experience on board.
“Light does not just reveal built forms, it also creates the very atmosphere that is essential to our enjoyment of them. From the dimmest corners to the brightest hallways, light is inexorably linked to how we feel.
“To practice lighting design is to impart mood, and shift perception. Virgin has always been very sensitive to lighting, and helped us to carry our lighting vision to completion.”
www.lobsintl.com
Client: Virgin Voyages
Lighting Design: Hervé Descottes, Carlos Garcia, Esteban Varas, Ellisrael Daing, Sai Lyu, Christopher Marta, Jeff Taylor, L’Observatoire International, USA
Interior Design: Concrete Amsterdam, Netherlands; Roman and Williams, USA; WORKac, USA
Naval Architect: Fincantieri, Italy
Lighting Suppliers: Delta Light, Ialux, L&L Luce&Light, LED Linear, Lucent, Lumenpulse, Lumino, Martin, Tokistar, Wibre
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 design
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Made in Tuscany
For the 55.5-metre super yacht Moon Sand, a luxurious yet homely ambience was created by Lighting Design International, working with interior designers Bannenberg & Rowell.
Considered a status symbol for the elite, super yachts have long been synonymous with wealthy, luxurious lifestyles. The Lürssen Moon Sand, the latest super yacht designed by Bannenberg & Rowell, is another example of this supreme luxury.
The 55.5-metre vessel was inspired by the Carinthia VI, designed by Jon Bannenberg in 1972, and features clean, graceful lines, matched by a crisp, yet homely interior design, also designed by Bannenberg & Rowell.
Lighting for the yacht was designed by Lighting Design International (LDI), which sought to use light to “enhance the visual perception” of the space.
Christian Haimes, Senior Designer at LDI, explained: “The key brief for Moon Sand was to make the most of the spaces onboard. The client wanted rooms that felt large and open in order to keep a homely feel. The lighting was key to this ambition.
“Bannenberg & Rowell were clear that they and the client wanted to be brave with their use of colours and textures. We as lighting consultants were tasked with ensuring that all materials were rendered in their highest quality. On the exterior of the boat, the lighting was to follow the clean and spare lines, with detail hidden within fine detailing.”
Elaborating on this initial brief, Haimes explained how the lighting concept for the super yacht was to make the space feel “open and airy”, while ensuring “that the finishes in the boot could sing”.
He continued: “It was clear from the onset that to do this we would need to use light to push the walls and ceilings out visually. All the while, we wanted to keep all lighting fully integrated and hidden from view, avoiding distracting from the fearless interior design.”
LDI worked very closely with the interior designers when bringing the lighting concept to life, ensuring that all lit details were closely coordinated to make the most out of the space available. In many instances, this meant integrating light sources within the fabric of the vessel, keeping them out of view. The close collaboration was therefore essential, as the lighting team was kept abreast of exactly what finishes and decorative items were to be used, allowing them to run light tests to ensure the best possible finish.
“We have a great working relationship with Bannenberg & Rowell,” Haimes continued. “They have a fantastic grasp of the benefits of light and lighting. They provide us with the freedom to create a great lighting scheme, but also worked with us to provide insight from the interior and exterior points of view.”
While LDI has a great deal of experience working on luxury residential projects, taking that high-end finish and extrapolating it to the comparatively limited confines of a boat was not without its challenges, as Haimes explained: “All elements within a yacht need to be considered from an operational and engineering standpoint. Every millimetre counts and you have to be very precise with how you achieve your lit effect.
“Lighting details will typically need to be smaller than on land-based projects, and as a result you have to be clever with how these are built. You also have to be considerate of the fact that you are dealing with a living, moving boat. As a result, you have to consider the effect of day-to-day life on the seas, such as rough waters, vibration and the harsh sea air.
“However, where there are limitations, there are also opportunities. The level of finishing and construction capability of the shipyard allows for more complicated details that may be less possible on land.”
Throughout the yacht, the clean aesthetic is complemented by a courageous use of colour and texture. Because of this, the integrated, hidden lighting elements serve to bring the bold finishes to life, while not detracting from the elegant design of both the interior and exterior. Custom mounting plates and shallow lighting slots meant that all deckhead was minimised and organised, reducing visual impact.
“The team involved is very knowledgable, and this helps massively,” continued Haimes, while discussing the challenges of achieving a luxury finish within the confines of a boat. “It is key not to compromise on quality, even with the space and engineering challenges. We find that from a lighting standpoint, we have to keep a very open mind and not limit ourselves to the light fixtures on the market. We often work closely with lighting manufacturers to create custom fixtures to help meet the challenges.”
One such custom feature is a bespoke ceiling light within the main salon of the boat. Made by Preciosa, the pendant features 38 stainless steelbacked, hand-blown glass segments, creating a cloud-like effect against the pale blue ceiling.
“The custom pendant was a fantastic addition to the interior design,” Haimes explained. “Preciosa did a great job creating a piece that gave a sense of movement to the ceiling. We worked alongside them regarding the lighting within the pieces, the cooler temperature of lighting helped to elevate the ceilings in this space.
“The elegant interior design is full of fearless colour and textures, but also contains the most subtle and wonderful detailing,” he continued. “The integrated lighting, which is of a high colour rendering quality, helped ensure that these can be viewed at their best. The owner’s preferred colour palette is blues and yellows, and as a result, we discussed the use of cooler colour temperatures in some key details.” Reflecting on the project after its completion, Haimes believes that the quality of the finish is evident for all to see. “The photos of the project speak a thousand words,” he concluded.
“The close coordination of the interiors with both the architectural and decorative lighting allowed us to create the maximum impact. The fact that the spaces feel open and the colours look rich and full of life means the lighting is doing its job.”
www.lightingdesigninternational.com
Client: Lürssen
Lighting Design: Graham Rollins, Christian Haimes, Lighting Design International, UK
Interior Design: Bannenberg & Rowell, UK
Lighting Suppliers: Architectural FX, John Cullen Lighting, LightGraphix, Rutec
Photography: David Churchill
Amstelveen, Netherlands
Complementing the copper-finished walls, fixtures from LED Linear bathe stations along the Amstelveen train line in a warm, comfortable light.
As part of a large-scale conversion along the Amstelveen train line in the Netherlands, new lighting has been implemented at the Zonnestein, Sportlaan and Kronenburg stops. Contributing to the futureproofing of the stations, the new lighting, among many other adjustments, helps to make the line safer, faster, and more comfortable.
A key characteristic of the new stations is their submerged, inground locations. The separation from other traffic creates an increased sense of safety. This comfortable feeling is further enhanced by the warm lighting, in combination with the copper-finished walls.
To create this warm environment, lighting designers Lichtonwerpers utilised fittings from LED Linear. Its Kalypso IP67 was installed with a 60° linear lens optic. The fixture is very minimalistic, at just 25.5x20.5mm, but with sufficient light output to appropriately illuminate the ground surface.
A warm colour temperature of 2700K was chosen to emphasise the atmospheric, warm design of the copper, resulting in an almost homely atmosphere that makes travelling a cosy experience.
The safe, 24V DC-powered Kalypso IP67 fixture can be easily connected, which makes it possible to realise long, continuous light lines. In addition to this application, in this project the fixture has also been used in shorter segments at, among other things, lifts, stairs and transitions. The LED technology incorporated in the fixture is economical and has very low degeneration due to efficient cooling and smart power regulation.
With the commissioning of future-proof stops and modern 15G trams, the Amstelveen line (line 25) has become an ideal, calming solution for getting passengers from A to B quickly and comfortably in a busy urban area. www.led-linear.com
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Light Project luminaires add a colourful, vibrant element to one of Melbourne’s most heavily used roads.
An illuminating upgrade to the CityLink’s Sound Tube in Australia delivers a modern transitional portal to the city of Melbourne. City drivers are rewarded with a drive-through experience of both architecture and lighting. Electrolight was engaged by Transurban to transform the iconic bridge, designed by Architects Denton Corker Marshall more than 20 years ago.
The design explored lighting opportunities to enhance and articulate the existing portal structure while using the latest in lighting technology to transform the static structure into a dynamic user experience.
“Our design vision was for a lighting scheme that would transform the CityLink Sound Tube at night by highlighting its architectural features,” said Jess Perry of Eletrolight.
As part of the client brief there was a request to utilise colour to create content calling for a highly controllable product solution with small aperture to conceal itself within the existing structure. Other challenges presented throughout the project were linked to the harsh environment, physical installation restraints, the need for consideration of safe and efficient maintenance practices as well as the use of pre-existing centralised control along
with other infrastructure assets through a fibre optic backbone.
The solution took into consideration all the above requirements and now activates the Sound Tube at night by highlighting its striking architectural and repetitive structural language.
Clear Lighting’s RGB Flexglo F22 provided the perfect product solution with its small 16mm x 16mm form factor, suitability for installation in the harsh freeway environment and infinite selection of colours and combinations, allowing for themed content throughout the year.
The execution of the design transforms the portal from iconic architecture to a clever branding device for the client, celebrating major Melbourne and global events through light and colour; presenting itself as a true welcome gateway, building wonder and excitement as you pass through the tunnel and out into the city beyond.
The CityLink-Tullamarine corridor is one of Melbourne’s most heavily used roads, carrying about 210,000 vehicles a day in its busiest section. www.lightproject.com.au www.clearlighting.com www.electrolight.com
Wireless Helvar ActiveAhead® offers many benefits for your lighting installation - saving money, time and energy while being extremely simple to set up and operate. ActiveAhead scales to big installations and can be extended to our cloudbased suite of digital services - Helvar Insights.
67 Pall Mall Singapore
67 Pall Mall Singapore is the first Asian outpost of the renowned London-based private members’ wine club. Situated on the penthouse level of a prominent Singaporean building, the club is spread across a 15,000sqft space with panoramic views. Previously a spa, the penthouse was stripped back to reflect a 1920s Shanghai Art Deco feel. The lighting approach from Klaasen Lighting Design involved the integration of lighting solutions that focusses on the interior and architectural features rather than the lighting itself. Features include curved ceilings highlighted with linear light and a wine tower with integrated light that fills the double-volume space. The interior design was a recreation of the ambience of the renowned London original club, within the penthouse of the Shaw Building in Singapore with floor to ceiling windows and a balcony that runs around the entire building. A main bar and lounge area is accompanied by flexible meeting and dining rooms, with a spirits bar on the second floor.
