Discover innovative LED solutions through Lite’s partnership with Triolight - LiniLED ®
The liniLED® Handrail is a revolutionary LED based handrail system that provides continuous functional lighting for a safe indoor and outdoor environment. The liniLED® Handrail
array of specifications, available in cutom made or kit form and featuring everything from Symmetrical/ asymmetrical distributions, 5 White CCT’s, RGB and Tuneable White options. This dynamic collaboration is brightening the future of lighting.
Sales@lite-ltd.co.uk | www.lite-ltd.co.uk Visit us on Stand 36
Illumination that takes your breath away
The world’s most iconic architecture deserves premier facade lighting solutions to match. Lumascape is proud to o er a full range of best-in-class luminaires and control systems to transform any building into a dazzling display of performance art with the power of light.
Jordan Gate Towers
| Amman, Jordan
Jordan Gate Towers, a landmark in Amman’s skyline, showcases modern design and luxury. LICLLAB was tasked with illuminating the Twin Towers with the Custom product RGBW Pixel, emphasizing their sleek verticality and elegance. At night, dynamic lighting highlights the building’s contours, enhancing its presence. Inside, LICLLAB's subtle lighting complements the contemporary exterior facade, creating a refined and inviting atmosphere.
Luminations Cleethorpes
Photography: Gary Davies
Pharos Architectural Controls - celebrating its 20th anniversary year in 2024 - is an award-winning and independently owned British manufacturer of dynamic lighting control solutions for architecture, themed entertainment, and other specialist industries.
Our hardware and software solutions are designed and built in-house, backed by a 5-year warranty, and supported by an experienced technical team. Pharos products are trusted to run day and night, illuminating iconic installations around the world.
Brand new. The hero for highly robust architectural lighting.
Timelessly elegance, made for eternity. With outstanding characteristics, this series defies the most adverse conditions.
RECYCLE REUSE
Recolight is the leading UK WEEE compliance scheme for lighting, taking on responsibility for its members’ WEEE compliance. O ering 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 o ering 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 o er support and services to help their Producer Members transition to a Circular Economy.
Celebrating 50 Years of Innovation & Quality: MP ILLUMINATION
As MP ILLUMINATION - Marinos Patrikios, celebrates its 50th anniversary, we take this moment to reflect on a journey marked by innovation, dedication and a relentless pursuit of providing reliable and quality products.
Since its establishment in 1973, MP ILLUMINATION has become a very reliable partner providing architectural lighting solutions, illuminating spaces and enriching lives across the world. From the outset, MP ILLUMINATION has been driven by a passion for creating luminaires that not only meet but exceed international standards. Our commitment to quality and safety has been unwavering.
The ISO 9001 certification from DQS Germany further attests to our rigorous quality management systems, ensuring that every product leaving our premises embodies our promise of excellence. Our expansive product range produced with local or imported high quality materials, reflects our versatility and innovative spirit. Providing sophisticated LED solutions we cater to a diverse array of needs, both indoors and outdoors. Each product is a testament to our dedication to high aesthetics and performance. Our focus on LED technology underscores our commitment to ecological responsibility, offering energy-efficient, long-lasting, and recyclable lighting options. Our ability to offer OEM services, producing special luminaires according to customer requests, further exemplifies our commitment to meeting the unique needs of our clients. We would like to extend our heartfelt gratitude to everyone who has been part of our journey over the past 50 years. Your trust and support have been the cornerstone of our success. We look forward to continuing to serve you with the same dedication that have defined MP ILLUMINATION for the past five decades.
•Supports Human Centricity
•Dim to Warm capabilities
•Fully Controls Compatible
•Offers Excellent Circularity
•Comfort glass
•Flat to Ground
•0% ULOR
A NEW Era Unfolds...
What the Topaz Series offers:
Sleek track or surface mounted fixture
Both vertical and horizontal track locking possible
Unprecedentedly good light qualities CRI ~98
Single Colour in 2700K, 3000K, 3500K, 4000K
Tunable White in 1800K-4000K, and 2700K-6500K
Colour changing in RGBW or RGBA
The right accessory for almost every application
Max. 15 Watt power consumption
Local Dim, Roto Dim, DMX512, Wireless DMX, Casambi, DALI, and Casambi & Local Dim in 1 track adapter
...with the Topaz Series:
The Topaz Series is a stunning collection of fixtures, designed in close collaboration with museum lighting designers & lighting technicians, architects, exhibition designers, CLS distributors and users from all over the world.
„We have been working with CLS products for years and because there are often conversations with users, like us, you see that reflected in the products that are on the market. The quality has proven itself over the years. In short, approachable and reliable.”
50LUX Lightdesign & -advice, the Netherlands
The Topaz Series is our most comprehensive fixture series ever, and is characterised by an enormous variety of models, so that there is a solution for almost every wish. The beautiful design is discreet with a slightly curved back to make the fixture even slimmer. All electronics are built into the fixture, so driver housings are no longer required.
The Topaz fixture family has the following members:
Topaz Expo
Topaz Zoom
Topaz Profile Zoom Framing / Gobo
Topaz ColourFlow*
*Expected 2025 Visit website
LED Lighting Solutions designed and made in the Netherlands since 2002 www.cls-led.com
Topaz Expo
Topaz Zoom Topaz ColourFlow*
Topaz Profile
Join us at LiGHT 24, the UK’s only trade show dedicated to high-end lighting specification.
For those working in design, it’s the best opportunity in the UK to explore new products, access design talks, and network with those across the sector. Now into its third successful year, LiGHT 24 will take place at the Business Design Centre in London. Join thousands of other industry professionals for a fantastic two days of design inspiration.
From the publishers of: FREE REGISTRATION NOW OPEN 20 & 21 November 2024
Where lighting and design unite
Welcome
One of the things about doing a bi-monthly magazine is that, when I come to write this little welcome page, there is always a lot to catch up on. Firstly, we launched our inaugural [d]arc sessions Asia event in Phuket last month, which by all accounts was a roaring success. Huge thanks to everyone who came and made it such a fantastic event. It’s always a risk to bring an event to a new location with a new market, but we’re so happy with how it went. We’re already making plans for our 2025 editions too, with [d]arc sessions Europe coming to Ibiza in May, while [d]arc sessions Asia will be in Langkawi, Malaysia. Spaces will no doubt be extremely limited now that the event is such a hit, so get in early with your interest if you’d like to come!
Elsewhere, our Junior Journalist Ellie Walton has not long got back from a trip to Sweden for this year’s Lights in Alingsås event - its 25th anniversary, no less. You will be able to read all about her experience of the event in our next issue. In non-lighting news, Oasis have only gone and reformed (I think I have just seen a pig fly past my window...) and, at the time of writing, have not
yet split up again. I appreciate that this will be of more interest to readers of a certain age, but for a team based just outside Manchester, mostly aged between 30-45, this was a very big deal at arc HQ. There was also the small matter of the birth of my son, Zac, too. Many of you will know I already have a daughter, Daisy, who is now three and a half, so the introduction of a new baby to the mix has been something of a rollercoaster! We’re all getting along very well though, for the most part, so please give Zac a big, warm hello!
Having a child as we enter our busiest time of the year may have shown a lack of foresight on my part, but a huge thanks to Helen, Sarah, and Ellie on our editorial team for holding down the fort while I was on parental leave. Their help on this issue has been invaluable as I juggle writing with nappy changes, feeds, and a general lack of sleep! Looking ahead, LiGHT 24 is right around the corner, and we’re working hard to make it the best yet. If you need any more convincing to register to come (www.lightexpo.london, by the way), you can find a special sneak preview of the event in this issue, along with the usual array of inspiring lighting content.
Enjoy the issue!
Matt Waring Editor
Front cover: At-Turaif, Saudi Arabia (Image: Allan Toft)
Inside this issue
Regulars
Event Diary
Drawing Board
In Conversation
Chiara Carucci opens up about her new studio, Noctua.
Snapshot CK.design.Lighting
Marcus Steffen
Are you breaking the law when it comes to commission?
Silhouette Awards
The mentors for Season Four of the awards programme are revealed.
GreenLight Alliance
A focus on product use and the associated environmental impacts.
Manufacturer Case Studies
Bucket List Magalí Mendez
Eye Openers
The Sun, My Heart Marjan van Aubel Studio
Marina Mall Nulty
My Friend The Tunnel Electrolight
The Royal Entomological Society (RES) Insect Garden Buro Happold
Zwingerpark studioteilchenwelle
Hilton Park Lane Elektra Lighting
The BoTree dpa lighting consultants
Features
Disruptia
After launching in Mexico last year, Light Collective brought its festival of disruption to London.
[d]arc sessions Asia
The inaugural [d]arc sessions Asia event came to Phuket in September.
Eleftheria Deko
The four-time [d]arc award winner tells arc about her lighting journey and creative process.
Noctines
Nicolas Houel shares his research looking at “night time narratives”.
LiGHT 24 Preview
A sneak peak at what’s to come at LiGHT 24 this November
Jenni Gillard Gillard brings lighting innovation to her own Brisbane home.
Projects
At-Turaif, Saudi Arabia Speirs Major Light Architecture
[d]arc media ltd Strawberry Studios, Watson Square, Stockport SK1 3AZ, United Kingdom T: +44 (0)161 464 4750 www.arc-magazine.com ISSN 1753-5875
The Sun, My Heart
London, UK
At this year’s London Design Festival, renowned solar design practice Marjan van Aubel Studio produced a remarkable light art installation at Somerset House. Titled The Sun, My Heart, the immersive experience invited reflection on our relationship with the sun through individual experience and emotional engagement.
Inspired by the studio’s ‘Sunne’ solar lights, The Sun, My Heart used specially modified lighting to create a profound sensory and emotional connection to this celestial body, featuring a mesmerising constellation of 77 suspended lights that charted the sun’s daily cycles, from the gentle
hues of sunrise to the warm glow of sunset. The visual journey for visitors was complemented by a carefully crafted soundscape based on NASA’s recordings of the sun. The experience, lasting nearly nine minutes – mirroring the time it take sunlight to reach the Earth – was designed to trigger theta brain waves, associated with deep relaxation and meditation. These waves are produced by our brain cells when we are at rest, creating a contemplative state ideal for reflection on our solar connection. Visitors activated the installation by interacting with a sensor, creating an almost infinite variety
of light and sound compositions. The installation responded uniquely to each visitor’s touch, including the length, pressure, and size of their hand, as well as the timing of their interaction with the composition. This created a distinct sunrise, sunset, or daytime sun that temporarily blended into the ongoing light and soundscape of the installation. With countless possible responses, each experience remained unique and personally resonant.
Marjan van Aubel Studio has consistently pushed the boundaries of integrating solar technology into everyday life. Her previous award-winning
projects have demonstrated solar energy’s potential to be both functional and aesthetically compelling. Through this installation, van Aubel aimed to create an emotional catalyst for change. She says: “We have envisioned to build a more emotional relationship with the sun. Our heart is the sun inside of us, and the sun is our heart outside of us. In the end, they are one and the same.”
www.marjanvanaubel.com
After more than 20 years in lighting, Italian designer Chiara Carucci has established, Noctua, a new practice that is dedicated to informed, collaborative lighting design with a strong focus on heritage and wildlife conservation. Here, Carucci tells arc about Noctua’s mission, and the need for more “conservation-minded” lighting.
IN CONVERSATION
How was Noctua formed?
In 2020, I was invited to become a partner at a large architecture firm in Stockholm, where I had helped establish and grow a successful lighting studio. Then, after the first Covid summer, I was offered the opportunity to design the lighting for two tourist caves that are home to protected bats. Since the project was in Italy and we had just transitioned to working remotely, I realised this was the perfect moment to scale down and focus on what truly mattered to me - serving not just people, but all living beings. Fast forward three years, after moving to Cilento, Italy, while continuing to collaborate with colleagues and clients in Sweden, I founded Noctua, a space for informed design, bridging research and practice, and fostering collaboration on sustainable projects.
Did your approach to bridging different disciplines shape Noctua’s structure?
Absolutely! When I moved to Sweden in 2015, I began collaborating with Erik Hagström, an electrician, photographer, and lighting designer. We’ve been bouncing ideas off each other ever since. My collaboration with Dr Rosangela Addesso, a speleologist and researcher focused on applied ecology, began with the caves project. We share a belief that safeguarding our environment requires true multidisciplinary collaboration. We co-created a generative logo and an online space with Andrea Paraggio of Scinobi to inform and demonstrate our approach. Under the mission to protect our heritage while embracing the future, today Noctua weaves cultural narratives and environmental responsibility.
How essential is good lighting to wildlife conservation?
Darkness is the only go-to when it comes to wildlife and biodiversity conservation. But there’s a way for us to coexist with nature after dark, and thoughtful lighting design is a big part of that. It starts with truly listening – not just gathering background info, but engaging in conversations with local stakeholders and incorporating on-theground research. When designing outdoors, our approach has to be even more humble than when working with great architecture or historical sites. Nature demands and deserves care and respect. As lighting designers, we should advocate for responsible lighting practices that benefit people while safeguarding our environment - that’s much more important than avoiding astronomical light pollution.
How did your collaboration with the Sea Turtles Group of SZN come about?
Growing up by the sea, I’ve always had a deep appreciation for aquatic life, especially sea turtles. These turtles are incredibly sensitive to artificial light, which can tragically disorient hatchlings and lead them away from the sea instead of toward it. When I moved back to Italy, I wanted to support the Stazione Zoologica Anton Dohrn (SZN), for their conservation initiatives. After volunteering with marine biologist Erica Moura to safeguard loggerhead turtle nests, she introduced me to SZN senior researchers. Sandra Hochscheid and Fulvio Maffucci engaged me for an exciting pilot project within the EU-funded programme LIFE21 TURTLENEST. Our goal is to create a scalable model that harmonises nighttime tourism with wildlife conservation, minimising ecological light pollution, and setting a precedent for similar efforts across the Mediterranean.
Do you hope that you inspire the movement to more “eco-centric lighting”?
I would be honoured if my work encourages other designers to think more deeply about the environmental impact of their projects. I hope my journey shows that it’s possible to balance creativity with a strong commitment to conservation and restoration. Rather than urging others to take on the challenge of defending various forms of fragility – whether biodiversity, or heritage materials; coexistence between species, or cultures – I’d encourage everyone to find their own calling, ideally towards a more collaborative approach to design. It’s crucial to think deeply about what truly matters - to you and to the heritage we all share and should care for. The world needs more people who are willing to challenge the status quo and prioritise the long-term health of our planet.
How can we be more conservation-minded? We need to shift from a product-oriented mindset to a solution-oriented approach. Every project is unique and requires a tailored strategy that often involves multidisciplinary collaboration. As lighting designers, we should embrace the value of darkness and design the right light at the right time. It’s about finding that sweet (dark!) spot where we can meet human needs while minimising our environmental impact. By working together - designers, scientists, conservationists, and local communities - we can create lighting solutions that enhance our world after dark without compromising its natural beauty and biodiversity. www.noctua.life
CHIARA CARUCCI
The light that becomes a sculpture
Snapshot CK.design.Lighting
MindYourStyle Showroom
Athens, Greece
Mind Your Style is a modern clothing space targeting young audiences. The 250sqm showroom features a relatively low ceiling and large openings on one side, which do not function as conventional shop windows due to their first-floor location.
The design emphasised a minimalist aesthetic with off-white and warm tones. CKDL highlighted the changing rooms as focal points with flattering lighting and ensured the space was Instagram-ready, with ample lighting for photography and videography. The lighting design included small spotlights with various beam angles on minimal ceiling tracks, providing effective illumination for clothing displays and allowing future adjustments. Concealed lighting was integrated into furniture pieces such as tables, shelves, mirrors, and the reception desk, softening the overall lighting scheme. Floor-recessed linear uplighters illuminated the white curtains of the large openings, creating a striking gradient effect. White pendant balls above the counters offered diffused lighting and acted as decorative elements, while decorative spike lights created a star-like effect among the balcony foliage. CKDL installed discreet LED spotlights on tracks with remote drivers, focusing on glare-free luminaires. Most fixtures had a high CRI of 90+ for accurate colour display. PWM flicker-free drivers were used to support social media content creation. The predominantly white and off-white interior was enhanced with 3000K luminaires, maintaining consistency, with the exception of the curtain wall, where daylight and warm uplighting created a gradient effect.
Image: Christina Avgoustidou
Since its inception in 2020, Greek design practice CK.design.Lighting has built an impressive and diverse portfolio, with projects spanning across commercial, hospitality, residential, and public spaces. Here, we look at a few recent examples from the studio’s ever-growing body of work. 1 2 3 4
Astir Marina Vouliagmeni, Greece
The Athenian Riviera is being transformed into an international destination with a cosmopolitan character, thanks to ambitious projects such as Astir Marina Vouliagmeni. The lighting design for Astir Marina combines aesthetic appeal with practical considerations. The design was shaped by several key factors: accommodating diverse uses in
outdoor spaces, ensuring the safe passage of pedestrians and vehicles, highlighting unique architectural features, protecting the privacy of guest boats, minimising disturbance and light pollution, and ultimately committing to a luxurious aesthetic outcome. The designers employed warm, subtle lighting to create a welcoming and luxurious atmosphere, enhancing the natural beauty of the marina’s surroundings. To ensure safety and convenience, they incorporated discreet, low-level illumination along pathways and docks, allowing for safe navigation without overpowering the visual experience. The buildings at the marina share a consistent architectural language while maintaining distinct hierarchies in volume and function. The façade lighting emphasises the architectural coherence by highlighting the connecting elements, ensuring a unified appearance without disrupting the visual hierarchy in the night view. Key architectural features and natural elements, such as trees and landscaped areas, are gently lit to emphasise their textures and forms. The use of energy-efficient LED technology reflects a commitment to sustainability, minimising power consumption and maintenance needs. Furthermore, the lighting is thoughtfully integrated into the environment to prevent light pollution and preserve the natural nightscape, ensuring that the design enhances the overall experience of the marina without disrupting its serene ambience.
Image: George Fakaros
Creta Maris Resort Crete, Greece
Situated along the coast of Crete, Creta Maris Resort is a luxurious haven. The resort’s lighting design plays a crucial role in creating a comfortable and welcoming atmosphere. The design subtly combines traditional Cretan elements with modern touches, enhancing both the architecture and the natural surroundings.
CKDL focused on creating a warm and inviting ambience, using soft, golden lighting throughout the resort, especially focusing on amenities such as the bars, restaurants, reception and lounges. This choice of lighting
gives the space a serene and relaxed feel, making guests feel instantly comfortable. The lighting gently highlights the resort’s unique features, such as the traditional whitewashed walls and stone details, as well as the lush gardens and pathways.
The resort’s extensive outdoor areas are a major focus of the lighting design. CKDL used a mix of façade lights and landscape lighting to create a peaceful atmosphere.
The soft blue glow of the pools provides a calm and tranquil setting. Discreet landscape lights illuminate the palm trees and plants, subtly enhancing the beauty of the gardens without being too overpowering.
Image: Sergei Nekrasov
Pedestrian Footbridge
Athens, Greece
CKDL is collaborating with TTA Consulting Engineers and ARKGLL Architects on the lighting design for a pedestrian bridge within a prestigious Athens riviera project. This bridge will provide safe and comfortable passage over a busy avenue and the tram service, and the design aims to enhance the experience of crossing this urban barrier, transforming it into an enjoyable journey.
The lighting design concept respects the architectural and functional requirements set by the surrounding high-profile developments.
On one side, the bridge will connect directly to the main lobby of the commercial building, while on the opposite side, it will land in a garden area designed for inclusive access, accommodating all users, including those with mobility and visual impairments. CKDL’s proposals focus on harmonising technical, social, and aesthetic aspects, reflecting the core values of the project: safety, inclusiveness, sustainability, comfort, transparency, durability, cost-effectiveness, and innovation.
The lighting will also contribute to the bridge’s aesthetic appeal, creating a discreet yet purposeful landmark. The final lighting design will blend seamlessly with the overall architectural vision, offering an efficient and sustainable solution that enhances the urban landscape.
Image: ARKGLL Architects
Despite its relatively recent inception in 2020, CKDL (CK. design.Lighting) has already been involved in a number of high-profile projects, showcasing their rapid rise in the field. The firm was founded by Katerina Chanioti and Chloe Kazamia, both of whom bring more than 15 years of experience in lighting design. This wealth of expertise is evident in the firm’s portfolio, which spans residential, commercial, hospitality, and public spaces.
CKDL is known for its innovative and creative approach, combining aesthetic appeal with practical functionality. The firm’s work is meticulously detailed, from the selection of fixtures and materials to the strategic lighting placement that enhances architectural features and sets the desired ambience.
Their involvement in prestigious developments in Athens and abroad, highlights their capability to handle complex lighting challenges. CKDL’s work not only transforms spaces but also elevates the experience of those who interact with them, demonstrating a blend of visionary design and technical expertise. www.ckdesignlighting.com
Disruptia
Following its debut event in Mexico last year, Light Collective brought its “festival of disruption” to London this October, hoping to inspire its audience, and start new conversations on the future of the lighting profession.
What does it mean to be truly disruptive in the lighting industry? This is a question that Light Collective asked of the design community at Disruptia, its very own “festival of disruption”. Held at One Friendly Place in Deptford (itself an act of disruption!), the one-day event looked to challenge the norms of lighting events and, as Martin Lupton said in his opening remarks, was a way to “gather the smartest minds in the world of tech and innovation with the smartest people in lighting, put them in a room, and get conversations going”.
The event was split between a series of “Inspiration” presentations on lighting-adjacent subjects, such as the dawn of new tech, VFX, and visual pollution, and “Conversations”, where attendees could meet with designers, engage with installations, or learn more about new, emerging technology in lighting.
Opening the event was an Inspirations session from Ghislaine Boddington, artist, curator, and host of the Fast Forward podcast series. Her talk, a mind-bending discussion titled Illuminating the Living Body: From Shadows to Sentience, explored the role of light in influencing our sensory and cognitive processes, how today’s lighting technology is transforming public spaces, immersive environments, and even our digital identity, with a glimpse into the future of human experience. Harnessing her background in dance, she discussed the “immersion world” – spaces like cathedrals and nightclubs that are designed to enhance our senses, before delving into the theory of ‘Telepresence”, and the eventual merging of physical and virtual worlds. A fascinating exploration into what may be possible in the future – and an intense way to kick off proceedings.
The second “Inspiration” talk came from Tom McLoughlin of Territory Studios, who discussed the interplay between design, fiction, and reality, examining how imagined worlds can challenge our perceptions and inspire solutions. Using examples from his work in digital art, concept designs, and science fiction films, McLoughlin demonstrated how otherworldly, forward-thinking and imaginative
design for works of fiction can actually inspire real-world development, bridging the gap between fiction and reality.
Up next, MTArt Agency founder Marine Tanguy gave an incendiary talk on the power of visual literacy, and the harm that “visual pollution” and over-exposure to large-scale screen advertising can bring. In her session, she discussed the links between the overexposure to high levels of commercial imagery and lower wellbeing, contrasting with an improved wellbeing when exposed to the arts. Citing her book, The Visual Detox, Tanguy called for the need to build an inclusive visual world, and how, in times of visual cognitive overload, we can train our eyes to challenge what we see daily. As someone who regularly travels through London Euston train station and has to see the monstrous advertising screen that spans across its entire interior, there was definitely a lot to personally take away from this talk. The final Inspirations talk came from German light art extraordinaire Christopher Bauder, who wowed the audience with some recent examples of his amazing, immersive creations. Throughout his career, Bauder has become well-known for fusing light with music in ephemeral, encompassing performances that transport viewers into a parallel world of space, light, and sound. In a free-flowing presentation, Bauder shared some behind the scenes insights from two of his latest works –Vektor, in Berlin, and Dialogue, created for Noor Riyadh 2023.
Interspersed within the Inspiration talks were a series of “Conversation” sessions. Occupying 13 different spaces across three floors, the format of these varied from interactive installations to demonstrations of new tech in lighting, to guided meditations, where lighting plays a key role. Lighting design studio Artin Light partnered with LEDFlex, creating a scenario in which visitors could create their own lighting installation in the main talks space of the venue, experimenting with form and colour to create unique scenarios. Elsewhere, WSP and Ayrton collaborated on Light Beam, an immersive artwork that merged cinema, sculpture,
drawing, and sound. Guests could play with mirrors and three-dimensional beams of light to sculpt their own beautiful creations.
