#136 Cover Story: Fetzer Institute Administration Building, USA Osvaldo Sepulveda Workspace Lighting LiGHT 23 Preview
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STEP INTO THE…
The UK’s only dedicated lighting specification exhibition
Interested in Exhibiting? Contact: John-Paul Etchells on jp.etchells@mondiale.co.uk
21 & 22 November 2023 Business Design Centre Islington • London
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For specifiers and suppliers of global lighting projects
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
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#136
Welcome If any of our readers caught my input into the “surprise” Pecha Kucha session at IALD Enlighten Europe (the most nerve-wracking six-minutes of my life, thanks a lot Sharon!), then you’ll know that alongside my love and appreciation for good lighting design, I’m also something of a film nerd. As my Letterboxd profile will tell you, I’ve been a big fan of cinema for a long time, so for this issue, I was particularly excited to speak to cinematographer turned lighting designer Osvaldo Sepulveda about filmmaking, lighting, and the intersection between the two. Osvaldo gave an incredibly insightful talk at Enlighten Europe (and will also be speaking at the next IALD conference in Banff this November) on cinematography and lighting design, so it was a pleasure to delve a bit deeper into this subject, and learn more about how he made the jump from one industry to the other. It’s all part of our ongoing quest here at arc to celebrate the varied ways in which people find this wonderful community of ours, and if it means I get to talk films with someone who has lived it, then even better!
In other news, I’m sad to say that this issue features the final column from our friends at Designers Mind. After working to raise awareness and offer support on mental health and wellbeing within the design community for the past four years, the group is going on a break. As such, I want to take a moment to say a big thanks to Kaye, Kael and Martina for their contributions over the past few years, and for the great work that they have done with Designers Mind. Elsewhere, we’re naturally turning our attention towards LiGHT 23, which will return to London’s BDC on 21-22 November. The inaugural edition of the show, was a phenomenal success and we’re hoping for a repeat performance this year. Later in this issue, you’ll find a preview of what you can expect from the show, including a breakdown of our stellar [d]arc thoughts programme (including a keynote from the incredible artist and friend of the magazine, Grimanesa Amorós), a closer look at some of the exhibitors that will be showcasing their latest products and innovations, and a taster of some exciting new features for this year. Registration for the show is still open, so I hope to see you there! Enjoy the issue!
Matt Waring Editor
Front cover: Fetzer Institute Administration Building, USA (Image: Justin Maconochie)
#136
Inside this issue Regulars 024
Event Diary
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Drawing Board
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In Conversation Xander Cadisch tells us about his new book on the neuroscience of light.
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Features 038
Osvaldo Sepulveda The designer tells us about his journey from cinematography to lighting.
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Snapshot Studio Mark
What exactly is “good quality” commercial lighting? Natalia Duffy of Cundall shares her thoughts on workspace lighting.
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Designers Mind In its final column, Kael Gillam reflects on the achievements of the group.
Ambient Communication: Part One How can ambient communication bring a new dynamic to lighting?
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GreenLight Alliance The GLA takes a closer look at the newly-revised TM65.2.
LiGHT 23 Preview A look at the upcoming LiGHT 23, taking place in London this November.
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Shared Perspectives Kristina Allison and Walesca Zanonato reflect on their Silhouette Awards experience.
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David Morgan Review KKDC TANA Asymmetric
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Manufacturer Case Studies
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Bucket List Linus Lopez
Water’s Soul Focus Lighting
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Ephemeral Solidified Light teamLab
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Young V&A StudioZNA
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Waves of Code Jiayu Liu
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EE Westfield dpa lighting consultants
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Projects 052
Fetzer Institute Administration Building Lighting from SmithGroup adds to the design goal of “lightness within”.
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MOL Campus Architecture and plantlife are showcased in this lighting scheme from Licht Kunst Licht.
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The Ark Lichtvision create a workspace with a hospitality feel.
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Bain & Company Inspired by the Khor River, Studio N pairs lighting design with bold interiors.
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XR Lab A learning “pod” designed by WindsorPatania gives students a dynamic new place to study.
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Workspace Case Studies A selection of workspace lighting projects completed by lighting manufacturers.
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Proudly Supporting
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EDITORIAL Managing Editor Helen Ankers h.ankers@mondiale.co.uk Editor Matt Waring m.waring@mondiale.co.uk
Events Diary OCTOBER
FEBRUARY 2024
Contributing Editor Sarah Cullen s.cullen@mondiale.co.uk Online Content Creator Ellie Walton e.walton@mondiale.co.uk
Hong Kong Int’l Lighting Fair
Surface Design Show
27-30 October
6-8 February
Hong Kong, China
London, UK
www.hktdc.com
www.surfacedesignshow.com
COMMERCIAL
Workspace Design Show
Managing Director Paul James p.james@mondiale.co.uk
NOVEMBER
27-28 February London, UK
IALD Enlighten Americas
www.workspaceshow.co.uk
2-4 November Banff, Canada www.iald.org
MARCH 2024
HIX
Light + Building
16-17 November
3-8 March
London, UK
Frankfurt, Germany
www.hixevent.com
www.light-building.messefrankfurt.com
LiGHT 23
LEDucation
21-22 November
19-20 March
London, UK
New York, USA
www.lightexpo.london
www.leducation.org
DECEMBER
Prolight + Sound 19-22 March Frankfurt, Germany
Light Symposium Stockholm
www.pls.messefrankfurt.com
4-6 December Stockholm, Sweden www.lightsymposium.org
Architect@Work 20-21 March London, UK
JANUARY 2024
www.architect-at-work.co.uk
Light Middle East
[d]arc awards
16-18 January
27 March
Dubai, UAE
London, UK
www.lightme.net
www.darcawards.com
Integrated Systems Europe 30 January - 2 February Barcelona, Spain www.iseurope.org arc (ISSN No: 1753-5875; USPS No: 21580) is published bi-monthly by Mondiale Publishing, UK and is distributed in the USA by RRD/Spatial, 1250 Valley Brook Ave, Lyndhurst NJ 07071. Periodicals postage paid at So Hackensack NJ. POSTMASTER: send address changes to arc, c/o RRD, 1250 Valley Brook Ave, Lyndhurst NJ 07071. Mailed by Spatial Global · Printed by Buxton Press · To subscribe, visit www.arc-magazine.com or call +44 (0)161 476 5580
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Head of Business Development Jason Pennington j.pennington@mondiale.co.uk Media Sales Manager Andrew Bousfield a.bousfield@mondiale.co.uk International Account Manager Ethan Holt e.holt@mondiale.co.uk Events & Marketing Manager Moses Naeem m.naeem@mondiale.co.uk
DESIGN Design Manager David Bell d.bell@mondiale.co.uk Production Mel Robinson m.robinson@mondiale.co.uk
CORPORATE Chairman Damian Walsh d.walsh@mondiale.co.uk Finance Director Amanda Giles a.giles@mondiale.co.uk Credit Control Lynette Levi l.levi@mondiale.co.uk [d]arc media ltd Strawberry Studios, Watson Square, Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 www.arc-magazine.com ISSN 1753-5875
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eye opener
Water’s Soul New York, USA A spectacular sculpture across the Hudson River now shines brightly at night for the enjoyment of both New Yorkers and Jersey residents and visitors. Water’s Soul stands approximately 80ft tall, 41ft long and 28ft wide, on a newly redeveloped, historic Hudson River waterfront pier in the Newport area of Jersey City. Developers of Newport, LeFrak and Simon companies chose the world-renowned artist Jaume Plensa to create the provocative white statue because of his ability to convey a collective hope for humanity’s future. Made of polyester resin, fiberglass and marble dust, Water’s Soul depicts a woman with closed eyes holding a finger to her lips in a state of silent contemplation and self-reflection. It is the neighbourhood’s first public art installation by an international artist. Plensa said of the statue: “Water is a marvellous metaphor; one drop of water is quite alone, like a single person, but many drops can create a tidal wave or immense rivers and oceans, much like individual people come together to create community, exchange ideas and build something incredibly powerful.” To make sure the sculpture would not get lost at night among the busy New York City and Jersey City skylines, the developers hired Focus Lighting to illuminate Water’s Soul without blocking or detracting from any of its views. Brett Andersen, Principal Lighting Designer for Focus Lighting, said: “The design intent was for the sculpture to reflect the nature around it, so we wanted to follow the colours of sunset and moonlight in our lighting scheme. We determined that an RGBW quad chip was required to achieve these subtle colours without creating colour shadows due to the intricate details and unique shape of the sculpture. We also needed appropriate lighting to withstand the harsh conditions near the water.”
Image: Ryan Fischer
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The Focus Lighting team, led by Andersen, investigated lighting systems that would provide excellent colour mixing capabilities with field replaceable lens optics that facilitated easier adjustments. In addition, they wanted a solution that would accommodate multiple fixture sizes and lumen outputs. For instance, high output fixtures were required for pole mounted fixtures, while EOs were specified for tight areas. Focus Lighting specified Dyna Drum HO and EO Color fixtures from Acclaim Lighting. The fixtures are high output, outdoor rated, quad colour LED floodlights. The Spectrum Four, quad colour chip provides superior colour mixing and saturation over single source LED fixtures. The fixtures come with a narrow 10° beam standard, with optional quick-change spread lenses for wider applications. Both fixtures are IP66 rated for wet locations and operate between -40º F to 125º F (-40º C to 51º C). The Dyna Drum HO Color fixtures were tenon mounted on custom poles, while the Dyna Drum EO Color fixtures were bolt mounted within the plinth. According to Andersen, LeFrak and Simon were so thrilled with the final design for Water’s Soul that they additionally contracted with the Focus Lighting team to update the lighting for the nearby LeFrak Point Lighthouse. www.focuslighting.com www.acclaimlighting.com
Drawing Board
Gasometer Stockholm, Sweden Alongside Stockholm’s Development Administration, Tengbom Architects worked to turn Gasholder no. 2 into a state-of-the-art cultural scene with banquet hall. The concept – a box in a box – will give future visitors an experience of space beyond the ordinary. As commented by the client, the lighting design, by Chiara Carucci, conveys the design intent, respecting, revealing and enhancing the architecture, while improving the visiting experience. Since façade lighting would be a massive intervention for this heritage building, the design team decided to turn it “inside out”, showing the beautiful window pattern as an attraction for the passersby. This would be lit from the inside, with a special mounting close to the original service ladders, with the pattern repeated on the balcony fronts in the theatre, from convex to concave, reminding the audience of the beautiful building in which they’re hosted. The original idea was to leave the control to the in-house team, or guest lighting designers to make this part of their design for each show. To realise the interior façade lighting, the design team created a full-scale mock-up of the interior, recreating a two-metre-high section of the space between two windows. Other features include a dynamic wall grazing that will lead the spectators from one key place to the next one (for example, wardrobe to stairs, when the show is about to start; from the hall to the bars in the break, etc.) according to the different timing and type of the events that will be hosted. The lighting for the “main hall”, is divided in two parts, contributing to the whole atmosphere for different timings of the performances, through great designed controls (DMX, dynamic white, dim to zero, flicker free for filming). The fixtures for the orchestra pit – which is also a parquet for some shows, meaning the fixtures have two programmable modules of LEDs, with two different beam angles – are mounted in the high technical fly gallery, respecting the placement for other technical permanent and temporary equipment. The fixtures for the other sitting areas are placed under the balconies, with a recessed feature for concrete. The outdoor lighting consists of the entrance lighting, as discussed with building and heritage authorities, as well as the lighting for a few original features of the façade, like the clock, and technical loading areas, and under passages. The design proposals for areas like the bar and the banquet hall, as well as the final details, will be discussed in the next stages with the entertainment company that will run the theatre. Carucci collaborated with both Tengbom and the electrical engineers at Bengt Dahlgren, especially Christopher Noresund, from the lighting concept, to the construction phase. 028 / 029
Generally speaking, this project wouldn’t be possible without the great teamwork of all consultants involved, led by the project managers from Stockholm’s Development Administration. Gasklocka 2, which was originally completed in 1899, by Ferdinand Boberg, is expected to be completed in 2026 and will be called “Gasometer”. It is part of the Gasverket, an area that is now being transformed from closed industry to a place with a wide range of services, offices, trade, and experiences. www.lnk.bio/chiaracarucci www.tengbom.se
Images: Tengbom, Chiara Carucci
DRAWING BOARD
Image: Cision
Taipei Fine Arts Museum Taipei, Taiwan Ricky Liu & Associates Architects & Planners have chosen Light Bureau for the task of designing the lighting for the interior and exterior areas connected to the extension of the Taipei Fine Arts Museum in Taiwan. Taipei Fine Arts Museum in Taiwan (TFAM) was founded in 1983, as Taiwan’s first museum dedicated to modern and contemporary art, and the official art museum of the capital city. A planned upgrade and extension of the museum infrastructure will increase exhibition space and provide better education and public services. “Our keywords are Joy, Orientation, Safety, Visual Comfort, Identity, and Sustainability,” says Paul Traynor, Head of Light Bureau UK. “All lighting will be with efficiency as priority. Besides that, all outdoor lighting will be planned with consideration to the existing landmark museum building and to recreation and enjoyment, utilising the dark sky, and preserving biodiversity in the area.” The extension will include an underground structure beneath the park, making it the first underground structure among Taiwan museums. Based on the complexity of the site, the lighting design, led by designers from Light Bureau’s Denmark and UK offices, takes parameters into consideration that ensures the best possible balance between art, architecture, and nature. “The lighting design will strengthen the identity of the museum, adapt to the different activities and time of day to accommodate the area as a meeting place between the museum, city, and nature, and create unique user experiences throughout the year”, adds Paul Traynor. The completion date of the Taipei Fine Arts Museum extension is stated for 2027. www.lightbureau.com 030 / 031
Spot light + Backlight
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Spot light
After hosting a series of CPDs on the subject, Xander Cadisch, Communications and Sustainability Director at Phos, has published a new book on the neuroscience of light and biophilic design. Here, he tells arc about its inception, and the importance of designing biophilically.
IN CONVERSATION XANDER CADISCH
When and how did you first get interested in the neuroscience of light and biophilic design? I’ve always been fascinated by the senses and how they ultimately determine our experience of the world. At first, I thought smell and taste were the most influential senses but through a series of serendipitous events, I ended up working in the world of lighting. It was here that I saw just how much we take sight for granted. Six years of reading, interviewing and touring the design sector with Phos CPDs led me to the ultimate subject of biophilic design – our evolution in the natural world, how we therefore expect the world to be and how this can be applied to the built environment to the benefit of all. How did the chance to publish a book arise? CPDs gave me an outlet for my passion for this subject. After 4-5 years I had enough research to talk for hours about it and when lockdown happened, my brother James and I (along with the wonderful Dr. Shelley James) started “Light Tribe”. A series of 10 webinars with more than 3,500 attendees. I subsequently released a written series of the content we spoke of. Before I knew it, there was enough material for a short book and once I decided to make it a complete story, I couldn’t take my foot off the gas. What was your motivation behind the book? A huge part of my role at Phos was to deliver CPDs on the neuroscience of light and biophilic design. I was amazed by how little the design community had heard about what human evolution has meant for our expectations of the world today. There hasn’t been a single presentation where people haven’t said something like “I had no idea light was so important” or “I forgot that colour is a wavelength”. It seemed to me we give more consideration to the zoos we design for animals than we do houses for humans. I felt a fire in my belly to help people reposition their respect for the visual system and light in general. Our eyes are windows to the world and the wavelengths that cascade into them have the ability to heal or to harm. We have the information available to ensure we choose healing. What do you mean when you talk about the importance of “designing naturally”? We evolved outside over billions of years. We moved from the sea to the land and from land into buildings. Our brains have seen natural shapes, structures and colours nearly all of this time but the spaces we now design take little consideration of the habitat that humans require. We paint things
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in “brilliant white” – the only colour not found in nature. We create flat, untextured spaces, when practically nothing is flat in nature. Put simply, we have removed nature from buildings and with it, the very nature that we have within us. Why is this so important? When we design biophilically, we can heal people faster, significantly reduce symptoms of schizophrenia, optimise the performance of drugs, improve memory and learning in schools and so much more. If we design for, rather than against, our body’s requirements, we can live longer, be happier and better enjoy the spaces we build. Why do you think there’s a gap in the knowledge of designers on this subject? I can’t comment on the structure of courses in the education system, but it seems like biophilic design is not a primary focus. The world is less connected to nature than ever before. We learn about human evolution in biology lessons when we’re young, but this reminder is severed as we are thrust into the world of high-performance academia. We spend less time outdoors and with it, lose our daily connection to the natural world. By disconnecting with nature, we disconnect from our past and with it, we disconnect nature from our spaces. How do you think this book will close that gap? This book reminds us of how much nature has shaped us. I like to think of it as being my favourite pub facts about our evolution outside, the way our brain deciphers the world and what it means to be a human. At the end, there is a “How To” section with a bit of technical info that can be applied to projects in real terms. It’s a friendly (and I hope inspiring) explanation of hundreds of academic journals, books, etc, that I found to be too highbrow and serious. For me, the conversation needs to be inviting and inspiring and to remind people that we are animals with the power to build – this is exactly what I hope I’ve done with this book. How can people get a copy of the book? The book will be available later this year. People can either email me – xander@phos.co.uk – or they can scan the QR code below and sign up via the link there. www.phos.co.uk
Lights on. Noises off.
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Snapshot Studio Mark Since its formation in 2019, Dubai-based Studio Mark, established by Courtney Mark, has built up an impressive array of projects, with a specialism in high-end hospitality design. Here, we look at some highlights from across Studio Mark’s portfolio.
Hotel Indigo Business Bay Dubai, UAE Hotel Indigo Business Bay is Dubai’s first boutique hotel contained within a 20-storey tower located in the heart of the city’s new buzzing Creekside destination next to downtown Dubai. Think Dubai is all sand dunes and chrome? Think again. It’s stories that make this city tick – and Hotel Indigo’s story is extraordinary. It’s here by the Creek where the tune of the old city meets the beat of the new. Dhow boats and souks clash with megamalls and global influences, creating an explosion of intricate multicultural – and it’s from this, that this hotel was born. With the story of the neighbourhood in every thoughtfully designed detail and local influence in every taste and twist, the property helps you see the city through a different lens. Lighting is dramatic, thoughtful, and unveils new twists and turns as you travel throughout the property. Evoking discovery and forever changing perspectives as the spaces transform from day into late night. The guestrooms provide epic views of the city skyline through floor-to-ceiling windows and a space punctuated with unique local art pieces. Dramatic lighting effects draw you in and take you on a transformative journey from one area to the next. Gram-worthy Moroso chairs and mother of pearl inlaid bathrooms provide cultured class as you chill down and relax from your busy day. Off The Wall is a slick cocktail bar inspired by the culture clash of nearby Satwa. The day’s flavour here is gritty and urban, with riffs on traditional flavours alongside works by local artists. It is the perfect place to sit back, relax, and drink it all in.