Original crystal chandeliers from the 1970s hang in the concierge and main reception, the club’s interiors pay respect to the heritage and legacy of the Shaw building. A main feature of the double-height dining and drinking hall is a six-metre-tall wine tower as the centrepiece. The tower houses more than 6,000 bottles of premium wines stored at optimum temperature and humidity. A whiskey wall displaying more than 400 bottles of whiskey alludes to the whiskey bar that lies above. Likewise, the lighting design required a meticulous level of detail to integrate the lighting within the architecture and interior design, in order to emphasise the design concept and enhance the beauty and features of the overall design. The lighting was designed to create a relaxed environment ensuring easy visual orientation and comfort while providing the right amount of ambience and mood. Special consideration was given to the wine tower feature and how the feature could be illuminated without altering the temperature and humidity within the tower. The central coffered ceiling in the main bar and dining area is also enhanced through the lighting scheme, with indirect cove lighting softly lighting the curves of the ceiling and providing the right amount of ambient light.
Providing narrow spots to the tables was essential to create the right mood for intimate dining and was achieved through remote controlled adjustable spotlights to provide optimal functionality in a variety of dining layouts. The whiskey wall is highlighted with integrated linear light that illuminates the individual bottles. The private dining area lighting was created to provide flexibility within the space and a variety of lighting options integrated within a hanging track that blends seamlessly into space.
Adjustable spots and linear downlights provide the direct lighting, while indirect light from the hanging track provides ambient light reflecting off the ceiling, each controlled separately for further flexibility.
The spirits bar lighting is integrated into the various architectural elements, creating an intimate space for guests to enjoy.
www.kldesign.co
The 23rd edition of Lights in Alingsås took place this winter, taking over the small Swedish town for a month-long celebration of light art.
Returning for its 23rd edition, the 2022 Lights in Alingsås festival took place in the small Swedish town from 30 September to 6 November, bringing students and senior lighting professionals together in a celebration of light.
The theme for the 2022 edition was Only One Earth. 7.9 Billion Reflections. According to organisers, “Reflections is a word that symbolises the very origin of change. When light is reflected, it spreads, and even changes course. Just like when we reflect on a thought and that thought generates new ideas, dreams, and insights. This year, Lights in Alingsås wanted to illuminate the endless possibilities encapsulated in the reflections of 7.9 billion people”.
Six installations were crafted for this year’s event, each created by teams of lighting design students and orchestrated by prominent lighting designers who acted as workshop heads.
The workshop heads for this year’s event were Daylight and Architectural Lighting Design Consultant Meike Goessling; Jonathan Plumpton, Principal of Jonathan Plumpton Lighting Deisgn; Kay Flounders, Senior Architectural Lighting Designer at WSP; Martina Alagna, Marketing and Business Development Manager at Linea Light Group; Berry van Egten and Ellen Goulmy of BXLD and the Lighting Design Academy in the Netherlands; and Michela Bonzi and Jörg Frank Seemann, Lighting Design Partners at Lucespazio. These workshop heads worked with lighting design students from KTH Stockholm and JTH Jönköping, and electrical engineering students from Alströmergymnasiet i Alingsås on sites across the town of Alingsås.
Site One, the pedestrian tunnel, was led by Kay Flounders, whose team created an installation called Embrace the Elements. Here, the design team was inspired by “the interplay of the four elements
– earth, water, wind, and fire, as they prepare the way for the fifth element, human life”. By using an interplay of colours and materials, the artists sought to get passers-by in the tunnel to slow down and enjoy the embrace of light and colour, in a literal sense, as visitors were encouraged to give the series of light tubes within the tunnel a hug, to embrace the tunnel.
The second site, led by Meike Goessling, was entitled Are You In or Out? Here, the design team created an experiential labyrinth for viewers to see the piece from a distance, close up and from the inside. Created “to remind us just how fragile Earth is, of the seriousness of climate change and that we must work hard on sustainability”, the visitor was invited to enter the labyrinth to see how stones, which looked normal from a distance, turned into gems. The centre of the labyrinth conveyed a feeling of melting glaciers; the effect of shadows caused the place to be perceived differently from different viewpoints.
The journey began on the bridge, which was seen as a transitional space that encouraged viewers to slow down, allowing their eyes to adapt to the scene. Here, they started acknowledging the sounds and lights, both close and afar. The bridge was washed in a cool white light, while a cracking sound brought to mind the image of cracking ice.
The transformation continued as visitors walked towards the entrance of the labyrinth, where a series of boulders appeared to open up. “Once a solid collective perceived from the bridge, they now become distinguished individuals, ready to be explored further,” the design team continued. At the centre of the labyrinth, both the boulders, as well as visitors, picked up the colour of the dynamic light beams. The robust boulders began showing their fragile sides, their texture and moving dual shadows.
Site Three, the island, was led by Berry van Egten and Ellen Goulmy, whose installation, Aura, was inspired by the energy fields around us that make us who we are. “The storyline of this site is about how the auras of the people travel around the island towards the tree of life, demonstrated by a two-minute light show”, the design team said. The light show featured four different phases: it began with a heartbeat, bringing the piece to life; from here, energies started travelling around the island from tree to tree; in the third phase, all the energies are present and lit up in different colours; while in the fourth and final phase, all energies travel towards the “tree of life”, where they gather and continue their journey up to the sky. The viewers’ attention was then drawn upwards to witness the starry night sky.
For Site Four, Nolhaga Mountain, Jörg Frank Seemann and Michela Bonzi were inspired by the Joseph Campbell book, The Hero with a Thousand Faces for their installation, entitled The Hero’s Journey. “Change is what 7.9 billion people have in common. Without change, we’ll get nowhere. We all have a desire to discover and experience new things,” said the design team. The installation was structured as a journey through life in four stages –the hero’s birth, their assignment or task, followed by conflict, and finally victory. The scenario was depicted by a spectacular light show on the rock wall as visitors moved through the site.
At the Plantaget pedestrian bridge, Site Five, Martina Alagna’s team created an installation called Under a New Light. On a beautiful location used by many Alingsås residents every day, the four-minute trail encouraged visitors to slow down and experience a quiet, yet playful journey through nature. The design group worked with shapes, patterns, light and movement with the goal of catching the transition of nature itself,
with the cycle of elements as an inspiration. The installation also aimed to change the perception of the space with the help of reflections and colours, using light to create four different “stages”. Firstly mimicking rain to create a feeling of calmness, the colours of the rainbow appeared afterwards to symbolise a new start. From here came a new light, to demonstrate how life can “sometimes be unexpected and take you by surprise”. Finally, to symbolise transition, came the feeling of moving on.
The final site, incorporating a residential area and the Lugnet pedestrian bridge, was led by Jonathan Plumpton, resulting in the installation Lugnachill At this site, the theme was around reflections of nature, as shown by reflective strips that were applied to the bridge. A nearby waterfall was illuminated to resemble falling raindrops, which was further emphasised by the rainy weather. As visitors paused on the bridge they could hear the water, feel the wind, and appreciate the colour, the texture and connection to the reeds, the shadows and reflections. Beyond the bridge, a small octagonal gazebo offered the opportunity to gather as a community, share experiences and have fun. Lighting was integrated here to create a warm focal point, alluding to the natural desire to gather around a fire, chat with a friend, or get to know someone new, while a disco ball in the ceiling was lit with warm, autumnal colours. Opened on 30 September, Lights in Alingsås ran throughout October, closing on 6 November. The installations were made possible thanks to equipment sponsors Cariitti, Color Kinetics, Control Dept, eCue, Effekljus, Fergin, Filix, Fox Belysning, Griven, iGuzzini, Luxlight, Martin/Harman, Meyer, Philips Hue, Roblight, SGM, Signify, Stockholm Lighting, and Traxon. www.lightsinalingsas.se
The
Everyone should have the right to access darkness and quality lighting, and light needs to be used and distributed fairly without discrimination.
Start your design with darkness and only add light if it supports nocturnal placemaking and protects a view of the stars.
In all projects, strive to maximise the benefits of outdoor light at night by creating legible, safe spaces and journeys, simultaneously limiting each project’s environmental and financial costs.
Apply the Five Principles of Responsible Outdoor Lighting in all lighting projects:
–All light should have a clear purpose.
–Light should be directed only to where it’s needed.
–Light should be no brighter than necessary.
–Light should be dimmed down or turned off when not required.
–Use warmer colour lights where possible.
Collaborate with researchers from different disciplines and specialties, such as astronomers, ecologists, biologists, lawyers, etc., so they can provide expertise on unfamiliar topics.
Educate your clients about the importance of ROLAN.
Ensure the community you work with is an active stakeholder and participant in all lighting projects. Enquire about their needs and wishes at night, and provide them with access to information to make informed decisions.
Embrace technology by asking for support from the lighting industry to ensure that night-time biodiversity is sustained, and energy consumption is reduced. Engage with the lighting design industry to deliver an appropriate lighting solution.
A circular economy should be integrated into the brief, design, specification, and manufacturing process of your project, as well as its installation.
After project completion, visit the site at night with community stakeholders, to verify that your lighting design was fully implemented and meets ROLAN principles.
Because the UN Sustainable Development Goals (above) do not explicitly refer to external illumination and its multiple impacts, the Founding Partners of the ROLAN movement, are keen to address this in support of the SDG Goals. By following the principles outlined in the ROLAN manifesto, governments, businesses, and individuals support the implementation of the following SDG.
The principal authors of the ROLAN Manifesto are Dr Karolina M. Zielinska-Dabkowska - the ILLUME research group/the Gdansk University of Technology; and Ruskin Hartley - the International Dark‐Sky Association, with contributions and support from further Founding Partners: the Society of Light and Lighting (SLL), the International Association of Lighting Designers (IALD), the Illuminating Engineering Society (IES), the Institution of Lighting Professionals (ILP) and the Lighting Industry Association (LIA).
If your organisation would like to support ROLAN movement, please contact: k.zielinska-dabkowska@pg.edu.pl
Based in Manchester city centre, New Century Kitchen is a part of New Century Hall: a culturally rich venue of music, events, food and drink. The revival of this iconic venue bridges the past and present with simple volumes and a restrained palette centred on mid-century modern style; a collaboration of design between Sheila Bird and Artin Light. Stripping back and revealing the history, the lighting approach was responsive to the existing architecture, highlighting textures, forms and details. A rhythm of columns line the interior in their raw form with wall mounted up and down lights exposing the rough surfaces and remnants of tiles. Exposed ceilings are also uplit, uncovering waffle structures and bouncing off the metallic quality of the suspended services. Lighting has been key to drawing focus to these elements
and the story of the building; no part of the visual narrative has been hidden.