Merging light art and AI, Daniel Green of Into Lighting and Digital Gyoza teamed up with formalighting for Light P{AI}nting, exploring the crossover from virtual to physical with a specially developed interaction between formalighting’s latest range of moving lights, and realtime image generation using the Krea.AI system.
Demonstrating how new technology could shape the future of lighting design, tools such as VR, AR, content engines, intelligent sensors, and even video games were examined, in conversations with Juan Ferrari and Karam Bhamra of Hoare Lea; Claude Dutson of the Royal College of Art; Sarah Cox of Neutral Human; and James Simpson of Copper Candle.
There were further demonstrations from creative minds like Frankie Boyle, Tapio Rosenius, and Moritz Waldemeyer, who each shared their own takes on the future of art, light and design. Pixmob
also demonstrated how its wireless LED technology can create immersive lighting experiences synced with music. Elsewhere, in a much-needed change of pace after seeing so much disruptive innovation, Kai Diederichsen and Magali Mendez slowed things down with a meditation looking to unlock emotional awareness through coloured coded light; and Maria Vera and Viviana Caro explored the notion of “Neuromance” with a beautiful installation that intertwined light and sound that sought to examine how humans experience light as both an aesthetic and sensory phenomenon.
As the event drew to a close, guests were treated to complementary tacos and tequila – a truly disruptive way to end an event – and sent into the night full of inspiration and disruptive thoughts for the future of the industry.
Disruptia was created by Light Collective, with support from Ayrton, formalighting, LEDFlex, and Light House. www.lightcollective.net
Images: LEDFlex, Juan Ferrari, Light Collective, Sacha Abizadeh, formalighting
[d]arc sessions
This September, [d]arc media brought its popular networking and specifying event to Phuket, Thailand, for the debut edition of [d]arc sessions Asia. [d]arc media editor Sarah Cullen was at Le Méridien Phuket Beach, and reports on a successful event.
This year marked [d]arc media’s first venture across to the tropics of Thailand for the inaugural [d]arc sessions Asia, located at the beautiful Le Méridien Phuket Beach Resort.
Situated a short drive from the infamous hustle and bustle of Patong (more on that later), Le Méridien is a contrasting tranquil destination sat on the shores of the warm Andaman Sea.
Following the success of the previous six editions of our exclusive networking event, the seventh [d]arc sessions did not disappoint. With suppliers and specifiers traveling from far and wide to the Thai island, this event was positively buzzing with new connections being formed and old friends reuniting. This September, a total of 120 delegates came together to exchange product designs and projects for specifying from across Asia, the Middle East, Australia, and New Zealand. Across the three days, the event followed its usual format of interspersing its speed datingstyle meetings between lighting designers, interior designers, and architects with suppliers, with informal panel discussions where audience members were encouraged to participate and
share thoughts and questions with the room. Topics for these sustenance sessions included “Justifying the cost of high-end European fixtures in a client centric design in Asia: The challenges of justifying the high cost of light fixtures from prestigious brands in a market increasingly dominated by budget-conscious clients” with panellists Maneck Tandon, ATPL Architects; Courtney Mark, Studio Mark; Regina Santos, Lightfusion, and David Skelley, DJCoalition. Secondly was “The impact of international partnerships and global standards on lighting design in Asia: The challenges and opportunities of aligning with international norms and studios while respecting regional differences”, with panellists Amornrit Pituck, Gooodlux; Said Sawaf, Umaya; Surbhi Jindal, Da Light Hub, and Momena Saleem, Worktecht. And thirdly, “Tackling light pollution in Asia: The role of lighting designers in urban and public illumination”, with panellists Yusuke Hattori, Ambiguous; Mohannad Al-Salkhadi; Cyril Lamy, Scenolight Atelier, and Jinkie De Jesus, Light Plan Inc.
The Keynote session was delivered by Eugenia Cheng of LightOrigin Studio. She discussed her fascinating project, the Artifact Bar in Hong Kong, which won the Best of the Best award at the 2023 [d]arc awards. The unique hospitality venue brought many challenges with it, such as very low ceilings and no natural daylight.
Cheng and her team worked closely with the project’s interior designers NC Design + Architecture and leant into the space’s cave-like atmosphere to create contrasting and dynamic lighting effects.
At the end of each day’s intense yet productive meetings, delegates had time to recoup by the poolside or soak up the evening sun on the resort’s white, sandy beach. Then, everyone gathered to continue conversations and networking across the evening meals and drinks receptions, set in picturesque locations across the resort.
The final evening was spent at the beautiful Fuga beach club and restaurant in Patong, where guests were treated to a spectacular fire art show and even had the opportunity to dabble in the flames themselves.
As the buses arrived to shuttle guests back to the hotel, there was an optional stop half way at Bangla Road, for those who wanted one final hurrah in the clubbing district. Although the first bus continued past the party streets and headed home, the party spirit had not gone to bed just yet, as we were treated to a karaoke rendition of A Whole New World by Nicholas Ong-Lewis of Delta Light, which got (almost) all of the passengers singing their Disney hearts out together. Video evidence is out there, for those that want to see…
The next [d]arc sessions events have been announced for Europe 6 - 9 May 2025 at the Melia Hotel, Ibiza, and Asia 14 - 17 October 2025 at the Pelangi Beach Resort + Spa Langkawi, Malaysia. www.darcsessions.com
Hotel,
Beach Resort + Spa,
The next session:
| 6th - 9th May 2025
| 14th - 17th October 2025
Melia
Ibiza
Pelangi
Langkawi
Marina Mall Abu Dhabi, UAE
The multifaceted retail site of Marina Mall, located on Abu Dhabi’s Al Marina Island, has been given a dramatic façade lighting scheme from Nulty.
The scheme, which also incorporates interior spaces of the newly refurbished luxury area, blends in with the architecture to transform the mall into a luminous landmark. A dancing façade featuring dynamic lighting elevates the prominence of the building after dark, and is supported by an elegant composition of light across the public spaces, designed to bring ambience, harmony, and permeability to the experience.
The main focal point of the exterior lighting scheme is the front façade of the luxury entrance, where a rhythmic sequence of light draws the gaze to the triangular geometry of the architecture. Individually addressable LEDs were concealed within the perforated surface, then programmed to produce a mesmerising visual display. Nulty worked closely with Huda Lighting to produce the seamlessly integrated solution, which preserves the decorative architecture during the daytime, then activates the façade as the entertainment areas and F&B outlets come to life.
The distinctive triangular façade design was accentuated using LEDFlex’s Ultimo Neon 16 Silicone Pixel – its IP68 rating offering longevity and resilience against harsh outdoor conditions. At the entranceway to the mall, low-level lighting was used to reinforce a sense of warmth and sanctuary. Integrated linear profiles form a soft glow along the steps leading up to the threshold, turning both routes into an intuitive wayfinding solution. Subdued lighting was then placed around the perimeter of a decorative
water feature, creating a dark pool that reflects the outline of the façade.
In the gardens surrounding the mall, the goal was to accent the hardscape elements to guide users through the space. Human-scale illumination, in the form of recessed wall lights and diffuse lines of light, provides directional lighting along the steps, the spike lights in trees and low-glare bollard and marker fixtures highlight the walkways.
Inside the mall, soft lines of light complement the luxurious material palette and provide ambient illumination along the circulation routes. The centrepiece of the scheme is the bespoke artwork piece that floats above the central atrium in the jewellery corridor. Here, architectural light was used to animate the feature and simulate the depth and movement of daylight. Projectors positioned in the skylight above the installation bounce light onto the piece’s unfurling metallic leaves, and cast intricate patterns of light and shadow across the floor beneath.
In addition to the façade, LEDFlex addressed other exterior elements; the mall’s stairway is illuminated with Ultimo Neon 10 SV, enhancing spatial definition and safety. The exterior water feature was further integrated with Ultimo Neon Maxi, transforming it into a captivating visual centrepiece that complements the mall’s architectural design.
The revitalised exterior lighting of Marina Mall not only creates a spectacular first impression, but also reinforces the mall’s status as a modern and vibrant destination. www.nultylighting.co.uk
“Lighting designers have the tools and the power to create magic, I think we are entering the era of lighting design.”
Eleftheria Deko
arc sits down with four-time [d]arc award winner Eleftheria Deko to talk about her inspiring journey from dance school, to some of the biggest lighting projects in Greece, and the obstacles she overcame to become a pioneer for the Greek lighting design community.
As the international lighting design community continues to grow, we have over the years seen the emergence of some thriving scenes – regions or nations where the profession is progressing at a rapid rate, producing a strong collection of designers. One such region is in Greece, where the balmy climate and beautiful, classic architecture has inspired many to take up lighting design. However, it wasn’t always this way.
“If you are a pioneer, you scratch your feet, because there is no path. And there was no path in Greece back then for me.”
So says the acclaimed, multi-[d]arc award winning Eleftheria Deko, who led the way in bringing lighting design, as a recognised profession, to Greece, crafting an extensive portfolio of work that spans the stage, artistic installations, and architectural lighting design since the early 90s.
Her introduction to lighting design, as with many designers around the world, was through the theatre. However, in the very early days, she was in front of the lights, rather than behind them.
“My background was in dance, I was dancing from five years old,” she recalls. “I love dance, it’s a unique way of artistic expression. I grew up in the dance world, thinking that I would become a dancer, a choreographer.
“But I was always fascinated by the backstage, and the magic of lighting, even the fixtures themselves, and the “blinding” effect of the light – when you are on stage, you are bathed with light. This feeling helped also my shyness as I was nervous on stage, and with the front spotlights, I couldn’t see the audience directly, which helped my stage anxiety. So, my first reaction to lighting was being the subject of it, and dancing with it.”
This love of dance was combined with a growing interest in photography when, on her 12th birthday, Deko was given a camera by her father. “It was a new world for me to see things in frame, and very carefully to choose the framing. If I look back at some of these first photographs, it is very interesting to see that I liked to shoot shadows and shades of buildings. As a lighting designer now I like the playful duet of light and shadow. My moto is: music without pauses is unbearable, so is lighting without darkness’.”
The final thing that Deko feels influenced her “on a subconscious level”, was her hometown. “I come from a Cycladic Island, and the light there is very ‘crispy’. I don’t know the word in English, but to me, it is something that you can touch; you can even munch the light. Its reflections, the shadows, the hues of sunlight on Cycladic nature and the traditional architecture, for me, it is magical. As a child, I was playing in the fields of Tinos Island, and I remember the shadow ‘painting’ on the sand and the reflections of the beautiful shiny stone that this island is known for.
“These, together with my love and studies in Art History influenced the way that I see light, and how deeply inside me these things have been absorbed, in a way they come out afterwards. But I never thought of lighting design as a profession.”
And so, after graduating from the school of Philosophy in Athens and having a diploma as a
dance professor, Deko packed her bags and left for New York, where she first studied performance –chorography at New York University. But even here, lighting had already begun to take hold.
“On the Master’s programme, there was an elective module on lighting design. This was the first that I took – before dance, before anything, the first module I enrolled in was lighting design. This was because I wanted to do the lighting for my choreographies, I didn’t know then that this first urge meant to bring me to my life’s vocation.”
So impressed was she by lighting, that Deko started a two-year programme on lighting design at Alwin Nikolais school alongside her Master’s degree, and was asked by the course leader to do her thesis on lighting. She adds: “Although I was there for dance, everything was lighting design. If I was asked if I, myself, made the decision to change to lighting design, I would say that life made the decision for me.”
With further encouragement from the university faculty, Deko landed more lighting roles with dance companies in New York, including the Blue Mercury co. from the Alvin Ailey American Dance Theater – an intense experience, as Deko recalls.
“Blue Mercury came to give a performance at NYU theater and our professor at the time was getting married and moving to California. The chairman, instead of hiring someone else, trusted me, and asked if I would do the lighting, and without a second thought I said ‘yes, of course, it’s a professional dance company’. I had no money to pay for technical crew, so I had to hang and focus 180 lights all by myself, working from 7am until 4am the next morning for a week, going home to shower, and take a one hour power nap. But I did it, and I did it well.”
The following year, Deko was asked to teach at NYU – a testament to her work lighting the performances – and started doing lighting for other dance companies that were graduating from the university. “I was very good and quick because as a dancer I knew very well how to write the lighting cue notes, and so on.”
She then landed a role as Technical Director and in-house lighting designer at the highly reputed HT Chen and Dancers company. However, a change in personal circumstances meant that in the early 90s, Deko moved back to Greece, where she found herself caught in a strange sense of limbo. “It
“When I came back to Greece in 1992, it was only male electricians. I had to behave in a certain way, dress in a certain way, and in the beginning, I wasn’t respected, they were saying ‘this young girl will not tell us what to do’.”
The Acropolis of Athens and Monuments, Athens, Greece, 2020 (Image: Gavriil Papadiotis)
was very strange for me coming back to Greece, because people didn’t trust me as a lighting designer, but they didn’t approach me as a dancer either, but by then, I was a lighting designer, not a dancer anymore.”
In fact, Deko’s first jobs back on home soil came through connections that she had made in New York, when a US-based company asked her to work on a performance for the Summer Festival of Modern Dance in Crete. This, however, was the spark that lit the flame, with Deko fast building her reputation in the stage lighting world and working steadily throughout the 90s, eventually leading to her establishing her own practice, Eleftheria Deko & Associates, in 2001, just as a major opportunity came calling – the Olympic Games Athens 2004.
“I was approached by the director of the opening ceremony, and he asked me to be a part of the creative team that was realising the scenario that he had in his mind, and he asked me if I would like to do the lighting as well. My first thought was positive, although it was a huge show! At the time,
the ceremony’s scenario was broken down into four sections, and I thought of having four lighting designers – one for each section, each with their own style.
“I wanted to bring in Luc Lafortune, lighting designer of Cirque du Soleil, [television lighting designer] Robert Dickinson, Durham Marenghi, and myself. In the end, it came down to myself and Robert Dickinson, as at the time, he had the experience of working on big events like this, he did the Atlanta Olympic Games, and also working with television cameras. This was another important factor to consider – the lighting might have looked good for the eyes in the stadium, but it had to look good for television as well, for the 5 billion TV audience. Especially with the cameras at the time, as they were not digital yet; you had to sacrifice either your warm colour hues of reds, oranges, yellows, or sacrifice the cooler colour hues of blue, turquoise, etc. We gave priority to the blues because of the Aegean Sea and the Greek sky.”
While Deko was working prolifically in theatres across Greece prior to the Olympic Games (by 2002, she had done 350 shows), she had also started to show an interest in the architectural field, visiting trade shows such as Lightfair in the US, Euroluce, and Light+Building, to see how the two worlds were coalescing.
“I always liked interior design, and I was going to these trade shows for inspiration for theatrical lighting, but also to see the architectural lighting evolution. I was very lucky, because it was the period that theatrical stage lighting and architectural lighting were starting to shake hands, LEDs were just appearing and shaping the beam, colour, were making their presence in architectural fixtures.
“I remember looking at a new outdoor fixture of iGuzzini that was shaping the beam, with a strong lens and shutters, and I liked how architecture was starting to borrow elements from the theatre. DMX and smart dimming were also emerging in the architectural world, and these were things that I knew very well, they were my tools in creating scenes in theatre.”
Deko recalls one of her early ventures into architectural lighting, when she was approached by a hotelier in northern Athens to create “something more theatrical” for the hotel lobby – a project that further springboarded her into the architectural sphere.
“When I was asked to do the lobby, I created a nice atmosphere by using lights from outside coming through the windows where we had to customise the fixtures to avoid glare. Everybody was fascinated, and following this, I was asked to do the showroom of a furniture store, then iGuzzini’s distributors in Greece approached me to teach my concept behind lighting design in theatre, in order to give to designers inspiration to think of lighting in a different way. Sharing is so inspiring for both sides and to me, it is very boring to do the same thing repetitively.
“From working in performing arts lighting, I knew the interesting things you could do with shaping, colour, dimming; these elements could give a
“As a lighting designer, I like the playful duet of light and shadow. My motto is: ‘music without pauses is unbearable, so is lighting without darkness’.”
different atmosphere, a different touch than a beautiful chandelier in the middle of a room.
“I always thought that the power of lighting is not only to make things visible or being comfortable in sight; the power of lighting is more. It can create magic. We knew it very well in stage lighting, so I thought ‘why not in architectural lighting as well?’”
As more architectural lighting projects came to Deko, so did more teaching opportunities. After her work on the Olympic Games, she was approached by the theatre department at Aristotle University of Thessaloniki’s School of Fine Arts. As a faculty member she taught stage lighting for 14 years (2005-2019), and considers her time teaching the next generation here as “one of my greatest achievements”.
“I also taught lighting in the architectural department of the Open University for two years. I hope I have influenced the new generation of lighting designers to go beyond what they already know, to go beyond what is given to them and create the need for new lighting fixtures, new ways of control, but more, the new philosophy, new thinking of lighting and its impact.”
One of the core facets of her teaching was what she calls the “Seven Notes of Lighting”, seven qualities that are the same across stage and architectural lighting. These include: intensity, direction, diffusion, colour, rhythm and movement, shaping, and light objects. “Like in music, with seven notes, you can create endless music and songs, so too with the combination of these seven elements, you can create endless lighting cues for architecture or for stage.”
Indeed, these seven tenets form a key part of Deko’s design approach, however before even considering these, she takes a broader view, tries to empty her preconceptions, her mind, and look anew at every project and how lighting can “create a dialogue” with the space or building.
“I believe that the architecture is the protagonist, and lighting should accommodate, highlight it. Lighting should not impose, it should respect architecture and highlight its elements. It’s the same in theatre. A lighting designer should not show off and add more than necessary just for the image, they should always decide with respect to the architecture or to the play, and with measure. “What I start from is the play, if it is stage lighting, or the building itself in architecture. I let the building or scenography speak; some are more photogenic, some are not – and these make the work of a lighting designer more difficult – but I think respect, observation, simplicity, and a less-ismore approach is best to start with. Together with the team, we brainstorm on ideas until we come up with something that is fulfilling to our minds, then we apply the seven elements, right position for direction, intensity, colour temperature, diffusion etc. and we develop the design. This way, projects do not look like each other, and the lighting is created specifically for each project, not ‘to our style’. When the lighting of a building has such mentality behind it, it breathes beautifully at night.”
However, by taking a more “restrained” approach and focusing only on what is needed, rather than adding more than necessary, Deko adds that she can sometimes get into conflicts with clients, leading to some difficult decisions.
“If there is something that the client wants, and if it is in contrast with our philosophy, what I call our ‘ethics of aesthetics’, if it is fighting with our principles, I just ask the client to consider again if they want our studio to do the design. I’m very polite and honest, and I respect the desire of the clients, but if it’s opposite to our principles, we don’t want to continue on undertaking that collaboration.”
Difficult conversations to have with clients, but this is something that Deko is no stranger to, having had to fight for a seat at the table when she first started out in lighting design.
She discusses the battles that came with being the only woman in a male-dominated field: “When I came back to Greece in 1992, there were only male electricians and directors of photography. I had to behave in a certain way, dress in a certain way, and in the beginning, I wasn’t respected as a lighting designer, they were saying ‘this young girl will not tell us what to do’. There was a moment when the electricians told to the artistic director of the national theatre, ‘if you bring her here to do the lighting, we will go on strike’.
“Another time they came to me and said, ‘I cannot pay you as a lighting designer, but if you pretend to be the assistant of the set designer, I could’. I had to say ‘I’m sorry, I am a lighting designer. I can help the set designer and the director, with no payment, but I will not sign as a different person than I am’.
“There were many difficult moments – I often got called a male name, not my name – but what brought me through is my humour. I would walk into the theatre and say to the guys, ‘good morning, ladies!’ And soon the ice broke.’
“I never stopped, nothing put me down. I said, ‘it’s their problem not mine’. My passion is my
MANNA Hotel, Arcadia, Greece, 2023 (Image: Gavriil Papadiotis)
work. I do my best, and I always treat everybody with respect and a smile, in the theatre, on the construction site, I have the same respect for the owner, the architect, the electrician, the person who cleans the floor. For me, this is a very important.
Very soon I gained respect from all, both men and women in both fields. Today there are more women lighting designers in Greece than men.
This is a kind of revenge.”
Indeed, the level of work that Deko has consistently produced throughout her career, including not just the Olympic Games opening ceremony, but the incredible lighting of one of Greece’s most important landmarks, the Acropolis, has seen her gain worldwide recognition, especially from the design community – she has four [d]arc awards to her name, including three in one year for the Acropolis project. It is this recognition, that she feels holds most weight.
“With the Olympic Games and the Acropolis, I feel very blessed, and very lucky, to have two of these globally recognised projects in one lifetime – I can retire now.
“If you are the first who did something, you have nobody to share what you have gone through. You stay with it, keep it inside and you move on to the next day. To have this recognition from colleagues, it is very moving. It is like an embrace from your artistic family, your professional family. It is important to get recognition from your clients, of course, but the recognition of people who know the work is really beautiful and uplifting.”
Across her many accolades though, Deko has
always remained humble, treating each award as recognition for her home country. “The first international award that my team and I received was the Emmy for the Opening Ceremony of 2004 Olympics. I was honoured to give the acceptance speech, and for me, this award was a moment that was for all of Greece. It was not me holding it, it was all Greeks. It was also elevating the level of Greek lighting design.
“Every achievement, if it’s an award, praise, recognition anything, it’s not for the individual, otherwise it becomes egoistic. It is for the team. I am who I am because of my team. I got here because of my parents, my teachers, my colleagues, my path, so these trophies award everybody’s efforts.”
As for the “next day”, Deko is showing no signs of slowing down. Although she admits that she feels very “fulfilled”, there is still a “flame and a passion about good lighting” that burns bright inside her.
As a studio, Eleftheria Deko & Associates has a broad array of projects currently in the works –many of which following a similar theme to her award-winning work on the Acropolis, which taps into her ongoing fascination with Ancient Greek history and culture. “The inauguration of the Temple of Poseidon in Sounion took place in September. We are also working on the Temple of the Goddess Aphaia in Aegina. These temples, along with the Acropolis, if you place their precise location on a map, create a perfect isosceles triangle – the Ancient Greek metaphysics is amazing to me, I wonder how they managed to choose these locations 2,500 years ago.
Deep Time, Louis Vuitton High Jewellery Collection, Live Show, Athens, Greece, 2023 (Image: Julian Mommert)
TANA Nano 3
Miniature shelving edge profile with integral anti‑glare LED shield and diffused cover
“One of my great passions for lighting is heritage, museums and ancient monuments. With these projects I go back to school again.”
“In school I liked ancient Greek history and philosophy very much. My godfather was one the most famous archaeologists in Greece, and because of our close relation, everybody thought that I would become a scientist, an archaeologist just like him. But I was more artistic as a person,
although he still inspired me with his wisdom.
“Hopefully another two monuments will have been completed by the end of 2025 – one is the Dikteon Cave in Crete, which in mythology was the birthplace of Zeus, and the other is the fortress of Acrocorinth at the ancient city of Corinth, as well as the new archaeological museum of Cyprus.”
And Deko is hopeful that she can continue to be an inspiration for the younger generation of designers emerging in the industry. While she may have left her former teaching roles, she has other plans in mind that she hopes will inspire.
“Not that I feel old, but when we grow older, we have to give space to new people, younger people to express themselves – I’m trying to give more opportunities to the younger people on my team.
“I also feel the time has come to write. I would like to write a book, not about my technique on lighting, but about my philosophy and approach, as if it might inspire someone. By writing it down,
I can take the big message and focus it down on pages.”
As for the future of lighting design, Deko has high expectations for where the profession will go, and how it will be perceived by the wider design sphere.
“I think that lighting design is becoming a very, very attractive profession. Lighting designers have the tools and the power to create magic, and I think we are entering the great era of lighting design. Obviously working together with architects and interior designers, but I think lighting design will be recognised for the impact it has independently. Lighting is evolving very fast in a fascinating way!
“In Greece we have an expression, ‘Pan Metron Ariston’, which means ‘everything in measure is perfect’. So, I think in this new era of lighting, with all this speedy evolution in technology, we should let the Greek proverb about measure be our guide.”
www.edeko.gr
An in-depth report on Deko’s work on the Acropolis can be found in arc 119, available to view on the arc magazine website.
Behind the scenes at the Acropolis, 2020 (Image: Gavriil Papadiotis)
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Commision: Are you Breaking the Law?
In this issue, Marcus Steffen broaches the issue of commission, providing some clarity on the process, and how to ensure that what you are doing is both ethical and legal.