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W Hotel Yas Island Abu Dhabi, UAE W Hotel Yas Island is a luxury playground spread over two buildings, revealing the best of Abu Dhabi’s history, heritage, and culture. As the ultimate dining and nightlife destination, this property embraces six unique restaurants and bars ready for guests to steal the scene, push the boundaries, and create fashionably unforgettable
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experiences at every turn. The interior design draws inspiration from traditional and artistic surroundings, complementing the landscape with architectural elements. The deeper you see, the clearer Abu Dhabi reveals itself within this property’s DNA. The lighting design utilises a multi-layered lighting approach that is designed to embrace the intricate detailing, enhance the bold colours and textured materials, and amplify the many optical illusions created by a play of light and shadow; reminiscent of the natural lakes, wetlands, salt flats, and fossilised sands and dunes – all of the hidden gems of the UAE. Culturally awakening, the soul of W Abu Dhabi runs deep throughout this property. Inspirational architecture unravels in the form of a bold welcome area, bespoke welcome desks in the shape of oil drops, to jewel-tone furnishings depicting the colours of liquid gold. The themed restaurants within the Food Garage draw inspiration from the urban streets of China, the Utopia that is Peru, and the Jewel of Beirut’s famously abandoned and then reopened - La Maison Rose.
Radisson Blu Deira Creek Dubai, UAE The Radisson Blu Deira Creek was the first 5-star hotel in Dubai. Since its opening in 1975, it has remained a much-loved old friend of the Dubai Creek community. To best revitalise this historic property Radisson have selected a team of seasoned hospitality design experts to refurbish the interiors and lighting of the public spaces; including the entrance lobby, reception, lobby lounge and cafe, new spa facilities, rooftop pool deck, bridal suites, executive lounge, event spaces, and six of their 15 award-winning restaurants, including Boulvar, the Fish Market, Minato and Marbles Bar, and China Club. Radisson Blu Hotel Dubai Deira Creek is the first true heritage hospitality refurbishment opportunity for Studio Mark in the Middle East since coming to the region in 2013. The design approach was to refurbish yet retain the historic and unique backdrop for today’s discerning guest while retaining all its heritage and colourful character. Designs considered retaining the existing timber marquetry wall
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paneling; water jet cut marbles inlaid with brass and timber coffered ceilings and are sensitively layered with contemporary joinery, furniture pieces, vintage carpets, artwork, and decorative lighting feature statements. Lighting is crucial in achieving a harmonious environment for guests in any hotel property. In a heritage hotel refurbishment of this stature, the stakes are high for the owner and entire design team to get this right. The owner and operator are acutely aware of the importance that light plays in being able to see these culturally, vintage, interiors in their full glory.
Nebula Dubai, UAE The ‘Nebula’ marked the entrance to Dubai Design District (d3) for Dubai Design Week. At night, the space was transformed. To quote the installation’s conceptual artist Vibhor Sogani: “Each of us is an entire universe and the Nebula echoes the hopeful promise that even when we catch ourselves desolate under a sombre rain cloud, it is but a mere mirage, for reality lies in looking up”. Looking up is the effect that transpired. At night, the space attracted and lifted eyes of passerby like a moth to a flame – a visceral impulse. Those who looked upon the metal baubles would be met with an unmatched reflection forever changing in shape, colour, and space. In line with Sogani’s artistic expression, the overwhelming perspectives that radiate from Nebula surfaces are “imperative reflections of the deeper self.” Nebula’s presence was a sign of leadership and comradery within Dubai’s lighting industry. The project was showcased in November 2020 at Dubai Design Week when the Covid-19 pandemic was in full swing impacting every region and industry. The public installation presented by Wilson Associates in collaboration with Studio Mark and internationally acclaimed artist Vibhor Sogani, is passion defined. This project was a masterclass in a successful design collaboration to ensure the best possible project outcome. From initial inception to the final programming, the team worked together. Lighting design binds people to a place and to each other. When light meets people where they are, magical things can happen.
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Founded by Courtney Mark in 2019, Studio Mark is an independent architectural lighting design practice specialising in hospitality lighting design and refursbishment in an era of wellness and ecoconscious consumerism. The move to launch her own studio came after Mark witnessed first-hand the shifts in the local design market over the years, and an intrinsic need to be more flexible and adaptable to meet the expectations of her clients. A third generation architect, Mark actively partners with top forward-thinking creatives from the architecture, interior design, and construction industry, prioritising sustainability. Studio Mark is currently designing for a new age of sustainable hospitality with a distinctive vision of authentic cultural immersion and site-specific lighting design. Crafting tranquil and stimulating sensory experiences is at the centre of the studio’s design approach. Through the team’s collective backgrounds in architecture, interior design, project management, and the fine arts, Studio Mark contributes a comprehensive, hands-on design approach that is aesthetically grounded in international architectural visual design vocabularies. Mark says: “Creativity is a lot like looking at the world through a kaleidoscope. You look at a set of elements, the same ones everyone else sees, but then reassemble those floating bits and pieces into an enticing new possibility.” www.studiomark.design
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A Fond Farewell
DESIGNERS MIND KAEL GILLAM
With Designers Mind taking a break, for the time being at least, contributor Kael Gillam reflects on the achievements of the group, and the impact that it has had over the past four years.
It’s always difficult to find closure with things we know we can never really ‘complete’. Life experiences and relationships cannot be put into small boxes and organised neatly on a shelf when they have reached some sort of conclusion, whether naturally or by forces beyond our control. But there is a time when we must learn to let things go that do not serve us as they used to. Designers Mind sits in this sort of liminal state now, as we the founding members look on it fondly and wonder whether it’s time to put a bow on the accomplishments that we have had over the last few years. We have been so endlessly grateful for all the support that we have had from the design community, lighting designers in particular, both on an individual level and from the institutions that helped us magnify our message. We have met people across dozens of countries that listened to our Clubhouse talks, followed our inspiration pages on Instagram, read the blog, and subscribed to the newsletter. I was only very recently at a conference when someone I had never met introduced themselves to me saying, “I love the strength that the three of you have in everything you create.” It was a beautiful moment to feel truly connected with someone because of this organisation, and none of us would be the same without having created it and watched it grow. Our founder, Kaye Preston, is in no short need of praise for the incredible woman that she is both in Designers Mind and out of it. She took her design and coaching skills to the next level, growing her own knowledge of both out of her own unbridled passion for learning, and for the entirely unselfish motive of helping those around her who have struggled in the same way that she has with her profession, her inner life, and beyond. She worked tirelessly to create an online presence for us during the Covid-19 pandemic when we had no other choice but to shelve the workshops and in-house training sessions that we had originally designed at the start of our journey. There is nothing Kaye held back in creating the community that we have all benefited from, and without her it would have 036 / 037
withered on the table back in November 2019 without as much as a sigh. “This community has meant so much to me. I have been continuously humbled by the team who have contributed tirelessly week in and week out,” Kaye adds. “I will be forever grateful for all the support we have received over the years, for the opportunities shared, and for all the incredible people we have met. It is a chapter I will never forget.” When we began organising topics for our Clubhouse talks, or putting together our calendar of blog posts, or choosing a topic of discussion for our in-person panel talks, there was never a shortage of ideas. We all had so much in common. We always wanted to talk about what was meaningful to us, what we wanted to learn more about, and share our experiences on. Of course, sharing the knowledge was important, but just having our internal discussions about our community topics made us all feel less alone in a very scary, unpredictable time. It gave credence to our worries, validated our feelings, and made us stronger for being vulnerable around one another and later the wider community when we had our knowledge shares. Speaking of vulnerability, this “sometimes” stranger, which we have tried to integrate from day one in our relationship with each other and in our relationships in general, is also reflected in this farewell. Are we ready to prove that multitasking for its own sake is not the best way forward at all times? Are we able to promote reflection over action, awareness over autopilot? “They say to teach what you most need to learn. This holds true in all of the weekly takeaways gained from each other, our research, and the wider community,” Kaye shares. “My life was not only made richer by the connections made but also by the knowledge I gained and could apply to my own life.” Not in small part because of Kaye’s encouragement and enthusiasm, the rest of us on the team
have poured our hearts even further into our own passions and projects that bring us joy and fulfilment in our own lives. Martina has continued and consolidated her path between neuroscience, psychology, aesthetics, and design, keeping the human being even more solidly at the centre, aware of how what is still considered a stigma today is often precisely the most ‘beautiful’ trait... that crack through which light goes through. And I have spent much of the last year and a half trying to become a better multidisciplinarian, delving more deeply into the world of wellbeing and sustainability in my lighting work. Our talks about Imposter Syndrome, Overwhelm, and so many more have given me the strength to push through this unfamiliar territory and grow into a new role as a mentor and educator on these adjacent topics. I’ve also taken a much more serious grip on the raging animal that is my own mental health, and though at times the process is exhausting, the resulting calm and growth have been a boon to actually practising all of the wellbeing theory we always spoke on.
“I will be forever grateful for all the support we have received over the years, for the opportunities shared, and for all the incredible people we have met. It is a chapter I will never forget.”
So, while this is not necessarily the end to our love of wellbeing and the desire to rally designers around being healthier, happier people, this is the end of Designers Mind as we now know it. Some day, we might find new members, new ways of doing things, new opportunities alongside our ‘main’ careers that allow us the time and mental space to meaningfully contribute to this community we love so dearly. For now, thank you. www.designers-mind.com Image: Unsplash
talking with…
“If I want to become a master in lighting, it would be nice to become flexible in different platforms, like photography for example, or cinema, or architectural lighting.” Osvaldo Sepulveda
Following his inspiring presentation at IALD Enlighten Europe, arc talks to Osvaldo Sepulveda, Senior Lighting Designer at Mulvey & Banani Lighting, on his journey from cinematography to architectural lighting design. 038 / 039
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t’s no big secret that lighting design is a profession that welcomes people from all walks of life – from architecture and interior design to theatre production, product design and even, as we learnt in a recent interview with Panos Ferentinos, graphic design. It is a testament to the lighting design community that such a diverse array of backgrounds can be brought together and succeed, so long as they share a passion for design, and for creating moments of inspiration. In a bid to continue celebrating these unique pathways into the world of lighting, arc caught up with Osvaldo Sepulveda, Senior Lighting Designer at Toronto-based Mulvey & Banani Lighting. Before joining Mulvey & Banani in 2016, Sepulveda was pursuing cinematography and working in the world of filmmaking. It was a world that had fascinated Sepulveda from an early age, when he used to go to $2 Tuesday specials at the cinema with his father (“Toonie Tuesdays”, as they were affectionately known). “I come from an eccentric, busy Chilean family household, so I would always beg my dad to take me to the movies,” he recalls. “Movies like Cinema Paradiso, Back to the Future, and The Godfather really hit me as a kid – I was watching them and not knowing that they were movies, I thought they were real life. My parents told me that no, people work to put this together as a visual art, and so I needed to know everything that goes behind it. Whatever the magic is, I needed to know it.” This kickstarted a passion for acting that eventually led Sepulveda to study theatrical performance at Toronto’s Humber College, where he got an advanced diploma. He then spent some time in New York, taking part in some physical workshops to further pursue acting. After a few years, he wanted to “improve his skillset” and learn more about what goes on behind the camera. “I did a few more years at Sheridan College, Ontario, but this time it was specifically for cinematography and production design. That was the introduction of lighting and camera work. I’ve always loved movies, but this was the first time where I actually got to see how things were put together.” Following his years studying cinematography at college, Sepulveda joined the union I.A.T.S.E (International Alliance of Theatrical Stage Employees) – one of the main unions for film crews in North America, and moved his way up from camera trainee to a second camera assistant. Alongside his work in the camera department, working with directors of photography and camera operators, he also took on work in the lighting department and grip department. “These three departments help the cinematographer, so I thought that I needed to know these things if I wanted to become a cinematographer myself,” he says. “I didn’t want to just know about the camera, I wanted to know everything so that I could be a master, be prepared. I had a lot of fun doing that, and that also took me to different avenues too. So, after a few years of working in the film industry, I
wanted to learn more about lighting, but from a different perspective. I was looking for workshops and I found Ryerson University in Toronto, which had architectural lighting, so I took that, and that opened up a whole new industry for me, a new playground.” Although this venture into architectural lighting was, as is so often the case in our industry, by accident, it led Sepulveda on a journey of discovery, opening his eyes to a brave new world. “I wanted to improve my filmmaking and thought that, by learning what architectural lighting is teaching, I can take that back to set and be better prepared, but I discovered a whole new world and I thought ‘this is really cool’.” It was during this course on architectural lighting that Sepulveda discovered Mulvey & Banani Lighting while looking for a field placement option. “When I researched them, I saw some really great work, and I really saw the benefit of permanent structures being lit. I had seen that myself in the city, and I was always curious how it was done and who did it. But these classes put the connections together for me, and I thought that maybe I could take this leap and give it a try – it was something
TALKING WITH... OSVALDO SEPULVEDA
The Niagara Falls (Image: Bryan Goff, via Unsplash)
TALKING WITH... OSVALDO SEPULVEDA
Assiniboine Park Conservancy, Winnipeg, Canada (Image: Osvaldo Sepulveda)
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worth doing that I was really excited about, so it just naturally went from one thing to another. “I also took it as a complement to what I did before. So, instead of feeling like I had to do one thing over and over, or replace a career, I was looking more at using this as an extension of my toolset – if I want to become a master in lighting, it would be nice to become flexible in different platforms, like photography for example, or cinema, or architectural lighting.” As well as being impressed with the work that Mulvey & Banani was doing at the time, Sepulveda believes that the diverse nature of the company, and the supportive nature of the staff, helped the company to stand out. “Mulvey & Banani Lighting is a subsidiary and division of Mulvey & Banani. When I joined the lighting team, I was immediately struck by the diversity of expertise – from architecture and theatre to interior design and filmmaking. It’s this eclectic mix that infuses our designs with creativity and innovation. We’re not just lighting designers; we’re storytellers, and our narrative is shaped by every unique background within our team. Driven
by a shared passion, we often collaborate with each other, as well as the other engineering and design divisions at Mulvey & Banani.” During his transition into the world of architectural lighting, Sepulveda adds that his life was “quite the costume change”, as he found himself switching between various roles – and industries – day by day. “When I was studying part-time for a few months, my weeks were a combination of Mondays on film set, in the camera department; Tuesdays at Mulvey & Banani interning; Wednesdays back on the film set doing grip work and rigging work; Thursdays back at the studio; and then on Fridays I could have been doing extra work on a movie. That happened for months, and people were shocked by this, but it was a fun time jumping from one industry to another.” While he recalls it as a fun period in his life, Sepulveda adds that the initial transition from the fluidity and immediacy of cinematography to the slower pace of architectural lighting took some adjusting. “It was a difficult transition because on film sets, we actually see the results of our lighting in the moment; and then in architectural lighting, it’s not until months or maybe even years later that the spaces comes to life and you understand what the concept actually looks like in real life. So, I had to develop a bit of patience. “Also, understanding and navigating through architectural drawings, RCPs, and details, that was a challenge for me because I knew lighting effects, but I didn’t particularly know how they were permanently mounted or the attention that went into these details. That was a challenge for me, and I knew that I had to fill in these knowledge gaps, and that inspired me to go back to school on a part-time basis and pursue a postgraduate certificate in architecture and landscape design. There were a few gaps, but the challenge was worth it, and I’m glad that I did it.” There was also a period of adjustment creatively for Sepulveda, particularly given the permanence of architectural lighting. “I had to think about how things can survive on a long-term basis. The types of fixture bodies are different to studio bodies – studio lights are rugged, and they’re meant to get banged up, and then in architectural lighting they’re more sophisticated and polished,” he says. “Other challenges came with the computer programmes – CAD and programmes like Revit and Photoshop were big learning curves, but something that I learned on the job over time. I’m still not an expert, but I can get through and design in quite an artistic way. Learning all of the different control protocols was difficult too – I was used to just using DMX, but then I was introduced to DALI and 0-10, it was something that I had to just get over and learn and fill those knowledge gaps. “But the theory of lighting and the design of lighting, direction and quality of light is all the same, it’s just the application that changes. We think about point of view of a camera on set – we light the space according to the position of the camera, so if the camera were to pan somewhere it isn’t supposed to, we would see a light that we’re not supposed to see.
“The theory of lighting and the design of lighting, direction and quality of light is all the same, it’s just the application that changes.”
Top Sepulveda (centre), on set as 2nd Camera Assistant. (Image: Osvaldo Sepulveda) Bottom CN Tower Observation Level, Toronto, Canada (Image: Osvaldo Sepulveda)
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“I try to take that idea to architecture now, and I say, ‘if a person is standing here, this is their viewpoint’. What do we want? How do we want them to observe the space? How do we want them to observe the farthest wall? Is there a highlight? How do we create depth? I use that idea of point of view between cinema and architecture, the only difference is that where one is a camera, the other is a person.” He adds that some of the other parallels between cinema and architectural lighting come in the lighting techniques – things like the aforementioned direction of light and quality of light, as well as the psychology of colours and the feelings that these can bring in the viewer. “I like to think that the director on set is the architect, they share the same role; lighting technicians are like the electrical contractors, and the production designers are similar to interior designers. There are relationships that are very common between the two. “Another parallel comes in storytelling – we like to tell stories, and telling a story in architecture is a magical thing. It’s very hard to do because you’re not dealing with dialogue, you’re not directing the person where to walk or what to see at a given point in time, but we’re telling the story of the material, of the history, and trying to convey or invoke a certain emotion or a certain mood for the individual.” This personal, emotional approach, of putting oneself into the point of view of the audience, is something that Sepulveda feels is one of the most important, both in his former work as a cinematographer, as well as in architectural lighting now. “I like to put myself in the point of view, and not fall into the trap of just looking at the RCP from a bird’s eye view, but being in the space, imagining walking through the space and how I want to feel. “I also like to have a really close relationship with interior designers – they are such a key role in my work. Cinematographers lean heavily on production designers, they want to know what the material will be, the colour, the finish; and I think that kind of attention is what I like to carry in this work, to collaborate with interior designers and not wait until the very end, and to be fearless of asking silly questions – what do you think this material might do? Something funny? Once we hit a light on it, is it going reflect and do something interesting? Just giving more attention to different materials, fabrics, glazing, it’s that kind of attention to detail that I like to transition. “On set, it was very physical, I had to carry lights with me, and that’s what I like to do in the office now – play around with different lights. I have a little notebook that I carry around with me that I call the Journal of Observations. When I see anything interesting, I take a photo, I question where the lighting effect is coming from – prismatic reflections, rotating fan blades that catch the light sequentially – I note it down in my journal and have this collection of observations.” What this means is that Sepulveda has a very cinematic approach to architectural lighting design, bringing his experience from both realms together.
A recent example that he cites is the lighting of Assiniboine Park Conservancy in Winnipeg, Canada. A plant conservatory, housed in a large glass biodome, the project called for a landscape path that would lead visitors around exotic plants and a waterfall. One of the parameters for the client was that they didn’t want direct light sources, so instead Sepulveda and the Mulvey & Banani team looked to light the space indirectly with reflectors. “That was something that I’d seen from my experience working in movies – using xenon lights, hitting them off a mirror so that they create a shaft of light in the atmosphere. So, we played with this idea, we did some tests and depending on the texture of the reflector it would either narrow the light or disperse the light. We picked two that we liked to provide coverage and added colour to these; they were then programmed to do certain scenes like a sunrise, a glowing, warm orange hue across the area, and then transition to a blue hue or even lightning. “We got to play with the control aspect of it, creating lightning cues and playing with the saturation and exposure levels, manipulating the lights to create these effects. We also added classical music to it – a piece by Vivaldi, recomposed by Max Richter [film composer]. This is a great example of taking an idea that I got from being on set and bringing it to the architectural realm.” Other landmark projects that Sepulveda has worked on in his time in lighting design include the lighting of Niagara Falls (completed while he was still interning) – here, his filmmaking background came to the fore once more as he created a complementary documentary, recording the behind-the-scenes work behind the project. Another example he cites is the TD Conference Centre; although a two-level, sub-ground site, the challenge was to introduce lighting to make visitors forget that they were underground. “We had these special linear lights on the side of the wall that were custom made to give the impression that natural light was punching in through these slots,” he explains. “The CN Tower Observation Deck was another high-profile project where I used my theatre background to design custom deep louvres to control light distribution.” Through his time at Mulvey & Banani though, while he was relatively inexperienced in some of the technical intricacies of lighting design on joining the team, Sepulveda feels he has had a lot of support and patience from the team, led by mentors Paul Boken and Stephen Kaye. “They gave me a shot, and I remember saying to them at the time ‘I don’t know CAD’, and they said to me ‘but you know lighting, and that’s one of the hardest things to learn. We can teach you the programmes, just focus on your design and keep having fun with light, and the rest will take care of itself’. They were very supportive. They showed me the ecosystem of architectural lighting, the procurement channels and so on. It was a process for me to understand where things come from and how to talk to contractors or sales reps, or even clients. There were a lot of big learning curves.”