Framed by a concrete courtyard, the view through the glass façade is a landscape of concrete architecture and mid-century furniture bathed in coloured light. Balancing warm and cool, soft and punchy, in the early evening the warmth of the white light in the lounge bar melts across into deep hues of azure blue and violet purple towards the stage, somewhat like a lava lamp. This rich landscape has the ability to adapt to the time of day or event within, through the power of DMX colour change, transporting the interior from cosy 70s pop culture nostalgia to an underground club in Berlin.
Wandering through the entrance and looking up, you can see discs within the waffle slab adorned with metallic lamps, giving a
contemporary nod to miniature disco balls. To the left, booths are centred around oversized bespoke retro pendants and wrapped with warm LED strips that bring out the richness of the wooden panels behind. Straight ahead, the 360° bar takes centre stage; a soft white glow highlights its perimeter, washing over the tiles and subtly picking up the edges of the glassware, drawing you in. Throughout the interior, track and spot has been utilised to pin spot tables and create intimate spaces within the open-plan scheme. Creating intimate areas has further been explored through decorative lighting; a lampshade hangs over a single velvet armchair in one corner, while a table lamp sits between four in another. www.artinlight.co.uk
This November, [d]arc media launched the debut edition of LiGHTthe UK’s only dedicated high-end lighting specification exhibition for designers, architects and specifiers.
Held from 22-23 November at London’s Business Design Centre, the first-ever LiGHT exhibition closed its doors to a buzz of positivity, from both visitors and exhibitors alike.
The design community came out in force to support the new show, with over 3,000 visitors passing through the doors to see more than 100 high-end international lighting brands present their latest product ranges for the architectural and decorative specification market.
Show highlights included the [d]arc thoughts talks programme, in collaboration with lighting control specialist Lutron, which benefited from a steady stream of guests across the two days, keen to learn more about the hot topics in lighting.
With every talk well attended, the headline panel saw more than 250 people crowd round the stage to see Masters of Light(ing) designers Sally Storey (Lighting Design International); Mark Major (Speirs Major); and Nick Hoggett (dpa lighting consultants) take to the stage to share their knowledge and expertise with the industry.
Visitors to the show also made good use of the dedicated workspace area on the gallery level.
Illuminated by table lamps from British lighting brand Tala, LiGHT Work was a beautiful, relaxing space allowing show attendees to complete office tasks, while offering dedicated wi-fi, free coffee, and charging points.
Day one closed with a late-night drinks party hosted by the organisers [d]arc media and stand parties throughout the space.
The buzz around the new lighting event continued into day two with a LiGHT networking lunch hosted in the [d]arc thoughts talks arena, allowing visiting designers and manufacturers to meet in a relaxed space, while taking in a video interview with internationally celebrated product designer Michael Anastassiades.
The show was also heavily supported by industry trade bodies and organisations including: SLL; IALD; ILP; LIA; BIID; SBID; Women in Lighting, along with industry media organisations: ICON; On Office; Archiproducts; DeZeen; NLA; World Architecture News; and STIR.
Delighted with the success of the first year, [d]arc media Managing Director, Paul James said: “The show has been a resounding success with the design community coming out in force to support this first year. LiGHT 22 caters to the ever-growing design sector in London and further afield and is a new offering for lighting design built on [d]arc media’s knowledge and experience of the lighting specification market that spans more than 20 years.
“We have had nothing but positive feedback from exhibiting brands and visitors alike and I am really looking forward to what next year’s show will bring.”
Free to attend, dates for next year’s show are confirmed as 21 & 22 November 2023.
Turn over to see some product highlights from across the show floor.
www.lightexpo.london
Designed by French lighting design practice
Ponctuelle, Teatro is an ultra-miniature, track lighting system. Designed to revolutionise showcase and display lighting, Teatro is available in recessed or surface mounted installations. Featuring two types of track spot, Teatro 30, the larger of the two, and Teatro 12, the small but mighty version. Teatro spotlights provide high performance with high CRI 90 or 97, with R9 up to 90, and adding to the superiority of the solution, more than one accessory can be installed at the same time. www.formalighting.com
Stoane Lighting
ZTA.35 is the smallest member of Stoane Lighting’s ZTA family; a product range designed for the Circular Economy. This made-to-order product carries an Excellent TM66 rating. Delivering on specifier calls for something smaller than ZTA.50, but with the same uncluttered aesthetic, adjustability, light quality and flexibility, ZTA.35 can use either a 4.5mm or 6mm LES COB. Depending on which type, it can achieve up to 873lm initial and beams as narrow as 13.6º. The Ø43.5mm lamptube can swap effortlessly between fixed optics or a zoom lens. www.stoanelighting.com
Designed Architectural Lighting M-Flux is a range of high output downlights with lumen packages from 700lm – 6500lm. The M-Flux family comes in a wide range of finishes and beam angles giving an extremely flexible solution. Each luminaire can accept up to two accessories and the beam angle lens and reflector can be disassembled on site without the use of any tools. This allows on site commissioning where final changes are required, making M-Flux ideal for hospitality, retail and commercial installations. www.dal-uk.com
Polescade offers ceiling-to-floor coverage of light with an even illumination for the ultimate wall-wash effect. Building upon the heritage of the Polespring range, Polescade offers unprecedented levels of visual comfort in a downlight using several clever builtin lenses, louvres and baffles to minimise glare from every viewing angle. This patentpending design only protrudes by 3mm from the ceiling and has a 73mm diameter, making it the most discreet on the market. www.johncullenlighting.com
The Virtual Sun A7 is a revolutionary artificial skylight. Casting a directional sunbeam alongside diffuse natural lighting between 3200K and 18000K, A7 also provides a stunningly realistic view of the sun and sky. Using patented ‘Infinite Depth’ optical technology, each unit generates a precise ‘artificial sun’ that moves from unit to unit, following the viewer. Manufactured in the UK, the A7 is designed to fit anywhere, requiring only 27 cm of vertical space. www.innerscene.com
Tryka has introduced power balance technology to its AURA and Stripline product families. Power balance is the ability to deliver maximum performance through the full luminaire wattage being available in any mode of operation. No matter what primary channel or mixture of colours are selected, the unit will balance the power anywhere between 1-100% output as set by the DMX or DALI control system. This set up avoids peak intensities through colour mixing and ensures maximum luminaire efficacy, and efficiency throughout the system both in up-front and running costs. www.tryka.com
Skin is an innovative, versatile and modular outdoor light fixture. Its unusual, signature elongated hexagonal shape makes it easy to create continuous linear and curved lines, suitable for silhouetting and illuminating complex or irregular perimeters of contemporary architectural designs. Skin can be configured in different solutions, designed to accommodate any project requirement. www.linealight.com
ELR
Orion 2 is a series of pinhole downlights available in fix, tilt, with trim or flush mount variations that’s small and versatile, designed with ELR’s signature modular concept to be paired with ELR 20 series LED modules. Even with a miniscule aperture of just 15mm in diameter, the Orion 2 can produce up to 748lm output at up to 40 degrees beam angle with X-BEAM converging optical lens that are equipped on ELR LED modules to maximise luminous efficiency. www.elr-group.com
During LiGHT 22, an immersive popup installation by Lutron gave design professionals the opportunity to experience light in a meaningful and innovative way. Empowered by Lutron’s Athena lighting control solution, the A&D community enjoyed the chance to “paint” with light, adjusting colour temperature, intensity, and layers of light to create unique lighting scenes. The cloud-connected Athena dashboard software visualises complex system data in intuitive, viewer-friendly reports. Pairing the dashboard with the Athena app, designers get both local control and system analytics. www.lutron.com
Applelec
Green Applelec LED Light Sheet is the design industry’s first fully environmentally friendly light panel. It delivers the same premium backlighting designers expect from Applelec’s light sheet range but is a kinder option on the environment. The panel is embedded with low wattage 190lm/W LEDs, making them 35% more energy efficient when compared against standard LEDs, as well as this, the unit can be completely disassembled so all elements can be re-used or recycled. www.appleleclighting.co.uk
LightGraphix
Designed to light pathways with a glare-free wash of light, the LD50 offers a super-wide diffused distribution from a very compact fitting, reducing the number of luminaires required to achieve an even floor wash. With two oval beams available, the extra oval beam features an additional 20° tilt film to focus the light on the pathway, while the head remains horizontal for ultra-low glare. The cable is hidden within the ground spike. www.lightgraphix.co.uk
The Anolis Calumma floodlight range currently offers five different sized luminaires utilising high efficacy LEDs with multichip and customisable single chip options, available as RGBA, RGBW, tuneable white, pure white and customisable, together with a range of more than 18 choices of symmetric, bi-symmetric, and asymmetric optics for full flexibility. The latest chip and driver technology offers outstanding performance while the streamlined contemporary ergonomics of the range complements its refined, high-quality output. www.anolislighting.com
The LEDStar 4 is a powerful new spotlight in the Light Projects LEDStar range available in wall-mounted or window reveal versions in various finishes. With a Cree CXB COB LED up to 1200mA (20.3W) and medium beam, it produces up to 1584 lumens. Beams are configured with interchangeable 12°, 24° or 38° optics and further shaped with clipon diffusers. Glare is limited optics set back into the housing with extra control from honeycomb louvres or full or half-tube cowls. www.lightprojects.co.uk
FRS99 is a patented high-efficiency ultracompact linear profile by Formula Luci. Thanks to the co-extrusion process of an ultra-reflective and a diffusing material, FRS (Flux Recovery System) recovers the entire luminous flux produced by the LEDs, converting it into emitted light. The LED circuit is designed to be easy customisable for both power and length. Thanks to its compact size of 9×9mm, FRS99 meets the needs of designers looking for lighting solutions that integrate seamlessly into architectural and interior design projects. www.formulaluci.com
The LED Lightline 20.40BR is a kind of chameleon – with its black PU-resin casting, it becomes almost invisible on black backgrounds such as façades. The light loss is amazingly low and the colour shift is also only very slight. Presented at LiGHT 22, visitors were amazed at the black casting when the light line was switched off, because no difference was noticeable when the LED RGB pixel band was running. www.ado-lights.de
ProTools 60 Linear family offers straight runs or configurations for linear downlighting, wall washing, wall grazing and perimeter lighting with ultimate performance, superb glare control, lens/louver options and the Whitegoods attention to integration with surrounding materials. Ultimate reduction of detail and seamless integration into architecture. www.whitegoods.com
Realised for use where inground fixtures can not be placed to achieve a similar effect, the Dome RGBW is a medium power, IP67 inground LED luminaire, using 12 multi-chip RGBW LEDs (lifetime: 50,000 hours). All in robust aluminium case with ultra-clear tempered glass, available optics are: 8°, 15°, 25º, 40°, 60°, 15°x30° - holographic filters 60°, 100°, 8°x60°. www.studiodue.com
Hero is the first luminaire where you can adjust light direction without moving the fixture. You control the direction of light with the built-in joystick without tilting or swivelling the luminaire. The sleek luminaire and its glare cut-offs remain perfectly still. Simply put, you can put Hero where you want it and put its light where you need it. www.glintlighting.com
Alongside the exhibition, LiGHT 22 was host to a full schedule of [d]arc thoughts talks and discussions, covering some of the key topics and issues in the lighting industry.