How money is made and who is profiting is almost seen as a dark art within construction. There are always stories floating around about extra money made, people getting a cut and who is making what. With this article I want to try and demystify how this works, so that we can all achieve the ultimate goal: having a project delivered on time, on budget, that the client is happy with.
Our industry is young and growing fast, so it is essential we do not allow bad practices to mire our industry in controversy.
I have always believed that it is best to make things as clear as possible and allow clients to make an informed choice with expert advice. Within lighting, lighting designers, architects, and interior designers are often the ones who are providing that expert advice. As we all know, lighting is extremely complex and projects benefit immensely from having an expert coordinate it from the very start. Clients need to be able to trust that the advice they’re getting is in their best interests. This is where the issue of commissions often pops up and can cause significant issues, and even constitute breaking the law.
For full disclosure, I run two companies: MS Lighting Design, which I started 10 years ago; and Ember Lighting, which I started with a business partner approximately seven years ago. MS Lighting Design provides only lighting design services, whereas Ember provides specification and supply services. This, along with 20 years in the industry, means I have seen many sides of the supply chain and how it functions.
What is commission?
Commission for lighting designers can fall into two general areas: commission paid to people recommending you/your company for a project or to a client, and charging commission from suppliers that you/your company has specified on a project. To be clear, the payment of commission is not illegal in itself, as long as the client is aware that this relationship is present. Commissions might take the form of a lump sum or a percentage.
In other industries, this is how businesses might normally function. For example, mortgage brokers charge a commission, and when you have your mortgage agreed with the provider, it will show on there the commission paid to the mortgage broker.
UK Bribery Act 2010
I am discussing the UK in this article, though similar legislation is likely to exist in other countries. I would also say that I am not a legal expert, and am not able to provide legal advice, so you should seek this yourself. The Bribery Act 2010 covers what is relevant here. This is a simple summary:
“[It is] …an offence for a person to offer, promise or give a financial or other advantage to another person….where [that person] knows or believes that the acceptance of the advantage offered, promised or given in itself constitutes the improper performance of a relevant function or activity… ‘Improper performance’ …means performance which amounts to a breach of an expectation that a person will act in good faith, impartially, or in accordance with a position of trust.”
The key point here is if a person is providing advice with an expectation of impartiality, but they are receiving or giving payments to other parties.
Relevance to lighting design
In the lighting design industry, we could be either party. We could be a supplier, providing our design services on the recommendation of a project manager or interior designer, while they are asking for a commission from us to be recommended. We could also be the expert providing advice to the client, while receiving commission from the suppliers. In some cases, commission could be viewed not as a monetary payment, but other benefits, such as gifts and entertainment.
Different legal business approaches
In some cases, commission is just greed, with parties wanting to make more money from a project. Often though, there may be legitimate work and expense being carried out by the expert,
COMMENT
MARCUS STEFFEN
for which they feel they are entitled to some sort of restitution. There are a number of legal ways of ensuring this work is covered without resorting to kickbacks:
Agreed percentage based on the entire value of the project: This is often the method used by architects for pricing their projects. This will involve having a set budget for the overall size of the project, and then portions of this are allocated to each design and construction phase. This could form part of an overall lighting design fee, or it could be used just for the construction element of the project. This can vary depending on the sector the project is in and the size, but is a way to cover expanding scope within a project. This fee can then cover the work involved in managing the supply of items or coordinating other parties.
Supply management fee: This is a common method used by interior designers who have clients who want to purchase directly from suppliers. They would charge their interior design fees, but when it comes to supply, they seek quotes from the suppliers, these are checked, given to the client to pay, and the interior designer charges a flat percentage on top. This fee is often in the range of 10-20%, and negotiated with the interior designer as part of their contract. They will take on some responsibility for errors in the supply since they are checking the quotes before the client purchases the items.
Hourly rate: An hourly rate could be agreed with the client to cover work involved in the organisation of the supply of products. This is dependent on the client and can be challenging since costs are not known before the project starts, making clients wary. It might be the only way to provide services on a bespoke, custom project though.
Unforseen commission - declaration: in some cases a supplier offers some sort of commission to a designer. In these cases, it could be declared to the client that this offer has been made, and then ask what they would like to do with it. Most clients would take the extra saving, but in some cases they may be happy to leave it with the designer.
“As we all know, lighting is extremely complex and projects benefit immensely from having an expert coordinate it from the very start. Clients need to be able to trust that the advice they are getting is in their best interests.”
Full supply: Some lighting designers provide both lighting design and supply services under one roof. In this case, it should be declared to clients before hand if it is not possible for the client to then source the goods themselves (i.e. manufacturer specification is not being provided as part of the design service or quotes are locked to the designer).
Gifts and entertainment
The issue of gifts and entertainment is a bit of a grey area. A lot of suppliers might offer a lunch alongside explaining products, or a trip to the factory to see how they are made. They might offer free samples to a specifier. But these can form an essential part of expanding expert knowledge and design skills. Seeing how products are made can give designers greater understanding of how they work, and learning about the unique benefits of products can benefit clients. How this is approached and ensuring that they do not breach the bribery act is important. They should not be tied to any sort of performance target or expectation for specifying products on projects. A designer could also make it visible to clients via social media and discussions that they have participated in a trip with a supplier. For this, it requires common sense and a good sense of ethics to navigate. It is also important to put in place policies with staff explaining what activities are and are not ok to engage in.
The focus should be on the client’s outcomes
All of this is leading to one result: ensuring the client has a good outcome on their project, and they have full confidence in their experts. It is important that we as an industry encourage and enforce good practice, and we do not engage in these terrible practices that have plagued construction for many years.
www.mslightingdesign.co.uk
My Friend the Tunnel Sydney, Australia
My Friend the Tunnel is a light and sound art creation from Electrolight, adorning the Muru Giligu pedestrian link tunnel. The Sydney Metro Martin Place development sits as the primary station for the new metro trains network. The underground Metro station is split between the North and South concourses, linked together by a variety of connections at both the ground plane and deep within the basement levels. One of these connections includes a 70-metre-long pedestrian link tunnel bored through the rock, constructed initially as a services link.
Grimshaw Architects imagined the tunnel as more than just a services link, proposing a public pedestrian link that provides a faster option between the North and South concourses. The length and clean circular form of the tunnel presented a rare opportunity for a lighting installation, and Electrolight was approached to create a lighting concept.
The lighting concept proposed two layers of light, paired together with a series of audio soundscapes, providing an immersive experience through this unique space. The lower layer is a subtle white ‘carpet’ of light to satisfy the technical requirements of this public corridor –delivered in a way that would avoid any impact on the remaining surfaces above. The second layer was to transform the upper cylindrical form of the tunnel into a dynamic light canvas, which worked both with the three-dimensional form and the raw concrete textures of the space.
The introduction of two bench elements allows the concealment of continuous linear LED projectors to create a succinct layer of light to the floor plane. Above, two mirrored side ‘booms’ provide the perfect vehicle to conceal the dynamic lighting and audio systems – while a central boom carries the proximity sensors and essential services. Using continuous LED projectors and linear lensing technology, together with a combination of RGB and Amber sources, the walls and soffit are washed with uninterrupted light. Using DMX drivers driven by a central theatre control platform with PIR proximity sensing, the linear sources provide addressable and pixelated mapping throughout the tunnel which can be programmed to provide an interactive experience for the public.
The final step of the design was to detail the mapping, scenes and time-schedules to bring the space to life, as well as pair up the themed visual experiences with a series of original audio tracks to enhance each individual scene. Electrolight appointed Xenian iion’s Creative Director and Programmer David Hayes and sound artist Otto Reitano to collaborate on bringing the concept to reality. The result is a 24-hour series of ‘events’ that offer visitors a unique format every time they move through the space.
The combination of light, colour, sound and live interactivity create an escape from the bustle of the adjacent platforms with an unexpected space of wonder, imagination and art.
Each day, a series of choreographed scenes provide an immersive and interactive experience that, via randomised selection and real-time location proximity triggers, presents a unique narrative each time visitors move through the tunnel.
The 24-hour light and sound installation draws from the site’s heritage and recent evolution into a space seemingly removed from the dayto-day environment of the Sydney CBD above.
The tunnels’ unique physical form and scale create an absorbing visual connection with its visitors, where light transforms geometry and perception. The works’ schedule of light compositions transition from morning to night via a randomised algorithm, paired with a series of trigger scenes that track individual movement through the length of the tunnel – connecting visitors to their own personalised ‘companions’ of light and shadow.
As visitor proximity shifts throughout the day, the tunnel responds like a living organism, transitioning between environments that resonate with Sydney’s distinctive locale and character. At sunrise and sunset, the tunnel responds with it’s own rendition of the sky above, accompanied by the ambient score.
The soundscape layers a series of original ethereal and emotive audio compositions, created by sound artist Otto Reitano, which accompany each scene. Visitors may at times feel their own ‘companions’ communicating through real-time connections to the audio system – and if you listen carefully - you may recognise a message amongst the ambient sounds of the site’s historic and geographical links to the Tank Stream.
The tunnel lighting combines a series of quadcoloured luminous engines with intelligent controls software to transform the raw structure into a living organism that challenges perception and provides an escape from the hustle and bustle of the world above. www.electrolight.com
At-Turaif
Riyadh, Saudi Arabia
The UNESCO World Heritage site of At-Turaif has been given a sympathetic lighting scheme from Speirs Major Light Architecture, that magically transports visitors back in time to the 15th century.
In the desert to the northwest of Riyadh, on a raised site at the edge of the adDir’iyah oasis, lies At-Turaif – an ancient, labyrinthian city that dates back to the 15th century.
Regarded as one of the more important political and historical sites in Saudi Arabia, At-Turaif represents the “capital of Saudi dynasty”, was the original home of the Saudi royal family, and the country’s first capital from 1727 until Ottoman control of the area in the mid-1800s.
Now, the historical district, characterised by its Najdi architectural style, is a UNESCO World Heritage site, and has been subject to an extensive restoration programme that aims to transform the space into an open museum, showcasing its rich history.
As part of this ongoing restoration, Speirs Major Light Architecture (SMLA) was brought into the project, with the goal of bringing the epic scale and historical significance of the district to life after dark through a beautifully layered and nuanced tapestry of golden light.
Through a rich, amber, “apricot” light, the lighting designers hoped to articulate the stories hidden in the layers of buildings, courtyards, and architectural remnants across the near 10,000sqm site, capturing and reflecting the site’s extraordinary spirit, and creating a remarkable experience of a living national monument.
Speaking to arc, Keith Bradshaw, CEO and Senior Partner at SMLA, reflects on the unique atmosphere of the space: “We’ve never done anything quite like this before, because it isn’t just a building, it’s a small city. The story of the place is one of its most poignant aspects, because in and of itself, it is a ruin, but as with most ruins, there is a mythology and a certain spirit to the place. It is a site that is potent with atmosphere.
“As a piece of architecture, and as a place, it is imbued with something – not to compare it to Stonehenge, but it has that kind of spiritual energy, and because of that it is precious. The opportunity to create the after-dark experience of such a special and significant site is a rare honour. As a practice, we have been fortunate enough to work on several exceptional sites, including the Sheikh Zayed Grand Mosque in Abu Dhabi, and the Dom Tower in Utrecht. Our learning from those projects helped to inform our approach at At-Turaif. We are fascinated by the stories and memories that live within these unique places, and how we can use light as a narrative tool to draw them out, creating a meaningful connection between people, place, and architecture.”
Bringing the stories and historical significance of the site to life was a central focus of SMLA’s “thought piece” for At-Turaif – a narrative document that delved into the overall concept of the lighting scheme, requested by the Diriyah Company, the project client.
“We started by thinking about the way that light could amplify the story of the place, as much as we understood at that early stage, how we could bring this remnant of a civilisation back to life. We wanted to use light to show the spirit of what was there.”
While Bradshaw and the SMLA team understood the history of the site from the outset, it wasn’t until they walked among the ancient walls of the city that they began to fully appreciate the significance and regard with which the Saudi people held At-Turaif.
“What really brought it to life for me was when we walked around the site with a few of the tour guides, who told us the stories of what would have happened on various sites, the economy of the city, and how it worked. As with most heritage projects, the more you can understand or empathise with the people that lived there and how it operated, the more inspiring it becomes.
“We could see that it really meant a lot to the Saudi people too. By talking to them, we got a sense for how significant a project it was for them.”
Coupled with the strong cultural weight of the project, the client also had some very stringent expectations for the lighting design. To meet these, SMLA created an incredibly detailed plan of the site, using a LIDAR scan of the city, into which the team added the various textures, tones and shadows.
Bradshaw continues: “It was a very sophisticated visualisation, way beyond anything that we had done before. Once we had this pure, threedimensional, textured model of the project, we could set the viewing angles exactly as the client wanted and show them how it would look up close, from two-kilometres away, five-kilometres away, and so on. It was an amazingly detailed concept.
DISCOVER
PROFESSIONAL
“Our job then, beyond the concept, was to bring that into being with real light, real tones, real textures. We created a scheme where, from these distances, the elevations look amazing, but also, when you’re actually in the place, walking the streets, you become really immersed in it. It becomes this timeless space that feels as it did 500 years ago.
“You can create amazing images with light – subtle layering between one surface and the next. When you are looking at is effectively 20, 30, or 40 façades together, you have to find a balance, and so much of this project was about finding the appropriate three-dimensional balance.
“It was very challenging to ensure that what looks beautiful from afar, also feels beautiful when you are there. That when you are walking down those streets you feel the magic of the space.”
The rough materiality of the handmade, mud-brick walls throughout the city contributes a great deal to the ambience. Described by Bradshaw as a “gift” to graze with light, the walls of At-Turaif exemplify the rich history and story of the space. SMLA therefore, along with the client, wanted to find the perfect colour temperature to showcase this unique aspect of the site further.
“The first time we went there, it was sunset, and it was spectacular. We were immediately enchanted by this very particular, almost sand putty material, with a very fine grain texture. We’ve never lit anything quite as freeform and imperfect as that before.
“As soon as we saw that tone of sunset begin to hit the surfaces, it just popped, it resonated. It was like the space was telling us, ‘This is the light that I look good in’. That’s where this specific warm, rose gold, apricot light came from. It is right at the edge of a monochrome light where you feel that you are enveloped in an intense golden glow.”
Iain Ruxton, Associate Partner at SMLA, explains the painstaking process that the lighting designers went through before reaching this particular tone of light: “There was a lot of experimentation at the beginning of the project, when we did a large-scale mock-up to sell the idea to the client. At that point, we had enough lights installed where we could play around with colour and find the right combination. It took quite some extensive playing around before we found a solution that we were happy with, to then take to the client.
“Colour is an interesting thing, as although the site is relatively homogenous in terms of material, there is still quite a lot of variation. The mix of light that gives you the right colour on one wall doesn’t necessarily look right on another, because it is a slightly different colour. There’s more subtlety in it than you might think, from finding the right colour points and getting the client agreement, to walking in around the site, checking the levels and colours of each fixture and finetuning them. It’s not a theatre stage; there’s nowhere you can stand and see everything. Every single light was personally visited and focused. It was an incredibly fine grain of focusing effort that we had to do – a really complicated site to get focused up and programmed properly.”
Indeed, the placement of the luminaires themselves – around 2,500 Martin Professional fixtures – was integral to the success of the lighting scheme, and in creating the magical glow that SMLA desired.
“It was very important to remove the 21st century as much as possible,” says Bradshaw. “We wanted the light to feel like it was coming from the buildings and the walls themselves, which meant that we had to be very clever. Most of the luminaires are on the ground, so it feels like the city is glowing from the bottom up – and it is done in a very discreet way, with appropriately concealed fittings.”
“The fixtures have double casements, and are semi-recessed into the gravel that lies between the heritage wall, which we could not touch at all, and the street itself,” adds Adrien Flouraud, Design Associate at SMLA. “The gravel acts as drainage, as during the rainy season the site is susceptible to flash flooding, so we had to be sure that our casements were fully drainable as well. The luminaires from Martin are very robust and can handle this very well. From the 47° heat to the flash flooding, the amount of failure or return we have seen is absolutely minimal.
“But nothing is fixed anywhere, almost everything is only held in place by gravity, there are no screws, no drilling, nothing.”
A site of this scale, with such a high number of luminaires, called for a large-scale, extensive control network – something that could have been
a challenge given the sensitivity and remote nature of the site. However, Ruxton says that establishing the control network was more straightforward than first expected: “We were quite lucky with the amount of electrical infrastructure and IT networks that were already on-site. There was a sitewide, high-capacity fibre optic network around the site already, with many small technical rooms around the site servicing the existing security camera network, cafés, point of sale, and so on. Luckily, we were able to reuse this network.
“There is one control system, but it is distributed through a number of controllers that are networked together. It all runs on Pharos, and the way that Pharos works means that it scales very well – you can put multiple controllers together and once set up, it all behaves as one. This gave us a bit more resilience and helped us a lot in the stage-bystage commissioning.”
The control network is also flexible enough to factor in further expansion, as the recovery and restoration of At-Turaif continues.
“The whole city as you see it now is 95% complete, and there are potentially more bits and pieces to come in the future as more of the site continues to be rediscovered,” explains Bradshaw. “There is an ambition over the coming years to reveal more of the archaeology, as there is still a huge amount to be discovered. This is going to be fascinating for us to continue thinking about lighting on the other areas of the project.
“Factoring in the future development around the site we needed to look at not only the visitor experience, but also the views,” adds Flouraud. “We know that there will be further residential developments on the nearby wadi, so we have created scenes that are ready for this. Nobody can see them now, but effectively in our designs they are ready. There are some people who, in five year’s time, are going to be living in homes that don’t exist yet but when they move in they will find they get an amazing view every night.”
While the core focus of the lighting scheme is on the rich, warm amber lighting, the design also includes a special activation that reflects the importance of the lunar calendar in the Muslim faith. Each month, celebrating the new moon, the lighting shifts to a shade of blue externally, with the warm light remaining within. “The resonance of those opposites of silver against amber is just beautiful,” says Bradshaw.
Finding the perfect shade of blue for the ‘Full Moon’ scenario took another several rounds of finetuning and reviewing until all parties were satisfied, but the result creates a remarkable contrast. Flouraud continues: “When you shift to the Blue Moon
theme, there is a real ‘village’ feel of what is inside the walls, contrasting with the outer façade. We had to be very precise to be sure that the inside walls were at the right level and not overlit compared to the outer walls. It was a lot of tuning between all these internal and external elements.”
The efforts that SMLA have gone to in illuminating At-Turaif have resulted in a scheme that beautifully showcases this landmark structure. In its raised position, the site is the major focal point in the landscape when viewed from the developing Diriyah Project across Wadi Hanifah. Balancing the external identity and the views and experience within the monument is at the heart of the design, and this is something that Ruxton feels has been successfully realised.
“Of course, it needs to look amazing when viewed from outside the site, but it also needs to be amazing to be inside and to wander about and experience it. These two quite different objectives that are not the easiest things to balance, but I think in the end we were very successful at that. We think it looks great, everybody else seems to think that it looks great; almost as importantly, it feels great. If you are in it and walking around exploring it, it feels magical at night, so I think we’ve done it justice in that respect.”
Bradshaw adds that the cultural significance of the space, and how the lighting adds to this, is what stands out to him. “It’s a real privilege to be able to work on a national monument that means so much to people.
“What I am most proud of is that when we talk to the Saudi people that were briefing us about the spiritual feel and importance of the place, they say that when you are there, it feels like we brought that to life. The people that I felt really helped us to understand the brief properly have said to us that it is exactly what they wanted us to create, and that it makes them feel very emotional, which is something that people don’t often express in our world of architectural lighting; it is not just clever, it is emotional, which is very special.”
www.smlightarchitecture.com
Client: Diriyah Company
Lighting Design: Keith
Bradshaw, Iain Ruxton, Adrien Flouraud, James Fuentes
McGreevy; Speirs Major Light Architecture, UK
Lighting Specified: Enpro, Martin Professional, Pharos
Architectural Controls
Photography: Allan Toft, Martin Professional
St. Patrick’s Church Newport, Ireland
The [d]arc award-winning scheme for St. Patrick’s Church in Newport, Ireland, designing by Dark Source, showcases what is possible when creating Dark Sky friendly architectural lighting.
Located on the Wild Atlantic coast of Ireland, St Patrick’s Catholic Church resides in Newport, a small town in County Mayo.
Built in 1918, the church is the first phase of the Newport Dark Sky Masterplan developed by Dark Source in collaboration with Mayo Dark Skies, an organisation that works to protect and celebrate Ireland’s valuable Dark Sky Heritage.
Working closely with the local community, the project aims to eliminate light pollution while balancing visual, social and environmental objectives, with the ultimate aim of protecting Ireland’s dark skies and enhancing the night-time experience.
Kerem Asfuroglu, Lighting Designer and founder of Dark Source talks arc through the evolution of the project, and its unusual design path.
“The project was spearheaded by the Mayo Dark Skies Group, following their success with establishing the second ever Dark Sky destination, ‘Mayo Dark Sky Park’,” he says. “They are a very tight unit, and a very successful community group, from finding grants to community event engagement.
The church is located on the heritage trail, and is a wonderful vantage point, but it was terribly illuminated, just lit up like a vertical football pitch.”
The previous lighting scheme solely focused on emphasising the verticality of the architecture
through excessive LED floodlighting, while the new lighting aims to restructure this hierarchy by balancing the vertical and the horizontal experience.
As a result, the church grounds were treated as an extension of the façade lighting.
The project challenges the common doctrine that a designer needs to fully illuminate the architecture to showcase its purpose, and instead creatively plays with form and shape, offering a judicious approach to lighting design.
This inverts the relationship between light and dark by emphasising the carefully selected features of the church’s façade, while retaining unlit surfaces in abundance to inform a strong canvas and outline of the building superimposed on the clear night sky. Uplighting is used only where the light spill can be contained within architectural features such as the niches and recesses. Backlighting of the windows on the front façade create visual interest, revealing the design of the arched windows and colourful stained-glass. All other windows borrow light from the interior – the vision of warmly lit windows from various viewpoints across the project aimed to inspire a homely and inviting glow for as long as the church is open to visitors.
Heritage-style lanterns were used to complete and enhance the image of the historic architecture during the day and night. Mounted on the existing railings and above the entrance thresholds, lanterns provide the general ambient lighting for the site periphery, as well as all circulation areas.
“With no doubt, the original plan was to mount lanterns on these beautiful railings,” Asfuroglu explains. “The construction of the church was challenging due to the Great War, so we believe some items like the lanterns had to be left out. We really wanted to build on that original idea to complete the day and night-time image of the church by reinstating the heritage lamps.”
All lanterns were fitted with custom baffles to shield lamp-image and eliminate glare across the site. The indirect light spill from the lanterns also provided the walls and the stonework with a gentle lift at the base level. The sacristy area was illuminated with a combination of low-level bollards and handrailintegrated lighting.
To avoid damage to the heritage fabric, building mounted lights and cabling were integrated in the architecture through fixing into the mortar joints and use of custom clamps at the high-level tower reveals in particular. Custom light fixtures were produced for the entrance architrave to match the colour of the stonework.
“The work had to be done very carefully, and we needed the consent of the Heritage officers to carry it out.” Asfuroglu says. “Everything that was mounted had to be reversible in case it needed to be removed, and also we didn’t want to cause any drainage issues.”
A gobo image of the famous stained-glass artist Harry Clarke’s ‘The Last Judgement’ was projected on the floor, using an Evica EP80 Gobo Projector. This signalled the significance of the artwork, allowing people to appreciate the details up close, while creating a playful interaction opportunity with
NODE SYSTEM
Designed to overcome any architectural obstacle, Node System allows for the creation installation. Available options include mono or bi-emissive modules in various lengths and projectors for total design creativity.
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Harry Clarke’s ‘The Last Judgement’ was projected on the floor, using an Evica EP80 Gobo Projector. This signalled the significance of the artwork, allowing people to appreciate the details up close, while creating a playful interaction opportunity with the light projection. This became a poetic Easter egg for the people to find when they are exploring the church grounds.
In addition to being an important landmark and revered piece of architecture, the church hosts a range of community events. It’s a very sensitive project in the sense that it’s the pride and joy of the community whether you’re religious or not.”
Asfuroglu says.
“I come from a historic town in Turkey, with mosques, churches, and temples, which have been sadly affected by the big earthquake in 2023. Whether you chose to visit them or not, they’re part of the cultural heritage and memory of a place.
“We made sure that we held a number of public consultations, and constantly kept people updated on the progress. We wanted to bring them on board with the journey, rather than just saying ‘voila’, here’s the finished project.”