TALKING WITH... OSVALDO SEPULVEDA
TALKING WITH... OSVALDO SEPULVEDA
Top Sepulveda starring in The Refugee Hotel, a production by the Alameda Theatre Company. (Image: Itai Erdal) Bottom The TD Conference Centre, Toronto, Canada (Image: Osvaldo Sepulveda)
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With a career that has spanned various industries, Sepulveda has a lot of role models that he takes inspiration from in his work – from filmmakers and cinematographers to lighting designers, artists, painters, and photographers – and he says that he is always researching new names to be inspired by. “In terms of filmmakers, Charlie Chaplin shaped early cinema; Alfred Hitchcock, for his storytelling and how he used certain colours to pop in scenes was really interesting. Photographers Sal Leiter and Vivian Maier; cinematographer Hoyte van Hoytema – he raises the bar with technical innovations. Another one is Dan Laustsen, who I worked with and shadowed on Crimson Peak; Roger Deakins, George Willis (CSC), my current mentor for cinematography. “I also have favourite lighting designers too – people like Steven Knapp, Olafur Eliasson, and Helen Pashgian. Painters too – Rembrandt, Edward Hopper, or the American James Gurney. It’s interesting because I have a list that I call a Chronology of Artists, and I break it down by different platforms of lighting – sculptors, painters, photographers – I have them all in front of me, and I have my favourites, and every now and then I will go into this database that I have and research them. I look for inspiration, find out where they come from and what kind of work they did.” This ongoing search for inspiration is something
that Sepulveda strongly recommends for others out there who may be looking to make the move into architectural lighting design, whether that be from cinematography, or other fields. As he looks forward to the future – a future that will shortly see him speak at IALD Enlighten Americas in Banff – he offered some advice to other budding lighting designers. “I would start reading books on architectural lighting design – Light for Visual Artists by Richard Yot; Architecture Lighting Design by Gary Steffy; Daylighting by Peter Tregenza; the Art of Landscape Design by Janet Moyer – read these textbooks specifically on architectural lighting design and find out where there are universities or courses, or even events where they can attend and see for themselves whether they want to pursue this or not,” he says. “But I think what is most important is to know that a background in cinematography is an incredible, valuable tool for being a lighting designer. So, already they should feel empowered and feel like they have the basics to take this leap and not be afraid to experiment with light on their own. “Observe the lighting around you, make your own Journal of Observations, start to look around at the spaces that you are in and take in the light, and be fearless.” www.mbii.com
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Project COCONE, Seoul Lighting Design: Bitzro, Ki Young Ko Supplier: Haemoon Dong Hoon Kim
eye opener
Image: teamLab
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Ephemeral Solidified Light Tokyo, Japan
Art collective teamLab’s newest installation, entitled Ephemeral Solidified Light, has been unveiled at teamLab Planets Tokyo. Through the new artwork, visitors experience countless masses of light floating in the air, each one composed of multiple colours. The boundaries of each colour are clearly separated as though they are solid. This seemingly solid colour separation of the masses of light is not seen in the natural world, and is caused by “extreme synchronisation”, the art collective explains. “Through self-organisation over time, this synchronisation phenomenon creates a large, ordered structure.” teamLab continues: “When people touch the solidified light, they realise that the visible part is part of something that continues to flow without interruption. Life is a phenomenon like crystals of ephemeral light, miraculously solidified into a continuum of energy that continues to flow without interruption from a past whose beginning is unknown.” Alongside Ephemeral Solidified Light, several more of teamLab’s artworks have been renewed at teamLab Planets, expanding the body-immersive experience. These include Expanding Three-dimensional Existence in Transforming Space – an installation filled with spheres of light that change colours through people’s interactions, as well as The Infinite Crystal Universe, an artwork in which light sculptures expand infinitely. Due to the popularity of teamLab Planets, the museum, which was originally scheduled to close at the end of 2023, will now remain open until the end of 2027. www.teamlab.art
What exactly is “good quality” commercial lighting? COMMENT NATALIA DUFFY
Natalia Duffy, Lighting Associate at Cundall, shares her thoughts on the best, most responsible, lighting for workspace environments.
Good lighting is not something people often notice immediately; our attention generally gravitates to architecture and interior design – unless, of course, you are a lighting designer. Indoor lighting is a subtle yet pertinent element that complements interior design. Like a person in a nice outfit, we notice the person first and the outfit’s ability to enhance their beauty second. The effect of lighting goes beyond creating aesthetic spaces and allowing us to see. Light has been integral in shaping the trajectory of evolution and acts as a cue for activity and rest. In contemporary life, the average office worker spends 60-70% of their lives in the office, thereby creating a responsibility for developers and employers to create workspaces that are healthy and encourage productivity. Light is proven to have a huge influence on our health and wellbeing, and as a result, lighting design cannot be left behind amongst the plethora of design considerations for a healthy office. Gone are the days when offices were fitted with energy-guzzling, lacklustre tube lights that stayed at the same intensity for hours on end. They are not sustainable, nor healthy. Yes, our surroundings should be well lit, however, lighting should take advantage of the benefits of natural daylight and adapt itself accordingly. Such daylight design strategies involve relying on the available natural light alongside electric lighting. The trend is intuitive: when light is available externally, the reliance on electric lighting should decrease and in the darker hours of the day we shift to artificial lighting. This ensures spaces are well lit throughout the workday in a sustainable fashion as there is a lower energy need when natural light is available. It might seem unlikely that such a minor design choice could have a significant influence on sustainability. Cundall’s Manchester and London offices conducted a study as part of the Building Energy Exchange’s Daylight Hour 2023 campaign, which calculated the energy saved when the lights were turned off for an hour. Turning off the lights for an hour in the Manchester office saved 050 / 051
9.19kWh, and in London it saved 28.32kWh. This equates to 2,307kWh and 7,108kWh per year respectively. Clearly, reducing the intensity of light for a few hours when it’s bright outside can have a considerable influence in reducing energy. Employers may often be under the perception that keeping an environment bright throughout the day allows people to stay ‘awake’ and hence productive. However, how ethical is it to keep someone’s environment ‘well-lit’ for eight hours continually during each day of the working week? Natural light, and its colour and intensity, varies throughout the day, and helps in the alignment of circadian rhythms. Cooler light colour temperatures are produced when the sun is shining at its brightest around noon, while warmer colour temperatures are emitted during sunrise and sunset. This influences energy levels through the day – with unconscious cues for staying active and resting. In a workplace environment, where lighting is bright and constant, a lack of variation can negatively impact wellbeing, for example through burnout. To combat this, circadian lighting design strategies, where light intensity and colour temperature changes according to the time of day, are better for occupiers’ wellbeing. A lighting design strategy that alternates between cooler and warmer light colour temperatures can essentially imitate daylight by creating an outdoor light environment indoors. Cundall’s Birmingham office was designed to centre around a spiral helical timber staircase that is fitted with twelve spotlights, which follow the path of the sun through the course of the day. The result is a subtle change of shadows cast by the staircase around the office throughout the day – a good example of artificial lighting being used to imitate daylight. The International WELL Building Institute has devised guidelines for lighting design to meet standards of comfort and wellbeing for occupants. The guidelines address the initial necessities of office lighting such as light that allows people
COMMENT
Cundall’s Birmingham office features a spiral staircase fitted with 12 spotlights that follow the path of the sun throughout the day - part of the company’s drive to create a more holistic, wellbeing-focused environment for staff. (Image: Quintin Lake Photography)
to read and see clearly. Alongside that are considerations for ensuring people remain healthy, such as circadian lighting design strategies. When it comes to office lighting, striking the balance between productivity, wellbeing and sustainability is an important consideration. Ultimately, ensuring daylight is utilised to its maximum ability whilst simultaneously imitating patterns of daylight indoors seems a reasonable ideology for lighting designers. Using light colour temperature variations is a valuable tool to achieve this. In terms of putting sustainability at the heart of lighting design, the best advice we can give as lighting designers is to do it right the first time and you won’t have to do it again. Once the occupants’ needs are satisfied and their wellbeing has been improved by a good lighting system, they are less likely to need replacing continually. The objective of investing in ‘good quality’ lighting is to ensure that we are designing sustainably, saving energy, and saving money as well. Moreover, good lighting schemes must account for future proofing. In recent times, we have seen massive changes in how office spaces have been adapted to staff needs. The acceleration of hybrid working has created a new realm of opportunities
for office spaces, with the introduction of breakout spaces, wellness rooms and collaborative workspaces amongst other things. When it comes to lighting, flexible or modular lighting systems that can be easily configured to adjust to changes in office areas or layouts can be a sustainable alternative. With workspaces increasingly focused on staff wellbeing, elements such as indoor air quality and the creation of greener environments for mental wellbeing have been in the spotlight. However, lighting design must not be forgotten in the much-required push towards a healthy and sustainable office. Wellbeing and sustainability in lighting design need to work in tandem to create a holistic lighting system. Lighting designers have a responsibility to adapt and put people and their wellbeing at the heart of our design decisions, because ultimately, we are creating these spaces for people. www.cundall.com
Fetzer Institute Administration Building Michigan, USA
A renovation of the Fetzer Institute’s Administration building saw lighting, designed by SmithGroup, play a key role in creating the feeling of “lightness within”. 052 / 053
WORKSPACE LIGHTING
WORKSPACE LIGHTING FETZER INSTITUTE ADMINISTRATION BUILDING
he Fetzer Institute was founded by
T broadcast pioneer and former owner of
the Detroit Tigers baseball team, John E. Fetzer, with the goal of “helping build the spiritual foundation of a loving world”. Combining science and spirituality, the institute was established to support work designed to discover and enhance the integral relationships of the physical, mental, emotional, and spiritual dimensions of experience that foster human growth, action, and responsible improvement of the human and cosmic condition. Last year, the non-profit institute underwent a renovation of its existing, triangular-shaped administration building. In keeping with the group’s wider philosophy, the goal for the renovation was to create an environment that would encourage dialogue in support of its mission, create a memorable experience, and reconfigure for growth.
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Using the building’s unique footprint and vision, designers at SmithGroup, who led both the architectural and lighting design of the renovation, sought to implement inspiring spaces, including a central gathering space that harnesses “distinctive geometry and lighting elements” to evoke ancient, tent-like structures. Paul Urbanek, Vice President and Design Director at SmithGroup, tells arc: “This renovation is about ordering a new plan within the equilateral triangular footprint of an existing Administration building that speaks to the Fetzer Institute’s mission of supporting a holistic, loving world with open dialogue.” Paige Donnell, Associate Lighting Designer at SmithGroup, adds: “Our multi-faceted design team worked together to charette the over-arching concepts and ideas that we wished to implement, driven by the client’s goals.” In support of these goals, SmithGroup developed a lighting concept, titled “Revealing Legacy”, which Donnell says “empowers and enforces notions of inclusivity, awareness, and open dialogue by highlighting the warmth and texture of materiality and seamlessly integrating concealed lighting treatments within architectural forms”. Within this, the design parti looked to create a sensation of “lightness within” – a challenge in itself in a space devoid of natural light. “We needed to craft a bespoke solution that not only performed similar to daylight – diffuse, ambient, soft illumination – but also created the visual sensation of daylight effortlessly pouring through translucent materials and crafting the human experience by creating a captivating and welcoming environment for gathering.” Central to the renovation of the Administration Building, at the heart of its angular shape, is the Convening Room, a major sacred space within the Institute. About this are a series of supporting spaces that continue the open dialogue cherished within the organisation. Urbanek explains how the triangular form of the building impacted the rooms within, and the lighting therein: “The unique shape of the building plan made for some unusually shaped rooms. Instead of rectangles, we were confronted with parallelograms and triangular spaces. Therefore, the application of standard lighting fixtures took on a creative slant. Even the straight corridors have special attention at the corners, because they are 120°, instead of 90°. “The major Convening Room employed a myriad of triangular forms to create a tentlike structure that incorporated the lighting. Other rooms used regular treatments placed in juxtaposition with the angled geometries.” The triangular forms in the Convening Room are comprised of a series of custom designed and fabricated, edge-lit acrylic panels that diffuse light from an LED source concealed in the ceiling. Meticulously detailed with limited space, the 16ft acrylic features, designed with knife-edge end conditions and z-clipped backer plates, effortlessly slide into the bespoke ceiling without visible fasteners.
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WORKSPACE LIGHTING FETZER INSTITUTE ADMINISTRATION BUILDING
SmithGroup worked on numerous mock-ups with the manufacturer to fabricate a distinctive, 3D-printed acrylic refraction pattern for uniform and effective transmission of light from top to bottom. The product was reviewed at multiple scales, with appearance, ease of maintenance, and accessibility as critical design drivers. With a CCT source of 3500K, the designers at SmithGroup believe that the feature strategically contrasts a cool daylit impression and warm material palette, evoking the sensation of daylight emerging through a tent-like form, amplified by the dynamic spiral play of veiling, and revealing illuminated panels. Donnell recalls the design process for this unique feature: “Paul and I initially sat down together one afternoon with a napkin sketch of an idea to create this structure that emits light almost magically, without visible fasteners, and fully integrated into a custom millwork triangular shaped form. We wanted to both highlight and honour the angular architecture, while also crafting an experience that was inviting and encouraging of open community dialogue. 056 / 057
“We talked through the initial limitations – ceiling space, fabrication methods, achieved light levels, accessibility – and we determined the only way to achieve this aesthetic and function was to find a product that was small-scale, custom-sized, and edge-lit with uniform distribution.” Elsewhere, a newly added exhibit space showcases the owner’s legacy, highlighting key storytelling features with a playful spin. Baffled adjustable track lighting, detailed into a reveal in the ceiling and situated within an extremely low plenum space, allows for spatial adaptability. RGBW cove lighting central to the space breaks the horizontal ceiling plane and continues to evoke the sensation of “lightness within”, while custom 3D-printed patterned metal partitions filter and extend daylight from the surrounding existing building, creating a playful and comfortable expression of natural light within the windowless interior. Office support spaces, such as huddle rooms and a library, utilise glare-free perimeter indirect solutions for visual comfort and warmth; accessible restrooms exemplify how multiple layers of indirect illumination transform the elegance and intimacy of an occupant’s experience. “We created a custom control element at the door handle that visually notifies occupants of the room’s vacancy,” Donnell adds. “This custom millwork-integrated light illuminates green or red to enforce more ‘quiet’ methods for communication of everyday tasks, that in-turn allows more space for intentional conversation.” Donnell explains how the overarching design concept of “lightness within” extends to the various spaces within the building: “The design philosophy encouraged achievement in our somewhat competing goals, by creating a juxtaposition of dark-toned intrigue, intimacy, and comfort, with a simultaneous feeling of lightness, awareness, and limitless bounds. We capitalised on indirect illumination strategies, paired with a warm material palette to both create that welcoming environment and express the sensation of vast openness and discovery.” Alongside this, Donnell adds that the use of indirect lighting throughout limits contrast and visual discomfort and enhances the warmth and texture of the wood materials in an effort to “create elegant, intimate, and welcoming experiences that
WORKSPACE LIGHTING FETZER INSTITUTE ADMINISTRATION BUILDING
support and inspire open community dialogue.” While the concept of designing lighting in a completely windowless environment may seem like one of the biggest challenges that a lighting designer can face, Donnell believes that there was another, more troublesome factor to consider. “Our biggest challenge was the design, execution, and installation of our customised feature ceiling element during a global pandemic,” she says. “Throughout the mock-up phase of the project, we needed to review varied scales of custom 3D-printed acrylic refraction patterns both quickly and effectively. This led to countless video calls with the lighting manufacturer, an abundance of shipped material samples, and innovative methods for quantifying light level performance data for the design team to validate the system in their 3D models. Once the mock-ups became larger in scale, we benefitted from teaming with a local manufacturer, and were able to drive to the factory to review intricate details in-person, wearing masks and maintaining distance. “During the construction phase of the project, we ran into unforeseen issues with in-field humidity conditions causing our custom panel elements to bow with the heat. Fortunately, we had a great 058 / 059
team of designers, contractors, and fabricators, who were remotely able to verbally and visually communicate challenges and concerns to find novel solutions to these unprecedented site challenges.” Urbanek adds that the logistics of remodelling within an existing building and framework brought with it some further struggles. He says: “As this was a remodel of an existing building, we tried hard not to disrupt the structure, but rather work within. Wherever possible we incorporated the existing columns into the design. “The main Convening Room was placed in the centre of the plan, in the largest open space available, and its truncated hexagonal plan is a result of trying to gain the most area within the structure. The Fetzer Exhibit space is designed as a rhombus shape for many of the same reasons. In both of these spaces, working around the mechanical ducts and structural beams to achieve greater ceiling height was tricky.” That being said, on reflection the design team at SmithGroup, as well as the client, are all “extremely satisfied” with the outcome of the project. Donnell adds: “Photos can’t fully describe the experience of this technically static system, with a seemingly
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WORKSPACE LIGHTING FETZER INSTITUTE ADMINISTRATION BUILDING
Client: Fetzer Institute Lighting Design: Paige Donnell, Rodrigo Manriquez; SmithGroup, USA Architect: SmithGroup, USA Exhibition Design: Luci Creative, USA Lighting Suppliers: LED Linear, LSI, Lumenwerx, Prudential, Sensitile, USAI, Vode Photography: Justin Maconochie
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dynamic effect. The sensation of moving about the space and experiencing the perspective-driven environment and its revealing panels is difficult to describe but it is immensely felt by the inhabitants.” Both Donnell and Urbanek also feel that the new lighting design is integral to the ambience of the renovation, and particularly in achieving the goal of “lightness within”. Urbanek comments: “Lighting is a key element of the renovation. The built-in fixtures of the Convening Room add to its tent-like form and act as almost skylights to the most internal room in the building. The mystery of an evenly lit space where one can only view half of the light fixtures from any point adds to the spiritual nature of the space. It is intended to bring a sacred feeling to those within. The exhibit space again is lit in a fashion to highlight within the exhibits, creating a rich visual environment.” Donnell adds: “I believe the power of lighting and its intentional interaction with form can sometimes be undervalued. With this project, however, lighting was fundamental to the design process, which ultimately made the project much more successful.
The design philosophy of ‘Lightness Within’ allowed us to challenge the norm, expand our impact, and truly design holistically to create a one-of-a-kind experience, curated for our client’s specific needs.” Perhaps the highest praise for the renovation though, comes directly from the client. Rob Lehman, Fetzer Trustee, says of the new-look space: “The new expression of the Administration Building – the Commons, One World Room, and all the other carefully designed meeting spaces – has been created with such a sense of the sacred. These spaces represent a deepening of our relationship-centred work. “Standing in the Exhibit Room and reflecting on our history made me realise how the remodelling is truly an ‘outward visible sign of an inward invisible reality’.” www.smithgroup.com
@Hub_kafkas @HUB-Lighting-Innovation-by-Kafkas
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2/10/2023 11:47:06
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WORKSPACE LIGHTING
MOL Campus Budapest, Hungary
At the newly-opened MOL campus in Budapest, lighting designers at Licht Kunst Licht designed a scheme that would showcase the striking architecture and the plentiful greenery in a sustainable way.