LiGHT 22 saw the return of the hugely popular [d]arc thoughts talks programme, presented in partnership with Lutron. Featuring more than 30 speakers across 12 discussions, the talks covered a broad spectrum of issues surrounding the lighting world, from dark skies and light pollution, to getting started in the industry.
The show opened with a discussion on the future of materials. Led by darc editor Sarah Cullen, the panel, comprised of architectural and decorative lighting manufacturers, examined the availability of materials when producing luminaires, and the potential need to look for more circular alternatives. This was followed by a presentation from Paolo Creati, who shared the findings of his recent research into lighting for students with visual impairments.
Following this, Emma Cogswell of Skills Army and the IALD moderated a discussion on starting out in design. Here, Michael Grubb, Founder of Michael Grubb Studio, and Marci Song, Founder of SEAM, were joined by interior designer and graduate of the United in Design programme, Isaac Nwaku, to talk about entry points into the world of design, and whether these opportunities are always fair and available to all.
Sarah Cullen moderated a session with Colin Ball of BDP, Carmela Dagnello of WSP and Kristina Allison of Atkins Global on the lifespan of a project. Here, panelists examined what it takes for projects to stand the test of time, while also considering future-proofing needs. This was followed by a discussion between Neil Knowles of Elektra Lighting and Anna Burles from interior design studio Run For
The Hills, who shared their thoughts on recent project collaboration Tivoli Cinema. The headline talk for the event, entitled Masters of Light, saw arc editor Matt Waring sit down with three leading luminaries of the lighting design community - Mark Major of Speirs Major, Sally Storey of Lighting Design International, and Nick Hoggett of dpa lighting consultants - who shared their thoughts and insights on the lighting design profession, and how it has grown and changed during their time in the industry. The trio shared highlights from their illustrious careers, before speculating on what the future will bring to lighting design. While all talks were very well attended, this drew the biggest audience of the show, with approximately 250 people clamouring to hear the thoughts of these lighting legends.
Day one was rounded off by the latest in the ever-popular ILP How To Be Brilliant series, where Juan Ferrari and Brad Joseph of Hoare Lea shared their expertise in a talk entitled How to be Brilliant... At Being On It!
Day two began with a discussion on light art, in which Matt Waring was joined by Jason Bruges, Frankie Boyle and Helen Marriage, Director of Artichoke, to examine the distinction between light art and ‘art that uses light’, as well as the growing popularity of the medium and the emergence of seasonal “light festivals”.
This was followed by a talk on design for wellness, in which Sarah Cullen was joined by Dr Shelley James, Kael Gillam of Hoare Lea, Miguel Aguado from Lutron, and Sam Bird of Trindade & Bird to talk about the various interpretations of design for wellness, and
how effective design can aid both mental and physical wellbeing. Cullen then hosted a panel on specifying bespoke lighting, where Darren Orrow of Into Lighting, Mark Sutton Vane of Sutton Vane Associates, Simon Shuck of Inspired by Design, and Matt Burns of Unibox examied the complexities and processes that come with sourcing bespoke products for projects.
Breaking up day two, the talks stage hosted a LiGHT Lunch, where visitors were treated to complementary food and drinks, while a pre-recorded video interview between [d]arc media’s Helen Ankers and renowned product designer Michael Anastassiades was shown on the big screen.
The talks programme was closed out with two in-depth examinations on the adverse effects of exterior lighting after dark. The first of
which, The Weaponisation of Light, saw Matt Waring chat with Edward Bartholomew of Light Justice, Ruth Kelly Waskett of Hoare Lea, and independent designer Satu Streatfield, talk about the hierarchy of lighting, and the ways in which lighting in under-privileged areas can be a direct contributor towards societal inequalities.
Following this, Waring was joined by Nathalie Quadio of Nature in Light, Inessa Lomas of Arup, Raluca Dascalita of Delta Lighting Design, and Dark Skies specialist Dan Oakley, to talk about dark sky protection, and particularly how lighting designers and manufacturers can help to preserve dark skies.
All talks were recorded by Streeem, and are now available to view on the [d]arc media Vimeo page.
The new dezzi downlight family takes its name from Desmond Heald, one of the original founders of alphaLED. The dezzi downlight family has an array of features, including 10 years warranty with Xicato inside, and 20 years duty of care on all fittings. There are 14 individual configurations available, based around fixed, adjustable, wallwash and pinhole light engines. Within these configurations, there is a choice of 17 optical distributions. The dezzi range features unique 40° tilt adjustment with precision aim and locking, as well as IP65 options available and optimum glare control, (UGR <19). www.alphaled.co.uk
kreon inti is a fully recessed downlight with a refined patented optical system. It has a build-in dome set above a black or white internal louvre. The faceted dome adds a scattering play of brilliance and creates a first layer of ambiance. kreon inti directional combines the dome effect of the downlight with a decentralised directional spotlight that has an angular adjustment of 30°. The diffused light from the dome neutralises the shadow of the directional spotlight in the light effect. The directional light creates the second layer of focused light. www.kreon.com
With an interesting cocktail of outstanding design and state-of-the-art technology, the Wasaabii Fix XL is characterised by Japandi aesthetics, refined curves and organic shapes. Available in different colours, with a fixed aluminium tube, the fixture is available in 200, 500 and 1000lm options, at colour temperatures of 2700K and 3000K, with a CRI of 92. www.brickinthewall.eu
Entero Delta Light Entero is a set of lighting tools designed to arm architects and designers with everything needed to create discreet yet diverse lighting schemes, with one luminaire type, for any project. Although uniform in design, variety is key within the Entero range. Variety in installation, shape and size, application, colour, power, light distribution, light refining accessories. All within the same distinctive look and feel of Entero. www.deltalight.com
Helvar
Helvar ActiveAhead is a truly intelligent and scalable wireless lighting control solution. It provides ultimate efficiency in setup and operations while optimising energy consumption. Helvar ActiveAhead will continuously learn from the actual usage of the building and adapt the lighting accordingly to provide wellbeing and energy savings. ActiveAhead can be connected to cloud-based Helvar Insights for analytics, reports and more.
It’s the perfect solution for offices, schools, warehouses, stairways and parking garages. www.helvar.com
A highly versatile, powerful, adaptable, and modular interior projector, Occular Axis features the capability to adjust on multiple axes (18° tilt, 360° rotation, 80mm extension), combined with Phos’ interchangeable baffle system, which can be finished in any colour, multiple LED type variants and is available in three different sizes (Nano/Standard/Maxi) –making this the most adaptable range within Phos’ product portfolio post-installation. www.phos.co.uk
Building Asset360 is a value proposition that encompasses all Tridonic’s solutions, including wireless lighting and wireless emergency lighting. It also embraces the interoperability between other systems such as BMS for a market that is requiring retrofit solutions. In many cases, it can leverage assets that already exist with the building. Built on top of the Casambi Bluetooth mesh, it provides a proactive approach to lighting asset management. www.tridonic.com
MaxiPENDANT from MaxiLED Lighting is the ideal range for low powered DMX projects, boasting MaxiLED’s unique power over data technology. With MaxiPENDANT, drivers and controls can be housed 75-metres away from the lighting. MaxiPENDANT is 512 DMX controllable, dimmable (0-10V), available in Intelligent White and Static and the globe is Impact Resistant (IK07). MaxiPENDANT is easy to install and has the ability to run a single strand for as long as 100-metre (330ft) making this range truly unique and the perfect solution to give your next project the wow factor. www.lite-ltd.co.uk
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Zen is a revolutionary joinery lighting system from Lumino. Its unique range of installation channels and mounting options makes it perfect for recessed, surface mount and integrated applications within a range of materials. At just 10x10mm Zen delivers beautiful and elegant illumination to the smallest of spaces. Available in bespoke lengths, Zen is a compact lighting solution like no other; and perfect for joinery, under-step, cabinets, display cases and handrails. www.lumino.lighting
Color-Stream features include a super-high speed communication protocol that is up to 16 times faster than DMX. Liquid smooth transitions and effects of up to 200Hz refresh rate. Fine dimming which is 16 times smoother than DMX and flicker free dimming – 40kHz dimming frequency is flicker-free for human eye and for high-speed video cameras. High linear controllable resolution of 75/150/300mm, longer leader and jumper cables of 100-metrelong and new extended single lighting circuit lengths of up to 700-metres (2,345ft). www.gvalighting.com
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The Vista is a range of sleek, matte black, IP65 exterior grade, fully adjustable spotlights in both 50mm and 30mm diameter. These are available in both spike and surface-mounted options. The 50mm with four available beams for highlighting landscape features or pathway lighting and the 30mm diameter version is available in two beam options ideally suited to smaller niche planter, foliage and pathway situations. www.lucent-lighting.com
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Jilly embodies Erco’s approach to office lighting. In keeping with modern, dynamic working environments, in which office layouts are constantly changing and adapting, Jilly achieves the efficient, flexible and standard-compliant lighting of workplaces. The flat housing and a striking anti-dazzle louvre characterise the elegant appearance. Jilly’s lighting technology combines a highly efficient lens system with antiglare technology for visual comfort and luminous efficacy. Track mounting means that Jilly can be optimally aligned to tasks and workstations, to create an energy-efficient zonal lighting scheme. www.erco.com
Syclop is a convertible framing projector designed and manufactured by SPX Lighting –Museum lighting specialist. An ideal combination for temporary exhibition galleries, whether you’d need a framing projector, a spotlight or a gobo projector, Syclop is available in three wattages – 18, 25 and 35W. With a high lumen output, it is available in 3000 and 4000K. Syclop comes in a number of mounting options – a three-circuit track adaptor, hook mounting, tieback mounting and wall mounting. www.mushroomlighting.com
The Radiant RAD 180 Inground is a customisable water effect luminaire developed with MBLD for the W Hotel Algarve. Only 100mm deep, the luminaires incorporate 12 high power LEDs in a mix of whites and blues controlled by an integral eight channel DMX driver. Gently changing patterns of light formed by the textured optics can be modified for each project. Walk over glass, stainless bezel and machined construction ensure a long working life. www.radiantlights.co.uk
Folio
Patch is the series of Folio products that integrate the patented accessories of the Spot.Mate family inside the Folio light body. The lighting components of the Spot.Mate collection create an adjustable point light beam that enriches the soft light of the panel. The homogeneity of the light is guaranteed by the 10mm opal diffuser, by the internal laser-engraved methacrylate plate and by the high efficient Nichia LEDs. The aluminium case promotes heat dissipation and is available with special finishes. www.folio.it
Luminii
Solo 8 Plus, 11 Plus, and 16 Plus from Precision by Luminii all feature tool-less field-changeable optics and accessories, making real-time changes seamless. Solo 11 and 16 Dynamic White enable circadian lighting with tuning ranges of 18003000K and 2700-5000K CCTS. Try each with the Stucchi multisystem track that allows for simple, quick connections and disconnections in addition to moving lights as needed. www.luminii.com
A former church in Edinburgh’s city centre has recently undergone a full, £1.7m refurbishment, including improvements and an extension, to transform the space into a bright and airy community hub, events space and non-denominational sanctuary.