Asfuroglu credits the church and the community’s progressiveness, for really embracing the design intention and allowing him to walk such an unusual and innovative design path.
“I have to say, Father Tod, who’s the priest in charge, has been super supportive of the project. He was fully on board with the dark skies theme,” Asfuroglu says.
“It’s a risky move to go for a judicious approach with the lighting, where the connotation can veer towards darkness. Most churches and religions, tend to choose to be associated with illumination and brightness.
“There’s also a common line of thinking that light equals safety, so less light can be a hard sell. In my experience people in the north of England, Wales and rural Ireland aren’t as intimidated by darkness as say, Central London would be, because there’s a difference in the perception of what’s bright and what’s dark. For example, if you go to the Lake District, you’ll see lots of streets are left unilluminated and people are not phased at all. This project was mostly about reinstating the importance of the horizontal experience, so inspired more confidence in the project overall.” Due to the budget and technical constraints, existing mains cabling was used as much as possible without a central lighting control system. The lack of dimming meant that balancing and composing all the light layers to be at the right level of intensity when they are on was challenging. A simplified lighting regime was commissioned as a result, solely based on timers and daylight sensors. The vertical feature lighting layers were switched off at curfew, while the site periphery lighting remained on to allow safe access until dawn, as the site partially consisted of a public walkway. This meant the versatile image of the architecture could be experienced in different ways all through the night.
The new lighting scheme resulted in savings of nearly two tonnes of CO2e per year (including the interior re-lamping). A maximum CCT of 2200K was used across the board to minimise the environmental impact, while providing a consistently warm and inviting feel for the build environment.
Community involvement has been a big part of the design development. “Mayo Dark Skies would reach out to the community and set dates for consultations,” Asfuroglu explains. “They were also very interested in taking part in the physical aspects, ranging from installing shields on the lanterns to helping me out with the lighting tests. I think that really helps make people part of the journey, and it becomes their baby too.
“It wasn’t a project developed behind closed doors and imposed on the people. Making design accessible is very important to me, often there’s a lot of mysticism about design language
that puts people off, and public opinion isn’t consulted enough because there’s a belief that their opinions will get in the way of good design. In the contrary, Dark Source believes public opinion is an imperative part of design as it’s the only thing that can grant social sustainability as well as environmental. It is hard to include everyone in the conversation and try to tick as many boxes as possible, but I see this as the DNA of the Dark Skies projects. You can’t just make decisions for everyone and expect them to watch.”
Ultimately, Asfuroglu is proud of how far the project has come, in an environmental and social sense.
transformed the architecture. “It gave the church a completely different image at night, and invokes a sense of curiosity by revealing enough of the church, without revealing the entire picture. I think sometimes lighting designers can get a bit too riskaverse and pre-emptively eliminate layers, and that takes confidence from the project. Some things should be allowed to be what they are.”
Asfuroglu concludes that he “doesn’t see St Patrick’s as just a lighting project”.
Lighting Specified: Evica, Harte, Heper, Linea Light, Rosco, Stoane Lighting
Photography: Georgia
MacMillan; Michael McLaughlin
“It’s taken the ego out of lighting design; we’ve had to take a bit of a backseat and allow the stakeholders to drive. I think it’s a very healthy approach to design, it’s allowed us to deal with the complexity of the project and come up with some creative solutions that are not always on the table.
“A healthy, big budget on a private project might be the ideal for some designers, but it’s rare it bears such opportunities, grit, and texture. Looking back, I think the project’s success is the result of a very healthy and inclusive collaboration.”
In terms of aesthetic, Asfuroglu feels the lighting
“I think it was a social impact project in many ways, it’s really struck a balance and a deal between the needs of the people of Newport and the town’s treasured biodiversity.”
www.dark-source.com
Photo: Georgia MacMillan
Evica EP80 Gobo Projector
Sentosa Sensoryscape
Sentosa, Singapore
Blending architecture and technology with Singapore’s verdant nature, Sentosa Sensoryscape gives visitors a unique experience while exploring the area’s rich biodiversity. Lighting Planners Associates fused architectural and theatrical lighting to bring the experience further to life.
esigned by Serie + Multiply, Sensoryscape pushes the boundaries of traditional park design to blend architecture, technology, and nature in a 30,000sqm multi-sensorial journey that connects Singapore’s Resorts World Sentosa in the north to the island’s beaches in the south.
Sensoryscape aims to expand the thoroughfare’s capacity and offer visitors a unique and inspiring experience while exploring the island’s rich biodiversity.
The project was commissioned by Sentosa Development Corporation (SDC) and marks a significant milestone in Sentosa’s evolution as a leading global leisure and lifestyle destination.
Christopher Lee, Principal of Serie Architects, representing Serie + Multiply, highlighted the two principal experiences they wanted to create for Sensoryscape: “The first is the unimpeded experience of the landscape as it is, which is why the landscape is designed to ‘flow’ from the ridge towards the beach.
“The other is the two-tier walkway that lets visitors approach and experience the spaces differently – via the ground level walkway that will give them one of the key viewpoints, and an elevated deck where they could peer into the structure, as it were, through the openings.”
Designers at Lighting Planners Associates (LPA) were tasked with illuminating the entirety of Sensoryscape’s walkthrough, combining functional and experiential lighting to ensure the magic transitions beautifully from day to night. With six spaces along the walkway, this was no easy task.
Designed to engage all five senses (plus an additional sixth one – imagination) visitors encounter six gardens: Lookout Loop, an elevated garden that offers a spectacular panoramic view of Sentosa’s north end; Tactile Trellis, where visitors can touch and feel plants native to the area – chosen for their interesting textures;
Scented Sphere, a sensory garden nestled in a basket inspired woven structure of steel housing aromatic plants; Symphony Streams, a place to relax and listen to the sound of burbling water and the gentle whisper of the coastal breeze; Palate Playground, where guests are invited to explore all kinds of edible, aromatic plants, herbs, and spices; and finally, Glow Garden, where rose-like flowers line a long flight of stairs, towering over visitors and casting a colourful glow.
Although audio and visual elements are present throughout Sensoryscape it’s ultimately light that connects the spaces, guides visitors to their next location and enhances the natural beauty of Sentosa.
Reiko Kasai, Managing Director of LPA, explains the scope of the project, and how the team met the initial concept’s many demands.
“The lighting was always an important element of the experience, and ultimately it had many jobs. We broke the design element down into three major components; One: Connecting one destination to another. Two: The vessel, which was essentially the spaces requiring a little privacy or a pocket garden; and Three: The nature of the landscape entwined in each node.
“Initially, our concept was layers of light to enhance those three components. Along with connecting these elements, all three components needed to synchronise with another layer of the experience, like sound or projection, for example.”
This was especially pertinent for the evening experience, ImagiNite. With content designed by creative studio 1-10, ImagiNite blends the island’s natural beauty with biophilic architecture and innovative technology for an immersive adventure, all brought to life by a downloadable app.
For Kasai, integration is the key to ImagiNite’s success, along with SDC’s willingness to go against the grain.
“I was quite impressed and surprised that SDC accepted a certain amount of darkness, it’s uncommon in Singapore, especially in public spaces. The client allowing and appreciating this contrast helped us achieve our design intention.”
With the forest as a conspicuous backdrop, the right contrast was key. During the short period
where the immersive content is playing, LPA needed to tone down the light setting ready for a new enhancement or experience to appear, all while paying homage to the landscape and the rainforest.
“The goal is to ultimately connect people with the beautiful surroundings, the attraction element is additional.” Kasai explained
A nature-inspired soundscape, light shows, and digital floor projections weave unique narratives, from Symphony Streams’ underwater worlds to Lookout Loop’s impressive dancing beams of light, augmented reality fuses the tangible with a virtual world of quirky animal characters.
LPA previously worked with 1-10 on another tourist attraction in Sentosa called Magic Shores, a multisensory experience that transforms Siloso beach into an interactive light and sound spectacle.
Magic Shores shares a similar purpose with Sensoryscape, both attractions aim to convey the nature, history, and culture of the island, so LPA and 1-10 were well-versed in everything Sentosa by the time Sensoryscape began.
Bringing 1-10 on board was a no-brainer for the client, and a welcome addition to the project for LPA, after all they helped SDC find the creative studio.
“It was a very interesting process for us,” Kasai explains. “We took the client team from SDC to Tokyo to visit about five creative studios before we ultimately chose 1-10. Usually, lighting consultants don’t get the opportunity to work so closely with the client to select the creative agency they’ll be collaborating with.”
LPA allowed 1-10 full creative reign, while building their own design around the architecture, the landscape, and the content.
“In terms of 1-10’s design approach, we didn’t change anything. Our priority was always the design’s intention. SDC wanted to showcase Sentosa and Singapore and talk about the biodiversity of the island. To ensure the lighting design and the content design were in sync, we were on site the whole time. We had a site mock-up and would fine tune the intensity and the brand mix when needed,” Kasai explains.
Regarding challenges, LPA didn’t anticipate any huge problems, and thankfully didn’t encounter any, if anything was a challenge it was finding a way that augmented reality and lighting could exist alongside each other and work together.
“This is essentially a landscaping project and in Singapore the climate is very humid, usually this can cause various issues, but we were prepared. We managed to get hold of everything we specified, which was durable, reliable fittings that offer good performance. If anything, working with AR was something fairly new to us. It requires a bright surface rather than a dark one, we had to adjust the lighting several times until we got it just right.” Kasai says.
The journey through Sensoryscape culminates in a beautiful garden, where the design called for something spectacular.
LPA took the architect’s initial concept design and developed the tall custom flower light features that are taking Instagram by storm.
“It was a different kind of project for us, completely different from let’s say theatre lighting when we work on an auditorium,” Angkana Kongchatri, Associate Director at LPA, continues. “This is another level, the flower features are designed for outdoor use, we had to make sure they were durable enough to beat the humidity, and figure out how to set up the rotation so it looks nice and natural.”
The team initially proposed a very basic and simple lighting operation using white, but as the design developed, so did the desire to add a pop of colour.
“It’s been a great experience,” Kongchatri explains. “We’re an architectural lighting company, we’re not artists who always do these kinds of bespoke lighting sculptures. We received a lot of support from our local distributor and were able to collaborate with their manufacturers to make sure we could execute our design intention nicely.
“We developed all the components and elements, forming the flower and studying the material. Figuring out how to customise the light fitting and considering the electrical integration. We went through multiple rounds of developing the fitting, but the light fitting we selected did the job to achieve this design intention.”
The Glow Garden is the only space that LPA and 1-10 share an ABB control system.
“We created this infrastructure to allow 1-10 to use our light fitting to play a part in the entertainment, unlike the rest of the project where we have two different lighting systems. One is for advanced lighting, the other for the show specifically,” Kongchatri says.
Kasai describes the Glow Garden’s layered design as “comfortable contrast”.
“Our goal was always to make sure the two lighting systems were well-balanced and not compromising the functional lighting, because at the heart of this project is nature, and the density of the forest behind us.”
Ms Thien Kwee Eng, Chief Executive Officer of Sentosa Development Corporation (SDC) echoes this sentiment and is delighted with the results.
“Sentosa Sensoryscape embodies SDC’s commitment to push boundaries and create extraordinary landmarks inspired by the beauty in nature. This thoughtfully designed and welcoming green connector right at the heart of Sentosa will inspire our guests through a plethora of endless and unique discoveries. We look forward to welcoming guests from Singapore and all around the world to Sensoryscape.” www.lighting.co.jp
At this year’s Olympic Games, the Olympic Village looked to set new standards in environmental, forward-thinking design. French lighting design studio, Concepto, explains how lighting significantly contributes to this approach.
t has been 100 years since Paris last hosted the Olympic Games, an occasion that also marks a century since the inception of the Olympic Village. In the early iterations of the modern Olympics, athletes performed on the field while relying on hostels, hotels, or private accommodations for their lodging. This changed in 1924 when the first official Olympic Village was established, consisting of small huts near the Stade Olympique de Colombes, along with facilities like a post office, currency exchange, and a restaurant. Since then, the Olympic Village has significantly evolved, becoming a place where athletes from more than 200 nations can come together, fostering unity and camaraderie both on and off the field, while also cultivating a space that will have a lasting positive impact on the local community.
At the Paris 2024 Olympics this summer, the Olympic Village was situated in the area of Seine-Saint-Denis, spanning the municipalities of Saint-Denis, Saint-Ouen, and L’Île-Saint-Denis. It was home for 14,250 athletes during the Olympic Games and 8,000 during the Paralympic Games. After the conclusion of the games, the village is being transformed into a vibrant neighbourhood featuring 2,500 homes, a hotel, a student residence, a three-acre landscaped park, seven acres of gardens, 120,000sqm of office and city services, as well as 3,200sqm of local shops. When the bid was submitted to Solideo in 2019 –the organisation responsible for overseeing the delivery, financing, and supervision of Olympic and Paralympic facilities – the project aimed to create a village that not only catered to athletes’ needs but also set new environmental standards and deliver a neighbourhood that reflects future urban spaces in 2050. This also meant creating a lighting design with Paris’s climate goal and carbon-neutrality in mind. In a deep dive behind the Olympic Village’s urban lighting scheme, arc speaks with Maelle Tertrais, lighting designer and manager at the French studio Concepto, and one of the visionary minds behind the project.
In 2019, another team had already produced an initial guide plan for the project, but due to the pandemic and evolving environmental objectives, the public spaces project was later re-envisioned with a new brief that emphasised the need for additional trees, more inclusive spaces, and enhanced integration of biodiversity. Consequently, Concepto joined the project management team to contribute during this new phase of consultation. With a timeline of just a year and a half to complete all the necessary studies, the construction phase of the project was subsequently carried out over an eight-month period. Tertrais explains to arc that Concepto’s vision for the scheme had three aims: to provide the conditions for preserving nocturnal biodiversity, provide the conditions for wellbeing and good living on a daily basis for everyone and, the conditions for active, festive and convivial uses. The first key element to the concept was the nocturnal narrative, based on what is known as the “dark infrastructure” – this defines areas where darkness is preserved and protects its biodiversity. This approach seeks to establish a reversible lighting system that fosters localised nocturnal atmospheres while accommodating various forms of mobility. It integrates key components to achieve a sustainable economic structure, while ensuring a desirable, comfortable, and tranquil night-time urban environment. The focus includes preserving nocturnal biodiversity, promoting daily wellbeing and quality living conditions for all, and enabling active, festive, and sociable night-time activities. “It accompanies the renaturation of public spaces, and the balance sought between light and darkness meets precise technical specifications such as light spectrum, intensity, and so on,” explains Tertrais. “This approach not only helps to preserve nocturnal biodiversity, such as plantlife and animal-life, but also ensures that future residents enjoy a good quality of life on a day-today basis.”
With the lighting project being part of a scheme overseen by Solideo, the aim was to reduce carbon emissions by a significant 47%, compared to a conventional large scale urban project.
Tertrais says: “In the specifications, we noted that the contracting authority was asking for a reduction in the carbon footprint in order to create an “exemplary” village. We asked ourselves how we, through lighting, could concretely act on the carbon footprint. It turns out that 85% of the carbon footprint of a public lighting system, made up of a support pole and a lantern, is generated by the manufacture of the support pole. This was our first lead, we therefore decided to work with bio-sourced and reused materials to reduce this carbon footprint as much as possible.”
Landscape architecture firm Agence TER, which was responsible for planning the public areas, and designer Studio 5.5, worked with Concepto on the idea to reuse of existing materials. Research proved that a large amount of carbon produced in urban lighting design came from the production of materials, particularly in furniture such as streetlamps that required stainless steel in their structure. Concepto’s research concluded
that eight metres of lighting support made from new steel would create 417.72kg of CO, which in comparison to reused steel produces 116.8kg of CO, therefore the decision was made to take galvanised steel and turn it into parts for the streetlights. The streetlights were also composed from decommissioned lampposts as well as parts including scaffolding out-sourced from building sites. The structure included poles made from bio-sourced materials incorporating recycled materials. Its vertical supports made from glued lamination wood and pine from self-managed forests with limited felling, and tubular poles from old scaffolding, which were then attached to the wooden supports.
The process of galvanising steel required a quality control system to check the conditions for galvanising, checking for thickness and rust.
Major sorting work limits the quantity of reusable elements however, once past this process the recyclable elements can be re-machined and integrated to the masts, which took lengthy periods of time to complete.
“This often proved to be challenging,” says Tertrais. “We had to be able to get the materials we needed at the right time, in the right quality and in the quantities we needed. We called on all the players in the chain: project owners, all the project management team, manufacturers and installers.”
Tertrais adds: “The second major challenge was to get the notion of reuse accepted in the public area. How do you make something “beautiful” out of recycled materials? Does the reused object have to tell its story as a recovered object, or does it have to look as good as new?”
The lighting furniture is designed to fit perfectly into the urban space by making the light sources invisible by blending it into elements such as railings, low walls, benches and steps. Lighting is used on support poles to illuminate pavements and sidewalks, and suspended lighting features within planted areas to avoid obstacles and focus light precisely on the intended path. Collaboration was key to realising this concept – landscape architects, urban planners, and ecologists in the project management group worked closely together to enhance the proposal’s effectiveness. The primary structural constraint was the presence of significant vegetation. To address this, two main solutions were implemented: using low lighting supports, about five to six metres high, that allowed the tree canopy to filter the light naturally, and employing modular brackets that could be tilted as needed to ensure the lighting was unobstructed by the trees.
This not only makes it pleasing on the eye but supports green spaces by harmonising with the vegetation. Additionally, the LED colour
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An example of this is found at the Place Olympique, where a large circular ramp connects the square to the Seine. The lighting concept here, called Lampadéphories, was inspired by an ancient ritual preceding the Olympic flame tradition in Olympia – a torchlight race celebrating the games. The ramp features 878 points of light, symbolising each event that took place at the 2024 Olympic and Paralympic Games. As each event was won, the corresponding light switched on, creating a dynamic visual sequence. In the legacy phase, these lights will serve as an interactive installation; visitors can use their phones to discover which event took place and when. This installation not only provided a spectacular display during the Games but also serves as a lasting memory of the Olympic festivities, reinforcing the neighbourhood’s connection to its unique history.
“This ramp is both a spectacular light during the Olympic Games phase and an element of memory for the future. This interactive and experiential installation will reinforce the memory of the Olympic festivities when the Games are over,” says Tertrais.
Client : Solideo
Lighting Design: Maelle Tertrais, Concepto, France
Landscape Architect: Agence TER, France
Lighting Specified: Aubrilam, Chrysalis, Derksen, LED Punk, Lumteam, Santa & Cole, Valmont
Photography: Vincent Murraciole
temperatures are varied seasonally to support biodiversity, with warmer colours in 2200K used from March to October during the “biodiversityfriendly” period, and cooler temperatures of 3000K from October to March for human-friendly lighting, this was achieved using BioDiv system from French manufacturer Chrysalis, which supplied all LED lanterns on site. By integrating lighting into existing elements such as railings and structures, Concepto prioritised simplicity and ease of maintenance, aiming to minimise the variety of lights while maximising modularity.
The lighting design was tailored for the legacy phase of the district, considering future residents who would live and work there, while also addressing biodiversity and the usability of public spaces. The Olympic phase represents a brief but significant moment in the neighbourhood’s history, and a special, festive lighting scheme was created for this occasion.
Similarly, in the north of the Olympic Village is Ampère. At night this space aims to be both fun and interactive. Here Concepto created “in the footsteps of the athletes”, where 40 projections are inscribed on the ground in different sizes, symbolising different disciplines in the games such as sprinting, surfing, gymnastics, rugby and so on, using Derksen gobo luminaires by Epic Lighting. As Paris hosted the Olympic Games a century after it first did in 1924, the transformation of the Olympic Village has come full circle – from temporary athlete lodging in small huts to a visionary urban district designed for both people and the environment. This evolution reflects the broader societal changes over the past century, with sustainability, community, and biodiversity now at the forefront of urban planning. Concepto’s lighting design for the 2024 Olympic Village exemplifies a balance between functionality, sustainability, and heritage, aiming to create a legacy that extends far beyond the games themselves. By innovatively using recycled materials, collaborating across disciplines, and integrating lighting into the natural and built environment, the project not only enhances the experience of the Olympic Games but also sets a precedent for future urban developments worldwide. Concepto took a bold step in committing to the use of recycled materials, even when faced with the concerns of local authorities, demonstrating that sustainable functionality can, and should, take precedence over conventional aesthetic expectations. This decision has sparked vital conversations among designers about the importance of prioritising sustainable manufacturing over purely visual appeal. The studio’s effort embodies a commitment to a greener future and demonstrates how light can both illuminate and narrate the story of a place, ensuring that the spirit of the Olympics continues to inspire generations to come.
www.concepto.fr
D R Y
BY OLEG COSNEANU
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Åkroken
Nyköping, Sweden
The cosy park of Åkroken, situated on Sweden’s Nyköpingsån river, has been given a gentle, complementary lighting design, courtesy of Ramboll.
ocated along one of the many bends of the river Nyköpingsån in Nyköping, Sweden, is Åkroken – a cozy play park that boasts various fun elements for visitors, such as walkways along the running water, built up play areas for children, large, magnificent trees, terraced seating areas and even an adjacent city square.
The park comes with an interesting history that was unearthed during the initial groundwork phase – when several remains from the medieval times were discovered, including a number of boat building structures. This discovery fuelled inspiration for the design of some of the play elements in the park, such as the rustic wooden houses and water pump.
After the archaeological excavations had been completed, the Swedish arm of Ramboll Group was awarded the landscape architectural and lighting design contract for the park. This was way back in 2013 and at that time, the assignment was to develop proposals and sketches for the architectural landscape design. It wasn’t until 2018 that Ramboll was given the project planning assignment, and the details finalised.
“The municipality naturally wanted to base the project on the excavations that had taken place,” says Andreas Olsson, lighting designer at Ramboll.
“In the early stages of the project, wooden materials for posts and bollards were discussed to tie in with the buildings that had once stood there. The municipality also had a technical handbook, which specified guidelines and regulations for both electricity and lighting.”
The site already offered great views and wonderful natural elements – such as the large trees, lots of levels and walkways and of course the fun play park. With that in mind, the lighting of a space like this has certain responsibilities: it must enhance the experience of the elements without overpowering them. It should not obstruct the views the site provides. And lastly it must encourage visitors to use the park by generating an ambience of safety with no obstructive glare.
“This is achieved through highlighting the landscape and natural elements, making pathways and creating rooms within rooms,” says Olsson. “All while making sure the existing views are not disrupted, and no glare is created.”
The Ramboll team stayed with the medieval theme of the site throughout the design, creating visual connections through the choice of luminaires and colour temperatures. The team carefully layered different lighting types to selectively enhance certain features and create an overall cozy atmosphere.
The themed play area crafted by Lennart Pranters was designed to connect with the boathouses that once stood in the area. The play area and seating feature lighting integrated into the carpentry, which is hidden from view but provides a warm glow to the area – the aim was to create an inviting glow that mimics the open flame or fire that would have burned in the Viking Age.
The oldest structures discovered during the archaeological excavation were two very large boathouses from the Vendel and Viking periods, which were built near the stream. Taking inspiration from this, the walkways in the park are studded by short bollards that have a Corten finish as an ode to the rusty deterioration of all the boatbuilding of the past and to also blend well with the warm tones of the site.
“We collaborated with El I Gnosjö on the design of the bollard,” says Olsson. “From the beginning, we had the idea of creating a bollard with adjustable lighting in all directions that would survive and function even during the harsh Swedish winters. It needed to remain uncovered by falling leaves, rain or snow. We felt that something like this was missing from the market; El I Gnosjö took our rough sketches and brought them to life. We used a fixture from LightGraphix that met our lighting requirements and the bollard was then adapted to its dimensions.”
Elsewhere, the large trees that dot the park are specially highlighted with the help of custom designed bollards that have tiltable spotlights integrated in them. These bollards are tall enough to be clear of snow cover, but short enough to remain out of visual field.
Lastly the large open square is fitted with pole-top luminaires that evenly light the square and visually resemble the Stora Torget central square nearby. These lanterns were adorned with Nyköping’s city coat of arms to emphasise the site’s unique character and connect to the city’s more modern history.
Pole-mounted spotlights are also sparingly used in the park to highlight certain sections, including
entrances and park swings. All light sources are a warm 2700K and are shielded from view and, wherever possible, placed below eye level to maintain a human scale.