WORKSPACE LIGHTING MOL CAMPUS
ungarian oil and natural gas company
H MOL Group has recently moved into its
iconic new headquarters – a 143-metre-tall tower in Budapest, on the banks of the Danube. Designed by Foster + Partners, the tower – the tallest building in Hungary – is characterised by an elegantly upward-sweeping façade that merges a five-storey “podium” with a 28-storey glass tower. In collaboration with the local architects from FintaStudio and under the creative direction of the architectural studio Kinzo from Berlin, a modern new building has been created that impressively reflects the changes in the 21st century working world and MOL’s corporate vision as well as the sustainability strategy of the globally active company. Spanning 86,000sqm, the state-of-the-art campus houses a food court and cafés, a gym and spa area, and conference centre, as well as numerous
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other facilities for the building’s 2,500 employees. The upper floors, up to the 27th storey, feature flexible-use workspaces connected by the recurring element of lush indoor greenery. The spacious open office areas encourage flexible collaboration, while modern technologies allow for customisation of artificial lighting, temperature, shading and views of the surrounding environment. On the Sky Deck, employees and the public alike can experience magnificent views of the city of Budapest. The goal for MOL Group was to have an “extremely innovative and modern headquarters with cuttingedge technology” – this included the lighting, which was designed by German studio Licht Kunst Licht, which sought to develop a scheme that would meet the flexible and diverse user requirements, while remaining compatible with a functional, yet atmospheric concept. “The lighting was intended to be an integral part of the interior design, while simultaneously meeting all the requirements of a modern office – flexibility, easy controllability, glare-free illumination, and pleasant atmosphere,” says Daria Olejniczak, Lighting Designer at Licht Kunst Licht. “Additionally, sustainability was a significant concern due to the client’s desire to achieve LEED and BREEAM standards, such as an efficiency of less than 12W/sqm for office spaces. These factors provided us with a strict direction for our further design development. At the same time, we knew that we needed to seek extremely smart solutions that could be manageable for a project of this immense scale.” While every project is different, Olejniczak explains that Licht Kunst Licht’s approach to each is to first understand the building and its architecture, capturing the needs of its users through discussions with the client. “Only after that are we able to develop a coherent concept that supports the architecture and is user-friendly,” she says. “A good concept combines two aspects: it is an integral part of the architecture while simultaneously meeting the desires and requirements of the clients. In the case of MOL, we were faced with the challenge of finding a lighting system that was compatible with a specific ceiling type used in almost all parts of the building, and at the same time provided optimal lighting for various uses such as office spaces, corridors, and lounge areas. We also aimed to ensure that the luminaires could be easily mounted into the U-profiles without the need for tools. Given an area of 86,000sqm, it was essential that the work could be carried out quickly and without complications.” On entering the building, visitors are greeted by a five-storey atrium with a flowing transition into the expressive high-rise tower. After being guided into the headquarters by ceiling-integrated linear lighting in the rounded canopy, the “Podium” appears. This forms the lower part of the ensemble, and provides a view of the tower with the centrally running Green Spine – the greened vertical axis – through a generous roof glazing. The illumination of the 25-metre-tall atrium comes from lateral openings in the front sides of the gallery floor ceilings, which accommodate
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clusters of up to four adjustable track-mounted spotlights, with colour temperatures of 3000 and 4000K. Light is directed at the central Green Spine, while directional light with beam angles adapted to the respective ceiling heights illuminates the floor, giving the room an attractive warm white light through the reflection of the surface. The spotlights at 4000K accentuate the trees and plant life in the atrium, while accent light sets off the green islands and creates calming visual anchors within the expansive space. The entire building features expanded metal panel ceilings. The panels are mounted without tools on a structure of support rails that accommodate lighting as well as other technical elements, such as sprinklers, cameras, and speakers. The rails, approximately 9cm wide, are equipped with linear and well-shielded light inserts in three different lengths, flush with the ceiling. The result is a functional, irregular grid that either condenses or dissolves, depending on the room layout. The overall impression conveys a sense of order and visual balance. By observing the other floors, the repetitions of the technical lighting elements across the floors, as well as intentional inconsistencies in the graphic structures with decorative luminaires, become visible. Olejniczak explains how the lighting works alongside the metal panel ceilings: “During the development phase, various types of ceilings were considered, and eventually, the easily maintainable ceiling of light grey stretch metal panels held by contrasting dark grey U-profiles was chosen. “We decided to use a linear luminaire family to fit within the profiles, offering two different light distributions and three different lengths. We developed a layout that was slightly irregular, allowing us to achieve different illumination levels for various functions, easily adapt to the curved outline of the building, and create distinct lighting atmospheres – uniform for offices and meeting rooms, and more vivid and contrasted for circulation and lounge areas.
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“In areas with different ceilings, such as some meeting rooms, even though the panels were the same but lacked the U-profiles, we focused on providing a similar lighting atmosphere to maintain a consistent overall feel in the building. In the aforementioned meeting rooms, we used round surface-mounted luminaires with prismatic covers for uniform illumination. Whereas in food courts where an open ceiling was planned, we chose track spotlights.” In the office areas, general lighting at 300lx is provided by the light inserts – users can supplement and individually adjust the light quantity to 500lx through additional table luminaires. This means that the lighting reaches an unusually high efficiency of 3W/sqm for office spaces. Alongside this, furniture-integrated luminaires are used in cabinets, wardrobes, and kitchenettes, rounding off the lighting concept with functional accents that emphasise the colour and materiality of the individually designed fixtures. In the so-called Working Gardens, where workstations are surrounded by lush greens, individual plant pots are accentuated with additional spots from the ceiling, which helps to create a more relaxing atmosphere for employees. Above the tables in the meeting rooms, round, diffused pendant and surface-mounted luminaires are placed in a free arrangement on the ceiling. Depending on the size of the room, these are supplemented by an appropriate number of downlights, while various lighting scenes can be called up via a wall-mounted panel. In the smaller, acoustically shielded booths – dubbed the Phone Booth Pebbles – the lighting designers continued with the solution of plain, round ceiling luminaires from the meeting rooms. The Boardroom is the most representative and largest meeting room at the MOL Campus, and with its wooden slatted ceiling, it contrasts with the rest of the design. Here, in addition to diffuse linear luminaires, spotlights with two adjustable heads have been used between the slats for general lighting or to accentuate the work surfaces. Elsewhere, multifunctional rooms serve different usage scenarios such as meetings, lectures, and exhibitions, as well as social events, thanks to its flexible ceiling-integrated lighting system. In close coordination with MOL, Licht Kunst Licht developed a sophisticated lighting scene concept that on one hand represents the changeable room geometries, and on the other enables a variety of lighting scenes for the different user requirements. Meanwhile, with an eye-catching and vibrant interior design, the ground-level food court stands out from the rest of the interior design in the MOL Campus. Generous metal trusses are suspended from the ceiling as support structures for artificial plants. These are effectively staged by the lighting designers through adjustable luminaires arranged in pairs. On the seating areas below, the leaves of the plants create a natural-looking exchange of light and shadow projections, which is complemented by additional track spotlights.
WORKSPAC LIGHTING MOL CAMPUS
WORKSPACE LIGHTING MOL CAMPUS
Client: MOL Group Lighting Design: Daria Olejniczak, Malte Simon, Jasmin Hindi, Edwin Smida, Fanny Perineau, Jaehoon Choi, Laura Sudbrock, Anna Thorup, Sezgin Kirilmaz, Nathalie Quadrio, Sylke Grahn; Licht Kunst Licht, Germany Architect (design): Foster + Partners, UK Architect (execution): FintaStudio, Hungary Interior Design: Kinzo, Germany; minusplus, Hungary Lighting Suppliers: Bega, Erco, iGuzzini, Reggiani, Trilux, XAL Photography: HG Esch
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The recurring theme of greenery is none more prevalent than in the Green Spine, which stretches as an elongated window from the podium to the top floor, and functions as an exterior and remote light carrier after dusk. Sustainability and environmental protection are integral components of MOL’s corporate philosophy, and this was reflected in the lighting design too. In line with its 2030+ sustainability strategy, the LED-based lighting system achieves the energy requirements of LEED Platinum and BREEAM excellent building certifications. Extremely low connected loads through the use of energyefficient luminaires, motion-dependent control in selected areas, and extensive daylight planning ensure a positive sustainability balance. In addition, the use of sun protection blinds during the day protects against direct sunlight and also prevents stray light in the exterior space in the darkness. The blinds are connected to the artificial light in the interior, which is controlled according to both daylight and motion.Reflecting on the project, and the collaborative efforts between Licht Kunst Licht, Foster + Partners, FintaStudio, and Kinzo, Olejniczak believes that while the multiple partners involved could have complicated things, it was a very communicative and open process. She says: “The team worked together really well, of
course being overwhelmed from time to time by the tight schedule. Dealing with many partners simultaneously definitely might be challenging, as sometimes the responsibilities are not clear to everyone. The general atmosphere in the project though was very familiar and friendly. On-site, we were supported and coordinated by local architects (minusplus and FintaStudio). I especially fondly remember the site visits, which always included evening programmes with Hungarian colleagues in the city centre of Budapest.” The fond memories of the project extend to the finished lighting scheme as well, as Olejniczak explains: “It’s always difficult to objectively assess one’s own project. However, I am very satisfied with the outcome. The feedback from the architects and clients has also been extremely positive. I am proud that, despite all the challenges, we have created an office building with a truly impressive lighting atmosphere.” Indeed, the ambitious building, the openness and transparency of the architecture, and its complementary lighting, make the MOL Campus an attractive destination for MOL employees and the public alike, serving as a new landmark for the city of Budapest. www.lichtkunstlicht.com
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WORKSPACE LIGHTING
The Ark London, UK
With a goal of creating a workspace with more of a “hospitality feel”, Lichtvision Design teamed with Gensler in the redevelopment of Hammersmith’s The Ark.
ne of the most iconic buildings in London’s
O Hammersmith borough, The Ark has
recently undergone a refurbishment, spearheaded by architects at Gensler. The intent behind the redevelopment was to bring a fresh contemporary feel to working spaces, giving it a hospitality feeling. Central to this approach was the lighting design, created by Lichtvision Design. After being approached by project manager Gardiner & Theobald, Lichtvision worked with the architects to develop a lighting strategy that would complement the wider architectural concept. Laura Cizauskaite, Senior Associate and Project Lead at Lichtvision Design, explains how the original design brief shaped the lighting scheme: “Gensler’s design narrative explored the journey, theatre, and compress/decompress concepts. We took those concepts on board, engaged with the building’s history, and how those storylines can be addressed with the lighting.
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“For the journey theme, we looked at the location – the building is set back a couple of minutes away from Hammersmith train station, surrounded by train lines and the Hammersmith flyover. The entrance is also set back, surrounded by a courtyard. As you come in, the main reception is located centrally to the core area. Naturally, a ribbon-journey theme developed, helping to invite and lead people into the building and the reception. The oval façade structure was followed with the curvature used in the interior spaces to guide people in, and the use of concealed lighting helped to achieve that.” The compression/decompression theme, Cizauskaite continues, was led by the building’s varied interior heights – shallow ceilings in the entrance, lift lobbies, and café area contrast with the double height reception space and two eightstorey height atria with lightwells. The lighting therefore aimed to balance the contrast between the suppressed and heightened areas, creating continuity and harmony. The theatrical element plays on the building’s history and standing within the area, while also capitalising on the current trends of workplace design, incorporating F&B and hospitality facilities. Both the building’s entrance, and its rooftop “Crow’s Nest” VIP area has a strong expressed geometry which we wanted to highlight giving it a “graphical” approach, as Cizauskaite adds: “We framed the entrance, atria windows, and geometrically shaped Crow’s Nest with colour changing, edge-lit lighting. “We aspired for The Ark to be a landmark in the Hammersmith area, much like the Oxo Tower – visible from far distances at night.” Across the site, therefore, Lichtvision Design merged the various themes and concepts – the fluidity and curvature of the façade and architectural shapes resemble the journey experience, compression and the graphic approach. Cizauskaite continues: “To tell a story of a journey, we integrated linear lighting to both the exterior and the interior, leading the visitors right into the reception. The decompression theme was resolved by balancing natural daylight and artificial lighting, giving it a light and airy atmosphere. The graphic approach was applied where architecture had sharp and strong geometry – the entrance frame, lightwell windows, the Crow’s Nest’s geometrically shaped perimeter with ceiling lines.” With a lighting concept that is so engrained in the architectural approach, Lichtvision Design worked in close collaboration with Gensler throughout the project; at the concept design stage, the lighting designers and architects held multiple workshops with the client and the heritage consultant to ensure that lighting is respecting the historic nature of the building and complements the interiors. “For example, only the entrance courtyard had been refurbished, with the rest of the exterior lighting due to remain. Hence, we maintained the existing original bollard perimeter lighting, allowing for redistribution and refurbishment to them,”
WORKSPACE LIGHTING THE ARK
WORKSPACE LIGHTING THE ARK
Cizauskaite adds. “The colour temperature of the fixtures was changed from 4000K to 3000K with dimmable LED modules, connected to a lighting control system for optimum operation.” Inside, the collaborative approach was particularly essential, in no small part because of the abundant daylight on offer. Marrying this natural light with an effective artificial lighting scheme was one of the core set-out goals for the project. Cizauskaite explains: “At the start of the project, we completed a survey to analyse the light levels from the natural daylight coming through the glazed façade, the lightwells, and the existing artificial lighting levels. The light levels were very varied as you navigate through the space – a very bright daylit entrance foyer, while moving into a double-height reception area was left with very little daylight. Two lightwell atriums eight storeys high contributed some daylight, but due to their different sizes, the light levels were also inconsistent. “Our aim was to balance the inconsistency of daylight and artificial lighting in order to create more uniform, balanced spaces. An increased level of artificial lighting was used in the reception to allow for a smooth transition from the naturally very bright entrance.” 074 / 075
A good amount of artificial light had to be integrated into the daylit entrance as well, to ensure the bright ambience is not affected in the evenings and wintertime. The building operates standard office hours, with café facilities closed in the evening, whilst allowing 24-hour access nighttime security. To that end, Lichtvision Design designed lighting controls with circadian rhythms in mind; communal spaces that are bright and energising during the day and softly reducing the light levels in the evening and nighttime. Alongside the circadian considerations, the lighting scheme also plays up to the more “hospitalityoriented” office space feel. A recurring trend in modern workspaces, The Ark has been designed to be a welcoming and invigorating space. Cizauskaite explains the benefits that such a design can bring, and how the lighting design contributes to the hospitality feel: “There is a lot of research on how the environment affects our mood and productivity, and how colour of lighting, biophilia, and art can influence and stimulate it. “As post-Covid employers are still trying to get staff back into the office, it needs to be a more appealing and exciting place to come back to. Also, with hybrid working days, the office became not only a space to work, but also a place for
www.meshlighting.co.uk
WORKSPACE LIGHTING THE ARK
Client: Confidential Lighting Design: Laura Cizauskaite, Karen Ihlau, Paolo Cocconi; Lichtvision Design, UK Architect: Gensler, UK Lighting Suppliers: Filix, Flos, LEDFlex, LightGraphix, Linea Light, Optelma, Reggiani, Tridonic, XAL Photography: Gensler, LEDFlex
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social gatherings, meetings, and connecting with colleagues. Taking a hospitality approach to the workspace helps it to be a more enjoyable, welcoming, and exciting place to attend. “In the design of the space, the hospitality approach included complementing the biophilic design features, such as lush greenery, rich wood finishes, etc. The café features a signature bar, and the use of decorative focal lighting to the main reception and staircase. Integrated low-level lighting also helps to create a more human-scale, intimate atmosphere.” “After careful consideration, we selected 3000K colour temperature throughout the communal spaces – we wanted to create a welcoming, fresh, and consistent atmosphere. It works well for general lighting and naturally appears warmer where wood finishes are used to give more of a hospitality feel. “Prior to the refurbishment, a 4000K colour temperature was used for the general lighting, and during the initial site survey, we felt it looked too cold and uninviting – we wanted to soften it up while maintaining the workplace environment,” Cizauskaite adds. While the project was part of a wider refurbishment of the building, Cizauskaite explains that, with detailed 3D modelling in place, any potential issues or challenges were easily bypassed, although there were several considerations that still had to be made. “The project was delivered using 3D Revit BIM software, allowing good services coordination
and ability to spot potential clashes,” she says. “Design had to consider accessibility for the future maintenance to the double-height spaces and atria. We ensured that atria window lighting can be accessed via individual floor levels, without the need for a cherry picker or scaffolding and that long-lifetime LED luminaires were used for the general lighting in the double height spaces. “The biggest difficulty was to fully conceal some of the lighting when working with the existing structure. In those instances, a more exposed lighting approach was undertaken, complementing the graphic approach strategy which is designed to be used during the dark hours of the day or for special events as a feature lighting.” With the goal of revitalising one of Hammersmith’s most iconic buildings and creating a location that blurs the boundaries between workspace and hospitality, Cizauskaite believes that she can look back on a job well done. She reflects: “Both the vision of the architecture and lighting approach were maintained from concept to completion; looking at the building today, we see our concepts visualised into the space and how it complements the refurbishment. We are happy to see that close team coordination throughout the design and construction stages allowed us to bring this vision to life. “The lighting design successfully achieves our set out goals: to be an inviting and enjoyable workspace with its feature highlighted architecture being an iconic building in the area.” www.lichtvision.com
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WORKSPACE LIGHTING
Bain & Company Dubai, UAE
Inspired by Dubai’s Khor River, the new Bain & Company office sees lighting designed by Studio N sit in harmony with a bold and vibrant interior design.