Led by Konishi Gaffney Architects (KGA), the renovation has improved access across its multiple levels, and reconfigured the front of the building to form a new front door, reception and lobby area for the building’s occupiers, Greyfriars Charteris Centre.
While the original form of the church has been kept intact, existing lancet windows have been removed and the space opened up so that passers-by can see the activities within.
The work also includes the introduction of
a timber link building, inserted between the church and neighbouring office block, forming a triple-height top-lit atrium with lift access to all levels.
Inside, a new tiered staircase and seating area allow views within and down to the co-working hub, as well as through the main hall. A restrained material palette has been used throughout, unifying the new joinery elements of the building with maple used for floors, stairs and built-in furniture; this is matched with birch-faced plywood finished in a white wash, while the main hall’s pine ceiling has been stripped of an old mahogany stain, lightening the space. This has been complemented by an architectural lighting scheme designed by Francis Milloy at FMLD, who was asked
to come on board, already having a longstanding relationship with the architects. A collaborative process from the outset, the design team had detailed discussions around aspects such as building use, form, history, materials, light and texture; from this they developed and refined ideas to match the project aspirations, while also meeting codes and functional lighting requirements.
“There were two main architectural areas to be considered, the refurbishment of the church, choir and basement, and the new reception/circulation area that co-joined the church to the adjacent community building,” said Milloy. “At the most basic level we had to consider the specific qualities of the new-build and its immediate relation to the existing/historical, but also the interrelation
of all these spaces and functions.
“The ultimate goal was to work with light to achieve the appropriate resonance and interrelation based on time of day and function. We wanted the lighting to be a fully integrated component of the experience of the space.”
Within the existing church, FMLD and KGA wanted to develop a solution that would maximise the feel of the vaulted space both during the day and at night, while also allowing for a more intimate sense of space at other specific times – the considered balance of artificial and natural light was critical to achieving this.
“We utilised a direct/indirect pendant with dual circuiting, plus a linear accent light concealed at the base of the ceiling vault and the newly added timber screens, essentially providing three different lighting techniques for the space – uplight, downlight and
accent – that would work in concert with the ever-changing daylight. The indirect light supports varying degrees of expression of the expansiveness of the architectural volume, while the accent lighting takes the focus off the material volume towards a more darkness/shadow-based spatial quality, but still one that is open and not overly hierarchical in its emphasis.”
In the entry/circulation spaces, the bright, daylit volume is maintained on gloomy days and evenings providing a uniform and bright transition space that is not so starkly lit to disassociate itself from the historical architecture, nor so similar as to muddy the distinction. As such, small aperture, low glare downlights and accent lighting was tightly coordinated with the architecture, blending the natural and artificial light conditions, while also facilitating the perpetual flow between new and existing spaces.
Throughout both the old and new spaces, the CCT was kept at a consistent 2700K, and by concealing light fixtures, emphasis was placed on both a minimal feel, while “allowing the rhythms and textures to inform the space”, providing a warmth that counters the minimal restraint.
“We think it looks, and more importantly feels, fantastic. By both day and night, the building resonates incredibly well and the lighting design plays a large part in that,” said Milloy. “The challenge was to provide a dynamic lighting solution that at each moment reciprocated meaningfully with the space and its multi-function use, and working alongside the architect, client and other disciplines, we believe we achieved that.”
www.francismilloy.com
Held in Palm Springs, California, more than 400 designers attended IALD Enlighten Americas for three days of informative sessions and celebration of the international lighting community.
Welcoming more than 400 attendees from across the professional spectrum, the IALD Enlighten Americas 2022 conference opened in Palm Springs, California for three days of collaboration and celebration.
Launching on 28 September, the event offered three days of informative sessions from veteran and emerging professionals in the industry, roundtable discussions between manufacturers and specifiers, peer networking, and all the celebratory energy of an international community in attendance.
Guests were treated to an awe-inspiring keynote address by award-winning sculptor Janet Echelman, as well as the induction of two lauded professionals into the IALD College of Fellows: Steve Brown, FIALD, FIES, CLD of Australia; and Ulrike Brandi, FIALD, CLD of Germany.
The in-person event also provided eagerly anticipated gatherings for members of the Lighting Information Resource Council (LIRC), galvanising the collaboration and cooperative insight that the Council provides to lighting designers and manufacturers alike.
Alongside this, the event featured an insightful conference programme, with an international array of speakers covering a wide range of topics from across the lighting world.
In a session entitled Sustainability Versus Lighting Design - a Balancing Act, Till Armbruester and Martina Weiss of Licht Kunst Licht discussed the impacts of the lighting industry on sustainability and environmental protection, asking how much influence a lighting designer has, the paramaters that define sustainability within lighting design and what effect sustainability has on both design and wellbeing.
Elsewhere, Anna Sbokou, Founder of ASlight delivered a session on the hidden potential of residential lighting design. Often seen as a “creative dead-zone”, Sbokou argued the scope for creativity and innovation, particularly in a post-pandemic world where residents now view their homes in a different way.
Other sessions included Who’s in your corner? A talk in which Jessica Krometis and Catherine Leskowat of Hartranft Lighting Design extolled the virtues of having workspace allies; meanwhile Kristin Bredal, Founder of Zenisk, called for more social and environmental responsiblity in her talk, entitled Lighting Detox
The event also saw the return of popular IALD Enlighten traditions, such as the Lovers of Light session, led by Ron Steen of Specialty Lighting Industries, and the Lighting Cross Talk, where manufacturers and specifiers could discuss key issues facing the lighting industry in an informal, roundtable format.
Furthermore, the IALD Education Trust welcomed students and educators to the event as a result of Trust-provided stipends, in keeping with the mission to further the advancement opportunities for the next regeneration of lighting design talent.
Christopher Knowlton, IALD Chief Executive Officer, was thrilled to see the enthusiasm coming from the event aptly titled Into the Sunlight
He said: “It was rewarding to see so many members of our community coming together for the first time in several years and re-connecting so positively. It really goes to show that the lighting profession is emerging strong and energetic from the pandemic.”
The IALD Enlighten Americas conference will return in November 2023 in Banff, Alberta, Canada. Early information regarding speaking opportunities, sponsorship, volunteering, and general attendance will be released in coming months on the IALD website and social media channels.
www.iald.org
Images: Rand Larson, Morningstar Production
The returning Light + Building has also seen the revival of the CoolKitList from Kevin Grant, Design Principal of Light Alliance. Here, he breaks down some of his favourite finds from the show.
We all knew this year’s Light + Building would be smaller than before, with a different mix of exhibitors, but as a lighting designer the opportunity was invaluable and long-overdue – to get hands on and up close with the tools of our trade, tap into the latest thinking, explore new brands, and meet people (new and known) with shared interests in a forum of this scale (yes it was smaller, but still huge!)
This year’s themes were Green Deal & Sustainability, Electrification & Digitalisation, and Light & Design. There were definitely a few bold claims about sustainability, but also some different twists – easily replaceable parts and upgradable components (not as prevalent as it could have been), others focussing on minimising waste (in the production/packing/transportation and installation), more natural materials, re-use of materials – many things becoming smaller (meaning also less material/waste/transportation impact/cost). There was a focus on luminaires being more efficient, not only in terms of providing more light, but with greater efficiency and control. Also noticeable (perhaps assisted by the wider adoption of more human-centric standards, such as the WELL standard?) was an increased focus on the user, controllability, and glare management. There are always some nice unique features, innovations, and problem-solvers to discover when our industry comes together like this – so with this in mind, here are some of our highlights… Artemide had lots of new design partnerships and collections on display, including some very efficient functional lights, A39/HOY (balancing efficiency with glare control), and several families of lighting equipment that have options for use indoors or out – such as the Funivia rope track, and Unterlinden to name a couple, which were displayed to good effect.
The Bega stand was a magnificent presence in Hall 3 and didn’t disappoint with many new products following the Bega philosophy of robust equipment, designed to last, and live on. Highlights here were its Zoom Optics (adjustable zoom),
the Bug-Saver Technology (to adapt colour temperature + spectral distribution of light for particular times or seasons), some impressive Low Glare Optics and very nice finishes/enhancements available on its Bega/Aubrilam columns (including many variants of beautiful wooden finish and inserts)
The Casambi stand was always busy, hosting one of the conference stages they also presented some soon to be launched interface options including the Casambi Pro Desktop Commissioning Tool to help plan and pre-commission remotely (to speed up and optimise the commissioning process).
Pharos was also launching new front-end capability with its Expert range and interfaces (with customisable control, editable states, offering realtime simulations, and event scheduling).
Speaking of Casambi, the very tiny “smallest Casambi-enabled miniature spotlight” was displayed by corporate friends as part of its C1 Mini C miniature track system, which allows fixtures to be dimmed altogether on the track, individually using a magnetic tool or via the addressable Casambi-enabled module. Also, with opportunities for sensor activation, for maximum impact (saving energy and enhancing the experience).
Light-on-Demand is becoming a hot topic as the desire to control and energy use increases.
ESave provides a very neat and flexible system of hardware and software to help facilitate this, and I had an opportunity to play with its SLC HUB/ SL-GATEWAY and some live simulations, which use a modular mesh network to provide adaptive and responsive lighting, and also provide data management.
Some really well executed slim and slender backlit surfaces and systems were on display from Folio, including its Roof system (with neatly integrated multi-source luminaires in various combinations –flush recessed, track, spotlights, and other inserts).