“The design of the lighting has focused on enhancing the experience of visiting the park,” says Olsson. “Previously, the park was only used as a passage, but we wanted to invite visitors to stay during the evening. We have eliminated glaring and disruptive lights, allowing for an unobstructed view of the water. By illuminating the tree canopies and bushes, we highlight the greenery and increase the ambient light, creating a more inviting atmosphere.
Low bollards placed in the bushes and near benches, along with integrated lighting under the terraces, invite visitors to sit and stay for a while.
“Our primary task was to meet the needs of the site in a balanced way without disrupting its harmony during the darker hours,” says Olsson. “With various elevation changes and views of both the site and the water, we chose to focus on low levels and take advantage of the landscape elements such as the trees, greenery and urban features.
on illuminating specific elements of particular interest or significance. This strategy aims to create a more targeted and artistic lighting environment, enhancing and highlighting specific details and areas of the site.”
Reflecting on the challenges that came with the project, for Olsson, one of the biggest issues the team had was finding the right balance of light for the site – determining what was too much or too little and where the boundaries lie.
“This is why it is incredibly important to experiment and trust your instincts as a designer,” he says.
“We needed to work with subtle, concealed and integrated lighting that is right on the edge of being perceived as too dark. It’s essential to carefully study and select which elements to illuminate, considering factors like pathways or nearby areas with glaring road lighting that could easily destroy and make the entire park be perceived as dark. It’s also important to study how visitors might move through and use the park.
Client: Nyköping Municipality
Lighting Design: Andreas Olsson, Linus Karvik; Ramboll, Sweden
Lighting Specified: Atelije Lyktan, Bega, Foxbelysning, LED Linear, LightGraphix, Louis Poulsen
Photography: Robin Hayes
“To create a visual balance between the light and the surroundings we chose to shield the light sources, allowing visitors to sit along the terrace and enjoy the view of the stream without being disturbed by artificial light,” he continues.
“Instead of applying sweeping light across the entire area we have deliberately chosen to focus
“Overall, we were very pleased with the final result. On our site visit we got the chance to talk to some locals visiting the park – it was a family with older children. They were sitting on one of the benches in the middle of the park talking and enjoying the warm summer night. It is moments like this when you know you have succeeded with the design.”
www.ramboll.com
River West Open
Athens, Greece
A new commercial complex at Athens’ River West Open shopping centre features an inviting exterior walkway, in which lighting from Matina Magklara Lighting Architecture brings the abundant greenery and flowing water to life.
Ten years after its inauguration, the River West Open shopping centre in the western suburbs of Athens, has introduced a new commercial complex with retail, F&B, recreational and outdoor facilities. This area features various visitor zones and leisure spaces designed with greenery and water elements to create a more inviting environment.
The concept behind the expansion is a “crack” formed by the irregular shape of the buildings. From this crack, an artificial river flows through the development, guiding foot traffic along green pathways and pedestrian zones. The crack splits the shopping area into distinct sections – shops, supermarkets, restaurants, and recreational spaces – while simultaneously serving as a central axis that unifies the outdoor activities. The aim of this design was to foster a continuous shopping journey, offering visitors fresh experiences as they explore and uncover different parts of the space.
Matina Magklara Lighting Architecture (MMla), which was there for the mall’s first construction, was brought back by the client to create a memorable outdoor shopping experience that would draw in customers across Athens.
Lighting designer and founder of the studio, Matina Magklara, explains to arc that the client designed the brief on an “openist” concept, in which the landscapes play a pivotal role in the consumer experience, as well as greenery and water being the main attractions.
The architects created an artificial “riverside” environment reminiscent of the Kifissos river, which once ran through the area but is now encased underground. The complex is open to the public, with a combination of recreational, F&B and retail facilities, two open-air parking spaces, an open amphitheater, a cutting-edge playground and restrooms. All these areas, including landscape and façade lighting, were part of the lighting scope.
The lighting concept draws inspiration from the imagery of the “crack” where water flows between two separate building structures, as though the buildings were once a single, unified mass that split apart, revealing a river in the gap. Lighting serves as a key architectural element, emphasising the connection between these divided volumes and enhancing the natural features that occupy the space between them.
To enhance the visitor experience, the lighting design focused on creating a clear visual hierarchy, shaping a memorable nighttime atmosphere. It was also crafted to improve circulation, make shopfronts more readable, and enhance wayfinding. Efforts were made to reduce glare and visual noise, ensuring greater comfort, while also delivering a durable lighting solution suited to the demands of public spaces
Magklara explains: “The lighting concept is based on a well-orchestrated and cohesive lighting masterplan composed of layers of light of varying colour temperature, intensity, direction and type. This layering responds to the spatial context in relation to circulation, wayfinding, character, safety and ambience. The lighting strategy also incorporates seasonal changes in colour and foliage for the majority of the dominant trees. For example, the Jacaranda trees are lit in warm white tones, but when they blossom and turn lilac, the lighting shifts to cooler tones to reflect the colour change.”
Water is the main design element, particularly how it plays with light in various ways; it is always present whether becoming a black mirror, a sparkling flow or a glowing foam. This was achieved by making sure all the water tanks are shallow and dark for the light to interact with the water, and making sure the design team specified material with reflective particles on MMla’s request. The sequence of water features, surrounded by lush vegetation including flowers, trees, and plants, evokes the appearance of a natural riverbank. Starting from an artificial waterfall on the western edge, the water moves along a path that mimics a natural river’s journey. Luminaires submerged in the pond at the waterfall highlight the foamy flow while casting a warm glow. As the water moves through different stages, its behaviour transforms: in the “fast water” feature, water rushes over a textured bed, creating constant undulations that are illuminated in crisp, cool light to resemble moonlight. In contrast, the “silent
water” feature offers a tranquil experience, with the water calmly reflecting the illuminated trees and discreet lighting hidden among the bushes. This still water acts like a mirror, enhancing the serene atmosphere. Finally, the “floating water” feature surrounds a planter of tall palm trees, their slim silhouettes reflected on the water’s dark, mirrored surface, producing an illusion of a floating island. Each feature is thoughtfully designed to capture different qualities of water, light, and reflection, creating an immersive, natural experience within the complex.
The lighting design uses a carefully layered approach, combining various light types, colours, and intensities to enhance the space as well as establish night-time visual cues. This layering is meticulously tailored to the architecture and landscape, improving circulation, highlighting textures, aiding wayfinding, and defining boundaries, while serving both functional and aesthetic purposes. The water is illuminated in cool tones by elliptical light beams coming from above, mimicking the soft glow of moonlight, while warm landscape lighting from below surrounds it, creating a dynamic contrast. Circulation lighting consists of general warm white spotlighting, creating a pleasant, welcoming ambience. Cool vertical light lines accentuate the rhythmical façade, enhancing the rigidity of the glazed curtainwalls and adding contrast and boundary to the warm atmosphere. Seating areas are lit in a theatrical way with a warm, low-level halo of
light that defines the seats, and a cool foliage effect bathes the seats in “moonlight”, resulting in a calming space. The idea was to “integrate the essence of nature” to contrast with the hustle and bustle of the shopping experience by establishing the connection between the buildings and natural elements and discreetly illuminating flora and water elements.
“We wanted to create a distinct vibe in the seating areas. We intended to create a pause in the busy shopping rhythm; a pocket place for someone who needs to catch their breath or relax for a minute,” says Magklara. “Our vision for these miniature spaces is romantic, inspired by nature, adding value to this pause by transforming it into a sanctuary. We wanted to convey a sense of contemplation, as if someone were sitting under a tree bathed in moonlight. We accomplished this by employing theatrical effects, projecting on the ground a cool tree-foliage pattern from a gobo spotlight hidden within the trees. A very warm halo beneath the bench was introduced as the opposing element to create visual dialogue.”
To achieve this blend of cooler tones from the water and warmer tones in the seating areas, the design intentionally contrasts them by assigning specific colour temperatures to distinct areas. Controlled beams of light ensure that each tone remains confined to its designated space, preventing any unwanted colour mixing. A 3000K colour temperature is used as the base for general illumination, including plant lighting and
WALK THE LIGHT
AN OUTDOOR PERSPECTIVE
wayfinding. Cooler lighting is applied to the water and moonlighting effects, as well as the linear lighting on the glazed curtain walls, while warmer 2500K tones are reserved for under the benches, highlighting the seating areas. Balance is achieved through precise control of the light beams and the maintenance of consistent visual cues.
Light fades in intensity and lowers in position towards the retail premises to allow the shop windows to come to the fore. The glazed canopies in front of the retail windows are treated with extra care to avoid distracting reflections and doubling of the glazed surface.
Magklara adds: “We took extra care to establish the proper lit environment for the retail windows to come to the fore. Lighting in front of the shops is limited to the circulation area and fully shielded to avoid unwanted reflections on the window vitrines.
To create a balanced night-time environment, we implemented a set of tenant guidelines that established the maximum window illuminance, the maximum signage luminance, the allowed width of light-spill zone from windows and the permitted shop window and signage lighting CCT.”
The choice of lighting fixtures was driven by durability and performance, as all the specified luminaires were exterior-rated and designed to withstand heavy public use. Magklara emphasised that precise beam control was a priority, with a variety of accessories used to shape the light and minimise glare. The luminaires were kept small in size to blend seamlessly into the architecture and landscape while maintaining a human scale. Flexibility and adjustability were also key considerations, as most of the lighting had to be focused and programmed on-site for optimal effect.
The main connection between the extension and the existing mall occurs through the central outdoor plaza, while a secondary plaza leads to the lifts and visitor facilities. This secondary plaza, with its steps and ramps, transforms into a playful interactive space through a preprogrammed game of hide-and-seek, where a coloured dot appears and disappears in different locations on the floor. The plaza’s luminaires are equipped with interchangeable gobo trays, allowing the mall’s management to customise the lighting with a logo or festive patterns, adding a dynamic and personalised element to the space. Additional illuminated features include an openair amphitheatre, where low-level integrated lighting highlights the arched seating plinths, creating a subtle yet striking effect. A beaten
earth pathway leads from the amphitheatre to a secluded playground nestled among trees and climbing plants. When the playground is closed, the illuminated trees and their shadows take centre stage, transforming the pathway into a mystical, enchanting passage.
Considering that vegetation and nature was at the forefront of the design concept and processes, arc asked about whether there were any environmental considerations in the lighting scheme. Maglklara says: “The property is located in a dense metropolitan region adjacent to the national highway. Our considerations were quite the opposite, namely, to control ambient light pollution in order to provide a fresh nighttime ambience with a natural feel. Our environmental considerations extended to the property’s rear. Although the front side faces the highway, the back side extends to the local neighbourhood’s boundaries. To maintain tranquility and respect for the residents, the lighting scheme along the boundaries is dimmed, with luminaires positioned to reduce glare and light spill onto the neighbourhood.”
Reflecting on the final outcome, the team is impressed by how the lighting enhances the overall space. Given the complexity and detail required for the lighting scheme, the short timeframe posed a significant obstacle. The team overcame this by collaborating closely with the design team and adhering to a well-structured project timeline, ensuring smooth coordination and timely execution. The integration of landscape, architecture, and lighting has created a cohesive environment and the complex feels natural, aligning with the initial design concept. The lighting has successfully established a nighttime hierarchy making the space feel both serene and vibrant. Feedback from both the client and mall visitors has been overwhelmingly positive. Magklara says: “We visit the shopping mall frequently and we are delighted to see children playing with the gobo patterns, people relaxing in the seating areas, and customers getting in and out of the stores. Just a few years after River West Open opened to the public, there was a considerable increase in footfall throughout the mall. Today’s tenants include leading international brands, which strengthens the mall’s capital. Living in a post-Covid era, consumers felt River West Open to be a safe and beautiful place to visit, making the extension an excellent investment.”
The Royal Entomological Society (RES) Insect Garden
London, UK
The award-winning garden design by Tom Massey displayed during last year’s RHS Chelsea Flower Show has a new home in Stratford Cross. In partnership with Lendlease and The Royal Entomological Society, the relocated insect garden will host educational programmes for families, biodiversity lovers and local schools. Its smooth and borderless integration within the existing public realm, make it a great success story of adaptive use and biodiversity enhancement.
With the main aim of the insect garden serving as an outdoor educational classroom focusing on the importance of insects in our ecosystem, the lighting design had to respect the main inhabitants and minimise adverse impacts. The shape of the dome structure has been inspired by the hexagonal lattice occurring on the convex surface of insect’s eyes.
Using the insect’s visual system as reference (insect’s peak of vision is the ultraviolet
spectrum (UV-A), around 365 nanometres), Buro Happold illuminated the dome structure with red light and deep amber, wavelengths that insects cannot see or are less susceptible to. In keeping with the celebration of colour occurring during daytime when sunlight passes through the dichroic hexagonal windows, walking into the dome gives you the feeling of walking in a meditation or serenity room, soothing the senses.
Additionally, the multifaceted reflections that occur in the design of the structure invite visitors to return at different times of the day to experience the changing appearance. Surprising multifaceted reflections occur, ever-changing depending on the weather, the presence of sunlight, or visiting times during golden/ blue hour or after nightfall. Circulation routes in the garden are paved and levelled, have generous widths and are uninterrupted, making the garden accessible to all. Being an oasis in the built environment, observed patterns are all
inspired or occurring in nature, making them relatable and less challenging to process by those with sensory differences.
Alexia Gkika, Associate Lighting Designer at Buro Happold, says: “Our garden engages different parts of the community. During my visit there, I observed a group of teenage girls enjoying the installation gazing up the structures and studying the lights, a pair of men using the space to catch up and have lunch outdoors. A father with their child in the stroller, walks through the installation as part of their afternoon walk. The baby is mesmerised by the colours.
“I found myself smiling, happy that this space has successfully added social value to the area, while also nurturing local biodiversity. I look forward to post-delivery reporting on insect populations in this beautiful garden.”
www.burohappold.com
Wings Building Diegram, Belgium
Discover how Vivalyte lighting was seamlessly integrated to create a dynamic, sustainable, and visually striking structure that enhances the building’s identity.
The Wings building is a striking blend of architecture and lighting that demonstrates how these two elements can come together to create a building’s identity. From the curved, fluid lines of its structure to the seamless integration of lighting, the project showcases how thoughtful design and collaboration can transform a building into more than just a functional space - it becomes a statement.
Architect Guy Van der Kuylen set out to design the building with the aim to break free from the conventional office block.
He says: “We didn’t want a typical closed structure. The terraces and flowing lines were intended to create an open, dynamic space, and lighting was always going to play a major role in enhancing that.”
For Tim Van de Voorde, project manager from developer Ghelamco, the challenge was clear from the outset: “The lighting wasn’t just about function, but about creating an identity. We wanted lighting that would bring the building’s design to life.”
This vision led to a collaboration with Vivalyte, whose custom LED solutions would prove critical in shaping the final look of the building.
Lei Li, CEO of Vivalyte, describes their approach: “Our goal was to design a lighting system that not only enhanced the architecture but also integrated so seamlessly that it became part of the building itself.”
Vivalyte developed the Pixeline Flex, a flexible, DMXcontrolled LED system, specifically for the project. This solution allowed the lighting to integrate in the smooth, curved lines of the building while remaining invisible when switched off.
To make sure everything went according to
expectations, a full-scale mock-up of 20-metres was created on-site, a crucial step in assessing the visual impact of the proposed lighting design. These efforts were also noticed beyond Wings: the Pixeline Flex won the 2023 LIT Lighting Design Award.
Once the lighting design was in motion, the team faced another challenge of integrating the lighting into the building in a way that made it visible to those outside, but not intrusive for those inside.
The Pixeline system offered the flexibility needed by allowing to follow the building’s curves without visible transitions. The ability to control everything centrally was also a significant win for the project.
The centralised system allowed to create four kilometres of uninterrupted lines of light that are easy to manage and maintain.
Sustainability was another core consideration for the Wings project. Both the architecture and lighting needed to meet high environmental standards, with certifications like BREEAM, DGNB and WELL in mind.
Given the building’s location near the Brussels ring road, there was also concern about light pollution.
Luc Peumans, creative director of Painting with Light, was especially mindful of this.
“We’re part of the Dark Sky Organisation, so minimising light pollution is always on our radar.
The Wings building needed to stand out, but we didn’t want the lighting to cause issues for the surrounding area,” continues Van der Kuylen. By using energy-efficient LED systems and ensuring precise control of the lighting, the project was able to meet its sustainability goals while still creating a visually stunning effect.
However, the lighting design didn’t stop at the façade. Inside the building, the lighting continues into the atrium, creating a seamless transition between the exterior and interior spaces. The result is a cohesive lighting design that extends the visual language of the building.
One of the standout elements of the Wings project was the collaboration between the various teams involved. Van de Voorde credits the success of the project to open communication between the architect, engineers, and lighting designers.
Li adds: “This kind of project really shows how lighting can enhance architecture when there’s a clear vision and strong collaboration. We were able to create something that feels integrated and intentional because we all worked together.”
By working closely with the architect, engineers, and lighting designers, the team was able to bring the building’s vision to life, blending form and function in a way that is both visually stunning and environmentally responsible.
The Wings building stands as a testament to the power of lighting in modern architecture, proving that when light and design come together, the result can be truly transformative. www.vivalyte.com
Image: Capture Photography
Somerset House London, UK
With luminaires from GVA Lighting, Atelier Ten has relit the classic façade of Somerset House.
The historic Somerset House dates back to 1547, when Edward Seymour, Lord Protector and Duke of Somerset, began constructing the palace along the banks of the River Thames. After serving as a royal residence and meeting place for more than two centuries, the original building was demolished in 1775. Architect Sir William Chambers was then commissioned to design and oversee the construction of its replacement, which stands today as an enduring symbol of neoclassical British architecture.
Since the late 18th century, Somerset House has evolved into a prominent hub for art, culture, and government. Notable past tenants include institutions like The Royal Academy of Arts, The Royal Society, The Admiralty, and the HMRC, making it a historically significant site. In 1997, The Somerset House Trust was established with the aim of preserving the building and transforming it into a public space. Today, Somerset House is home to the UK’s largest creative community, attracting art, technology, business, and social enterprise sectors. The venue also serves as a bustling centre for exhibitions, events, and concerts and is a key location for London Fashion Week. With its grand courtyards and neoclassical design, Somerset House remains a quintessential representation of London’s rich heritage and elegance. To further elevate its nighttime beauty, the Somerset house Trust has commissioned Atelier Ten for the re-illumination of the building using GVA luminaires, including: 113 linear metres (371 feet) of custom Highlighter RGBW in Cove Outdoor configuration; 85 linear metres (280 feet)
of STR10 RGBW; 64 FL RGBW Inner Mixing; 27kW centralised Infinity Power Supply System.
By selecting a wide variety of architectural lighting luminaires, utilising existing mounting solutions, and staying true to the original lighting scheme, this project demonstrates how modern architectural lighting solutions can enhance the beauty of historical monuments. Additionally, the number of luminaires and the power required to drive the system have been significantly reduced, paving the way to sustainability, while transforming the herita§ge building’s nighttime elegance with fresh, modern design.
GVA’s proprietary technologies, including ColorStream, Color-Amp, and Infinity, have performed exceptionally well on this prestigious project. These innovations deliver liquid-smooth dimming and transitions, ensuring superior efficiency and exceptionally long lighting runs. Through these modern solutions, GVA has enabled lighting designers to breathe new life into the classical beauty of Somerset House, extending its legacy for generations to come.
www.gvalighting.com
The museum specialist
mawa‘s certi ed premium series turns 10! Originally developed as a tribute to Fritz Bornemann‘s historic luminaires for the Deutsche Oper in Berlin, the seventies 70‘s now illuminate the world‘s most renowned museums with timeless design and maximum precision.
Jordan Gate Towers Amman, Jordan
The Jordan Gate Towers have been transformed with Licllab’s Custom Pixel RGBW lighting.
In a fusion of technology, architecture, and creativity, the Jordan Gate Towers have become a beacon of modernity in Amman, now illuminated by Licllabs’s cutting-edge Custom Pixel RGBW lighting solution. This project stands as a landmark collaboration between Licllab, Al Nasser Partners, TurnUp Al Faisal, and Jordan Gate Development.
The heart of the project lies in the Custom Pixel RGBW technology designed by Licllab. These powerful and dynamic RGBW LEDs offer an extraordinary palette of colours and effects, with each pixel being individually controllable. This allows for a rich array of displays, from smooth colour fades to intricate, responsive light patterns that elevate the towers into living, breathing entities on Amman’s skyline. The flexibility and creativity of this system allow the towers to respond to cultural events and celebrations, making them a centrepiece of both urban design and social engagement.
To bring this visionary project to life, Al Nasser Partners played a key role. Its deep understanding of the region’s architectural requirements helped ensure that the lighting was both functional and expressive, while its partnership with Jordan Gate Development helped tailor Licllab’s design to meet the towers’ ambitious goals, from energy efficiency to architectural harmony.
The installation of Licclab’s sophisticated lighting system required not just expertise but precision, provided by TurnUp Al Faisal. TurnUp Al Faisal was instrumental in mounting and coordinating the entire lighting system, ensuring that each product was installed to perfection. Their meticulous planning and coordination allowed the seamless integration of the RGBW lighting with the existing architecture, turning the vision into reality. Today, the Jordan Gate Towers stand as a symbol of Jordan’s leap into modern architectural innovation. The towers’ transformation into a dynamic, illuminated spectacle has captivated both residents and visitors, showcasing how light can redefine urban landscapes. With Licclab’s cutting-edge technology, Al Nasser’s coordination, TurnUp Al Faisal’s precision, and Jordan Gate Development’s leadership, the Jordan Gate Towers have become an icon for the future.
www.licllab.com
Atlanta Beltine Krog District
Atlanta, Georgia
Organic Lighting’s FortaCast inground lighting has transformed The Krog District into a dynamic public space, merging aesthetics with functionality along the bustling Atlanta Beltline.
The Atlanta Beltline, a 22-mile loop of trails and parks, has revitalised neighbourhoods by improving infrastructure and creating jobs, mobility, and healthier lifestyles. In the Krog District, ASD|SKY and Core used Organic Lighting’s FortaCast system to transform an underutilised green space into a vibrant public area. Owned by retail real estate investment firm Asana Partners, The Krog District development reimagined a gravel parking lot and an old industrial building to improve form, function and connectivity to the Beltline Eastside. The area of focus was situated within a significant overhaul of the Inman Park property and the Atlanta Stove Works building at 112 Krog Street, incorporating façade enhancements, new storefront systems and landscaping in a park area with the design spearheaded by ASD|SKY.
The park next to Atlanta Stove Works had untapped potential, and architect Evan Burch sought to create a visually appealing, functional space using inground lighting. The lighting system needed to withstand heavy Beltline traffic, adapt to the existing infrastructure, handle angular geometry and elevation changes, and be durable against weather and water exposure. The FortaCast modular drive-over lighting, crafted from ecofriendly Glass Fiber Reinforced Concrete (GFRC), met the project’s stringent requirements. FortaCast’s adaptability enabled the creation of angular, fractal geometries, mirroring the architectural nuances of the adjacent building in The Krog District. The GFRC fixtures can withstand high traffic, requiring minimal upkeep and resisting rust and corrosion that can be a problem with
metal-encased LED inground lighting.
FortaCast’s continuous, uniform lighting enhanced the area’s aesthetic – especially during the evenings. Featuring an IP68 rating, the inground lighting solution can endure prolonged exposure to moisture, critical for the area’s drainage design. Beyond new pavers, wood-clad stairs and seating, the FortaCast fixtures were installed to create a continuous line of light, delineating functional areas from sculptural landforms. “We sought to merge the retail environment with the trail, blending these elements. The FortaCast fixtures highlighted these features, embodying the building’s angular motif,” says Burch. “We worked closely with Asana Partners to ensure the design met all their needs, while adhering to the Atlanta Beltline’s development guidance. The goal was a gathering space that appealed to a wide range of users - families, runners, walkers, and those looking to rest or enjoy a meal.”
The FortaCast lighting in The Krog District has transformed the area into a visually dynamic landmark, integrating seamlessly with the angular design and highlighting unique geometries. This lighting not only enhances aesthetics but also improves safety for high foot traffic areas, offering durability and low maintenance, making it a key feature in the space’s revitalisation. The project has been widely embraced, turning The Krog District into a popular Beltline meeting point. www.organiclighting.com
Palazzo Venezia
Milan, Italy
Studio Marco Piva selected Platek for the lighting of the exterior façades and the interior courtyard.