hen it opened its new office in Dubai’s
W One Central district, global management
consultancy Bain & Company sought a design that would create a feeling of comfort for visitors, while drawing inspiration from the local surroundings. Designed by Allen Architecture Interiors Design (AAID), with lighting design from Studio N, the office space has been enriched with depth and drama, with Dubai’s Khor river inspiring a layer of energy and vibrancy to the experience. Light is one of the driving forces behind the imaginative workplace aesthetic, helping to bring the creative narrative to life and prompting mood transitions as occupants move from place to place. Lama Arouri, Managing Director at Studio N, explains how the original design brief from AAID shaped the lighting design consultancy’s approach: “We love working with AAID because they always have a clear vision of what they’re trying to achieve, and a strong storytelling aspect to their designs. Here, they took inspiration from the river separating old and new Dubai, and attempted to replicate the vitality and sense of community that the river embodies in a workplace context.” The river motif became the heartbeat of the scheme. It came to life in the form of a ribbon of red – Bain & Company’s corporate colour – which was embedded into the ceiling as a visual embodiment of the ebb and flow of the river, traveling through multiple spaces and helping to define the primary circulation routes and collaboration zones. Lighting design works in parallel with the energising swoop of colour, and brings a sense of rhythm to the dramatic red motif. “It was an important reference, and we responded by making light inherent to the user’s journey. We integrated light along and around the band of red to produce a uniform layer of ambient illumination, which twists and turns throughout the building and supports wayfinding by guiding occupants from place to place.” Across the circulation routes, where the band of red is visually dominant, it was important that the lighting played a supporting role to the bold explosion of colour. To do so, Studio N sourced minimalist black spotlights that blend into the background, but work cohesively with the architectural details elsewhere in the scheme. The synergy between colour and light continues in the communal spaces, encouraging interaction and elevating the mood. Each collaborative area is framed by a striking feature ceiling where illuminated red and neutral slats add a touch of theatre and textural interest to the space. The sweeping lines of red are replaced with dramatic decorative ceilings that sit above the seating areas and form a vibrant backdrop for interaction. “We consciously gave the bold ceiling the space it needed to breathe and used indirect illumination to subtly accentuate it,” Arouri says. In the communal spaces, linear LED fixtures were integrated at intervals between ceiling slats to add depth to the design, and to form a comfortable layer of ambient light above each casual seating area – a dramatic feature, but one where the 080 / 081
lighting is unobtrusive, to make people feel at home in the space. Arouri explains further how the mix of vibrant, colourful spaces allowed Studio N to take a more “playful” approach the lighting design. “Playful in an aesthetic sense to create ‘wow’ moments and draw out the materiality,” she says. “We used layers of light to create these focal points and mood transitions. In the collaboration areas, illumination is homely. In the private pods, it’s appropriately intimate. The open working areas and meeting rooms are purposefully dynamic, so we were much bolder with our design decisions. The lighting design is constantly shifting up or down a gear to change the ambience and add character to the visual environment.” In the open-plan work zones, Tetris-style luminaires provide a visual break from the linear design narrative that dominates elsewhere; the criss-cross configuration of the fittings casts a distinctive pattern of light across the desks below, while the graphic nature of the design helps to mark these areas as a dedicated space for focused work. Statement lighting also plays an important role in giving each meeting room its own identity. Curved and wave-effect luminaires bring a dimension of playfulness to the centre of the room, and at a higher level, minimalist downlights provide a gentle uniformity of light for video conferences and meetings. “In some areas, we were creative with the lighting to elevate the mood and feel of the space,” says Arouri. “The meeting rooms are a great example of this because we used decorative lighting elements to create an unexpected moment of drama. We focused on differentiating the different meeting rooms by using statement luminaires in the centre of the space to add personality and create a single focal point for the lighting. “We took the same approach in the café and kitchen areas where decorative lighting features were used for depth and drama, but here we relaxed the aesthetic slightly to evoke a more domestic tone.” In other areas, the lighting response is more restrained, giving precedence to the interior design team’s material choices. This is particularly evident in the colour-blocked pods and casual meeting areas, where Studio N used indirect lines of light to offset the self-assuredness of the tones and textures. “As these spaces are supposed to feel like a quiet place of refuge, where employees can focus on their work or have a conversation away from the busier areas of the office, we used diffuse lines of light in the ceiling and above desks. The overall setting feels dramatic, but our lighting is intimate and unassuming,” Arouri comments. The mixture of playful and intimate lighting strategies, coupled with the bold use of colour and texture throughout, brings a feeling of hospitality to the environment – something that is becoming more and more prevalent in modern workspaces. Indeed, it was a conscious decision to create this kind of vibe within the Bain & Company offices, as Arouri explains: “The commercial sector has
WORKSPACE LIGHTING BAIN & COMPANY
WORKSPACE LIGHTING BAIN & COMPANY
Client: Bain & Company Lighting Design: Lama Arouri, Wanda Myburgh, Harald Sanchez; Studio N, UAE Architect: AAID, UAE Lighting Suppliers: Halla, LEDFlex, XAL Photography: Chris Goldstraw
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learnt a lot from the world of hospitality, where experience, conviviality, and versatile lighting are everything. It’s a philosophy that ran through this project because the design is varied to accommodate a diverse mix of people and working practices, and by extension, the lighting is visually and emotionally changeable to accommodate how the ambience and functionality of each space develops and shift.” This approach extends to the type of lighting fixtures specified with the space boasting a broad mixture of architectural lighting elements and statement decorative flourishes – a move that came as part of the interior design team’s ambition to create a homogenous design language broken up with moments of dexterity. Arouri continues: “We followed their lead and designed a balanced lighting scheme where architectural and decorative lighting elements coexist and complement each other. You can see this in the meeting rooms, where statement
lighting pieces are supplemented at a higher level by linear lines of light and minimalist downlights. It is also evident in the collaboration areas, where we used red pendants above the circular tables in the breakout areas to form a cosy pocket of task lighting. The lighting effect is soft and embracing, but the reference takes its cue from the wider colour scheme.” This colour scheme, particularly the pops of bold colours, made the project memorable for Arouri, but she also believes that such a palette also complicated the lighting approach. She explains: “It added an extra level of complexity to the lighting, because we were working with bold brand colours and deep saturated tones that sit at the darker end of the colour spectrum. We had to be quite precise with how we balanced the illumination levels in these areas, because darker hues tend to absorb light.” Nonetheless, Studio N has produced a complementary lighting scheme that showcases Bain & Company’s brand aesthetic, while sitting in harmony with the vibrant yet intimate interior design. “This project was a real team effort where everyone raised their game to produce an original and engaging workplace environment,” Arouri recalls. “The interior design team’s brave and thoughtful approach inspired us to be confident with our lighting design solutions. We were also encouraged to work with a sustainable mindset, and this meant we were able to build efficiency into the scheme by using LED fittings, occupancy sensors, and intuitive control systems to reduce energy usage where possible. “We worked hard to achieve the best lighting practices with consideration to sustainability, brand identity, and the interior design team’s vision – the lighting scheme is more impactful as a result.” www.studionlighting.com
Photo: Alessio Tamborini Luce&Light_Arc_10-2023.indd 1
CASTELLO SCALIGERO IN MALCESINE, VERONA, ITALY LIGHTING DESIGN: LUCEARCHITETTURA FEATURED FIXTURES: GINKO 1.0
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XR Lab Bury St Edmunds, UK
At West Suffolk College, a futuristic learning “pod”, designed by WindsorPatania, gives students a dynamic new space in which to study. 084 / 085
WORKSPACE LIGHTING
WORKSPACE LIGHTING XR LAB
rchitectural practice WindsorPatania has
A launched the Extended Reality Lab (XR
Client: Eastern Colleges Group Lighting Design: Giovanni Patania, WindsorPatania, UK Architect: WindsorPatania, UK Lighting Suppliers: Commercial Lighting, Phos Photography: WindsorPatania
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Lab) for Eastern Colleges Group, providing students at West Suffolk College with a futuristic new space to study. The facilities comprise of four distinct areas: an Immersion Lab, a Collaboration Theatre, a Green Room, and a Conference Room, prioritising flexibility and adaptability and designed in response to the ever-evolving technologies and educational needs of our times. The new learning environment integrates AI powered technology, such as Virtual Reality, Augmented Reality, and Mixed Reality, to bring a “next generation teaching and learning experience”. The goal for WindsorPatania was to create a space that would “drive innovation in learning, education and research, while attracting a diverse student body”. Within the space, the interiors are specified with advanced cameras and microphones that relay information to other areas, creating a dynamic, allencompassing interactive educational experience.
XR Lab’s Lecture Theatre houses an array of features, including wall-to-wall screens, rear screens to virtually host external guests, a motion capture system, immersive sound, video, and 62 VR headsets on the side walls. This space also provides a “tables set-up”, which promotes a culture of teamwork among students, encouraging real-life interactions amongst the high-tech facilities in the space. The XR Lab is a retrofit of an existing building structure – one that was previously used as a workshop by engineering students. Prior to the retrofitting, the building presented an outdated, light grey finish, and a large opening blocked by a roller shutter. Through extensive renovation efforts, the shutter was removed and replaced with a curtain wall to enhance the ingress of natural light into the hangar. What this meant was that thermal insulation could be contained solely to the size of the internal “pod” housing the XR Lab, making it the primary thermal envelope and avoiding the need to thermally insulate the entire space. The exterior of the pod is finished with a highspec, sustainable luxury polished plaster, adding to the enigmatic, sci-fi presence. “The architecture embodies the function of the building, creating a connection with virtual environments while inspiring the next generation of students,” says Giovanni Patania, Co-Director of WindsorPatania. “For the XR Lab, we created three main layers of light; in the main lecture theatre, the first lighting ambience created by the LED lights is an atmosphere of low light, encouraging calm and focus,” Patania adds. “Students can concentrate on individual learning and on lectures or presentations on the wall-to-wall screen display. “This is also a collaborative space, so the second layer of light is introduced by the LED strips on the ceiling. This is a much brighter, pure light. This setting is ideal for co-working, workshops, brainstorming and group training sessions.” Outside of the main structure or “pod” of the lecture theatre is the exhibitions gallery, where students can gather and display their work. This area has bright LED lights, so that inside the lecture theatre, a third layer of indirect light pours in from the two glazed openings at the sides, contributing a warm glow and creating uniformity to the first two layers of light inside. Part of the brief from the college was that they wanted XR Lab to be a “conversation piece”. For the exterior of the lab, WindsorPatania wanted to create an enigmatic, sci-fi presence, and the lighting scheme was key to creating this. Patania continues: “The main feature wall has a linear LED strip running along the entire length of the bottom of the wall and downlighting coming from the ceiling, which emphasises the design and surface material, made of sustainable polished plaster. The result is a futuristic scheme that perfectly represents the technology that awaits students inside.” In keeping with the Lab’s sustainability goals, architectural lighting from Phos was integrated as part of the low-energy design. www.windsorpatania.com
PAPA Dubai - Dubai, UAE
eye opener
Young V&A London, UK Studio ZNA worked alongside the creative team led by Exhibition and Visitor Experience Designers - AOC (Agents of Change Architects) to re-energise and create captivating spaces for the ambitious refurbishment of the Young V&A, formerly Museum of Childhood. After a meticulous process that began in 2019, the project showcases a stunning transformation, redesigned around children, young people, schools, and families. A primary objective for Studio ZNA was to establish a stronger connection between the museum’s interior and the natural daylight outside, allowing the central space “town square” to be rendered in natural light whilst allowing objects to be displayed adhering to conservation light level requirements. To achieve this, the team suggested implementing vibrant diffused ambient lighting in open 088 / 089
sections, complemented by focused areas of high contrast. In areas where the protection of objects was paramount, Studio ZNA with AOC, introduced false ceilings and canopied showcases, creating captivating, illuminated scenography. Studio ZNA has extensive experience in theatre lighting and was well placed to creatively support the narrative journeys through the three new galleries Imagine, Play and Design. ‘Imagine’ is home to a theatre space that has been created for performance and storytelling events. It also enables fantastic interactions with objects and Studio ZNA designed a series of lit scenes to support the activities and provide a flexible, creative, magical space for the museum. ‘Play’ is a sensory immersive world of light, colour texture and
playful reflection, encouraging babies and toddlers to explore and siblings and parents to delight in. The collaboration between the scenography and the lighting design creates an imaginative playground populated by the collection, which is also animated with layers of texture and light. ‘Design’, in the fabricator’s studio, is created with sloped lit rooflights housing a cornucopia of design studies and classics with information on the design process and how objects are designed and fabricated. This opens into a workshop space with local pendant lighting to focus the drawing and making stations and echoed in the artist in residency space that encourages curiosity and engagement. The lit environment supports the content and activity that curators hope will inspire the next generation of design talent. Every detail within the
Young V&A has been considered to delight and inject the spaces and collection with a wonderful play of material, colour, and light. Zerlina Hughes, Founder and Creative Director of Studio ZNA, expressed her personal connection to the project, stating: “This endeavour holds great significance to me, as I have lived in close proximity to the Young V&A Museum for more than 30 years. The former Museum of Childhood played an integral role in the upbringing of my children. While the space was beloved, it had an institutional feel with its dark showcases. It is an absolute privilege to bring this collection to life, and I eagerly anticipate witnessing young people interact with the stenographic worlds we helped design.” www.studiozna.com Image: Luke Hayes, courtesy of Victoria & Albert Museum
WORKSPACE LIGHTING
case study
Image: Gavriil Papadiotis
101 Goswell Road London, UK When Zaha Hadid Architects renovated its London headquarters, it called on Erco for fixtures that would support flexibility and a variety of work styles.
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Known for designing radical buildings across the world, Zaha Hadid Architects (ZHA) faced a different type of challenge in overhauling its London headquarters, renovating a former garment factory at 101 Goswell Road. ZHA has occupied the seven-storey building since 2012, but its team was previously split across this property and a converted schoolhouse on nearby Bowling Green Lane. A shift in thinking came after the Covid-19 pandemic, when employees were primarily working from home; the ZHA directors saw an opportunity to consolidate to a single location and rethink how the office should function. One of the primary ideas behind the renovation was to support different types of work style, offering staff greater flexibility in how they work and increasing possibilities for meaningful interaction. A custom-designed lighting system from Erco played a crucial role in the transformation, allowing the building to become a flexible environment for multi-faceted and collaborative forms of work. The renovation was not without its challenges – the Goswell Road site had very low ceilings, and the stair and lift core are located close to the end wall, so natural light was unable to reach much of the interior. Enhancing the feeling of spaciousness was therefore the starting point for Erco’s lighting system. Opton wallwashers improve the overall perception of brightness, while Jilly downlights for track create the impression of higher ceilings. Illumination is delivered discreetly to where it is needed, rather than across the entire space, with light fittings that
are largely hidden from view. This improves visual comfort without creating obvious patches of light and shadow. With spotlights that can be easily repositioned in the track without tools, the flexibility of the Jilly system was something that appealed to ZHA. The reconfiguration of Goswell Road was developed with ZHA’s Analytics + Insights unit (ZHAI), a research group that uses digital data and artificial intelligence to predict the future of workspace design. This led to a design that provides fewer desks but offers a wider variety of spaces where people can come together. An example is on the fourth floor, which has been converted into a social space that can facilitate casual meetings and chance encounters. Circulation spaces are located towards the centre of the floorplan, anchored by a multi-faceted cork wall that extends through the full height of the building. Track mounted Opton and recessed Starpoint luminaires at 3000K give a warmer colour temperature, emphasising the building’s ‘heart’, in contrast to the cooler tones within the workspaces. Since moving back into 101 Goswell Road in late 2021, ZHA has been trialling different ways of combining remote working with in-office collaboration. The response so far has been positive, with staff noticeably interacting more, despite being in the office less. The result is a dynamic environment that feels befitting of an architectural practice with a focus on the future. www.erco.com
SKØYEN ATRIUM Oslo, Norway
Location: Oslo, Norway Design office: Lund+Slaatto Architects Lighting project and supply of luminaires: LUG Light Factory Luminaires included in the project: LUGCLASSIC LED, LUGSTAR LB LED GEN.2, ARGUS ONE LED
WORKSPACE LIGHTING
case study
Sculptform Design Studio Melbourne, Australia Lighting designers at Light Project specified products from Clear Lighting for the illumination of Sculptform’s Melbourne Design Studio.
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At the heart of this project lay a visionary aspiration – the seamless integration of lighting into the intricate architectural details, all while preserving the unique character of Woods Bagot’s dynamic interior. The primary objective, unwavering and crystal clear, was to ensure that the form itself would always stand as the true hero. In essence, the lighting solution should enhance and elevate the architecture, not overshadow it. To achieve this, it was imperative to deliver a lighting solution that would celebrate the artistry and craftsmanship inherent in Sculptform’s timber and aluminium modular wall, ceiling, and façade systems. To embark on this creative journey, it was crucial to gain a comprehensive understanding of the client’s needs and expectations. Thus began a meticulous information-gathering process, delving deep into the specific lighting requirements, uniformity levels, and spatial constraints posed by the construction. Collaboration was the cornerstone of this endeavor with Sculptform and Woods Bagot playing pivotal roles in ensuring that the lighting design aligned seamlessly to reflect their shared aspirations. The design process presented its own set of challenges. One notable hurdle was accommodating the curved auditorium’s seating and pelmets. However, these obstacles became opportunities for innovative thinking.
The solution materialised through the integration of Clear Lighting’s flexible linear product, resulting in a fully integrated linear lighting system that effortlessly adapted to diverse application needs. Reflecting on this project, it is evident that collaboration and innovation play a fundamental role in the dynamic field of lighting design. Furthermore, this project serves as a powerful testament to the profound influence of lighting. It possesses the capability to illuminate the nuances of form, amplify textures and direct our gaze to the most intricate details, thereby enhancing the overall architectural experience. It seamlessly unites form and function, transcending its role as a mere tool to become an integral part of the aesthetic expression of a space. In doing so, it leaves a lasting mark on how we perceive and interact with our built environments. www.lightproject.com.au www.clearlighting.com
Acqua Linear Italian Elegance Illuminated: AISI 316L Architectural Linear Enhance your pool and landscape with the Italian-made Architectural Linear Light. Exuding sophistication, this compact marvel boasts ultimate LED technology with a built-in 24Volt. Resilient with IP68 & IK10 ratings. Made In Italy, where artistry meets technology. Product Specifications - Material: AISI 316L Stainless Steel - Lighting Technology: LED with 24Volt Built-In - IP68 - IK10
www.licllab.it
WORKSPACE LIGHTING
case study
Image: Gavriil Papadiotis
Bayer Hellas Marousi, Greece Luminaires provided by HUB Lighting & Innovation by Kafkas enhance the dynamics of the Bayer Hellas workspace in Marousi, Greece.
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Office design in the post-Covid era supports a dynamic environment that seems to be inspired by extroversion and the given need for socialisation. Offices gradually merge with the residential environment, forming a friendly atmosphere in an open plan flexible format. In this way, mobility, interaction, comfort and staff wellbeing are enhanced. The design of the new Bayer Hellas offices seems to be inspired by this condition and both the architectural and decorative lighting have been collaborated in this direction. Specifically, the lighting study was undertaken by HUB Lighting & Innovation by Kafkas, using products from top lighting brands that it collaborates with. The architectural lighting is fully integrated into the building shell as it follows its general engravings, while its linearity at key points enhances the dynamics of the space. At the same time, it has the technical characteristics required for office spaces that contribute to the visual comfort of the users and the achievement of a perfect lighting effect. Overall, lighting has been designed by the HUB
Lighting & Innovation by Kafkas team in order to adapt each time to the needs of the space and the individual needs of the users. The decorative luminaires complement and highlight the general lighting. Their installation aims to enhance the relaxed and intimate ambiance, while their selection identifies with the palette of colours, materials and textures of the space. Undoubtedly, the new Bayer Hellas offices constitute a benchmark for modern offices and the trigger for radical changes in other workplaces as well. www.hubkafkas.com
A discreet appearance with bold accents
PROLED Performance S Dynamic White
PRO L E D H AS TA K E N T H E P O PU L A R PE R F O RM A N C E S TO T H E N E X T L E V E L T H RO U G H T H E ADDI TION OF A DYN AMIC WH I TE EN GINE. TH IS N OT ONLY ALLOWS YOU TO A D J U S T T H E L I G H T I N T E N S I T Y, B U T A L S O TO E A S I LY A D J U S T T H E L I G H T C O LO U R F R O M 1 8 0 0 TO 4 0 0 0 K U S I N G A DA L I DT 8 P O W E R S U P P LY.
proled.com
WORKSPACE LIGHTING
case study
Image: Henning Stauch
Hanomag Building Hannover, Germany A modern intervention to a historic site, ADO Lights has installed a curving linear lighting feature in Hannover’s Hanomag Building.