Another notable presence this year was the LEDFlex stand, which was beautifully executed to showcase some of its latest offerings. Hard to miss was the RGBW Ultimo Neon display
(with incremental control), which seemed rather more elegant and easier on the eye than some of the other ‘dynamic lighting effects’ on display elsewhere – the product is IP68 rated and resistant to UV/Saltwater/Solvent/Flame and can be controlled in increments of <167mm, so ticking lots of boxes for applications where this type of product may be required. The Rigid Grazer provides powerful light output from very compact dimensions and with clever optics to ensure it can be positioned very close to the surface being illuminated (without any hotspots, scallops, or glare beyond the beam). The Flexi Grazer 2D+3D could be a problem-solver for some of the demands presented by the organic flowing forms that many of the architects we work with seem to enjoy creating nowadays.
Adaptable and upgradable luminaires were on show from LEDLuks, including the Dry and Camaleo products that allow for elements to be adjusted, adapted and skins to be changed or upgraded (to vary the shape/material/appearance, or optical distribution). LEDLUKS also presented its Augment Reality App, allowing the user to configure their products and see them virtually, in real time, using their own smartphone, or similar. Lightnet provided an exemplar display of the capabilities of Liquid Line and Ringo Star by combining these into continuous sinusoidal forms, which led the way into its stand, snaked across the floor, climbed the walls, formed illuminated tables, chandeliers, and even a tree like example of the type of twists bends and shapes that can be formed. (Each of which has a laser etched part code incidentally – so if one part ever did need replacing, that code identifies the body mould, light source, diffuser, and all attached components on either side – to ensure an easy replacement in future if as/required – very clever).
D-Wave by Linea Light is a flexible two-axis lighting system (the recyclable composite material used, its profile has a full-length internal passthrough compartments, making it possible to insert, wiring and keep it protected – so offering a flexible solution to provide functional light or feature where installations may otherwise be challenging.
&CO/LLECTION by LND (Landa) displayed some nice examples of neatly integrated natural wooden luminaires with concealed optics.
Meyer was showing off new products and some neat evolutions of existing product ranges, but the stand outs for us were the Monospot Low Glare Optic and the Nanodot handrail lighting system (with ‘fool-proof installation system’ and low glare optics which can throw up to four-metre asymmetric light distribution).
In Hall 8 there were so many firms offering innovative component part features, injection moulding, die casting, a plethora of profiles, and optical systems but one standout was Nanoptiqs – offering precise light management from its compact and miniature beam shaping optics – they can be applied to linear arrays, profiles or point sources and tailored to suit different LED size, pitch, and the distance from source can also be optimised – to maintain the desired distribution, appearance and form factor.
OM Lighting presented the impressive Tua bollard with long throw and no-glare, and the Octo tiny aperture downlights with Bartenbach low glare optics.
Bell from Simes is a family of elegant mainsvoltage wall lights, pendants, and bollards (so no drivers to hide) with a range of colours and accents. There were lots of interesting products on the Simes stand this year, but another two favourites were Flower adjustable zoomable spotlights, and also the IP System – an IP65 plug-in lighting system, with a continuous silicone diffuse lit element, and various plug-in luminaires that can be added as and where required (spot lights, downlights, and pendants). The connection mechanism ensures IP65 rating, or IP54 where any items have been removed.
TecsoLED was mainly showing nicely integrated compact luminaires, including the Julia II – options for direct and/or indirect light with shielded lowglare optics and integral DALI control gear in a very compact footprint of only 35 x 45mm.
You can see our full breakdown of the latest and greatest from Light + Building 2022 in the LA CoolKITList on our website. www.lightalliance.com
Dave Hollingsbee of Stoane Lighting speaks to Nigel Harvey from Recolight, and Stewart Price of Lumicom about the pros and cons of the WEEE Directive.
At the time of writing in the UK there are approximately 115 AATF’s (Approved Authorised Treatment Facilities – companies licenced to carry out teardown, shredding, separation and processing work) and 27 registered PCSs (Producer Compliance Schemes – companies responsible for collection of WEEE on behalf of their producer members). Two of these schemes (Recolight and Lumicom) are the best known in the UK lighting arena, both have contributed to this article.
Since February 2007, the WEEE (Waste from Electrical and Electronic Equipment) Directive has been law in the UK, undergoing substantial changes in 2013. WEEE collection, recycling and recovery targets have been set on an annual basis for household since 2014. For example, in 2022, PCSs were collectively assigned a household WEEE collection target of 4,145 tonnes (lamps) and 5,992 tonnes (luminaires). Those targets were then split among PCSs in accordance with the aggregated market share of their household members.
With improving processing technologies at AATFs, we are seeing impressive recycling and recovery figures. For example, this data shows what materials can be successfully recovered from a batch of waste luminaires:
Recycling is a positive intervention but is not the best solution
Why are we so enthusiastic about remanufacture The data in the above table [fig 1] demonstrates one of the shortcomings of recycling, which is vital to acknowledge if our industry is to fully embrace a circular economy: recycling erodes value. The batch of waste luminaires is converted back into various basic materials – such as metals. Those can be successfully returned into the raw materials supply chain. But all the embedded carbon associated with the manufacture of the original products is lost.
What’s more, a significant proportion – in this case 14.5% – is diverted to “waste to energy”. It is effectively incinerated to produce energy – but in the process, releases carbon. Arguably displacing the equivalent extraction of virgin fossil fuel but nonetheless still contributing to the climate crisis. The waste hierarchy [fig 2] quite rightly puts recycling below prevention, repair, and reuse. To drive improved sustainability in the lighting sector, we must get much better at applying the waste hierarchy. That means prioritising repair and reuse above recycling. Historically in our industry, we have regarded getting waste recycled as good enough. We need to change that mentality. So, assuming a fixture has reached a point where re-use, repair or remanufacture are not viable, what does recycling look like?
Significant volumes of higher grade, higher value material are now being responsibly recovered. Dangerous compounds such as the Persistent
Building
Site Technician’s decision
Luminaires
*The “Why” is essen al to know at the point the site technician makes the decision “A or B?”
Organic Pollutants (e.g. brominated flame retardants) and mercury are responsibly separated and kept out of waste streams, water tables etc. Techniques and hardware are continually improving, similarly the demand for recovered material evolves. Coined in the 1980s the expression “Urban Mining” is now a household term. There is demand for the recovered elements.
A recent facility tour of Waste Expert’s Huddersfield facility organised by The Society of Light and Lighting (SLL) offered invaluable first-hand insight to a group of the society members of what the process looks like.
At this stage it has to be noted that research has shown that >165,000 tonnes of household WEEE generated annually never makes it into a registered WEEE treatment facility, and instead is disposed of with general waste. Clearly awareness and infrastructure investment is still needed.
Household and dual use lighting specific figures: the lamps collection rate is quite high – in 2021 around 47% of lamps were collected and recycled. The government is likely to consult on implementing kerbside collection of WEEE for households.
But for non-household fittings, that figure was a lot lower. Only around 6.3% was returned through the PCS network. The fate of the rest is unclear, but it was probably recycled as scrap metal. That is suboptimal, and may mean that some of the hazardous materials were not properly separated and treated.
What WEEE handling provision did you see on site at your last renovation project?
That is waste capture. But what about perfectly functional kit that is no longer needed by a client/ venue? Over recent years we have seen a
A B Who? Where? When? *Why?
Materials
B
proliferation of new approaches: Lighting as a Service (LaaS), Buy-back schemes, third party company and OEM initiated remanufacturing offerings.
To properly understand the realities of what happens to redundant lighting equipment, we must look at the options faced on site. We know just what WEEE is and what it is not. There is an obvious challenge to capture more of the missing waste into the correct WEEE channels, but what about the perfectly good equipment that is removed, surplus to requirement, i.e., not part of a LaaS or buy-back scheme or pre-destined for specific remanufacture and re-deployment? Most people reading this article will have seen examples on site of perfectly viable, valuable equipment, piled onto a pallet, stacked in a heap for WEEE processing or thrown into a general waste skip. An opportunity missed. With all the current effort going in to adapting the lighting industry to the circular economy it is preposterous. Is there a solution? Can we find a sustainable route that diverts valuable equipment from simply being pushed down the WEEE route for material and energy recovery?
It seems that the critical juncture occurs on site where a human technician makes a simple A or B* decision (see fig 3). The moment a fixture is assigned “B” status and a place in a WEEE collection receptacle, its only destination is the shredder. While recovering materials and not components is the ‘ring’ of last resort (as utility is lost and recovered material can be lower grade than virgin) not to mention the energy involved (collection, cleaning, sorting, shredding, processing, transporting), It still plays a crucial role – it keeps materials in use and reduces waste stream. Recycling materials takes less energy than primary production and consequently less GHG emissions.
This series is curated by Dave Hollingsbee of Stoane Lighting, dave@mikestoanelighting.com
For example, recycling aluminium requires only 5% of the energy used to create primary aluminium. Conversations with PCSs suggest that early identification of those projects from which fittings could be reused or remanufactured is vital. Where that happens, and if the contractor is supportive, then providing suitable packaging materials, such as “cardboard bubble wrap” could help preserve the product for reuse. This crucially also requires companies that are willing to receive the product and rework it. Recolight has offered to deliver such product, free of charge, to companies in the UK willing to take responsibility for the product. This requires a new “ecosystem” of remanufacturers, willing to receive, remanufacture, and certify the product. That may also involve harvesting of components or subassemblies that are reusable. Education and motivators could probably be implemented in order to stimulate the A or B decision process on site. But what next? Where should the pallet of good, protected, used equipment go?
Who is to store it? Where?
Who is to process it? How?
Who is to certify it, package it, warehouse it?
The wheres, hows and whos are answerable, but only once the “WHY?” is established.
Fundamentally we require specifiers and end-users to be willing to purchase reused product. That is
what will drive this change – the pull of customers willing to purchase reused product. That requires confidence and trust in the remanufacturing process, and the development of the reuse standard BS8887 for the lighting industry should give purchasers the confidence that remanufactured product is fit for purpose.
Resetting warranties. The commercials also need to work – it is unlikely that customers will pay more for reused product than they will for new product –Recolight’s offer to deliver reused product FOC should help spark this change.
As David Battersby puts it: There are two points –Education and Price. How does the industry engage with people “on the ground”? Educate and interact, and not just with larger companies, also wholesalers and other stakeholders. Circularity must turn a profit. David believes that while the lighting community may be increasingly aware of circularity, it relies on other parties to make it reality. Interdependency up and down the supply chain. So long as a margin and/or benefit can be identified then there is the “why”.