The historic Palazzo Venezia in Milan, designed by Luca Beltrami in the late 19th century, has been redeveloped into the Gran Melià Palazzo Cordusio, blending history with modern hospitality while preserving its cultural heritage. Studio Marco Piva undertook the art direction of the portions subject to constraints relating to monuments, the architecture of the interiors and terraces, and the creation of the inner courtyard.
Platek outdoor lighting was selected to enhance the building’s artistic and urban value during its renovation, honouring its heritage while shaping a respectful future. The work on the façade, entrance, terraces, and lighting followed conservative restoration principles to preserve the building’s architectural, artistic, and historical character.
The Mini Corniche series was employed for a non-invasive effect, to emphasise and enhance the central foyer of the new hotel, the two sides, the Merchants’ Corner and the Goldsmiths’ Corner, intended for commercial use, and the copper surfaces of the dome and its lantern, and to create an interplay of light. All the luminaires supplied are equipped with a DALI control system, so the light can be dimmed by means of remotely integrated technology solutions.
With hundreds of light sources throughout the building, on the main façade and on the two side façades, in addition to the daily twilight choreography, a series of lighting scenarios have been designed to create evocative night scenes to celebrate or commemorate various events, from the Italian flag to Remembrance Day, and so on. The entire system is dimmable and programmable
by means of an intuitive digital interface. Using the same technology, programmable RGBW bars have also been set up in the interior, integrated into the glass canopy as well as on the inner cornice. These illuminated structures can be programmed to mimic what is going on outside or to work independently.
Mini Corniche is a versatile series of high-efficiency linear luminaires, with an integrated system that is highly flexible and customisable, various sizes, wattages and light beams, with a wide range of design requirements. Manufactured from extruded, die-cast aluminium, Mini Corniche is weather-resistant, making it ideal for outdoor use, but equally suited for indoor applications. It can be easily adapted to specific requirements for a variety of environments, such as events, meeting rooms, conferences, breakfasts and lobbies, providing effective, high-quality lighting in any setting.
The partnership with Studio Marco Piva, facilitated by HI LITE Next, has revitalised the historic Gran Meliá Palazzo Cordusio, transforming it into a modern hotel with 84 luxurious rooms, communal spaces, and a spa. This design blends tradition, innovation, and modernity, offering a unique and unforgettable experience. www.platek.com
Image: Ottavio Tomasini
Széchenyi Chain Bridge Budapest, Hungary
The famous Széchenyi Chain Bridge in Budapest shines with modern LED lighting, brought to life by Pharos Architectural Controls
The Széchenyi Chain Bridge has been given a new lease of life following extensive renovations and the introduction of a striking lighting system controlled by solutions from Pharos Architectural Controls.
The bridge, which opened in 1849, crosses the Danube River and connects the western ‘Buda’ to the eastern ‘Pest’ parts of the city. The refurbishment works dealt with large areas of rust and deterioration; treating the painting and the railings. The structural elements of the bridge have also been replaced and repaired. Furthermore, the bridge will no longer allow for cars to pass over –instead, traffic is limited to taxis, buses, cyclists and pedestrians.
The improvement works have also seen the modernisation of the bridge’s lighting, with the replacement of 1,180 outdated luminaires. The new LED lighting is controlled by a Pharos system, which not only allows for a full colour spectrum lighting, but also supports a reduction in power costs, all while retaining the lighting aesthetic of the historic bridge and remaining faithful to the structure’s heritage.
The new system was designed and installed by Lisys Projects; an LED lighting specialist across the architectural and entertainment sectors in Hungary. The team specified technologies from Pharos in the knowledge that their solutions would meet all the specific requirements of this grand old structure, and reassured by the fact that Pharos is known for reliability and longevity – perfect for external, large-scale installations, such as this one.
The main lighting controller is a 20-universe Pharos Designer LPC X (Lighting Playback Controller
X). The LPC X is a reliable and robust solid-state lighting controller that features individually controllable and independently running timelines and scenes. The LPC X offers an extreme level of power and integration, making it the ideal lighting control solution for landmark lighting installations that require significant channel counts.
Completing the system are four 20-port Pharos Designer EDN (Ethernet Data Node) remote devices for eDMX distribution across the span of the bridge, and a Pharos Designer BPS (Button Panel Station). The EDN is an easily configurable networking node that is specifically designed to add physical DMX ports to Pharos Designer controllers and integrates natively with the full Pharos Designer range. Offering manual override, the BPS is a versatile eight-button wall station with integrated button LEDs that works with any Pharos Designer Controller.
The bridge can now be illuminated in an array of colours to commemorate and celebrate national and international calendar events. This was not possible with the outdated lighting system, and it is an exciting prospect for the city of Budapest to have a large canvas to visually honour and support special occasions.
www.pharoscontrols.com
Image: Zsolt Hlinka and A-Híd’
Stele
Dannunziana Pescara, Italy
Coloured light scenes from L&L Luce&Light highlight Pescara’s Stele Dannunziana.
The imposing Stele Dannunziana towers above the Nature Reserve Pineta Dannunziana, an oasis of peace in the heart of the city of Pescara. The 67-metre-high obelisk was designed and built in just two months by the Pescara sculptor, engineer and artist Vicentino Michetti in 1963, to mark the 100th anniversary of the birth of the great poet Gabriele D’Annunzio. The monument is a symbol of the city’s identity, standing in an openair theatre on the edge of the pine wood and is made of reinforced concrete with a triangular star floor plan. Its surface is engraved with abstract geometric bas-reliefs inspired by the events in D’Annunzio’s life and his most famous works.
The Stele echoes previous and contemporary monuments dedicated to prominent figures. It owes its aesthetics to reinforced concrete, since it has a marked tapering that comes from three reinforced concrete “roots” that seem to protrude from the ground.
Carved out of the city centre and overlooking the Adriatic seafront, this verdant rectangle is free from the smog and sounds of traffic. Visitors can recharge in the tranquillity, as the space acts as a safe haven for the great variety of protected fauna that enjoy this “green lung”. During the summer, both the D’Annunzio monument and the 3000-seat theatre of the same name become the focus for the famous Pescara Jazz festival, as well as hosting concerts, events and cultural awards.
A 500-seat multipurpose hall, the Flaiano auditorium, an indoor space that is active all year round, occupies the area adjacent to the arena. The obelisk’s lighting was upgraded in collaboration with L&L Luce&Light, using Colorado outdoor linear profiles with built-in 230Vac power supply, capable of lighting particularly tall buildings, made it possible to accentuate the majesty and grandeur of the Stele. This was further facilitated by the adjustability of the lighting body on the Colorado 6.2 version, with 15°and 25° optics, which is surface mounted with brackets with two pivot points. The coloured light scenes are courtesy of multicolour high-intensity power RGBW LEDs and can be controlled through the DMX+RDM protocol. The results are particularly atmospheric and affecting, thanks to the fixtures’ colour mixing and lighting performance, while recessed optics ensure better visual comfort.
Installation in harsh saline environments such as this one is possible because of the combination of a body in Anticorodal low-copper-content aluminium, stainless steel brackets, and technopolymer end caps, ensuring excellent heat dissipation and outstanding corrosion resistance. In addition, the screen in grey serigraphed and transparent extra-clear glass guarantees impact and scratch resistance (IK10).
www.lucelight.it
Image: Fabio Di Carlo
Tansy Headquarters Doha, Qatar
With a carefully designed façade lighting scheme from Ideolux, the Tansy Headquarters reveals its sleek architectural features, creating a captivating visual display that comes to life after dark.
The Tansy Headquarters building in Doha, Qatar, developed for the Simex Group, is a prime example of how strategic façade lighting can elevate modern architecture. This project demonstrates the transformative power of lighting in accentuating a building’s design, particularly as evening falls, when the interplay of light and shadow reveals the façade’s intricate details.
For this project, the Pro Flex Dome was selected as the primary lighting solution for the aluminium sections of the glass façade. The challenge was to integrate the lighting seamlessly into the design while ensuring that it did not alter the building’s sleek appearance during both day and night. Closely coordinating with the aluminium manufacturers ensured the Pro Flex Dome fit perfectly into the design, maintaining the building’s elegant look throughout the day.
The flexibility of the Pro Flex Dome allowed it to be positioned in both linear and curved formations, which highlighted the architectural features without compromising the façade’s smooth surface.
The choice of the dome-shaped diffuser was crucial for the design, providing a 3D affect that enhances visibility from the road, making the building stand out even from a distance. The dome shape ensures that the lighting remains visible and reflects effectively, enhancing the building’s presence on the D ring road. This choice also contributes to a distinctive visual identity for the building, making it a landmark feature in the area.
To complement the façade lighting and integrate seamlessly with the streetscape, premium outdoor products such as Quo Square Bollard and Quo
Round Up at ground level were employed. These fixtures offered practical illumination for pathways and entrances, enhancing safety while blending with the surrounding environment. Additionally, Quo Deep Spike and Quo Rectangular Ramp fixtures were strategically selected to illuminate the landscape and architectural elements around the building. Its discreet design ensured a balanced integration with the environment, creating a pleasant pedestrian experience.
Led by Ideolux’s very own Qatar Team Leader Yara Refaat Rashed and in close collaboration with the brand’s local partners Tornado Lighting WLL, Ideolux’s unique solutions successfully transformed the Tansy Headquarters building into a captivating visual experience at night. The project underscores how well-designed lighting can elevate a building’s architectural beauty, creating a compelling visual impact that is both functional and elegant.
www.ideolux.it
Longthorpe
Footbridge
Peterborough, UK
DW Windsor illuminate with a new footbridge making it easier for cyclists, walkers, and wheelchair users to cross the A47.
National Highways has introduced a new footbridge as part of a wider road improvement scheme by replacing its previous structure, which was constructed in 1970 and no longer met industry standards. The 30-metre structure has been designed to be more accessible, with shallow access ramps at a 5% gradient.
DW Windsor worked with engineering, management and development consultants Mott MacDonald to provide lighting for the road, bridge, and ramps. The scheme called for replacement columns on either side of the footbridge, with eight Kirium Pro luminaires providing illumination for both the road and overpass.
To maintain the ambience, provided by the original SON lamps along the A47, a special request was made to implement a lighting solution that matched the old light levels and colour temperature. This led to a collaboration with Nichia to implement its 1800K LED lighting – a range of LEDs developed to be an ideal mercury-free alternative to High Pressure Sodium HPS lamps.
The 1800K LEDs from Nichia match the nostalgic appearance of HPS lamps, while offering many key benefits of LEDs, including increased energy efficiency, less glare and greatly improved colour rendering. The LEDs also provide a longer lifetime of operation and less blue-light emissions that help to reduce light pollution. By matching the appearance of the existing road lighting, visual consistency between the original SON lamps and newer LED luminaires has been maintained.
Takashi Onishi, Head of General Lighting Europe at Nichia, says: “Our LED solutions provide the
warmth and comfortable glow of traditional HPS lamps while delivering eco-friendly lighting with greater efficiency. At Nichia, we’re passionate about pushing the boundaries of LED technology to improve infrastructure projects serving local communities across the world.”
In addition to the road lighting, DW Windsor also supplied its DarkSky approved garda handrail to illuminate the ramps up to the footbridge. The bespoke, illuminated handrail system provided a discreet low-level lighting solution for the walkway, while also supporting accessibility for users with limited mobility.
Each approach ramp included a single-sided, continuous stainless-steel handrail fitted with 120mm Garda Classic LED modules at 3.6-metre spacings. The ramps were lit to a P5 lighting class using asymmetric optics and a 3000K colour temperature to deliver uniform lighting across the inclined surfaces.
Alan Grant, Design and Development Director at DW Windsor, comments: “The use of warmer colour temperatures across the scheme supports wider efforts by Peterborough City Council to protect local biodiversity, which was a key challenge of the project. The use of Garda handrail on the ramps further reduces the impact on wildlife by minimising light spill into surrounding areas.”
www.dwwindsor.com
www.nichia.com
We’ve created a happy medium between power, punch, and size with the new Prospot 13, packing our most efficient circuit and optical design into a modestly sized fixture to deliver more CBCP than you can imagine. This is our most versatile, spec-able projector yet.
Zwingerpark Offenburg, Germany
In a recent renovation of Offenburg’s Zwingerpark, studioteilchenwelle was challenged to find a balanced lighting solution that could meet environmental and sustainability requirements while being appropriate to the urban space and its safety aspects. The park is a listed garden monument from the 19th century located in the heart of Offenburg city. Found between the Mühlbach and the surrounding historic city wall, it forms the most impressive section of the green belt around the old town. Landscape architects, helleckes landschaftsarchitektur, were responsible for the extensive renovation work to create an identityforming public space. A corresponding evening atmosphere was created in close collaboration. A decisive component for minimising the environmental impact was the time-based differentiation of the lighting. The city was open to breaking new ground in this respect and enabling a control system with which the luminaires can be individually dimmed and grouped into scenes. In the early evening hours, the focus is still on people and the urban space and in the darker months of the year, the city wall also becomes a focal point during transitional phases at night. However, only the walkway is illuminated and dimmed to a minimum. Additionally, the light colour was considered in detail and, also according to samples, 2200K was selected as standard, with 2700K in accent areas. At the entrance areas and bridges, transitions between the light colours to the adjacent,
partially neutral lighting were created.
A defining element of the landscape design is the row of lime trees along the 500-metre main path by the Mühlbach stream. This was recreated along the historical model, around individual witness trees from the original planting. The lighting fixtures themselves were designed to blend in, with high poles between the tree grids to minimise glare. From there, narrow-beam spotlights cast discreet and precise beams of light onto the path, which are interlinked with soft contrast and thus reflect the ductus of the row of trees. The lighting concept also includes the significant old linden trees, playing with shadows to make the leaves visible on the ground. Spotlights with tree belts are attached to the trunk in close coordination with the city’s tree care department, and deliberately aimed at the ground through individual branches at the right distance for a shadow image. The path at the back, in front of the city wall, remains unlit, with the exception of individual seating niches and an island of light by the pond. Small lighting accents with narrow-beam spotlights were used for statues, monuments and the fountain – this helps to perceive the depth of the space. The precise but soft and discreet illumination of the city wall that forms the space is an essential element in the winter months in order to increase the recognisability of the surroundings and thus the sense of security. www.studioteilchenwelle.de
COMMENT
Noctines: Contemporary Nocturnal Stories
Nicolas Houel, Founder of French studio L’Observatoire de la Nuit, shares his new research project, Noctines, dedicated to examining our “night time narratives”.
L’Observatoire de la Nuit recognises that preserving natural darkness and the health of all living things requires a deeper understanding of their intricate connections. By embracing this understanding, we can foster the creation of sustainable, high-quality nighttime environments, whether softly illuminated or left in their natural state.
Noctines is dedicated to enriching the global conversation about the balance between darkness and artificial light in daily life. Through gathering personal stories – both real-life experiences and imagined aspirations – Noctines seeks to uncover how people shape their cultural perceptions of night and light.
Field action-research project
The term “Noctines” is a French neologism, combining “comptines” (lullabies) and “nocturnes” (nighttime), invoking the cultural stories shared at dusk across generations. Created by L’Observatoire de la Nuit, Noctines is committed to guiding individuals through the cultural transition to a renewed experience of the night. This project is inspired by my 2020 PhD thesis, “Pedagogy of Light Sobriety.”
Noctines’ ambition is to delve into personal nighttime narratives to better understand the cultural relationships people have with the night. By taking a research-action approach, Noctines not only contributes to scientific exploration in psychogeography and sensory mapping, but also offers valuable insights for urban planners, consultants, and designers. The ultimate aim is to enhance the quality of nightlife in various regions and to tailor nighttime environments to how people truly live and experience them. Since 2021, Noctines has been mobilised during the following events:
• Lisbonne (PR), IV edition of the International Conference on Night Studies, 2023
• Lum’Acte Game (national serious game in 12 regions of France), 2023
• Nantes (FR) night city council, 2023
• La Haye-Fouassière (FR) lighting masterplan, 2022
• Nantes (FR), Darkness experience workshop, 2021
These steps led to the collection of nearly 400 individual testimonials from a diverse group of contributors, including local residents and street lighting experts. The insights gathered took various forms, ranging from key words to full narratives and short stories. Initial analysis reveals that people’s relationships with nightlife centre around eight key themes:
• Social interaction
• Innovation
• Nature
• Introspection
• Safety
• Night sky
• Wonder
• Perception and soothing effects
These eight themes serve as a foundation for further exploration by the L’Observatoire de la Nuit team. While not exhaustive, they mark the beginning of a proposed framework to understand the emotions, sensations, and perceptions that shape both our collective cultural views and individual imaginations about the night. As more contributions are gathered, this analysis will evolve, aiming to provide a comprehensive view of the cultural factors that have shaped – and continue to shape – nightlife worldwide.
NICOLAS HOUEL
A Simple, Interactive Participation Protocol
Noctines’ approach unfolds in three steps:
1. Contributor Profile: Three questions establish an anonymous profile of the participant, covering gender, age, and their relationship with the night.
2. Location and Content: Contributors plot their stories on a dynamic map, allowing them to share the geographical context of their experience, followed by a freeform narrative of their story.
3. Story Classification: Participants indicate whether their story reflects real life or an imagined desire and link it to one of the eight pre-defined themes. There’s also room for them to introduce a new theme if needed. This simple, didactic process invites broad participation and deepens the understanding of how people around the world connect with the night.
Noctines’ Framework
L’Observatoire de la Nuit seeks to balance the technical and sensory elements that shape nighttime environments. Often evaluated through performance, regulatory standards, and environmental considerations, the quality of life at night can sometimes feel reduced to issues like energy management, biodiversity protection, and compliance with norms. Through the Noctines project, however, L’Observatoire de la Nuit shifts the focus to personal narratives – whether real or imagined – to guide technical and technological decisions. In essence, it seeks to return lighting to its rightful place: at the heart
of human experience.
The vision of the Noctines project unfolds in three stages:
Short Term: Develop a methodology for designing low-impact, shared, and sustainable nighttime cities, placing the experiences of living beings at the centre.
Mid Term: Explore the scale of societal representations of the night, moving from global to local, and from collective to individual perspectives.
Long Term: Investigate the “night-individual” system to understand both the tangible and intangible interactions that occur, and how these affect individuals and society at large.
A Free Platform for Everyone
L’Observatoire de la Nuit is committed to raising awareness, providing information, and experimenting with nighttime environments and artificial lighting. Our platform is open to all, believing that personal stories, whether real, imagined, positive, or negative, play a crucial role in shaping how each individual connects with the night. This anthropological perspective aims to shed light on various cultural aspects, including gender, accessibility, and safety in nighttime public spaces.
Utilising Noctines for Your Projects
Noctines is a free platform designed to support projects focused on creating and sharing stories about night time experiences. Accessible on both PC and mobile devices, it integrates seamlessly into events and nighttime consultations. We offer occasional
data extractions upon request and are open to developing customised solutions, such as tailored questionnaires, geographic targeting, and direct data access.
Feel free to reach out to us at contact@lobservatoiredelanuit.fr and contribute your stories to the platform!
Why Contribute and Consult Noctines?
Noctines offers a unique opportunity to connect with others who share your experiences at the places you love to visit at night. By using the platform, you can explore a vast array of nighttime locations around the world, discovering new spots to enjoy after dark.
Noctines also provides a valuable resource for comparing and contrasting different perspectives on nightlife. It reveals the wide range of opinions, preconceptions, and cultural practices associated with nighttime activities globally. This insight allows you to appreciate the diverse ways in which people around the world experience and perceive the night.
Moreover, your personal stories and experiences play a crucial role in shaping the world’s first qualitative map of nocturnal experiences. By contributing to this map, you help create a comprehensive and nuanced understanding of nighttime environments, enriching our collective knowledge and fostering a deeper appreciation of the night. www.lobservatoiredelanuit.fr
LiGHT 24
[d]arc media is bringing the UK’s only dedicated exhibition for lighting specification back for 2024, taking over London’s Business Design Centre on 20-21 November.
LiGHT 24 is the UK’s only dedicated high-end lighting exhibition, welcoming individuals from all areas of the lighting, interior design, architectural and specification communities.
There is something for everyone at the show - from networking opportunities through to the exclusive [d]arc thoughts talks programme, experience light art installations, and more.
LiGHT 24 provides unrivalled networking and socialising opportunities as visitors meet with exhibitors on their stands, enjoy late-night welcome drinks during the first evening, or take part in the popular LiGHT Lunch on day two. There’s also the on-site cafe, Jacks for a more relaxed meeting or the dedicated LiGHT WORK
workspace for quieter surroundings, allowing you to discuss potential project collaborations in more detail.
If you are looking for ways to more seamlessly integrate the right lighting solutions into your project designs then LiGHT 24 is for you and features hundreds of high-end international architectural and decorative lighting brands all under one roof.
Taking place at the Business Design Centre in London on 20-21 November, LiGHT 24 is the place to be for lighting specification and is completely free to attend - simply register via www.lightexpo.london
LiGHT Networking Lunch
This year’s LiGHT Lunch, taking place in the Associations Lounge on the Gallery level, will be co-hosted by Women in Lighting
We invite LiGHT 24 visitors to engage with a panel discussion on the Importance of Women’s Industry Groups for both women and men, and how male colleagues can help change the narrative. Female attendees are encouraged to bring a male colleague with them to engage and educate!
Speakers include: Carmela Dagnello of Ridge and Women in Lighting; Rachael Davidson of Smiths and Women in Architecture; and Harsha Kotak of Women in Office Design.
Talks Programme
The LiGHT 24 talks programme once again takes centre stage on the Gallery Level of the Business Design Centre. Hear from more than 30 design professionals from all areas of the industry – lighting, interiors, architecture, specification, manufacturing and more – on the topics that really matter.
Due to popular demand, this year’s programme will be twice the size, with TWO programmes running side by side. In association with lighting control specialist, Lutron this year’s main [d]arc thoughts programme will be split into themes – covering the Business of Design, Interiors + Lighting, and Designing for People and the Planet, which will be split further into content around wellness, sustainability, and the environment.
A splinter programme will run in the Associations Lounge, also on the Gallery Level and feature talks run by industry associations LIA, IALD, ILP, and SLL. There will also be
This will be followed by a complimentary LiGHT Lunch and networking opportunity with representatives from Women in Lighting, Kimberly Bartlett of Introba and Women Lighting Professionals, Women in Office Design, Women in Architecture and Zoe Bonser of the Women in Furniture Network both in the room.
Head to the Associations Lounge on Thursday 21 November, from 12 - 1.45pm for this must-attend event.
a presentation from Light Collective and a workshop in collaboration with DALI Alliance. Curated by the [d]arc media editorial team and with expert guest moderators, this year’s LiGHT talks programme is set to be the best yet.
Visitors can expect to see professionals and experts from all areas of design speaking over the two-days, including studios such as: Perkins & Will, WeWantMore, MS Lighting Design, Hoare Lea, Artin Light, Dark Source, Nulty, AS Light, Palladian, Isla James Interiors, Light Collective, Orms, Cordless Consultants, WSP, GDM and more.
All talks are completely free to attend but capacity is limited. Head to the LiGHT 24 website to download a talks schedule.
Experience Intra-spectrum
Discover the illuminated innovation of Frankie Boyle’s latest installation, Intra-spectrum, powered by formalighting at LiGHT 24.
Light artist Frankie Boyle introduces her latest installation, Intra-spectrum powered by formalighting, at LiGHT 24.
Specialising in immersive and experiential design, with a profound focus on light and colour theory, Boyle is recognised for crafting installations and experiences that guide audiences through transformative emotional journeys.
Combining scientific inquiry with creative expression, Boyle’s work is distinguished by her mastery of physics, colour theory, and the psychology of perception. Her installations explore the intricate interplay of light and emotion, creating immersive environments that prompt introspection and self-discovery.
Boyle has cultivated a heightened sensitivity to light and has a deep understanding of human behaviour. This is reflected in Intra-spectrum, which has taken inspiration from her recent explorations of the narrative of consciousness and subconscious within her body of work, through the harmony of reflection and refraction.
Boyle says of the installation: “I want people to immerse themselves within the light that we shine and the light that we hold within, through an array of beautiful, invigorating colours. This installation is all about eliciting introspection and connection.”
This relationship with colour is something that she wanted to particularly focus on during Intra-spectrum. Colour theory is a fundamental concept in art, design, and psychology that helps explain how colours interact, how they can be harmonised, and how they affect human
perception and emotions.