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The refurbishment of the Hanomag building in Hanover, an architectural monument dating back to the 1920s, turned out to be a challenging task with extraordinary requirements for a careful lighting concept that respects the historical heritage and at the same time has a contemporary expressiveness. The core element of this concept was the sensitive insertion of new lighting elements into the existing architecture, with careful consideration of any intervention in the historic structure. This included the challenging decision to position luminaires only at existing cable outlets. This requirement led to the development of an impressive floating linear luminaire with a span of more than 4.5-metres between the suspension points in the round arches. This avoided the need to set new anchor points in the historic vaults. This heritage-friendly approach emphasises the respectful interplay between the old and the new. The LED Linargo pendant luminaire from ADO Lights, elegant and dynamic in its form, not only serves as a source of light, but also runs through the building as an aesthetic guideline, tracing its outline. It is complemented by indirect lighting that bathes the characteristic vaults in a soft light, creating an impressive lighting atmosphere that highlights the architectural features of the room. The colour scheme of the luminaire, in a restrained dark grey, interacts harmoniously with the metallic elements of the interior, creating a visual bridge between the historical and modern aesthetics.
In the same look as the suspended LED Linargo with grey-coated aluminium profile, LED light lines are then found again as vertical, straight wall luminaires on the newly installed metal staircase. Ring lights were chosen for the atriums to create soft lighting in the evening hours. These not only create a feeling of welcome, but also contribute to spatial depth. Additional accents are set by spherical luminaires on the staircase obelisks and in the air space, which illuminate the area softly yet effectively. The entrance area gets its inviting power from luminaires integrated into the architectural struts. Here, the LED Luc spots integrated on the LED Linargo set additional accents. This subtle but effective finish offers a foretaste of the design perfection of the interior from the outside. The lighting concept of the Hanomag building is an example of how, by using modern solutions and respecting the historical heritage, it is possible to create a space that appears both venerable and modern. www.ado-lights.com
Northport Highlight Heritage We’re experts in the outdoors, innovators of the modern streetscape, and artists of the visual experience. Northport Lighting : Modern Traditional lighting illuminates the spirit of place. Designed by Robert A.M. Stern Architects Landscape Forms | A Modern Craft Manufacturer
WORKSPACE LIGHTING
case study
Provincial Council State Room Gelderland, Netherlands During an upgrade to the lighting of the Province of Gelerland’s State Room, fixtures from CLS were specified to provide uniform, flicker-free illumination.
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The Provincial Council is the highest governing body of the province in Gelderland. The Statesmen represent the inhabitants of Gelderland, determine the main lines of the province’s policy, and supervise its implementation. To be able to continue their work under the right conditions and record their meetings on camera, the audiovisual system was renewed. This was necessary partly because the system was no longer fully functional, outdated and did not fully meet the current requirements. Lichtpunt was the chosen lighting supplier that was trusted to meet the client’s very specific demands. Such requirements included that LED lights must be smoothly dimmable, even in the lower range between 0-5%, the DMX protocol must be used, and ensure each fixture must be individually dimmable. The requirements also included uniform, flicker-free lighting, at a colour temperature of 3200K with a CRI of 92, at least 500lx in all positions. After deliberating which fixture best suited this project based on the requirements, Lichtpunt chose the CLS Krypton fixture. Leon van Warmerdam, of Lichtpunt says: “The special version of the CLS Krypton 3000K was the only fixture with which the desired light image and dimming behaviour could be realised.” The fixtures were installed in the wooden ceiling at a height of 9.5-metres. The lighting design office did not have much freedom in the placement of the fixtures. They were bound to the 18 existing square openings, therefore the layout of the lighting plan was already fixed. To achieve sufficient
uniformity, sufficient horizontal, vertical, and cylindrical illuminance, Lichtpunt opted to install four spotlights in each opening, all individually directional. The spotlights are fitted with 22° lenses and a honeycomb filter against glare. For 4K video recordings, the quality of the light, aiming and dimming were important. Warmerdam adds: “All CLS Kryptons are individually dimmable, so the intensity of each of the 72 fixtures can be set separately, depending on position and function. During meetings, light scenes can be changed, for example, if a speaker is given extra emphasis or the light is dimmed while projecting images. It is important that these runs smoothly.” The DMX dimmable CLS Kryptons have a smooth gradient from 100% to 0%, due to the built-in ‘Dynamic Soft Dim Channel’. Furthermore, the method of dimming with ‘Full Analogue Dimming’ is completely flicker free. The challenge in this project was in the fixed positions for fixture placement, the ceiling height, and the many lighting requirements. Through their experience and specialism in applying dynamic lighting with smart lighting controls. Lichtpunt was able to provide a perfectly fitting custom solution here as well. CLS worked hard to prove themselves as one of the most sought after lighting suppliers by showing they were able to show that such specific requirements could be achieved and Lichtpunt is happy with the result. Warmerdam adds: “The client is genuinely enthusiastic about the result and so are we.” www.cls-led.com www.lichtpunt.nl
Individual LED solutions – for interior and exterior matching the architecture As unique as your project – ADO Lights puts workspaces in a good light
© Pictures: Hufton + Crow (tl), Henning Stauch (tr), Peter von Pigage (b)
LED Luc | LED Linargo | LED Lightline | LED Gallago
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T +49 2255 921 200 E info@ado-lights.com www.ado-lights.com www.led-luc.com www.ttc-technology.eu
25.09.23 15:57
eye opener
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Waves of Code Shanghai, China
As the creative world continues to experiment more with AI, artist Jiayu Liu unveiled Waves of Code, an installation generated following a discussion between the artist and ChatGPT. Through the research and practice of light and shadow media in the past 10 years, Liu has found that in human civilisation’s development, the world has developed into a place where experience is formed, achieved through, and mediated by technology. Electronic display screens and projector lenses have been regarded as the natural body feeling interface and the leading carrier medium for viewing and reading information. She related this to the danger that the individual senses become hijacked by the industrial system, and the possibility that human desire and unconscious existence are eliminated, as suggested by French philosopher Bernard Stiegler. Liu’s artistic creation attempts to break up this situation and creatively reshape it. Through her installation, she focuses on exploring and excavating the reflexivity of media, deepening the multiple understandings and expansions of the media she uses from a new perspective.
The goal for the installation was to accentuate diverse narratives and evoke emotional responses, representing a new phase of Liu’s experimentation by stripping projection devices to their core elements – lenses and LED lights – creating a hypnotic simulation of sea reflections. The piece focused on the “perceived liquidity in the natural field”, created by the industrial light itself, and explores the essence of aesthetics from the science of perceptual sense. Curator Irini Papadimitriou said of the installation: “Waves of Code is a space where one can feel the universe’s energy through light and shadow. The installation is a portal between a real and virtual space, inviting us to engage in a dialogue with a universal landscape we are all familiar with but often bypass. A space where the artist reminds us again about the immensity and wonder of our world, prompting us to reflect on and rethink our position within it.” Waves of Code was on display at the Cc Foundation & Art Centre from 17 March – 17 June. www.jiayuliu.studio
Ambient Communication: Part One In the first of a two-part series on the subject, Tapio Rosenius breaks down the definitions of Ambient Communication, and how it can bring a whole new impactful dynamic to lighting design. COMMENT TAPIO ROSENIUS
This is a two-part article on Ambient Communication, an innovative way of conveying information and influencing human behaviour through light in spaces. The first section serves as an introduction to the concept and its application in lighting design. The second part introduces a cutting-edge research framework designed to validate the concept in real-world settings. This framework is exemplified through the results of actual projects in workplace contexts. Our aim is to demonstrate how data-driven, dynamic, real-time lighting can quantifiably impact human behaviour when implemented within the framework of ambient communication. In doing so, we aim to introduce new value to building owners, operators, and lighting designers.
Changing the ambience to drive human behaviour
In 1997, psychologist Adrian North and his team conducted an experiment in a local supermarket, where they set up two identical wine shelves side by side. One shelf was stocked exclusively with French wine, while the other featured German wine. They played different styles of music during various time slots – one with stereotypically French music and the other with German music. When the French music played, sales of French wine increased by an astounding 330%. Conversely, when the German music played, the German wine outsold the French. This experiment vividly demonstrated the profound impact of ambience on our decision-making processes. What makes this example so powerful is not that the ambience was changed, and not even that it triggered behavioural change, but rather that the ambience was changed in specific relation to the context with a goal to influence a narrowly defined aspect of human behaviour. Furthermore, it was done in a way that allowed the outcome to be measured passively. Here lies the power of Ambient Communication, achieving measurable change in narrowly defined sets of human behaviour. And we believe we can do the same with light. 102 / 103
Definition of Ambient Communication
Ambient communication is a way of conveying information and aiding human behaviour in a space in a peripheral, calm manner using realtime data feeds linked to controlled digital content running lighting, projections, screens, and sound. It allows spaces to sense and respond immediately to people, events, and other variables in a rich way to create engaging and informative environments that remain fresh and contextual. Ambient communication is used to aid wayfinding, to illuminate invisible information, to encourage positive behaviour, to unlock hybrid uses to existing spaces and to enable designers to optimise interactions and outcomes remotely and in an automated way. Applying this consciously with clear targets to architectural lighting design from the get-go is nothing short of revolutionary.
How does it work?
There are many effects that can be considered as ambient communication, and equally many techniques and variables related to human psychology and physiology. However, we will focus on three technical pointers that can help you get started with applying Ambient Communication in your lighting design work: Light as a Nudge A nudge, as defined by University of Chicago economist and Nobel Laureate Richard H. Thaler and Harvard Law School Professor Cass R. Sunstein in their seminal book of the same name in 2008, is any aspect of the choice architecture that alters people’s behaviour in a predictable way without forbidding any options or significantly changing their economic incentives. To count as a mere nudge, the intervention must be easy and cheap to avoid. Nudges are not mandates. This makes the use of dynamic light in architectural context particularly well-suited for nudging. It is easy enough to ignore yet immersive enough to have an impact. Imagine you are entering an office building. On the right-hand side, you see a bank of lifts going up; on
COMMENT
Left At the Utoquai 55 workplace in Zurich, Switzerland, designers from LDC applied ambient communication principals across the open plan office areas, public staircase and boardroom. The system creates unique welcome settings for visitors, encourages the use of the staircase, indicates lunch breaks, and reflects changing daylight conditions (Image: Tapio Rosenius) Right Immersive branding, interactivity and seasonal narratives are achieved through ambient communication for the energy company Fortum’s headquarters in Finland. Designers at LDC and Kohina created a “Transition Tunnel” that senses movement, with ever-shifting patterns on the walls and ceiling inviting users to “join the change” - one of the company’s main messages (Image: Riku Pirtilä) Headshot: Mark Cocksedge
the left, you see a large spiral staircase. In the centre of the staircase, a suspended lighting feature pulsates, signalling upward motion. That is a nudge. You can choose freely to take the lift, or you might be intrigued and choose to take the stairs instead. When you get to the stairs, the light responds to you, it flows towards you, stops, and makes it obvious you are now controlling it. Another nudge. You climb up a few floors, playing with the light as you go. The lighting influenced the choice architecture and altered your behaviour. Gently. It nudged you, and this can have massive positive consequences. Pre-attentive Processing Pre-attentive Processing Pre-attentive processing is the subconscious accumulation of information from the environment. Ambient communication delivered with light and media can bypass attentive processing and instead focus on this fast, low-level, pre-conscious visual processes. This is information generated by the environment that is rapidly perceived and then converted to higher-level structured information only when necessary. Colin Ware, in his book ‘Information Visualisation: Perception for Design,’ defines the four pre-attentive visual properties as follows: • Colour • Form • Movement • Spatial Positioning They are all processed in our sensory memory without our conscious thought. Notably,
all four of these visual properties can be influenced by lighting design and are readily controllable with real-time digital content when utilised for the purpose of controlling ambient lighting, accent lighting, projections, and screens. Layering meaningful lighting interventions that combine colour, form, movement, and spatial positioning is a guaranteed way to deliver subtle cues and nudges to people, but you need to know when. Contextual Scheduling For ambient communication to be meaningful and yield results, any change in the visual environment that signals specific information must be timely and non-repetitive. It needs to provide intrigue, surprise, or alternatively, appear so firmly tied into its context as to be intuitive. To be successful, the effect cannot always be the same, nor can it happen at the same time. For this, Contextual Scheduling is needed. This means the control system must receive sets of live data from the particular space, as well as prompts such as time, and calendar events, and then be able to formulate a response designed to drive particular behaviours at that very moment. It is the combination of these data inputs that enables the scheduling to function in real-time and remain contextual. In practice, the desired effect that represents the ambient information is generated by parametric digital content engines that must be fine-tuned and adjusted as part of the lighting designers’ work. This “artistic direction” is essential to convey the prompts
within the overall design look and feel of the project. Similarly, the data inputs must be chosen by the designers to support the overall concept narrative and the desired behavioural outcomes. The data inputs can include, for example, live people quantity and movement directions, crowd density, demographics data, time of day, noise levels, daylight conditions, air quality, weather, and calendar events or client-specific data streams. The designers’ goal is to deliver a scheme that automatically understands what is happening in the space in the specific context and then serve optimised, right-on-time ambient communication interventions that meet the design goals.
Into the Future
In harnessing the power of Ambient Communication, we propose to embark on a collective journey towards not only transforming physical spaces, but also shaping human experiences. It offers a nuanced approach to influencing behaviour, seamlessly integrating with the architecture. As we continue to delve into this innovative realm, the potential for creativity and impact appears limitless. Lighting assumes a new role, a new reason to exist. The lighting designer’s role evolves and pivots toward higher value. The fusion of technology and design, as exemplified by Ambient Communication, paves the way for a future where our environments become dynamic, responsive companions in our daily lives. And we believe we can do this with light. www.skandal.tech
LiGHT 23 [d]arc media is bringing the UK’s only dedicated exhibition for lighting specification back for 2023, taking over London’s Business Design Centre on 21-22 November.
Following the huge success its debut show last year, [d]arc media is bringing LiGHT 23 back to London’s Business Design Centre (BDC) on 21-22 November. In 2022, the design community came out in force to support the show, with more than 3,500 visitors – including architects, interior designers, and lighting designers – passing through the doors to see more than 100 high-end international lighting brands present their latest product ranges for the specification market; as well as a full talks programme, and multiple networking opportunities. This year, with an extended exhibition floor space and new features, the two-day show is set to be even bigger and better. 104 / 105
Show highlights will again include the highly regarded [d]arc thoughts talks programme, which will move upstairs to the Gallery level; while LiGHT Work is also back, providing visiting designers a focused space to catch up on emails, carry out office tasks, or have one-to-one meetings. The space provides dedicated wi-fi, charging points, and free coffee. There will also be a late-night opening on 21 November for those designers keen to experience the show once the office doors have closed. Other networking opportunities include the popular LiGHT Lunch on day two of the show. Registration is free, and is still open. Visit the LiGHT website for more information. www.lightexpo.london
The Gallery Level of the BDC will once again be a hive of activity at LiGHT 23. With [d]arc thoughts and LiGHT Work joined this year by even more exhibiting brands, plus some new and exciting show features. In collaboration with our sister publication darc, year two of LiGHT sees a new dedicated Decorative Lighting area head to the Gallery Level, providing high-end decorative lighting brands with a standalone area to shine. Located in a prime position outside the [d]arc thoughts talks arena, darc space will present visiting designers with a plethora of decorative lighting fixtures and inspiration for their next project. Adjacent to darc space is the new Associations Lounge, which will be the shared home of the International Assocation of Lighting Designers (IALD), and the British Institute of Interior Design (BIID), for the entirety of LiGHT 23.
Furnished by muuto, the space will see the two associations host existing and potential new members, while running various social activities across the event. On the opening day of the show, the IALD will take on the space and co-host a late-night drink offering. While on the second day of the show, the BIID will take over, with a LiGHT Lunch following its [d]arc thoughts panel. The Associations Lounge will be a welcome pit-stop from the hustle and bustle of the show floor for visiting designers, who will be able to sit back and relax, and enjoy complementary refreshments and pick up industry design magazines, all while socialising with new and existing peers – a key networking destination at LiGHT 23. The Gallery Level will also be home to the new SGM bar, which will be accessible for all attendees for the duration of the show.
[d]arc thoughts Curated by the [d]arc media editorial team, the popular [d]arc thoughts talks programme will once again take centre stage at LiGHT 23. In collaboration with Lutron, the programme will feature designers working across all sectors of design – whether that’s lighting, interiors, or architecture. Tackling some of the design profession’s biggest questions, the programme will include panel discussions on sustainability and circularity, designing for healthy office spaces, and high-end hospitality destinations. Alongside lively panel discussions, the programme will include a series of short, sharp presentations from leading names in the lighting world such as Keith Bradshaw (Speirs Major), Sandra Brookes (Lighting Design International), Tapio Rosenius (Lighting Design Collective), Nicola Agresta (Foster + Partners), and Moritz Waldemeyer (Waldemeyer Studio).
The ILP will once again bring its renowned How To Be Brilliant series back to the show, this time led by Paul Traynor of Light Bureau, while the SLL will host the final presentations of its Young Lighter competition. Closing the [d]arc thoughts programme, The Lighting Police will lead a hands-on workshop exploring the effect of light in the urban realm. The headline act for this year though comes from the wonderful Grimanesa Amorós, whose keynote session – Illuminating Boundaries: The Exploration and Creation of Art Through Light – will see the artist offer up some insight into the creative process behind her monumental works of art. All talks will take place on the Gallery Level of the BDC, next to darc space and the Associations Lounge – talks are free to attend for all registered LiGHT 23 visitors.
LIGHT 23 PREVIEW
What’s New?
LIGHT 23 PREVIEW
Ones to Watch
Ahead of the exhibition this November, we take a look at some of the highlights that you can expect from the LiGHT 23 show floor.
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LED Flow ADO Lights LED Flow is an ADO Lights product where innovation meets limitless design possibilities. Visit us at LIGHT23 and experience its high quality, magnetic fixation, unrivaled flexibility, and boundless creativity in person. Whether it’s top, side, or 3D bends, LED Flow adapts effortlessly to designers’ visions. With various dimensions of 16x16 or 11x19, LED packages of 9.6W/m or 14.4W/m, various resin colours, and lighting options including monochrome, tuneable white, or RGBW, you’ll have ultimate control for your project. www.ado-lights.com Stand 30 · www.adolights.com
502 Wibre A versatile, cost-optimising and uncompromising underwater recessed spotlight, the 502 is an elegant linear luminaire for medium-sized and larger pools as well as other underwater areas. Combined with carefully selected lenses, 12 linearly positioned HighEnd multichips create a particularly wide and homogeneous image of light throughout the entire water surface as well as intensive illumination of the pool floor. And yet dark areas in the pool are practically avoided. The extremely flat stainless steel cover with safe, rounded corners makes a significant contribution to the design in trendy elongated pools. Stand 28 · www.wibre.de
LD141G LightGraphix The LD141G has been designed for exterior applications, with an IP67 rating and a robust, seamless all glass bezel. Compact in size, the fitting offers a powerful output with a large range of features. There are two LED engine options available. The E3 engine delivers a high output of 462lm and beam angles ranging from a 12° narrow to a 15° x 49° extra oval beam, whilst the F1 engine offers a super warm colour temperature of 2200K. Both configurations offer the ability to specify a 20° tilt film. The LD141G offers a discreet, low-glare solution for a range of exterior-rated applications. Stand 66 · www.lightgraphix.co.uk
Brianna LEDiL Say goodbye to big, bulky fixtures and hello to compact yet powerful Bright Light luminaires that are easy on the eyes. LEDiL’s latest innovation, Brianna, features a uniform surface and low UGR while minimising the dark cave and multishadow effect. Brianna is a visually appealing, seamless linear lens that delivers exceptional visual comfort, whether you prefer pendant or surface-mounted office luminaires. Experience the perfect combination of appearance, size, and efficiency with Brianna optics. Stand U12 · www.ledil.com
Kono Zoom Cariboni Kono Zoom is a floodlight distinguished by sophisticated optical technology and refined aesthetic research. Its optical system is borrowed from stage lighting and designed to offer the best colour quality and light distribution. The width of its light beam can be varied by rotating the golden ring at the back. It can be equipped with a base for surface mounting or fixed to a rod, pole or tree. Optical distributions are available in static white, Tunable White and with RGBW colour changing. Stand 11 · www.caribonigroup.com
ACQUA Linear Licllab Enhance your pool fountain and landscape with the AISI 316L Architectural Linear, expertly crafted from linear AISI316L. This sleek marvel combines style and functionality, boasting advanced LED technology and a built-in 24Volt converter. With impressive IP68 and IK10 ratings, it’s as robust as it is elegant. Crafted from AISI 316L Stainless Steel, this durable lighting solution showcases the perfect fusion of form and function, exemplifying Italian artistry and innovation. Elevate your outdoor space with this stunning piece of craftsmanship. Stand U50 · www.licllab.it
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EXPERT CONTROL & TOUCH
An all new and innovative control solution Benefit from Pharos expertise in dynamic architectural lighting with Pharos Expert, an all-new, practical and straightforward control solution centred around a single, reliable, set-and-forget controller with simple configuration and guided programming. Expert makes light of it.