Answer the “WHY” and WEE PCS’s have the potential to become an even more vital ingredient to the circularity of the lighting industry.
www.greenlight-alliance.com www.recolight.co.uk www.lumicom.co.uk
I N N O V A T I O N F L E X I B I L I T Y F R E E D O M
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Slim C is a recessed, surface mounted or suspended profile with downward illumination. It is part of the narrow range utilising the 40mm lens and uses the light tray 40 LED with Tridonic Linear Light Engine. It features a patented Lap join milling, ensuring no light bleed on joins. The lens accessories mean you can customise the light to suit any environment. www.darkon.com.au
LED Luks’ ILO product family offers numerous possibility for customisation of the luminaires to projects’ specific needs. The latest addition to the family is the Office optic. Specially designed lenses on top of four LEDs are separated with reflector frames, delivering lighting suitable for VDU workstations according to EN 12464-1 (up to 3300lm/m with < 3000 cd/m2 for beam angle > 65°). www.ledluks.com
Now available in five Alumina anodised finishes, Monopoint fixtures have been developed with adaptability in mind. They can be ceiling or wall mounted with a stem specifiable up to one foot, while three mounting options enhance their versatility: zero-sightline, a junction box mounting plate, and a ceiling mount junction box. They can also be tilted with a full 90° of adjustability in the field via a concealed, inventive J-shaped elbow on the stem, concealed within the housing of the fixture. www.luciferlighting.com
3 4
Proto is an aesthetic and eclectic round projector developed to give an answer to floodlighting with a demand for design. Orientable, onsurface or in combination with different poles, it features powers from 20 to 35W. The wide range of lenses and optics makes the projector highly versatile for many applications, in public or residential areas, declined in its clear lines and in its resistant structure made of high-quality materials and finishes. www.goccia.it
A dramatic, exciting, and stimulating illumination on stage is a sure way to wow the audience. Light the stage like a pro with the Flexglo F21. The dome shape provides the widest viewing angle that’s glare-free and has constant illumination taking any performance to new heights. The RGBW feature offers endless possibilities for colour effects and colour tones with colourful jackets and lights to synchronize the design. Delivering custom lengths desired is swift for an easy install and takedown. www.clearlighting.com
Suitable for road, street and environmental lighting, LED Kasalar’s exterior lighting range is available is a variety of wattages, from 100250W. With 5mm tempered glass, it is suitable for lighting poles, while the adjustable lighting head has a safe movement area of +/- 15° www.ledkasalar.com
Lighting designers at Be Light! worked with Pharos Architectural Controls to bring a dynamic light to the Michelangeloinspired façade of Budapest’s new MVM Dome.
In Budapest, Hungary, the MVM Dome is a 50,000sqm, multifunctional arena with the capacity to accommodate 20,000 people. As well as a venue for a wide array of indoor sporting events, the hall can also host concerts, conferences, exhibitions and trade shows, making it an important part of Budapest’s entertainment offering.
The building’s façade is inspired by the anatomical drawings of Michelangelo; designed to conjure up images of skeletal muscles. This striking look is enhanced at night with the clever use of dynamically changing, specially created lighting. Vibrant flowing lines of light swirl across the entire façade, dividing the surface of the building into a variety of planes, slices and shapes. These geometric fragments then serve as windows in certain positions, while the steel cladding, which is powder-coated in two shades of grey, plays a key role in the optical resolution of the building mass.
The lighting and control system was designed, supplied, and programmed by Be Light! Lighting fixtures have been hidden in the façade’s mantle to strengthen the architectural character of the arena. Be Light! was brought into the project by architects
Közti Zrt, along with interior design house MCXVI Építészműterem, and electrical engineers Hungaroproject Mérnökiroda. Be Light! chose solutions from Pharos Architectural Control to deliver dynamic control of the lighting scheme.
The lighting designers required a DMX protocol communication system for the RGBW fixtures, assigning 11,328 digital addresses to the façade alone so the luminaires could be controlled individually. They designed a distributed control
solution using multiple Pharos Designer LPCs (Lighting Playback Controllers). The compact LPCs are positioned within the façade to provide local DMX to the fixtures, and networked together to still act as one seamless, cohesive control system. A total of 21 LPC 1 and 15 LPC 2 were required for the façade, and a further six networked LPC 1 were distributed inside the Dome to control the lighting in the arena and public areas.
Two Pharos Designer TPS (Touch Panel Screen) units were installed so staff could override scheduled programming and directly select both the decorative lighting and the sports lighting looks at the MVM Dome. The TPS offers a customisable touchscreen user interface that lets users create multiple pages of lighting controls for the Pharos Designer system.
Ádám Kis, head of control system from Be Light! said: “The architecture of the MVM Dome is truly stunning, and we were delighted to be appointed to deliver the lighting scheme to accentuate this. By using control solutions from Pharos, we have given the venue a flexible and dynamic lighting system that can easily be adapted to suit the differing needs of the arena.”
Mark de Gruyter, Regional Sales Manager for EMEA at Pharos Architectural Controls added: “The MVM Dome is a very impressive venue, attracting global talent across sport, entertainment and music. It is very rewarding to see Pharos solutions playing a key role in the success of their events, ensuring the arena can deliver fantastic results for the thousands of visitors attending each year.”
www.pharoscontrols.com
Within the immersive environment of London’s new HERE events venue, Applelec’s LED Light Sheet brings light to the unique, backlit bar.
An extraordinary entertainment district situated on the iconic Denmark Street in central London, Outernet delivers unique, multi-sensory experiences. Tying in with the rich music history of the district’s Tin Pan Alley location, a new 2,000 capacity entertainment and events venue sits beneath Outernet’s impressive, five-storey Now Building. An atmospheric, subterranean space hidden four storeys underneath London, HERE will play host to some of the biggest names in live music and DJ talent. The purpose-built entertainment venue features cutting edge A/V capabilities and state-of-the art lighting and acoustic systems, offering a unique live event experience that can be streamed around the world. Delivering a prominent centrepiece within the space is the commanding 15-metre-long, illuminated bar. Designed by Archer Humphryes Architects in collaboration with The Kagency, the bar features back-illumination from Applelec LED Light Sheet. Specified in RGB LED option, a total of 79 light panels of various sizes were created and fitted into the front, top section and backwall area of the HERE bar, flooding the space in vivid, colourrich illumination.
The interactive aspect of the Outernet district has been carried through to the backlighting of the HERE bar. Featuring sophisticated lighting design, the Applelec LED Light Sheet panels have been programmed to enable each light sheet to be individually controlled to provide a multitude of colourful light combinations and sequences. Further knitting together the pioneering technology at Outernet, the Applelec LED Light Sheet panels can be tailored to display a pop of vibrant colour that changes to the beat of the music of HERE’s various artist sets.
Architects Archer Humphryes and Managing Partners of the venue, Karrie and Robert, said of the installation: “Karrie Goldberg and Robert Butters, of Greenlight Development, worked closely with Archer Humphryes Architects on conceptualising a space where the architecture and the entertainment experience are merged together. The RGB Applelec LED Light Sheet allowed us to customise a ‘signature’ bar that synchronises the colours and illumination of the bar with the music and video systems, giving the room a glowing backdrop.”
www.applelec.co.uk
The Barrisol® by Ross Lovegrove collection illustrates the perfect balance between organic form and high technicity. Qualities and flexibility of Barrisol® sheets and structures enabled the creation of exceptional objects inspired by nature, which not only illuminate but also offer an acoustic comfort enhancement of the spaces.
Edinburgh’s historic location of The Mound has been given a facelift with a dynamic, colour-changing lighting scheme, courtesy of Lite
The Mound is a prestigious cultural area in the centre of Edinburgh, linking the Old Town with the New Town. An artificial slope that was formed from the excavations of the foundations of The New Town into Nor Loch, which was drained in 1765, today The Mound is the site of The Princes Street Gardens.
Facilities management company, Mitie was appointed by Lloyds Banking Group to create a new, dynamic, colour-changing lighting design for the floodlighting on The Mound. Mitie appointed Lite for a full turnkey solution for the project, including the initial design scheme, the supply of products, installation, and commissioning.
Lite worked with Consulting Engineers IKM and Installation Partner SSUK to achieve the brief for this project.
Lite carried out the planning of the installation, including two separate lighting trials, supplied the light fixtures, and recommended several solutions from its portfolio of lighting brands.
Due to the historic nature of the building and its iconic location, a variety of challenges presented themselves to the team. As the building is listed, there were permissions that needed to be granted, so as part of the proposal Lite specified that it would not enter the building and would instead install the lighting solution on the outside of the building.
The team created an ideal solution, using lighting trials to select the fixtures that would be placed along the balcony and floodlight the front of the building. Color Kinetics ColorBurst and ColorBurst Compact, ColorBlast, and ColorGraze Powercore
RGBW products were selected to create a dynamic colour-changing lighting effect, controlled remotely by a Pharos LPC1 controller. The Pharos controller and cabling were installed on the roof of the building and the exterior.
The result is an innovative and dynamic lighting solution that brings modern, colour-changing lighting to an area steeped in rich history and traditional architecture. The lighting brings The Mound to life and enhances its status as a hub of art and culture in Edinburgh, with the effect appearing particularly striking at night.
Kevin Evans, Solutions Director at Mitie, said: “When we received this project brief, we knew that Lite Architectural was the company to do the job. It is a trusted and reliable partner, and we knew that it would be able to deliver an innovative design solution, the kit and fixtures needed, a full installation and commission of the project, ensuring it met the brief.
“What was most impressive was how Lite handled the challenges and factors that cropped up, completely out of their control, and faced each setback head-on to complete the project without compromising on design or quality.”
Emma Johnson, Sustainability Programme Manager at Lloyds Banking Group, added: “Lite exceeded our expectations upon commission of the project. We were delighted with the result, and The Mound is now one of the best lit buildings in Edinburgh.
“Our Scottish HQ stands out for a striking, stunning effect that adds to the prestige and renowned location and history of the area.”
www.lite-ltd.co.uk
One of England’s oldest cathedrals, Rochester Cathedral has been given a new light treatment, with fixtures from GVA Lighting showcasing its splendour.
Founded in AD 604, the Grade I listed Rochester Cathedral is England’s second oldest cathedral. Located on the banks of the River Medway, the Cathedral attracts worshippers from across the country, as well as many tourists.
The cathedral has undergone a number of renovations, extensions and reconfiguration over its lifetime. Most recently, a holistic lighting scheme to bring together the exterior and interior of the Cathedral, was commissioned. The project also incorporates a wiring assessment, alongside the introduction of a lighting control system that is suited for the daily activities of the Cathedral, as well as accommodating special or one-off events. The new scheme was to replace the existing lighting at the Cathedral, which was no longer fit for purpose. It was high in energy consumption, inefficient and unable to meet the demands of larger scale events such as concerts.