She believes that as children we are attracted to colour as our eyes are more sensitive and stimulated by brighter colours, yet as we grow older we start to eliminate colour from our lives because we associate it with immaturity and youth. Therefore, her work aims to, “reignite those rich emotional experiences that influenced how we felt, thought and behaved through play when we were younger”.
Commenting on the collaboration, formalighting’s Sharon Maghnagi, Global Operations Director, says: “We are ecstatic to be supporting the Frankie Boyle art installation at LiGHT 24. As a company we strive towards innovation in our product development, with a specific focus on lighting art galleries and museum applications.
“Collaborating with Frankie as a light artist further helps us realise this vision, as it challenges us to research the best possible technical solutions to create the desired lit effect.”
Visitors will be able to experience the exclusively created Intra-spectrum powered by formalighting, in the space between the main exhibition and the [d]arc thoughts conference space, up on the Gallery level. It will aim to ignite and resurface memories and emotions as visitors move through it.
There will also be an open Q&A session with Boyle on 20 November at 4.20pm, where she will delve deeper into the inspiration and design process behind the installation.
Your vision, our lights. Architainment Lighting is your partner in illumination, working seamlessly with you to deliver stunning lighting solutions for some of the UK ’s most iconic buildings and attractions. We offer
www.architainment.co.uk
www.architape.co.uk
Visit us at Stand 20 at Visit us at Stand 20 at
Architape is more than just a lighting manufacturer, we are your partner in light. We bring your creative ideas to life with innovation, precision, and dedication to quality. Leveraging our extensive knowledge and experience through product quality consultations, bespoke luminaire design and fabrication, and personalised product recommendations, we deliver tailored lighting solutions to meet your specific project requirements and client aspirations. We are dedicated to crafting solutions that not only illuminate spaces but also enhance them, creating breathtaking visual experiences.
Ones to Watch
LED Luc 40 Spot ADO Lights
ADO Lights introduces the LED Luc 40 Spot at LiGHT 24. Featuring a magnetic, fully adjustable base, it offers beam angles of 15°, 25°, 40°, and 60° making it adaptable for any lighting design. With colour temperatures ranging from 2200K to 4000K, it delivers both versatility and efficiency. Prioritising sustainability, the spot allows easy replacement of both the lens and LED with just a screwdriver and pliers. Stand 30 www.adolights.com
Pharos Architectural Controls
LCA + EPD Service Recolight
Recolight is excited to introduce a new Life Cycle Assessment (LCA) and Environmental Product Declaration (EPD) service, specifically designed for lighting manufacturers. These services will help you quantify and reduce the environmental impact of your products, from material extraction through to end-oflife. With Recolight’s expertise, you’ll gain a comprehensive understanding of your product’s environmental footprint and how to mitigate it. Stand U57 www.recolight.co.uk
Ahead of the exhibition this November, we take a look at some of the brands that you can expect to find on the show floor.
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Architainment Lighting Stand 20
Your vision, our solutions. Architainment Lighting is your partner in illumination, working seamlessly with you to deliver stunning LED lighting for some of the UK’s most iconic buildings. Offering an unparalleled selection of high-performance LED lighting products from leading suppliers, bespoke Architape luminaires and ArchiPower enclosures, and comprehensive ArchiCloud control systems. Beyond its lighting solutions, they also bring an unwavering commitment to quality, expert guidance and dedicated support throughout the entire lifecycle of your project, from concept to commissioning.
Stand 20 · www.architainment.co.uk
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Stand U40
Pharos Architectural Controls - celebrating its 20th anniversary year in 2024 - is an awardwinning and independently owned manufacturer of dynamic lighting control solutions for architecture, themed entertainment, and other specialist industries. Its hardware and software solutions are designed and built in-house, backed by a five-year warranty, and supported by an experienced technical team. Pharos products are trusted to run day and night, illuminating iconic installations around the world. Stand U40 · www.pharoscontrols.com
Zero Framing Projector 18 formalighting
The compact Gobo compatible multifunctional LED Zero Framing Projector 18 with a built-in bi-directional zooming lens are professional micro spotlights that guarantee exceptional illumination for even the smallest of artefacts. The high-precision optics’ sharply defined beams of light ensure that displays are shown to their full potential through lighting uniformity. Adjustable without tools, the luminaires are easily and swiftly adapted and altered as display spaces change over time. Stand 46b www.formalighting.com
Mars Eve LED Linear
Featuring advanced glare control technology, this wall washer sets new standards in the field, providing comfortable, glare-free illumination. Its intelligent design includes customisable features and optional smart lighting controls that optimise energy consumption, offering sustainable lighting solutions. The luminaire delivers uniform and shadow-free wall washing, enhancing spaces and highlighting architectural details with precision, while avoiding unwanted lighting effects through optimal light control. Stand U54 www.led-linear.com
Exterior Wash Pro Family
Martin Professional Engineered for harsh conditions and creativity, the Exterior Wash Pro family provides a logical, user-friendly and versatile lighting solution with two colour variants (QUAD and CTC), four compact sizes, easy installation, and standalone programming capabilities. Designed for permanent outdoor installations, and backed by a five-year warranty, these fixtures meet rigorous environmental standards. The Exterior Wash Pro family redefines outdoor lighting for fixed installations and is the ideal choice for lighting specifiers supporting fixed outdoor installations. Stand U41 · www.martin.com
Cloud Control
Ritus Mob Bright Special Lighting
Introducing the new range of recessed adjustable downlights, perfect for any space. These modern fixtures feature innovative LED technology, delivering an impressive 130lm/W. With a sleek design and various size options, they blend seamlessly into any environment, providing high performance and energy efficiency. Stand U22 www.bright.gr
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Topaz Series
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Nicolaudie
Nicolaudie Cloud Control is a cutting-edge lighting management system that empowers you to control your lights remotely. By eliminating the need for on-site visits, you reduce your carbon footprint, saving time and money. Whether you want to optimise an installation or maintain and service the controller remotely, the Nicolaudie Cloud offers unparalleled convenience and efficiency. Illuminate your world with the power of Nicolaudie. Stand U42 www.nicolaudie.com
CLS
The CLS Topaz Series is a stunning collection of fixtures and its most comprehensive range to date, with the Topaz Expo, Zoom, ColourFlow, and Profile versions. With a slightly curved back, interchangeable optics, innovative dimming options and stackable accessories it ensures precision lighting and ultimate customisation options. With its sleek design it’s an aesthetic lighting solution for every space, whether a museum, leisure location, lounge, theatre, or experience centre. Stand U46 www.cls-led.com
Lene Tube LedLuks
The Lene Tube luminaire provides smooth, ambient lighting with a gentle ceiling glow, thanks to its fully illuminated opal body. Its sleek, all-white version adds minimalistic elegance, while colourful end caps and cables in red, yellow, white, or black transform it into a playful, creative design. Available in ceiling and pendantmounted options, with an integrated driver, the Lene Tube delivers 260º light distribution, ensuring wide and even illumination. Its milky surface makes it a striking piece, even unlit. It can be upgraded with custom-made patterns. Stand 33 www.ledluks.com
Bega
Distributed by Mesh
The next-generation glare suppression technology used in various Bega luminaires offers exceptional eye comfort and sets new illumination standards. The sophisticated conical mesh texture ensures lateral glare suppression even at near level view angles. Lit or unlit: this luminaire is not only beautiful – it also features exceptional technology and quality. Stand 24 / 62 www.bega.com
LCU
GVA Lighting
Introducing GVA Lighting’s LCU – Light Control Unit. Sleek, innovative, and easy to use, this tool offers seamless control of your luminaires. Perfect for design mock-ups, testing, and experimentation, the LCU streamlines your workflow with smooth and precise adjustments. Whether you’re a lighting designer or technician, this compact device is the perfect companion for your projects. Elevate your work with the LCU – the ultimate tool for lighting control. Stand 16 www.gvalighting.com
Tranquilla KKDC
Tranquilla is a stand-alone DMX controlled LED light projector with a unique rotating Murano glass cylinder producing mesmerising kinetic lighting effects on to walls. Named after the Italian word for calm, quiet, relaxed, Tranquilla is a design-led product where ‘Made in Murano’ beauty is elevated with the latest LED lighting technology from Korea. Stand U43 www.kkdc.lighting
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Lianna stands as a beacon of innovation in the domain of linear lighting. With its unparalleled flexibility, efficiency, and adaptability, Lianna not only addresses the core challenges of traditional linear lighting but also sets new standards for performance and versatility. Lianna features a versatile two-row lens design that can be tailored to any desired length in 1ft increments, ensuring a seamless aesthetic solution with no gaps. Stand U12 · www.ledil.com
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Ringo Star Acoustic Lightnet
An LED acoustic pendant luminaire with direct-indirect or direct-only light distribution. Luminaire body made of aluminium profile with 40mm profile width. Surface white, silver, graphite, black, copper or bronze coated. Internal sound absorber for a wide frequency spectrum, to reduce the reverberation time. Direct light using precision lenses with louvre for wide uniform symmetrical light distribution with high glare limitation (UGR<19) for workplaces. Louvre available in various colour finishes. Stand D29 · www.lightnet-group.com
Rippling Platek
Everything becomes better when you’re outdoors: fun, work, love, sport, food, and partying. That’s why Platek puts so much effort into transforming the world of outdoor lighting. All the collections stand out for impressive performance and impeccable style. They are designed to bring ideal lighting to your favourite places, ensuring the right performance and atmosphere. But it’s not just about the design and the engineering. They use the highestquality alloys and have extensive expertise in their manufacturing, treatment, and finishing. Stand 68 www.platek.eu
Euclid 60 WE System IP65
Radiant
The Euclid 60 WE IP65 System is a linear, DMX controlled, dynamic, LED effect-lighting system, designed for exterior architectural and landscape lighting applications. Decorative, dynamic liteffects are achieved with an LED matrix of various colour-temperatures and colours, complex DMX controlled dimming-sequences, and texturedglass optics. The system has a working life of up to 100,000 hours, as there are no moving parts. Custom lit-effects can be achieved by modifying the DMX dimming-sequences, the LEDs specified, and the textured-glass optics used. Stand 31 · www.radiantlights.co.uk
Lianna LEDiL
corporate friends Stand U8
corporate friends is renowned for its innovative lighting systems that enhance the display of cultural treasures in leading museums worldwide. Every product is designed, manufactured and assembled in Germany, ensuring the highest standards of quality and reliability. Commitment to excellence and passion for lighting design continue to drive the company forward, illuminating history and art for present and future generations. www.corporatefriends.de
DuraGreen Stand D31
DuraGreen is an innovative architectural lighting brand in the UK, specialising in crafting miniature lighting fixtures that blend style and functionality. The brand embodies British heritage with its elegant presence and exceptional craftsmanship. The team transforms premium materials into fine luxury goods that elevate any space. Almost all of the brand’s lighting fixtures are meticulously crafted with pure aluminium using masterful techniques, resulting in a flawless finish that exudes sophistication. www.duragreenlighting.co.uk
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Licllab Stand 69
Licllab is an innovative family business at the forefront of LED lighting technology. Based in Italy, its unwavering commitment to excellence drives the team to develop and manufacture premium indoor and outdoor architectural lighting solutions, including customisable options. Licllab boasts an extensive product range that caters to both indoor and outdoor lighting needs. Its offerings encompass IP68 profiles, Neon Flex, and LED strips, ensuring that it has the perfect solution for every project. www.licllab.it
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Lorelux Stand U27
Lorelux is an Italian brand of sustainable urban luminaires. Lorelux luminaires are made from recycled and recyclable plastic through patented manufacturing solutions that make them durable and highly resistant to corrosion and impacts. The Lorelux green luminaires are manufactured in full compliance with circular economy principles and can be customised in shape and colour according to the needs of any urban space, thus resulting in conscious and balanced development between aesthetics, durability and environmental protection. www.lorelux.eu
DGA Stand 27
DGA is a lighting company with more than 30 years of experience in the design and production of high-end luminaires. An authentic Made in Italy reality, characterised by a short supply chain that allows for strict quality control and meticulous attention to detail at every stage of the production process. This approach not only enables the production of top-quality products but also enhances local suppliers, while promoting a reduced environmental impact. www.dga.it
Vivalyte Stand 18
Vivalyte provides stylish and cost-effective solutions for creative lighting. From immersive lightboxes and captivating signage to jawdropping façade lighting, it offers smart, adaptable, and sustainable illumination solutions to bring your stories to life. By using innovative LED products, strong technical expertise, and unparalleled customer service, it realises even the most challenging lighting ideas. www.vivalyte.com
Hilton
Park Lane
London, UK
Hilton Park Lane is an institution, a flagship site for the Hilton chain. Three years ago, Elektra Lighting updated the first floor ballroom and function spaces; this year it was the turn of the façade, and the ground floor, including reception, brasserie and Revery bar.
The façade is the first impression of the hotel and is very visible, at 26-storeys high. The old façade lighting was strings of filament lamps hung across balconies. This has been updated to a line of linear, addressable LED across each of the floors, courtesy of Tryka.
“Addressable” means that every individual LED pixel can be controlled separately; combined with a RGB colour system, the façade can move, chase, create patterns and waves. Its unusual for a façade to have this colour functionality in the normally conservative Westminster area, but Elektra argued that the façade could be mostly one colour, and only on a certain number of days would a colour be used – Red on Remembrance Sunday, Rainbow for Pride and so on. Elektra programmed 20 or so scenes, some of which (snowfall for example) are animated.
Walking through the front doors, guests arrive at the lobby; a comfortable, spacious area. It could be an empty transit area, but the lighting makes it warm and welcoming. There are always groups of people sprawling on the large seating and hanging out. Lighting, of course, makes this possible. Elektra designed a large, customised pendant across the entire ceiling, which cunningly includes not only general lighting but some concealed narrow spots to create drama. Although in this space the main drama comes from the feature artwork at the far end, thousands of tiny metal petals hanging on almost invisible wires and shining out like a beacon due to the dedicated lighting on them. Added to this, of course, is the warm low level of lighting, which brings a human scale to the space.
The Revery bar occupies a formerly dead area, under the stairs by the door to the car park. Its low ceilings and tucked away nature make it great for an intimate, snug cocktail bar. Lighting adds the required glamour that this space needs. For example, large crystal
chandeliers in a modern style from Lasvit hang over the bar. With the ceiling full of structure, there is no recess depth, so these are actually in a dropped surface cove detail. Additionally, Elektra wanted to lower the attention down to low level (disguising the low ceilings) so used lots of warm lighting integrated into features – the bar, shelving and so on, as well as battery operated lamps. In the Brasserie, the main breakfast location, the lighting makes it white, clean, bright and fresh. But in the evening is all drops –darker, moodier, sexier, as the restaurant swings into evening mode. Lighting controls do this automatically but tunable white was used in some fittings to make the space a warmer white colour.
Overall, lighting makes this hotel. From an eye-grabbing first impression, through the relaxing and warm lobby, to the hidden glamour of the cocktail bar, at every point the lighting design improves, enhances, defines and creates a memorable experience and an emotional connection to the space. www.elektralighting.co.uk
Image: Rohan Venn Photography
IP67 outdoor lighting solutions
Revo IP67 Inground Series
> Inground fixture with gel mould set for guaranteed waterproof connection
> Single Colour in 2200K, 2700K, 3000K, 4000K, 5000K, and 6500K
> Tunable White in 1800K-3000K, 1800K-4000K, or 2700K-5000K
> Colour changing in AWB, RGBW, or RGBA
> 5, 10, and 20 Watt power consumption versions
> Various optics available per version
> Mains Dim, DMX512, and Casambi
> Visit CLS at stand U46
Revo IP67 Series
> Track or bracket mounted fixture
> Single Colour in 2200K, 2700K, 3000K, 4000K, 5000K, and 6500K
> Tunable White in 1800K-3000K, 1800K-4000K, or 2700K-5000K
> Colour changing in AWB, RGBW, or RGBA
> 5, 10, 20, 40, and 80 Watt power consumption versions
> Various optics available per version
> Mains Dim, Magno Dim, Non Dim, DMX512, Wireless DMX, and Casambi
LED lighting solutions designed & made in the Netherlands since 2002 cls-led.com
COMMENT
JENNI GILLARD
Elizabeth House
Jenni Gillard, CEO of Gillard Group, shares her experience of renovating her Queenslander home in Brisbane, Australia, examining how the design enhances its historical roots, while also advancing frontier light-based innovations.
A Queenslander is a unique timber house, enclosed by VJ and chamferboard walls, elevated by timber stumps, bordered by verandas and batons and roofed by corrugated iron. Elizabeth House, built 1901, sits on 810sqm block. The backyard, with its big trees and mature plants is so private, it feels like you are in a forest or warm embrace.
The owners, Jenni a world recognised architectural lighting designer and her partner Mark, a global tech thought leader, invested their talents into creating an innovative showcase for current and prospective clients.
The home embraces novel HVAC and passive and active ventilation solutions, cross-flow breezeways, industrial irrigation and various maintenance reduction initiatives. For this article, the focus is on natural and artificial light and control solutions. Queenslanders started appearing from the 1840s onwards. They are a beautiful and simple design for sub-tropical living. Children and pets slept on the verandah. The original four internal rooms and wrap-around verandah create a square which is topped by a large pyramid roof. The undercroft was dirt, perpetually in shade and therefore cool. This cool air and breeze ventilated the house through floorboards and windows. The kitchen and toilet were often detached structures.
One of Queensland’s marketing monikers is the Sunshine State. Yet our large pyramid roof and verandah made the core of the home dark, especially downstairs. Post WWII, it was common for this space to be built-in for more living space and amenities.
The renovation of Elizabeth House started 1 February 2023. However, Mark commenced design and Jenni and her team began architectural drawings years prior. By the end of February 2024, the bulk of the renovation was finished. There are still several, almost finished states, including the lighting.
To solve day-lighting issues, we used lighting analysis software to track winter/summer sun. This
led to the location of a small gable off the back of the pyramid roof. To make an internal atrium, the builder cut a 1.2x0.9-metre hole in the ceiling and framed the walls in matching VJ timber. Two skylights with ultraviolet (UV) and infrared (IR) glazing were installed. Passive light now bounces down 5.52-metres from atrium to floor and illuminates the core of upstairs.
The ambience from daily weather changes creates beautiful natural light shows. The owners can even guess time of day by the light on the floor or walls. At night, the moonlight exceeds expectations.
A 2.2 x 0.7-metre fixed glazing frames passive South and ends the 15-metre long hallway. Through the glazing, you can see the tree-filled backyard. It instantly draws your eye when you open the front door.
To solve day-lighting challenges downstairs, we, alongside a fibre optics company, jointly progress the design and construction of a fixed position daylight concentrator.
It should be easy to capture and conceal steerage of strong natural light six metres by fibre. However, joint research found lots of academic papers and promising trials, a few passive-based systems and no commercialised product. Another likely solution by a major US University awaits a patent. Various existing systems use software and motorised arms to track the sun and pipe light into dark spaces. They are expensive and maintenance intensive. A lot of thought has gone into the fixed position day-lighting solution, which remains a work-inprogress. During renovations, three long conduits were installed inside a cavity wall. Two conduits contain four thick strands each of end-emitting fibre. These fibres run from the gable roof, down the cavity wall beside the atrium and lay coiled in the ceiling above the dividing wall separating the two downstairs bedrooms.
Each concentrator will be a weather-proof box with a toughened UV IR glass top or dome skylight. Inside, will be highly reflectant cones designed
to concentrate sunlight on to fibre ends. Two concentrators will be mounted on short solar panel rails either side of the gable roof and just north of the two skylights. One set of cones will face North East and the other North West.
The volume and spacing of the array of cones and mounting angles within each concentrator will be determined by maths, software and trial and error.
When the two daylight concentrators are installed on the roof, the fibres will be separated and fed through the ground-floor bedroom ceilings so that each room receives equal illumination from the NE and NW. Ceiling mounted optical filters will convert concentrated sunlight from fibres into dispersed illumination.
Once operational, we will record lux levels over the course of each year. Time-lapse video of the daylight in the bedrooms will also be taken. If required, we can swap out the concentrators or cones with a new solution and/or use the third conduit to install four more fibres. If successful, the concentrator might be patented as the first step towards construction and commercialisation.
Our investment in daylighting solutions has wide application. Across the Tasman Sea, a Master thesis alerted New Zealand authorities that lighting measures from a sample of 97 apartments showed: “around 50% of the apartments built in NZ over the past 10 years fail to meet the minimum natural light level for health and wellbeing …”
The results point to weak regulation and compliance testing and builders, developers and architects failing to design-in light-friendly spaces. From our experience, the failure rate would be similar in Australia. The nation also has no right to light or a right to a view.
In England, an easement of light was crudely enshrined in 1832 in the Prescription Act. Despite periodic interpretations accumulating in case law, the easement is dated and generally fails to protect access to natural light. Nevertheless, at least the Act gives light formal recognition and can compel consideration.
I am also an artist, sculptor, dealer and art collector. Elizabeth House is alive with personal, fine, abstract and indigenous art. I have sourced some of the best gallery lights in the world. Very high colour rendering creates amazing outcomes. The two profile lights over the dining table turn the contents of a salad bowl into an art piece.
We imported chandeliers from Europe and specified one bespoke solution. Elsewhere, and particularly downstairs, we used recessed track. In the staircase, we were able to create a long pelmet to recess lights. A bathroom uses a trick light to create novel ambience. The downstairs cellar uses a fibre optic engine to light thin fibres wrapped around wine racks. Framed by mirrors, infinite bottles shimmer faintly.
The cavity space in the perimeter roofing of a
Above Rear of home, with back-lit stained-glass windows Right (Clockwise L-R) A bathroom with trick light profiling room shape and edge of a big square bathtub; Staircase with gallery lighting in pelmet; Centralised light drivers; View as you proceed from the front door to the rear of the property.
Queenslander is shallow, and decorative press metal ceilings are best left in-tact. My options upstairs to create discrete lighting solutions were limited. Accordingly, some artwork is lit by chandeliers and some lighting product is not character sympathetic.
Mark avoided housing luminaire drivers in shallow hot cavity roof spaces. In computing, hot swappable hard drives (and power units) without disruption or powering off devices is the norm. The lighting industry needs to catch up here. Most of our drivers are installed in an accessible, ventilated cupboard.
In December 2019 the concept of the Matter Protocol was announced. Matter, supported by Apple, Google, Amazon, Samsung and others caught Mark’s tech-eye. He realised it was a game-changer for creation of smart homes and offices. Covid was a cause of delays to Matter’s rollout. In October 2022, Matter V1.0 was released. At the start of the home’s renovation, there was little Matter product to buy.
We chose Casambi controls because of the strong early public statements by the company’s Founder to be Matter-leaders. Mark hopes Casambi delivers soon. Similarly, Mark bought Yale locks on the company’s promise that the locks will be wirelessly updated to Matter. Late in the renovations,
we bought some Matter white goods. On 8 May 2024, Matter released V1.3.
Lighting track allows us to plug and play various Matter compatible products, like luminaires, projectors, security cameras and Apple HomePod speakers. Ultimately, Mark aims to make a connected home unified by the Matter Protocol with most powered devices, including lighting, controlled by voice, like Siri or Alexa.
Downstream, AI driven services and security access by genomic recognition, should be commonplace. Mark believes the market will migrate to Matter, at the expense of existing proprietary smart-home solutions and DALI. He said, Gen Y and Z, if given a choice, will not want 1990s technology and many interfaces. Most will opt to talk to their home or even better, it anticipates things you can define as valuable. It is technology that now dates cars, not mileage – and homes are headed down this path.
Any connected home carries the risk of being hacked, says Mark. Matter is no exception – its design has vulnerabilities. Competitive tech-suppliers also means the pros/cons of Matter products and eco-system leap-frog. Our decisions about which Matter smart hub and firewall loom and ultimately dictate – risk, reward and complexity.
Like Tesla cars, our home will one day start updating itself and enriching us with new features. Nevertheless, the more complex our property becomes, the greater the challenges we may sow for ourselves. Our home is at the forefront of Matter-technology. Most innovation is risky, but it builds valuable and timely intellectual property and can attract investors and clients.
Two prospective clients have visited Elizabeth House. The first visitor signed her contract to do the lighting design for his grand residence to be constructed in 2025. This client wants Matter-controls. The second visitor was sufficiently impressed he shared full drawings for a commercial redevelopment awaiting investor commitments.
The owner of the company that renovated Elizabeth House also saw many applications for daylight concentrators even in the Sunshine State. He was involved in and is very keen to see a working solution.