272 Gunnersbury Avenue London, W4 5QB United Kingdom +44 (0)20 7471 9449
sales@pharoscontrols.com pharoscontrols.com @pharoscontrols
LIGHT 23 PREVIEW
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Pharos Expert Pharos The UK team will be on stand U40 demonstrating the award-winning Pharos Expert, an all-new, practical and straightforward control solution centred around a single, reliable, set-and-forget controller and its companion 5in touchscreen, with simple configuration and guided programming. With DMX, DALI and a couple of convenient contact closures and relays onboard, Expert Control provides up to 1,024 channels – ideal for architectural lighting that requires the benefits of dynamic movement and colour. Stand U40 · www.pharoscontrols.com
Naka L&L Luce&Light Naka, the new step light from L&L Luce&Light, has a clean, elegant look, featuring an all-glass cover with black or white serigraphy, that focuses attention on the light output alone. Naka uses LEDs with a high CRI in colour temperaturs of 2700, 3000, and 4000K. Its asymmetrical output ensure sufficient illuminance, even when the fixtures are spaced far apart, meaning that fewer devices need to be installed. Stand U27 · www.lucelight.it
Volica LUG Volica is a delicate, dynamic linear luminaire for LED light sources. Optimised for indoor use, this luminaire features a powder-coated or anodised aluminium profile to blend seamlessly with modern, high-end design aesthetics. Equipped with an efficient lighting system to enhance any project, it features colour temperature control, illuminance control, and dedicated LED light sources. Fast and easy mounting can be achieved via surface mount, suspension, or wire suspension to achieve the desired effect. Stand U32 · www.luglightfactory.com
Invia Erco In architecture, lines such as alignments, edges and axes of view are central elements of design. Many lighting concepts use continuous line lighting systems to trace such lines, creating dynamism and emphasising dimensions. Erco’s Invia 48V, is a modular light structure, offering full architectural lighting including wallwashing in museums and galleries, general lighting in public buildings and standard-compliant task lighting in offices. This linear profile offers diverse mounting options, maximum flexibility and state of the art digital connectivity. Stand 72 · www.erco.com
Sill Platek Sill, designed by Platek’s R&D department, is an outdoor technical lighting fixture; a compact shape and reduced dimensions are the characteristics of this product created to radiate light from below upwards and illuminate the internal perimeter of an archway, a window or other opening. This makes it possible to create atmospheric lighting without the luminaire becoming a disturbing element. Stand U53 · www.platek.eu
Garda DW Windsor Garda is a bespoke illuminated handrail system that has been DarkSky approved. Garda combines style and performance to deliver high-quality lighting for internal and external applications. With four LED modules that provide a wide range of light levels and colour temperatures, plus a choice of symmetric and asymmetric distributions, Garda offers a versatile and maintenance-free solution that can be tailored to the individual needs of your project. Stand 63 · www.dwwindsor.com
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Lighting designed for places and people Contemporary lighting solutions designed to enhance the beauty of outdoor spaces while also meeting the needs of both people and the environment
Exchange Square, Broadgate Lighting Design: Speirs Major Product: Pharola Max
VISIT US AT
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dwwindsor.com
LIGHT 23 PREVIEW
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BugSaver Bega Luminaires with Bega BugSaver technology for efficient illumination in urban and natural environments: This technology enhances the sense of security for inhabitants, while additionally protecting nocturnal animals. A flexible colour temperature and light output allow the shielded light to blend into the environment at different times without affecting the natural balance – while still ensuring the safe illumination of the entire terrain as fundamental component of the overall lighting design. Stand 38 · www.bega.com
Macro DGA Macro is a projector with a compact design that does not disturb the view but allows you to be immersed in light. Thanks to its ability to highlight elements, it improves the readability of the environment in which it is insert with efficient and high-quality light. With precise pointing and comfortable optics, it provides a camouflaged, discreet lighting solution. Stand 27 · www.dga.it
D100 WE IP66 Radiant Architectural Lighting The D100 WE IP66 is a compact, exterior LED projector range, developed for use in landscape, architectural and hospitality lighting applications that require dynamic, customisable, decorative lit-effects. Each luminaire incorporates an 8x LED lightengine, integral or remote multi-channel DMX drivers, and textured glass optic. The three elements can be customised to create bespoke, dynamic lit-effects. The projectors run at 10W, providing up to 800 lumens. No moving parts are involved, giving a long working life of up to 100,000 hours. Stand 31 · www.radiantlights.co.uk
EOS Portrait Rako Controls Rako Controls is excited to be exhibiting at LiGHT 23 for the second year and show their award winning EOS Portrait keypads. The elegant, vertical design creates a clean, uncluttered aesthetic with six recessed push buttons offering a reassuring, tactile interface. Each button is fully customisable and can be addressed to control lighting, curtains and blinds, with custom button engraving also available to suit particular client’s needs. Stand 47 · www.rakocontrols.com
Pixol Bollard Kingfisher Lighting This Italian made bollard presents a wealth of illumination and design options, including multiway configurations, treated wood and custom finishes such as CORE-10, all working in harmony to perfectly complement both contemporary and classic project specifications. The Pixol family features low colour temperature alternatives to maximise visual comfort and promote human centric values, while supporting ecological considerations. Stand 41 · www.kingfisherlighting.com
Green Applelec LED Light Sheet 2.0 Applelec Green Applelec LED Light Sheet 2.0 is the design industry’s first and only, fully eco-friendly light panel, now illuminated with Grade A LEDs. These extremely low wattage LEDs provide a 35% energy saving, while delivering a 20% brightness increase when compared against Grade B LEDs. Featuring green credentials, Applelec Lighting’s UK manufactured light sheet has a lower carbon footprint than similar products shipped from overseas, utilises 100% r-MMA acrylic, is recycled, recyclable and is substance free. Stand 43 · www.appleleclighting.co.uk
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MOOD
AMBIENCE
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SMART LIGHTING CONTROL Visit us at LiGHT 23 Stand No: 47 and enquire about our new CPD ”Mastering Lighting Control: A Specifier’s Guide“ rakocontrols.com Picture courtesy of Jake Potter - jakepotter.net and Host St Ives - hoststives.co.uk
Shared Perspectives With the six-month mentorship programme for the second annual Silhouette Awards drawing to a close, Kristina Allison and Walesca Zanonato share their thoughts on the experience, and on their newfound friendship.
SILHOUETTE AWARDS KRISTINA ALLISON & WALESCA ZANONATO
Launched in 2021, the Silhouette Awards is a programme designed to reward emerging talent within the lighting industry through recognition and mentorship. Through its selection process, the awards programme pairs up-and-coming junior designers with senior lighting professionals for a six-month mentorship opportunity. Established by Archifos and Parrot PR and Marketing, the Silhouette Awards aims to give those recognised the chance to enhance their skillset, progress their career ambitions, and add value to the creativty of the industry, “raising the bar for talent to steer and lead the industry for years to come, all while learning from an established figure within the industry”. As the six-month mentorship programme for the second edition of the awards comes to an end, one pairing, mentor Kristina Allison, Senior Lighting Designer at Atkins Global in the UK and mentee Walesca Zanonato, Specialist Lighting Designer at Integrated Group Services in Melbourne, Australia, reflect on their journey together.
Kristina Allison
It was an honour to be asked to be a mentor for the Silhouette awards, but my initial reaction was “what could I possibly offer? What knowledge do I have that I can give someone that would be of any use?” But I think this is part of the beauty of the mentor/mentee process; it is a journey that you embark upon and through this journey and conversations is where the answer to these questions and self-doubts materialises. When I first read my mentee’s profile, Walesca Zanonato, the first thing that struck me was she has such an interesting background. Originally from Brazil and now settled in Australia, Walseca truly is a citizen of the world and has worked around the world too in various capacities. To begin with, Walesca and I needed to work out the time zone differences, work times and family life. But soon we established a suitable routine of early morning and late-night Teams calls. We started off just chatting, and soon enough we 112 / 113
discovered that we had a lot to talk about. Of course, following the objective of the mentor/ mentee process, we developed a mind map to structure our conversations in the months ahead and form an action plan. But naturally we would veer off track and discuss life as well as things related to light, lighting, lighting design and projects that we work on when we spoke, and subtly the mentor/mentee relationship grew. Now our fortnightly conversations are a regular fixture in the diary, and we rarely miss our slot to catch up despite the complex time differences. Walesca is a creative lighting designer, whereas I tend to also find technical aspects of lighting quite fascinating too, and both perspectives really complimented our talks. I was, and am, very impressed by her creative eye and approach to lighting design and our differences made for interesting chats. She showed me projects from her portfolio and immediately I was taken by how part of her process as a lighting designer was to integrate nature and the environment into the design philosophy for her projects. And the outcome is beautiful. In other projects Walesca shared with me, the question of standards and how to approach lighting design following a more technical path again opened up more opportunities to expand our conversations. Here I started to learn about international standards and guidelines, this I had not expected as part of the Silhouette process. I found it very interesting to learn about Australian lighting standards. This might sound a bit dry – but actually made for some interesting discussions about road types, terminology and also a general appreciation of international standards and how to navigate them, especially when working on more technically demanding projects. I’m quite sure now after the Silhouette Awards process has come to an end, the conversations that our mentor/mentee partnership have formed a friendship. And even though our fortnightly calls may have ended, we have already planned to keep in contact regularly. I think that is what is so special
SILHOUETTE AWARDS
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about the Silhouette awards, two people from different parts of the world (and in our case, extreme other sides of the world) and formed a real friendship, and I will continue to support Walesca wherever I can. She is a talented designer, and it is amazing that just by chatting I realised how much I’d forgotten I knew about lighting. Of course, I always knew I love lighting, too much sometimes, and I share the same sentiment with my mentee – my friend!
Walesca Zanonato
My journey at the Silhouette Awards was highly anticipated (by me). I consider myself a citizen of the world and that probably explains why I am constantly seeking to expand my knowledge. I want to explore more, to know more, to embrace every opportunity. When I learned that the age limit wasn’t a deal breaker to become a mentee at the Silhouette Awards, I was thrilled and put my best foot forward in the video submission – in one take. From that moment on I was wishing and hoping to be accepted, and daydreamed about being mentored by someone I never met before. Being a global initiative, the time zones would play an important role, and that got me wondering where in the world – literally – would my mentor be. Then comes
along Kristina Allison: smart, British, widely experienced, lighting designer. Kristina had so much to offer, and I wanted so much, I wanted everything! We started mapping a career plan, defining my strengths and potential areas to be developed. We were structured; we had a plan. But what soon happened was that day-to-day questions and obstacles came about, and so we shifted our approach. My career in lighting design started in 2018 and in 2022 I was given the brilliant opportunity to join Integrated Group Services (IGS), a building services consultancy, and start the Specialist Lighting section from scratch at their office in Melbourne/ Australia. Confident and humble, I joined the team of friendly engineers as probably the only person who knew Photoshop in the entire office. I was thrilled. In this first year being the specialist lighting lead while also providing support to the electrical engineers in all things lighting, I couldn’t be luckier in having Kristina as a mentor to discuss ideas and see things from different perspectives. Our catch ups were at early mornings for me in Australia, and just before bedtime for Kristina in the UK, so every minute was precious and every encounter was like bringing homework to a tutor: we explored, investigated, debated serious
lighting matters. I confess that my brain works in images and colours, so technicalities are not easy – or comfortable – for me to digest. Kristina, however, is a co-author of the “TM66: Creating a circular economy in the lighting industry”, so I couldn’t be in better hands to guide me through the growth path of knowing more than just what I am comfortable with. Her bubbly personality and assertive researcher’s brain helped me demystify what seemed to be unattainable. Suddenly, it all made sense and the roadmap to solve any problem became easy to define. Six months have passed since our first online meeting, and I feel that we accomplished so much. Kristina can proudly say that she mentored someone to grow and mature in their career. As for me, having the opportunity to be in a programme so unique and welltailored like the Silhouette Awards was a career defining moment, unexpectedly professional and profound, reassuring, and humbling, with the bonus of a friend for life, just an online call away. www.silhouetteawards.com
eye opener
EE Westfield London, UK dpa lighting consultants was appointed to work with EE design team and retail design studio Dalziel and Pow on this groundbreaking new store concept. The brief was to develop a visually impressive and immersive store concept to cover all areas of the communications and entertainment market that EE offers. The desire was to provide a fully considered customer journey and experience from when they are met by the sales consultants at the arresting double-height entrance space (called the Welcome Zone). The store is categorised into a number of zones, each having their own purpose and identity. This creates much visual variation and interest for the customer. Initial consultations can happen in the next zone (the Basecamp) which has comfortable seating, individual booths for additional privacy, and working kitchen area for refreshments. From there, the customer can progress to a Tech Live zone which showcases all the devices and technology available, or the Tech Live Home zone which seeks to illustrate the home automation aspects that EE can offer. This includes small room sets for Lounge, Kitchen and Study areas. Additionally, there is a Game Cube zone where customers can try out gaming machines, and a Digital Spa whereby customers can go to disconnect for a while. The Digital Spa has a fully immersive sound and video room to take the customer to another place. In the middle of the store is a stage area where presentations and events can take place. The lighting concept to cover this variety of zones and their uses needed to be highly flexible and controllable. The design concept included a scaffold framework arrangement to link all the zones and adjustable spotlights that were integrated to this system at high level to provide all the ambient and display lighting coverage. Further layers of lighting were included, such as lighting integrated into the display furniture and concealed RGB lighting to the Digital Spa, including a curtain wash. An array of globe pendants hang over the stage for visual effect and higher levels of ambient illumination when required. All lighting in the scheme is controlled via a programmable lighting control system with preset scenes, and this in turn integrates with a programmed AV system across the store for demonstrations and presentations. The intent is for a fully flexible retail environment to showcase what EE is now all about. www.dpalighting.com
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Image: Adisornr
Where there’s a will, there’s a better way GREENLIGHT ALLIANCE
Following the release of a lighting-specific revision to CIBSE’s embodied carbon assessment tool (TM65.2), the GreenLight Alliance look into the reasoning behind the move, and its benefits.
There is no denying that since the metric was launched in 2021 (as covered in arc 129), TM65’s impact on our industry has been significant and positive. However, having been conceived as a broader building services tool, it became apparent that some features were not a perfect fit for lighting equipment. Riding on a tide of enthusiasm and keen to maintain momentum, a team formed with the specific intention of creating a lightingspecific version, honed to the idiosyncrasies of lighting kit. In this month’s article Dr. Irene Mazzei, ably assisted by some familiar names (also cocontributors to the venture), talks us through the reasoning behind the recently released lighting specific revision (TM65.2 Lighting) to CIBSE/SLL’s successful and popular embodied carbon assessment tool. In doing so, demonstrating just how effective and usable a tool this has become.
Why?
Dr. Irene Mazzei Stoane Lighting/Napier University/Innovate UK The lighting industry is taking big steps forward in the sustainability journey, and we believe that a dedicated version of TM65 will facilitate the practice of embodied carbon assessment within the industry. Furthermore, research is always ongoing on sustainability themes and it’s important to keep assessment methodologies relevant and updated, in order to give users the best instruments to 116 / 117
quantify and report their sustainability achievements. Simon Fisher FMark Our industry is being pressured by government, architects, M&E consultants, consulting engineers and designers to provide carbon (and circular economy) data. Currently we have a lack of this data and need to grow availability at a rapid rate. In my opinion, TM65 holds the key to rapid deployment of data, acknowledging that the calculation method is generated using assumptions and generic data, which can be firmed up by more accurate LCA and EPD data in the coming years. TM65 for lighting streamlines the lighting elements and simplifies the use further. Jonathan Rush Hoare Lea Lighting designers, electrical engineers and other specifiers of light want to make informed decisions about the stuff they specify. The more people that use TM65.2, the more data we have and the more informed the specifier decisions will be. TM65.2 can change the role of the lighting specifier from a powerless observer to an active participant in the mission to reduce lighting’s environmental impact and help save our planet.
Kristina Allison Atkins Global As a lighting designer I do feel responsible for the types of luminaires that I specify, especially when it gets to the end-of-life part where I have pretty much 0% chance of making sure it is being reused or recycled responsibly, if at all. The part I do have some control in is the origin of the luminaires used for my projects. So, with my relentless desire to not put ‘rubbish’ out into the world, the Embodied Carbon metric enables me to make better informed choices for my projects. The creation of TM65.2 has been a collaborative effort, and it needed to be for it to work. Manufacturers also need this metric to both assess their products then actively and proactively design their lighting equipment with as little embodied carbon as possible and then be able to quantify it. It’s been nearly two years since the release of CIBSE TM65 – Embodied carbon in building services: a calculation methodology, which has been widely used in various sectors of the built environment, including the lighting industry. What makes TM65 a valid option for the estimate of embodied carbon is its simplicity and high adaptability to a wide range of product types. This makes it a great tool for quick but accurate assessments, with the potential of saving a great deal of time and resources in the design stages of a project/ building, before relying on more complex impact assessment methodologies. Since its first release, addendums to the
original guide have been developed such as local addendum for Australia and New Zealand, and another one focusing on residential heating technologies. From the experience with the use of TM65 in the lighting industry, however, the feedback was that the methodology could benefit from some improvements focused on making it more capable of capturing aspects and materials related to lighting products. CIBSE TM65.2 – Embodied carbon in building services: Lighting was released on 1 August 2023, and it addresses lighting manufacturers and lighting designers/specifiers, and the actions that can be taken to tackle the issue of sustainability in lighting. More specifically, designers should start making informed decisions based on sustainability aspects – especially if quantified – in addition to performance characteristics and other factors. Quantified impacts should come directly from manufacturers, which should engage in this practice as an integral part of their business. Members of the lighting industry should start tackling the discussion on what cost really is, and how to consider environmental costs together with monetary ones. Some manufacturers have already taken the step of investing in detailed EPDs, but these are costly – often prohibitively – and take a great deal of time to complete and verify. The information they supply is accurate but as a species we do not have the time to wait for full EPDs to become more accessible to all scales of manufacturer. What the industry needs is good data and lots of it. TM65.2 has been designed to be specific for lighting equipment
and offers the ability for all manufacturers to make a self-assessment of their products. Being specifically designed for lighting, by lighting people, it supplies greater accuracy than the original TM65 in both the material data and the embodied carbon values. The aim of this addendum was not to create a different version of TM65, but rather to make the methodology more easily applicable to lighting products. To do so, specific changes were made regarding (i) the structure of the inputs, for example eliminating the need to provide information not relevant to lighting, (ii) the description of requirements to carry out the assessment of a luminaire, regarding the inclusion of light source, control gear and other ancillary components, and (iii) the addition of embodied carbon material coefficients that are relevant for the assessment of luminaires. Particular care was dedicated to the identification of strategies to reduce result variability. To achieve this, instructions were introduced to guide the users in the assessment process, such as the choice of material coefficients whenever an exact match is not available in the database. By reducing the level of subjectivity, the consistency in result comparability increases. An important feature added to TM65.2 is the possibility to account for aluminium with a personalised recycled content. This was crucial for lighting manufacturers investing efforts into improving their sustainability by selecting low-impact materials. Aluminium is a very common material in luminaire manufacturing; however, the original TM65 database only
GREENLIGHT ALLIANCE
Luminaires from Stoane Lighting (top left), iGuzzini (bottom left), and Whitecroft Lighting (right), each made with sustainability in mind, saw an improvement in the accuracy of their emobodied carbon data when assessed through TM65.2.