CES Lighting was appointed to the project as lighting designers, with the brief to produce detailed concepts for various elements of the interior and exterior of the Cathedral. As specialists in lighting design and electrical installation for churches and heritage buildings, CES Lighting was the ideal partner for the project, working closely with Thomas Ford Architects throughout.
It was imperative that the lighting scheme and wiring were sympathetic to the form, function, and architecture of the Cathedral. It also needed to account for the different usage of the various areas of the religious building.
The design process was completed in early 2021, with the work not beginning until later that
year. To ensure the design delivered everything the Cathedral needed and wanted, videos, demonstrations and innovations were all drawn upon as techniques by CES to explore a plethora of options and deliver the final scheme.
As part of the brief, RGBW lighting was required for the main Pulpit steps. This allows the Cathedral to be illuminated in different colours for a variety of purposes, including concerts, choral events, shows, drama activities and more. A significant number of manufacturers were looked at, and GVA Lighting’s architectural FL100-RGBW-IM finished in RAL1015 utilising Color-Amp technology was selected. This was due to GVA Lighting’s ability to provide the perfect balance of output, beam angle, cost, and aesthetics. All of the internal LED luminaires are controlled from a centralised dimming system to enable synchronised dimming and to allow for holistic scene setting for service or events.
Control of the dimming system is achieved through a wall-mounted button plate with each button recalling a pre-set scene.
The Cathedral is now more energy efficient, which delivers both cost and energy savings.
Furthermore, it is able to meet the demands of its wide range of day-to-day activities as well as larger, one-off events.
www.gvalighting.com www.ces-lighting.co.uk
Architectural firm Studio Milani utilised exterior lighting fixtures from Goccia Illuminazione to highlight a beautiful private residence nestled in the Tuscany countryside.
Tuscany is a region known for its outstanding natural beauty. While the area’s culture, food, wine and local crafts are cornerstones of its appeal, the true essence of the territory is rooted in nature and history. It therefore offers a fertile ground to an architecture enhancing these intrinsic characteristics.
The chance of redesigning a building in the context of the Tuscan countryside was therefore incredibly appealing to architectural firm Studio Milani. At the Wildfarm project in Volterra, in the Val di Cecina area of Tuscany, the firm harnessed exterior lighting from Goccia Illuminazione to harmonise the dialogue between the modern residence and the existing house in its landscape.
A small, compact rural stone unit within an area suspended between woodlands and olive trees, with the sea on the horizon, is the backdrop to this restoration and extension project on the land of a small farm in the area surrounding Volterra. The rocky outcrops and stones scattered over the hilly terrain inspired the concept of extending the small structure, as well as the material and technological approach used to construct the substructures of the underground levels. The loose stones became the structure, clearly carving out the two newly constructed prismatic monoliths, which are joined to the existing unit through transparent connectors in corten steel and glass. The garden is an additional protagonist in this material narrative that accompanies the passage between the various facets within the property, along the north-south axis, and defines a sinuous bank of river pebbles that house groups of rigid
metal and travertine lines in the opposite direction.
The bank of pebbles and herbaceous plants, extending into a beach strewn with large, rounded rocks beside the pool, comes alive from the end of winter to the end of summer with mid-height shrubs in varying colours. The green and grey shades of the leaves also vary, along with the blooms.
The outdoor lighting follows the architectural concept with specific types of illumination according to the nature of the project to emphasise elements and their relations into the evening light and at night.
Goccia Illuminazione underlined the monolithic shape of the new buildings with the defined light effect of the wall-mounted cubes K3 Writer, while linear borders and pathways of the garden and of the house connections are cadenced with the Standing post. Trees are also lit up at dusk with Clock, Goccia’s spike-mounted projector, letting the surrounding nature become part of the illuminated context.
www.goccia.it
For the new extension of the Las Vegas Convention Centre, lighting designers at CM Kling + Associates called on fixtures from Erco to create a uniform, inviting environment.
At the end of 2021, the West Hall of the Las Vegas Convention Centre (LVCC), designed by TSK Architects, opened near the legendary entertainment strip in the US desert city. The extension adds an impressive 130,000sqm to the LVCC, one of the largest event and congress buildings in the world. The lighting design by CM Kling + Associates played a central role in presenting and displaying the enormous extension building, both functionally and aesthetically. Erco luminaires were used in almost every area, including outdoors, the exhibition halls, connecting corridors and hallways. The lighting creates orientation and a harmonious sense of space for trade show visitors, while also “championing the architecture”, according to CM Kling + Associates’ David Ghatan.
A characteristic exterior feature of the West Hall architecture is the roof spanning the entire new building. Its curved silhouette echoes the nearby mountain range of the Spring Mountains. As such, the construction unmistakably stands out in the Las Vegas skyline as the new architectural trademark of the LVCC. It is accentuated by more than 300 Kona outdoor projectors from Erco installed on the roof structure and masts. Extensive mounting accessories enable Kona to be flexibly installed. Each projector is individually aligned via pan-and-tilt mounting plates to precisely accentuate all nuances of the architecture.
The curved roof construction reaches its climax in the spectacular West Hall entrance: a 36-metrehigh, arched vault constructed of glass and steel spans the daylight-flooded entrance atrium. This is the so-called Grand Lobby with an open glazed
façade facing Paradise Road. Projecting far out, the roof creates a generously dimensioned forecourt. Kona projectors installed in the outdoor space and in the entrance atrium achieve uniform lighting conditions between indoors and outdoors, and visual architectural axes and viewing angles are simultaneously accentuated. Here, too, each Kona projector has been individually aligned.
DALI-controlled lighting is essential in almost all areas of the extension, said Ghatan. It is thus possible to react ideally to artificial light and daylight conditions and also balance out contrasts. This is because the large extension building opens up to daylight – apart from the central exhibition hall. A total of 14 integrated, flexible ‘skyfold walls’ can be raised so that daylight can enter the meeting rooms and smaller exhibition spaces according to needs.
In the connecting corridors and hallways, 300 Erco Compar downlights provide good orientation and high visual comfort. Compar’s anti-dazzle louvre limits the view into the luminaire, achieving maximum visual comfort even with a beam angle of 90°. The luminaires are complemented by 150 Erco Compar wallwashers, which achieve a high impression of brightness via uniform illumination of the walls. 1,400 Erco Parscan spotlights have also been installed. Mounted in ceiling channels, the luminaires in minimalist design blend inconspicuously into the architecture. The ceiling channels are at right angles to the direction of movement, making the extensive corridors appear clearly arranged, scaled to a manageable size and with an invitingly pleasant quality of stay.
www.erco.com
• You must be creative and feel comfortable working across many projects, have a passion for lighting design, an eye for detail, enjoy a challenge and responsibility and want to work in a fast paced studio. You must be a team player and be able to communicate your ideas through drawings, sketches and 3D visualizations. A pencil is as significant as a computer
• You must have a broad skill set; excellent CAD and Photoshop is essential. An understanding of InDesign, DIALUX or similar. BIM/Revit experience would be useful
• You must be proficient in English, written and spoken and have the ability to work in the UK
• For Lighting Designer position you must have a minimum of 5 years’ experience
• Please send your CV and a copy of your portfolio stating which job you’re applying for to CV@studio29lighting.com
For further details about STUDIO-29, please refer to our website www.studio29lighting.com
At Studio 29, we master the language of light; its structure, composition, silences, accents and expressions.
Our knowledge, experience, expertise, awareness and sensitivity allow us to articulate and deliver outstanding lighting solutions for all spaces, public & private, by day or by night.
We are currently looking for creative and technically competent Senior lighting designers, designers and enthusiastic assistant lighting designers.
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.
• Use critical thinking and discretion in assessing specific project needs and communicating effectively to the project manager.
• Begin to familiarize/learn the process for reviewing monthly fee drafts with Project Manager/Associate/Principal.
• Begins to understand how to apply authorized scope of work to tasks and meet deadlines.
• Assist in managing agendas, meeting minutes, and regular project status communications to build knowledge in these areas.
• Work independently on specific scopes of a project like calculations or documentation.
• Supports the team to produce work efficiently and profitably.
• Assists the project manager in creating labor hour budgets for projects.
• Starts to develop good client and/or related business relationships - working well with their equal at other firms
• Enhance HLB’s value to the client and promote the firm
• Uses communication tools to manage client expectations
• Exhibit flexibility and cooperation with teammates.
• Manage own work time and priorities and show ability to also do this with the project team.
• Understand good framework for resolving issues.
• Interface among the principals, design/technical staff and business team as needed.
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.
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
• 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.
• 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
• 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
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.
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.
If interested, please visit our website to apply - hlblighting.com/careers/
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Architects, Interior Designers, Landscape Architects, Developers and Global Brands. Desired individuals should be well-organized, self-driven, and good communicators with excellent time management skills. Headquartered in
international spanning across multiple sectors such as mixed-use, hospitality, civic, corporate, education, health care, residential, retail, and themed environments.
• Bachelor or Masters degree in Architectural Engineering, Architecture, Interior Design, or Theatrical Lighting.
• Excellent hand drawing and computer graphics skills, including Photoshop, InDesign, Rhino, and SketchUp.
• Knowledge and experience with computer-generated lighting calculations, preferably with the use of AGI32.
• Excellent written and verbal communication skills.
• Organized with good time management skills.
• • Ability to interface successfully with clients and balance multiple projects and deadlines simultaneously.
• Travel both domestic and abroad may be required.
• • Short & Long Term Disability Insurance
• Life Insurance
• Paid Vacation, Holiday & Sick Days
• Flexible Work Schedule, with Half-Day Fridays
To be overwhelmed with such vibrant colour and beauty.
The most famous area to view the cherry blossoms is Mount Yoshino, where there are some 30,000 trees, with some being 1,300 years old. Due to the scale and varying elevation of the area not all the trees bloom at the same time. There are many other locations including places in Kyoto, Tokyo and Shizuoka.
Early to late Spring depending on whether you go to the south or north of the island. There are special reports each day to let people know when the cherry blossoms will bloom.
From a field of sunflowers to a quilt of poppies over the land to a forest floor of bluebells or a park of cherry blossoms; being immersed in such vibrancy is so uplifting and inspiring yet at same the time quite unbelievable.
www.ridge.co.uk
“Spring is nature’s way of saying, ‘Let’s party!’”
Robin WilliamsImage: Japanese Cherry Blossoms by Masaaki Komori on Unsplash
The International Lighting Design Survey is the ultimate annual worldwide directory for the architectural lighting design industry, featuring a comprehensive listing of independent lighting designers and suppliers around the globe.
To make sure that you are included in the 2023 edition, email ilds@mondiale.co.uk with your up to date information.
www.arc-magazine.com/ilds