We consider ourselves very fortunate to live in a lovely home in a country at peace and with the means to push boundaries. We trust this article informs and inspires others to create and innovate.
www.gillardgroup.com.au
JENNI
Meet the Mentors
With entries open for the 2024/25 series of the Silhouette Awards, we find out who the mentors will be for Season Four.
Season Four of the Silhouette Awards programme has officially launched, with applications for mentees open now until 1 December 2024. The 20 mentors for this year have been announced, and the organisers are calling for mentees to apply for the 2024/25 programme now.
The Silhouette Awards mentors comprise of 20 senior influential lighting designers from around the world, who play an integral role in not only selecting the winning mentees but also participating in a six-month mentorship programme. Covering all corners of the globe, these hugely experienced and well-respected designers are on the lookout to nurture young talent and help other like-minded individuals progress in their careers.
This year’s impressive line-up of mentors are:
• Andrew Powell - a practising lighting designer for more than 35 years, Andrew joined the Lighting Design Alliance (LDA) in 1995 and has been there ever since.
• Armaghan Ahmadi Venhari - Dr. Armahgan combined her passion with 20 years of teaching experience to establish Iran’s first light academy, Light-Life-Academy.
• Camila Blanco - Creative Director of Glare since 2023, guiding the company to win prestigious lighting design awards.
• Cherine Saroufim - this year became the President Select IALD Board Member. Atelier Saroufim’ lighting design department has won numerous lighting design awards.
• Daniel Blaker - one of Nulty’s most experienced lighting designers, who has been with the practice for more than 12 years.
• Eugenia Cheng - the founder of LightOrigin Studio, an award-winning lighting design studio in Hong Kong.
• Fabiana Nery Pardhanani - Fabiana has worked for several London-based companies as a successful lighting designer for 26 years, and recently affiliated herself to Glare UK.
• Lee Barker-Field - Lee co-founded AECOM’s lighting team in 2004. Over the last 20 years, he has led the lighting design on award-winning projects all over the world.
• Magdalena Gomez - an architectural lighting designer with more than 20 years of experience and a background in architecture and urban planning.
• Maneck Tandon - partner at ATPL Lighting with a rich academic background, exemplified by a Master’s in architectural lighting design.
• Marc Juarez – has vast experience in multiple lighting roles spanning more than 15 years - a Master’s in project management, an innovation director, vice chair of the association for vertical farming, and a professor at the UPC Barcelona.
• Myriam Patricia Lopez Yanez - holds a graduate degree in Architecture and a Master’s degree in architectural lighting design, attaining Harvard Business School Alumnus status.
• Philip Hammond - the visionary behind BHA School of Lighting and founder of BHA Lighting Design & Consulting, with a career spanning 48 years.
• Sacha Abizadeh - has had a passion for lighting spanning more than 19 years, beginning with experimenting with it as an art form and medium. before working on exciting collaborations with renowned architects such as Wilkinson Eyre, Grimshaw, and Weston Williamson.
• Ratna Kumari - an Associate at CD+M Lighting Design studio in Dubai with over 15 years of experience in the lighting industry and a visiting professor at Manipal University.
• Sergio Boccia - since 2002 Sergio has been working in UAE, Italy, and the Far East as an independent lighting designer and project manager.
• Shahrzad Abtahi - Senior Associate and Design Studio Manager at Borealis Group’s Boston office, leveraging 15 years of experience in lighting design.
SILHOUETTE
• Tim Hunt - with a desire to put people at the centre of every strategic decision, Tim is continuously looking to improve how humans interact with light, benefiting from a background in industrial design. Tim leads Arup’s lighting team in Melbourne.
• Ximena Munoz Abogabir - President of the Chilean Association of Lighting Professionals, and founder of LUXIA, a light design studio, Ximena collaborates with different public and private institutions and project developments that improve life quality.
• Vinod Pillai - an architect by training and creative leader at Studio Lumen, a lighting design firm based in Dubai, Vinod scripts a narrative that is pivotal to the experience a space embodies, using the powerful synergy of light and shade.
The 20 successful mentees will be individually supported by one of the programme’s 20 mentors for a six-month mentorship journey. With the support of the Silhouette Awards’ impressive array of sponsors and supporters, the winners will be granted the opportunity to enhance their skill set, pursue their career ambitions and add real value to the creativity of the industry, raising the bar for talent around the world.
Katia Kolovea, Co-Founder of the Silhouette Awards, says: “We are thrilled to announce our outstanding line-up of mentors for season four of the awards. By announcing a new year of the programme, we are able to create more meaningful relationships and offer 20 more designers an opportunity to learn from a mentor’s knowledge and experience to benefit them in their careers. We are so grateful to be able to continue this success for another
season, offering more experiences to all of our winning mentees for 23/24.”
Eve Gaut, Co-Founder of the Silhouette Awards, added: “The last three years have seen countless successful journeys and development between our mentor and mentee pairings, and it has been a rewarding experience for everyone involved. We have an incredible lineup of mentors for the 24/25 awards, and so we encourage all interested mentees to apply for an experience that is much more than an award and will make a huge difference to their future career and opportunities.”
The Core Sponsor for season four is light manufacturer ADO Lights. Light sponsors include LUG Light Factory, a European manufacturer of professional lighting solutions with over 30 years of experience; Vivalyte, a specialist in cuttingedge LED solutions; and Signify, the world leader in lighting for professionals, consumers and the Internet of Things.
The Silhouette Awards team looks forward to announcing even further support in the run-up to the commencement of the programme, and encourage everyone to keep their eyes peeled in February when the successful mentees are announced.
The Silhouette Awards is a collaboration between Archifos and Parrot PR and Marketing. www.silhouetteawards.com
Use stage in Luminaire Life Cycle Assessment
In this issue the GreenLight Alliance focuses its attention on a fundamental characteristic of lighting products: their use and the environmental impacts associated with it.
In previous issues we have highlighted the need to have consistent and standardised rules to follow for the calculation of environmental impacts through Life Cycle Assessment; but how can we apply standard rules to describe the use of luminaires, when this is generally defined by the final application of the product?
How do we protect the efforts to harmonise rules and at the same time allow flexibility for designers and practitioners to assess specific projects?
Introduction
The use stage is often shown as a hotspot in the life cycle of a luminaire, due to the main function of these products being related to the consumption of energy to produce artificial light. However, the attention dedicated to the concept of embodied impacts of products in the built environment has recently highlighted the potential relevance of embodied impacts in the life cycle of products.
Acknowledging the efforts invested in:
• Decarbonising national electricity supply.
• Increasing the efficiency of light sources through technological advancement.
• Growth and improvement of smart controls.
• Building standards encouraging a move away from ‘design for compliance to design for performance’.
• Legislative push for efficiency.
It is reasonable to assume that the relative importance of in-use impacts over embodied impacts will progressively decrease. Nevertheless, the impact of the use stage will likely still be associated with a non-negligible portion of the environmental burdens in luminaires.
However, when evaluating in-use impacts of luminaires, one must first define the use conditions before drawing any conclusions on the relative importance of operational impacts over embodied impacts. Some products may be used in applications which need them on permanently, some others may be connected to control systems. This will naturally affect the energy consumed by the product.
The Life Cycle Assessment (LCA) methodology, widely used worldwide to evaluate environmental impacts of products and services, is able to capture the burdens associated with the use stage of products. The impacts deriving from electricity consumption during the use of products are typically indicated with the life cycle stage B6, as shown in Figure 1
The impacts associated with the use of electricitypowered products mainly derives from the raw materials and fuels necessary for electricity generation, when this is not produced through renewable systems. This is the case, for example, for oil and natural gas production and processing, transportation and for operations necessary to run the power plants. These impacts are not only reflected in the Global Warming Potential (GWP) indicator, but also in several others, such as the
IRENE MAZZEI, PHD.
Abiotic Depletion Potential of Fossil Fuels (ADP-F), the Acidification Potential (AP) and the Photochemical Ozone Creation Potential (POCP).
How do we calculate the impact of B6?
In its simplest form, the amount of electricity consumed by a product depends on the power of the luminaire and how long it is being used for:
Energy in use (kWh) = Power (kW) x Lifetime (h)
But how do we define the conditions of use of luminaires? This is where following Product Specific Rules is helpful.
PEP Ecopassport’s Product Specific Rules for luminaires (PSR0014) require the declaration of the lifetime of luminaires, defined as their life expectancy in hours. In addition to this, the PSR defines a standardised way to account for light management functions, or control systems, which affect the outgoing luminous flux over the lifetime of the luminaire, switching between active modes and energysaving modes. This will affect the total energy used in stage B6 as:
Energy in use (kWh) = Power (kW) x Lifetime (h) x Energy Saving Coefficient (-)
The energy saving coefficients defined in PSR0014 range from 0.75 to 0.50 – therefore
corresponding to energy savings from 25% up to 50% – depending on the type of control system in place.
The final calculated value of the energy in use in kWh is then associated with the relevant LCA model for electricity generation, depending on geographical location and generation method.
To visualise the impact of these strategies, let’s use a practical example: considering a luminaire produced in the UK1, with a declared lifetime of 100,000 hours and a total energy consumption of 500kWh, let’s look at the environmental impacts of using the same luminaire with and without light management systems. For simplicity, in this analysis only three impact categories were taken into account: Global Warming Potential Total (GWPT), Acidification Potential (AP) and Abiotic Depletion Potential of Fossil Fuels (ADP-F). The results are shown in Figure 2, which highlights how the embodied impacts progressively become more prominent with the application of more advanced control systems, due to the reduction in energy used by the product.
It is worth noting that the energy saving coefficients defined in PSR0014 may be different from other approaches defined by the rules of other programmes, therefore care must be taken when consulting LCA or EPD results. In addition to this, the application of control systems is only one aspect that could affect the amount of energy used by the
Figure 1
Figure 2:
Contribution to total environmental impact in AP, GWP-T and ADP-F of operational (in-use) and embodied life-cycle stages of a luminaire. The total energy before the application of control systems was set at 500 kWh. The electricity was modelled as a mix of UK and Europe average grids. The energy saving coefficients applied were 0.75 for the daylight control system and 0.50 for the external light management system. The assessment was carried out following rules (PCR ed.4 and PSR0014 ed.2) by PEP Ecopassport.
1. The luminaire used for this example was the reference product subject of an EPD by Stoane Lighting.
product; real applications may cause variations that standard LCA assumptions may not consider. The next section will look at these more in detail.
Calculated vs. real scenarios
As the demand for product environmental information in the built environment continues to increase, it is of crucial importance that product environmental assessment is carried out consistently across the industry. The creation of rules to define standardised and default assumptions is necessary to ensure that this can be achieved.
However, the use of default assumptions can sometimes lead to divergence from real and specific use scenarios, which can be linked to the aspects shown in Figure 4. It is not uncommon that a product is designed for a specific use, but then when it is applied in a project or becomes part of an installation, its intended use changes, which also implies that it won’t be truly reflected by the calculated energy consumption. Figure 3 shows an example of how this can translate into a change of impacts; assuming that a luminaire is operated for 10 hours a day over a certain lifetime and consumes 500kWh, we can calculate the impact associated with its use (for example, the GWP-T). However, the reported impact calculated this way will not be suitable if that same luminaire is sold to a project that only needs it on for two hours a day.
In addition, the modelling of the energy used in projects is normally done through software calculations and include the contribution of multiple luminaires or even multiple energyconsuming products. This introduces some challenges in assigning the in-use impacts to a specific product.
Discrepancies are caused not only by the quantity of energy used by the product, but also by the type of energy that the product consumes. National electricity mixes are highly dependent on geographical, political and economic factors, with the results that the average electricity mix will be different in every country. Additionally, a product may end up being installed in a building equipped with on-site electricity generation systems (for example, through solar panels installed on the roof), which therefore will generate impacts that may not be the same as those produced by the average electricity mix. Finally, it is important to keep in mind that data applied to B6 calculations may not be reflecting the latest updates to electricity mixes, therefore it is only representative of the impact of electricity generated at a specific point in time.
Considering all these factors, and keeping in mind that LCA reports or EPDs contain information relative to single products, assessed at a specific point in time, it is reasonable to assume that the energy model for B6 calculations will always be associated with some uncertainty. This is due to the fact
that, with the exception of bespoke products made to be only applied in a specific installation, it is impossible for a manufacturer to know in advance where a product is going to be installed, used and controlled when carrying out its LCA.
Nevertheless, the use stage is a fundamental part of a luminaire’s life cycle, therefore information regarding its impacts should not be missing from an LCA. So, how do we deal with this challenge?
How to use this information?
From a manufacturer’s perspective, following the rules outlined in the PSR to describe the potential use of the product ensures consistency in the results reported. However, the adaptation of this information to real use cases and projects is part of the interpretation of the LCA results or EPD. Designers wanting or needing to use environmental data in projects should have a general understanding of the assumptions behind the reported values for B6 in lighting products, to support more informed and meaningful interpretation. As highlighted in the previous paragraphs, several aspects of projects can lead to the real in-use impacts diverging from the calculated B6 values. In certain cases – if, for example, the energy consumption of the installation is known and there are no differences in electricity mix – it should be easy to convert the reported B6 values to the “real-life” impacts.
In-use impact variations
Differences in design and performance Energy modelling through tools Markets in different locations
Specific energy generation in buildings Electricity mixes changing with time
Figure 3:
Energy in use (kWh) and Global Warming Potential (kgCO2e) calculated assuming a use of 10 hours/day and two hours/day (over the same lifetime).
Figure 4:
Some factors that may contribute to increase discrepancies between calculated impacts of the use stage of luminaires and impacts truly generated by their application.
corporate friends®
MEET THE FRIENDS
Founder and head designer of corporate friends®, Jan Eickhoff, says about the company:
“The year 2010 marked the beginning of our incredible journey. When I was searching for museum showcase lighting for one of my wife‘s projects, we found that nothing available met our expectations. „I just have to do it my way,“ I said to myself, and I got to work. After extensive research and experimentation, I created something new – a small, technically and aesthetically advanced spotlight that is a joy to work with. More projects followed, and soon the idea arose: „Why not turn this into a business?“
In 2011, I founded the company and began fully dedicating myself to developing our own lighting system for museum display cases. Today, with our entire team, we take pride in knowing that our products help preserve cultural heritage in top museums around the world, and we‘re grateful for every moment of this adventurous journey.
1 : 1 scale C1-micro-S spotlight attached magnetically or with flange
The strongest and the tiniest. The all-new C2-STT-D vs. C1-micro-LC
Modular Pole-Spotlight C1-micro-VL with independently dimmable heads
This series is curated by Dave Hollingsbee of Stoane Lighting, dave@mikestoanelighting.com
Let’s consider an example:
A product that consumes 500kWh of electricity in its declared lifetime, without the application of light management systems and with an electricity mix modelled to reflect the average UK mix, has a GWP-T (Global Warming Potential – Total) value of 200 kgCO2e.
The same product is installed in an office in London equipped with luminaires of the same type, where the predicted energy usage for the same lifetime is 450kWh per luminaire.
Considering that the only variation is in the quantity of electricity used, we can calculate:
500 kWh 0.9
This may be enough at an initial stage to be able to assess if a product can potentially meet the sustainability criteria of a project.
If the EPD results are used for comparative purposes between two or more products, care must be taken: if the LCA methodology and rules are the same or at least aligned, the product impacts can be compared using the results reported at the Functional Unit level, including impacts for stage B6.
Therefore, the value of GWP-T associated with the luminaire installed in the office will be:
400 kWh 0.9 × 200 kgCO2e = 180 kgCO2e
However, this is an overly simplified example that is still based on specific assumptions and does not consider differences in the other variables affecting the impacts of the use stage. When the situation is more complicated – i.e., the office is in another country with a different electricity mix, the electricity consumption of the office is not known or the installation will take place in 2-3 years time, with potential application of lighting controls and occupancy sensors – even having access to an LCA software to model stage B6 may not be enough to have results that accurately reflect the real (future) in-use impacts.
In such a situation, it is important first of all to identify the aim of the assessment, and why the environmental information is needed. From a designer’s perspective, at the beginning of a project and during the product screening phase, it may not be necessary to know what the exact application of a product will be, as the impacts can be evaluated based on the performance requirements for the project. This means that the impacts reported may be used to have an idea of the proportion of impacts deriving from embodied and in-use life cycle stages of the products.
On the other hand, impacts reported at the Declared Unit level (i.e. referring to the specific product) should be used if the project requires a report of the total environmental impacts. In this case, it is important to distinguish between embodied impacts (at the Declared Unit level) and in-use impacts, which should be evaluated using the information available for the specific project.
Conclusions
With the use stage being such an important part of a luminaire’s life cycle, it is crucial that we apply a suitable interpretation approach to the results of environmental assessments of this aspect. This includes, first and foremost, a clear communication and understanding of the assumptions behind the scenario(s) set for the use stage of a product in environmental assessment reports, such as EPDs. This is essential, as the EPD or LCA report is the only interface between the manufacturer and the customer, and it should clearly communicate the details of the assessment, so that the customer can know if those assumptions are aligned with the characteristics of their projects.
In this article it was highlighted how real applications of luminaires in projects may deviate from the calculation assumptions – and therefore the associated impacts – reported in an EPD/LCA report. Regarding this, an aspect to keep in mind is that the progressive increase in prevalence of control systems that can monitor in-use or post-occupancy energy may be an important factor that can help establish more accurate strategies to calculate the impacts of the use stage of products and buildings.
3D LED Flex 100 IP66 System. 4 x high-power LEDs with narrow beam lenses per module. Exterior, 3D flexible, modular LED lighting system. Up to 7,000 Lumens per mtr with 7x modules per mtr. Custom anti-glare snoots.
The external façade of The BoTree, London, situated at the vibrant intersection of Marylebone, Mayfair, and Soho, features a striking central ‘Architectural Feature Lattice’ designed by EPR Architects, which serves as the building’s focal point. Built on the site of a former Brutalist car park, the lattice echoes the former 1960s design by gracefully twisting up from the ground-level entrance, forming a visually protective veil in front of the corner suite terraces and extending up to the crown of the building, where the Presidential Suite is located.
The central feature is flanked by two distinct façade styles, designed to complement the local architectural vernacular. On Marylebone Lane, the architecture pays homage to the street’s history with the use of traditional brickwork in darker tones with intricate detailing to give a more intimate scale. This is contrasted by staggered light coloured saw-tooth brick panels to the other façade, adding dynamism and shadow play during the day with natural light. Glass bay windows project rhythmically throughout all three façades, with bronze framing, which provides guests with stunning views of the cityscape, and affords a tapestry of internal illumination.
In developing an external envelope lighting strategy for The BoTree, dpa lighting consultants considered the site’s history and conducted visibility studies to fully understand its location and the guest approach. This allowed for thoughtful consideration of the lighting hierarchy and identification of key architectural elements to highlight. Curating a carefully selected palette of lighting techniques that responds to the individuality of the architecture was a key aspect of the lighting design approach, leading dpa lighting consultants to explore custom and bespoke lighting solutions, creating a dynamic yet subtly serene atmosphere for the façade. To ensure the lighting fixtures are seamlessly integrated with the architectural façade, the lighting designers collaborated closely with the architects and manufacturers to choose the appropriate RAL finishes for both the lattice and façade lighting. This approach allowed the fixtures to remain subtle and unobtrusive during the day, while being minimally visible at night. The result was a well-received scheme that provides focus and identity to the hotel with longevity of use and flexibility to accommodate change throughout the year as well as futureproofing a design that can be maintained component by component and controlled throughout the year seamlessly and automatically. www.dpalighting.com
Image: Adam Parker
Museum Huis van het Boek
The Hague, Netherlands
50LUX Lighting Design and Advice called on fixtures from CLS when renovating this museum dedicated to the written word.
Established in the attractive former residence of Baron Van Westreenen van Tiellandt (1783-1848), Museum Huis van het Boek focuses on the written and printed book of the past and present. The outward form and development of book design is the main focus. About four times a year, the museum organises temporary exhibitions on both old and new books.
To maintain the quality of the archival items on display, the museum has replaced the lighting in the back room at a permanent exhibition. For this, the museum approached the firm 50LUX Lighting Design and Advice, which applied the latest fixtures on the market in this historic museum, supplied by Lichtpunt. 50LUX has already had the opportunity to work on a temporary exhibition at this museum. Based on this, the conversation started for the new lighting in the back hall.
In their search for the most appropriate lighting solution for the fragile exhibits, they consulted with the client to look at various options in both a new layout of the three-phase track and types of LED fixtures, which had to have a long service life and high colourfastness. They added their own requirements for a zoomable fixture with the possibility of accessories. They then used demos with different fixtures and colour temperatures to see how the pieces would look best.
Out of this came a newly installed rail, in which 50LUX used the CLS Topaz, a fixture that is new to the CLS wide range. This fixture series offers infinite possibilities to lighting designers to illuminate a space exactly as they wish, with four variants, seven control options and various
accessory options, including a profile accessory with ‘blades’, to cut the light perfectly.
In this project, 70 CLS Topaz Zoom fixtures were chosen with a colour temperature of 3000K controlled by Casambi via Bluetooth, which allows the lighting designers to fade in the lighting when visitors walk into the room. Unlike the CLS Jade Series, the CLS Topaz Series offers a lower output, which in this space gave a better outcome on the artworks and the museum found it to be an aesthetically pleasing fixture in this space.
What the designers liked best about this project was the result: “It’s a space where there were real gains to be made with new lighting. So, you see results from your work. It is a place where the client’s solutions were seriously considered and together, we were able to achieve a beautiful end result. The mix of all kinds of objects is then a nice bonus.
“The result is exactly what we had hoped for. It is nice that a modern system has been hung without it being noticeable that there are fixtures of today in a very old building.”
www.50lux.nl
www.lichtpunt.nl
www.cls-led.com
Uma Nota Manila, Philippines
Following success in Hong Kong and Paris, Uma Nota has opened a new location in Manila, Philippines. Baseline Lighting Design Studio opted for lighting solutions from Zeplinn to realise its design.
Uma Nota is a Brazilian-Japanese culinary concept that has already found success in Hong Kong and Paris and arrived in Manila earlier this year. The restaurant’s design was crafted by The Odd Duck Studio, while the lighting was done by Baseline Lighting Design Studio. To bring the vision to life, the team trusted Zeplinn to provide innovative architectural lighting solutions.
The restaurant is divided into four distinct areas: the living room, the bar, the Tropicalia room, and the Meiji room. The living room features a remarkable centrepiece – a hanging tree sculpture that dominates the high-ceilinged space and creates a shifting ambience throughout the day.
The large arches emphasise the grand scale of the area, and Zeplinn’s Neon Flex vertical bending solution illuminates the arches to accentuate their dramatic effect.
Recessed Opli trimless downlights from Zeplinn were installed in the ceiling, providing unobtrusive illumination for the tree and a warm, cozy ambient glow, with a selection of beam angles (8, 15 and 24 degrees) all in 2700K CCT, white finish.
At the bar, the countertop appears to float, thanks to Zeplinn’s Neon Flex undercounter lighting. This architectural solution also adds depth and brightness to the drink’s shelves, seamlessly integrated into the design.
The Tropicalia room evokes a distinct vintage Brazilian aesthetic, with shelves displaying vinyl and art pieces, all illuminated by slim aluminium profile COB strip lights. The Meiji room, inspired by Japanese design, also features COB strip lights highlighting the wooden accents on the walls. In both rooms, the ambient lighting is provided by the Opli trimless downlights, maintaining a clean ceiling aesthetic.
Throughout the restaurant, Zeplinn’s lighting solutions have been carefully selected and integrated to enhance the distinct atmospheres of each unique dining area, contributing to the overall immersive experience of Uma Nota. www.zeplinn.com www.baselinehk.com
Magali Méndez Women in Lighting Mexico
What
To observe the chromaticity of the city, specially during the Day of the Dead.
Where
Mexico City, an enormous and vibrant city, where everything is possible.
How
Walk around different neighbourhoods and enjoy the people, the vibe, the noise and the velocity.
When
Any moment, day or night. The city is always alive.
Why
Colour is a perception of energy. In an energetic country like Mexico, you will perceive dancing colours that are always lively, festive and intense.
IG: @womeninlighting_mexico
“A place where the sun shines brightest and the landscape is a poem of light and colour: Mexico.”
Images: courtesy of Women in Lighting Mexico
The International Lighting Design Survey is the ultimate annual worldwide directory for the architectural lighting design industry, featuring a comprehensive listing of independent lighting designers and suppliers around the globe.
To make sure that you are included in the 2025 edition, email ilds@mondiale.co.uk with your up to date information.