This series is curated by Dave Hollingsbee of Stoane Lighting, dave@mikestoanelighting.com
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contained a 30% recycled content aluminium datapoint, corresponding to the global average. In TM65.2 embodied carbon coefficients for 100% recycled and 100% virgin aluminium were added, allowing manufacturers to express combinations of recycled aluminium which best represent their real efforts. This and the other new features of TM65.2 can contribute to substantially reduce the conservative embodied carbon estimates for lighting products, compared to the values obtained with the original TM65, without making the assessment more complex or time-consuming. As an example, let’s look at three different luminaires: a spotlight (Stoane Lighting), a general lighting fixture (iGuzzini) and a suspended linear luminaire (Whitecroft Lighting). All these three products were made with particular attention to the issue of sustainability and with different characteristics in terms of performance, due to the different fields of application. In all three cases, it’s possible to see an improvement in the accuracy of the embodied carbon calculated with TM65.2 compared to the original TM65 calculation (basic level). In particular, the TM65.2 embodied carbon value was respectively 54%, 20% and 27% lower compared to the original TM65 value. This is a better representation of the efforts of these manufacturers to embed sustainable materials in their products. Lighting’s impact on the production of greenhouse gases is significant, but for those of us who specify lighting equipment, the decisions we make can feel disconnected from environmental impacts. Often this is because the GHG and embodied carbon of
the products we specify is not available. If it were, we could at least make an informed opinion about the environmental impact of the equipment we specify. We could compare one product against another, and we could use the information to see a total embodied carbon impact for the lights we specify. This may feel like a small step but if we can see a total project carbon value then we can make more conscious efforts to reduce how much we specify or use a product that is more efficient or has fewer virgin materials. It makes it more tangible and connects specifiers with the implications of their decisions. Having this methodology in our toolbox for creating sustainable lighting designs is an exciting step in the right direction, with hope that as more designers use this metric in practice, there will be more demand for lighting equipment to be assessed and eventually to have low embodied carbon as standard. This doesn’t mean we have to compromise light quality either, the lighting industry draws inspiration from other industries that have already thrived with such engineering challenges and developed new innovative business models, like the automotive industry or companies that have adapted, such as LEGO. As product designer Dieter Rams once famously described his approach to design as – ‘Less but better’ – let’s use less (CO2) and be better too. www.greenlight-alliance.com
Less Is More DAVID MORGAN
The latest discreet architectural lighting fixture from KKDC, produced earlier this year, is the TANA Asymmetric. David Morgan puts the angled linear luminaire under the microscope. KKDC has always focused on the ‘less is more‘ approach to luminaire design, with the development of miniature linear LED lighting systems for installation into discreet architectural details for high end projects. The company was founded in 2005 by Jack Choo, who first encountered LEDs in the early 2000s while working for Toyoda Gosei in technical sales. He was able to persuade Samsung to use blue LEDs for mobile phone keypad back lights. In 2003, Jack and his brother Konkuk started a company to produce their own innovative LED arrays from scratch. Moving to Sydney, Australia in 2005, he founded KKDC to focus on the architectural lighting market. The company has since grown significantly with worldwide sales and a staff of around 100 people. Research, development, and manufacturing take place at the KKDC R&D Centre in Seoul, South Korea. The company has 19 branch offices in major markets including a marketing and design office in the UK. The first three KKDC systems, launched in 2005 and 2006: TIMI, MIMI and MOMO established the market niche for the company with small, wellengineered products for both interior and exterior applications. The 6mm wide Groove system was developed more recently based on a request from Philippe Starck as part of a hotel project to illuminate whisky shelving with the smallest dot free output luminaires.
David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting. Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk
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The latest system introduced by KKDC earlier this year is the TANA Asymmetric. The product name derives from the Japanese word for shelf and the original TANA system was an angled linear luminaire, designed by Tim Young from the KKDC Design House in the UK, for shelf illumination. Apparently research with architects early in the life of KKDC had identified linear shelf lighting as a good potential market application that seems to have been an accurate prediction. The TANA Asymmetric range incorporates a faceted extruded housing design with useful internal space for through wiring and connectors, an asymmetric linear optic and a new high output LED light engine. KKDC design and development is undertaken as a collaborative in-house effort, with engineering design at the R&D Centre in Seoul and design input from KKDC Design House in the UK, plus global market feedback from KKDC sales branches. Jack Choo oversees the whole process and makes final decisions about timing and project priorities. For them, the most challenging part of the luminaire development was the custom asymmetric lens design. This was designed in-house by the KKDC optical engineering team in Korea. Based on the test sample I was given to review, they have been able to produce a good quality textured extruded lens that produces an asymmetric beam without any significant striations in the beam or any colour over angle distortions or colour shifts. The beam does seem to split slightly between the major asymmetric beam and a secondary more vertical one. The complete product development process took around two years, with much of the time devoted to the linear lens design and development. The KKDC A Line LED light engine incorporates mid power 94 CRI LEDs on a 4.8mm pitch and the luminaire produces up to 2,970lm with 3000K LEDs and a power consumption of 30W/m. The range includes 2700K, 3000K and 4000K LED options with three-step MacAdam’s colour binning. The system works with a remote 24 VDC power supply
and dimming options include 1-10V, 1-10V, DALI and DMX. The cutting module for the light engine is 38.46mm. The TANA luminaires are produced with a nicely finished anodised satin silver aluminium extrusion, with the matching end caps fixed with neat machine screws. Available lengths range from 90mm up to 1,013mm. Concealed stainless steel spring clips fix the system to the mounting surface invisibly. The company manufactures most of its components in-house either in Korea or in the UK. Aluminium extrusions are made with recycled aluminium and KKDC is aiming to move towards a circular economy approach.
The KKDC A Line light engine are constructed with FR4 PCB material, which is bonded to the extruded aluminium heat sink. As the company is moving towards a circular economy approach, the PCB material may need to change to aluminium, which can be recycled and the fixing method changed to allow easier on-site replacement. The TANA range is a good quality system with an impressive light output for its small size. The asymmetric distribution provides a useful punch for use in applications including retail and display where high ambient lighting levels are required. www.kkdc.lighting
case study
Image: Ed Hasler
All Souls Church London, UK One of London’s most revered sites, the All Souls Church has been given a new lighting system, utilising fixtures from GVA, that showcases its architectural splendour.
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All Souls Church, Langham Place is an esteemed landmark rated as one of the most treasured buildings in London, with its Grade I listed status indicating its exceptional national, architectural, or historical value. All Souls Church was recently looking for a new lighting system to replace luminaires that were no longer functional. CES, a family-owned business in the UK that offers architecturally sensitive and discreet installations, was chosen and tasked with this honour, choosing to add a magical touch with light from GVA. John Nash is the esteemed original architect behind All Souls Church, a figure who significantly shaped the architectural scene in the Georgian and Regency eras of British architectural history. His legacy is vividly apparent through the numerous landmarks he designed, spanning neoclassical to picturesque styles. Nash firmly established his reputation, thanks to support from two of the most influential men of his time: the Prince Regent, later known as King George IV, and James Burton, a prominent property developer. For restoring the masterpiece created by John Nash, the main objective was to light up all aspects of All Souls Church, showcasing the architecture with a unique interplay between shadows and light. CES recently won a 2023 IALD Award of Excellence for the work they did on Rochester Cathedral, which also included GVA luminaires, so they were the right choice for this undertaking.
A traditional lighting scheme was used for All Souls Church, made special with the use of GVA STR9 and FL RGBW luminaires. The rich colour palette of the luminaires allows communication for royal celebrations, holidays, and Christmas festivities. The aspect of colour made this rejuvenation both traditional and modern, adding flair to the architecture. CES trialed many fixtures from industry leaders, and most were only able to illuminate half of the spire before the light faded, leaving the upper section of the spire dark and unlit. When CES trialed the 4° FL100 fixture from GVA, the team knew they had found the perfect fit, as the spire was consistently lit from bottom to the top. The luminaires proved to be the perfect solution for ensuring that the church’s lofty steeple would always be radiant with steady, uniform light. The CES team implemented an ingenious solution at All Souls Church by predominantly utilising the pre-existing screw holes and mortar, complete with specially designed brackets to hold the fixtures in place. In the spirit of preservation, the work was done in a manner to ensure that the building could be restored to its most original state if desired. www.gvalighting.com
23_lighting Arg Mag (UK) 236mm(w)x 333mm(h). copy.pdf
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case study
Image: Munson and Munson
Old Royal Navy College London, UK The historic Wren Domes at Greenwich’s Old Royal Navy College has been given a new lighting scheme from Light Perceptions, with lighting controls from Pharos Architectural Controls.
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The beautifully ornate buildings of the Old Royal Naval College have served a variety of purposes in their lifetime. Designed by the acclaimed architect, Sir Christopher Wren, the buildings were originally constructed as the Greenwich Hospital, a home for disabled sailors. When the hospital closed in 1869, the site then became the Royal Navy’s Staff College, which provided advanced training for naval officers until 1998. The former college is now the heart of Maritime Greenwich, recognised by UNESCO as a World Heritage Site in common with The Queen’s House, National Maritime Museum, Royal Observatory, the Royal Park and the buildings which surround it. The most iconic features of the Old Royal Naval College are the two domes that sit above the chapel. These structures have been immortalised in many works of art, with perhaps the most-famous being the Canaletto painting ‘A View of Greenwich from the River’ with the two domes – known as the ‘Wren’s Domes’ - standing proud. A review of the lighting was recently conducted, with a plan to enhance the stunning architecture of the former college and offer new opportunities to introduce dynamic experiences for visitors. As the Wren Domes are the prominent features seen from the river, as well as from the other bank of the Thames and the nearby Greenwich Park, it was decided to focus on their lighting first. To enhance these structures and breathe new life into them, Light Perceptions was commissioned to develop a new lighting scheme, partnering with Pharos Architectural Controls to control the new lighting scheme.
The control element of the lighting scheme is delivered through a Pharos Designer TPC & EXT (Touch Panel Controller and Extension). Pharos Cloud is also used for simple and secure remote control and management of the lighting. The TPC is a sleek touchscreen device that offers a fully integrated user interface and vast design potential. Utilising a single Power over Ethernet (PoE) network connection, the 4.3in touch panel is customisable, and offers excellent capacity with 512 channels of eDMX output. The Pharos Designer EXT is an extension for the TPC. Together these two solutions form a standalone, mainspowered lighting controller with versatile output and show control options. The control system design was supplied and commissioned by Maria Jenkins of Experience Lighting. As a Pharos dealer, Experience Lighting have an expert knowledge of the marketleading solutions, as well as a comprehensive understanding of the best Pharos controls for each individual project. Bruce Kirk, Director at Light Perceptions, says: “The Old Royal Naval College has great historic significance, and sits within the boundaries of a UNESCO recognised site. It needed a careful approach to enhance the buildings without detracting from the beauty of the architecture. “It is always a pleasure to work with Pharos. Their expertise and innovative control solutions ensure that a lighting scheme can be brought to life and adapt to changing requirements.” www.pharoscontrols.com www.lightperceptions.co.uk
i Jo
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Reuse | Recycle.
Giving you
WEEE Compliance. REUSE Hub. FREE Recycling. & more
Recolight is the leading UK WEEE compliance scheme for lighting, taking on responsibility for its members’ WEEE compliance. Offering free integrated Lamp and Luminaire collection and recycling and the biggest UK-wide network of collection points for all WEEE lighting. Recolight go beyond recycling, by offering circular economy services, facilitating the reuse of lighting equipment, and helping to avoid unnecessary recycling of surplus new lighting. Working with the lighting industry, Recolight offer support and services to help their Producer Members transition to a Circular Economy. With a Reuse Hub, workshops, webinars, Circular Lighting report, and Circular Lighting Live, Recolight is the Compliance Scheme that gives you much more.
case study
Image: Simone Tommasini
Church of San Cristinziano Chieti, Italy Fixtures from L&L Luce&Light help to showcase the historic details at the Church of San Cristinziano.
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An essential economic resource, Italy’s cultural heritage and historic architectural assets have long been celebrated, with much being done to conserve and protect these beautiful landmarks. The preservation of such assets has led to an increasing number of interventions aimed at restoring and redeveloping artistic and religious spaces. Such spaces include small gems of inestimable value, such as the Church of San Cristinziano in San Martino Sulla Marruccina, in the province Chieti. In ancient times, the San Cristinziano was the castle church, while its bell tower was formerly the tower that stood beside the entrance gate to the courtyard of the ancient castrum, or Roman fort. Over the centuries, the church has undergone considerable structural changes, which have given the building a Baroque appearance and hidden the original medieval elements. A restoration project has been realised of the church’s original crypt, and its original interior that is embellished by magnificent, frescoed vaults. The underground room is said to have been used as a weekday prayer chapel and has been transformed into a versatile space for various pastoral activities. The restoration project was supervised by architect Lorenzo Fosco, who specialises in the restoration of churches and farmhouses in Abruzzo. His design concept draws on an analysis of historical sources and the reinterpretation of local typological architectural elements. This aims to create a dialogue between the state of conservation and the restoration of missing parts, by taking as its starting point the historical knowledge of the
artefact, and creating the idea that new elements are in symbiosis with the pre-existing elements. The present-day architectural language is consistent with what time has left intact to act as a guide to imagine the original structure. For example, the cornices on the ribbed vaulting have been preserved, leaving the geometric lines and allowing the observer’s own free interpretation and reconstruction. In addition, the modern masonry has been eliminated, bringing to light the ancient openings that once connected the spaces. The alcoves that guarded the original stairways connecting the upper church were deliberately left unfinished. L&L Luce&Light fixtures were chosen to enhance the spaces and architecture so that this conversation between the new and old elements can be easily understood. Ella In indoor wall-mounted fixtures were installed at the base of the vaults to illuminate them indirectly. This creates a three-dimensional effect on the vaults as they reflect the light. The same effect is achieved on the back wall of the large room with minimalist Geko 5.0 outdoor wall-mounted fixtures. In the alcoves, where the archaeological finds and original stairs can be seen, Spot 1.0 outdoor projectors were installed. To accentuate elements such as the arches, the choice fell to Lyss projectors. These optics produce a well-defined light output, here deliberately arranged to create a banded light pattern, which contrasts very effectively with the diffused light illuminating the vaults. www.lucelight.it
Contact us for product information or demo samples
David Geffen Hall at Lincoln Center for the Performing Arts in New York. Lighting design by Fisher Marantz Stone. The asymmetric output of the Euclid 40 Vector IP20 fixtures illuminates and accentuates the undulating beech wood panelling of the auditorium.
Stand 31. BDC. 21-22.11.23.
Euclid 40 Vector IP20. Interior LED linear lighting system with high-power LEDs and asymmetric tilted-beam optics. Aimable output along the vertical axis. Both recessed and semi-recessed housings available. A custom powder coat finish was developed to match the ceiling of the auditorium. Up to 3,500 Lumens per mtr.
www.radiantlights.co.uk | +44 ( 0 ) 208 348 9003 | david@radiantlights.co.uk | London, N6 5JW | All products designed by
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distinct advantage.
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A collaborative and inquisitive approach, with enthusiasm for new ideas, good initiative, and excellent communication skills
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including rail. In 2023, the lighting design company Light
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extensive service to our clients.
Duties will include (but are not limited to):
We recognise that CBG Consultants wouldn’t be where it is
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Leading project surveys
Desirable:
today without the ideas and energy of our staff. Since 2008, we
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Producing feasibility study and concept design reports
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have maintained the Investors in People accreditation to show
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Producing project design documentation and
the remote locations of many project sites
Knowledge/use of Revit software is an advantage
specifications
The benefits.
On-site inspection and contract administration
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25 days paid holiday + bank holidays
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Witnessing and overseeing the commissioning of
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Career growth & development – we enjoy promoting
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software, Microsoft office and AutoCad •
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Managing client handover meetings
team into CBG as CBG Light Perceptions we are seeking to
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They will be confident attending face to face, and remote projects across the UK and occasionally overseas.
practices
We are an equal opportunities employer and always looking to
Track record of working with clients, architects,
enhance diversity within the company.
surveyors, contractors and other stakeholders
substantial technical lighting projects at senior level.
meetings with clients, architects, engineers and contractors on
A knowledge if historic buildings work and common
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autonomously, with limited supervision
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Up to date knowledge of SLL Guidelines and common lighting standards
Advertisers Index ACEVEL
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Kvant Lasers
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ADO Lights
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L&L Luce&Light
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Alto
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Full Page 23.6x33.3 - arc.pdf
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bucket list curated by
#36
“Were it not for shadows, there would be no beauty.” Jun’ichirō Tanizaki, In Praise of Shadows
Linus Lopez Lirio Lopez Lighting Design Consultants
What
A jali or jaali is a window or latticed screen carved in wood or stone by artisans. Commonly found in Islamic and east-Asian architecture, it originally developed as an architectural solution to battling extreme heat in arid climates, acting as a privacy screen and for modulating daylight. The geometric, intricate designs of the jali have since become a symbol of beauty. 130 / 131
Where
Amer Palace Fort, built in the late 1500s, sits atop a small hill near Jaipur in the desert state of Rajasthan, India. It is an extensive palace complex built with pale yellow and pink sandstone, and white marble with intricate inlay work. Interestingly you enter through the Suraj Pol or the Sun Gate. (And, yes, there is also a Chand Pol or Moon Gate!)
How
Control on the dimensions and contours of the perforations defined the quality of daylight suffusing through these jalis. Principles of aerodynamics, defined later by Venturi and Bernoulli, were applied to aid airflow through the space. Various styles and elements of design added a layer of beauty.
When
Ideally between the months of October to February, but if you want to personally experience the temperature gradient a jali is capable of inducing, any month is good!
Why
India has a rich heritage of architecture that responded to the needs of the terrain and weather, used local materials and employed talented artisans that absorbed varied styles and constantly redefined design elements. This resulted in an awe-inspiring combination of function and form visible still today in a variety of temples, palaces, forts and residences. Image: Amit Pasricha @panoramist
Lights in Alingsås 2022, Sweden
Winner of the 2022 Event award
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