arc October/November 2018 - Issue 106

106 OCT/NOV 2018

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SCOTLAND THE BRAVE Arup shines at Kengo Kuma’s V&A Dundee

DARC ROOM ROUND-UP • DARC AWARDS / ARCHITECTURAL ENTRIES FORMALIGHTING MOTOLUX REVIEWED • MOTOKO ISHII 50TH ANNIVERSARY

FORMERLY

Heart Beat, UK 2017 Winner of ART: Best Light Art Scheme Low Budget

Get creative‌ Voting starts now!

Voting for independent lighting designers and light artists ends on 9th November If you are an independent lighting designer or light artist you can vote for your favourite projects and products online at www.darcawards.com/architectural.

Independent lighting designers and light artists that complete the voting process are eligible for a free ticket to darc night, the spectacular and creative awards party at MC Motors in London on 6th December 2018.

Suppliers (and non-lighting professionals) are not eligible to vote making darc awards the only independent peer-to-peer lighting awards in the world. www.darcawards.com/architectural

Partners

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048 Motoko Ishii Lighting Design To mark the 50th anniversary of Motoko Ishii Lighting Design, we take a look back at some highlights from the Japanese designer’s career over the last half century.

Contents

OCT/NOV 2018 022 024 026 028 034 044 046 150 156 176 178

Editorial Comment Headlines Eye Opener Drawing Board Spotlight Snapshot Briefing Dark Source Stories Case Studies Event Diary Bucket List

128 Lumiere Festival As organisers Artichoke prepare for next year’s Lumiere Festival, they shed a light on the technical help they receive each year.

130 The Perfect Light Light Collective give us an update on the Perfect Light Experience, which saw a group of lighting designers take a pilgrimage to Japan in search of the Perfect Light.

132 darc room Review Following the huge success of darc room, held in Shoreditch last month, we take a look back at some of the highlights from the show.

148 David Morgan Product Review In this issue, David Morgan casts his eye over the extensive Motolux range from formalighting.

152 Trends in Lighting The second annual Trends in Lighting event was held in Bregenz last month, sparking the debate between design and technology in the lighting community.

154 Light Middle East A brief look back at some of the products on show at this year’s Light Middle East, held in Dubai at the end of September.

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Suspended.

The new Vode® ZipThree® Suspended. It’s off the wall.

LFI’s Most Innovative Product of 2017 now goes where it’s never been. Over a sprawling boardroom table, perhaps.

Or above a slender hotel reception counter. Narrow beam optics (40°, 60°, 80°) let it adapt to any environment.

95mm (3.75”) x 9mm (0.354”) and billiard table flat in lengths up to 8 feet. Standard Vode granular dimming.

Optional EdgeGlowTM for when you want to let it all hang out.

064 V&A Dundee, UK The newly-opened V&A Dundee has rocked the design world, thanks to Kengo Kuma’s unique architectural design, complemented by Arup’s lighting scheme, which seamlessly blends artificial and natural light.

Projects

OCT/NOV 2018

076 Sheikh Abdullah Al Salem Cultural Centre, Kuwait The Sheikh Abdullah Al Salem Cultural Centre features a number of museums that showcase some of the world’s richest cultures, all illuminated by a lighting scheme designed by Sutton Vane Associates.

086 China Resources Land Archive Library, China Located just outside Shenzhen, the China Resources Land Archive Library features a beautifully subtle lighting scheme from Beijing Ning Field Lighting Design that sits in harmony with the ornate architecture.

098 Meixi Urban Helix, China OVI has created a pristine, uniform lighting design for the stunning new Meixi Urban Helic, overlooking Lake Meixi in the Chinese city of Changsha.

106 Four Seasons Hotel at Burj Alshaya, Kuwait The new Four Seasons Hotel Kuwait brings a refined sense of luxury and class to the Kuwait City skyline, thanks in part to an understated lighting scheme from Inverse Lighting.

114 darc awards / architectural Entries Voting for the darc awards / architectural is now open. Take a look at some of the projects to be entered this year.

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EDITORIAL

Front cover: V&A Dundee, UK Photography: Hufton + Crow

Editorial Publisher / Editor Paul James p.james@mondiale.co.uk Assistant Editor Matt Waring m.waring@mondiale.co.uk Editorial Assistant Sarah Cullen s.cullen@mondiale.co.uk

Take note and vote...

Vote in darc awards / architectural for your free ticket to darc night (or just the satisfaction that you’ve done something epic)...

Advertising International Advertising Manager Jason Pennington j.pennington@mondiale.co.uk International Advertising Sales Andy White andy.w@mondiale.co.uk

Subscriptions / Marketing Moses Naeem m.naeem@mondiale.co.uk

Production David Bell d.bell@mondiale.co.uk Mel Robinson m.robinson@mondiale.co.uk

Chairman Damian Walsh d.walsh@mondiale.co.uk

Finance Director Amanda Giles a.giles@mondiale.co.uk

Credit Control Lynette Levi l.levi@mondiale.co.uk [d]arc media Strawberry Studios, Watson Square Stockport SK1 3AZ, United Kingdom T: +44 (0)161 476 8350 www.arc-magazine.com arc@mondiale.co.uk Printed by Buxton Press Annual Subscription rates: United Kingdom £30.00 Europe £50.00 ROW £65.00 To subscribe visit www.arc-magazine.com or call +44 (0)161 476 5580 arc (ISSN No: 1753-5875; USPS No: 21580) is published bi-monthly by Mondiale Publishing, UK and is distributed in the USA by RRD/Spatial, 1250 Valley Brook Ave, Lyndhurst NJ 07071. Periodicals postage paid at So Hackensack NJ. POSTMASTER: send address changes to arc, c/o RRD, 1250 Valley Brook Ave, Lyndhurst NJ 07071.

The success of darc room, London Design Festival’s lighting

destination, was an important statement about the future of events for the architectural lighting design profession. Other than the

biennial behemoths of the likes of Light + Building and Euroluce, we have seen large annual events on the wane in recent years.

darc room brings something different to the table with a creative, boutique event in London’s design district

The exhibition in Shoreditch brought together 50 architectural

and decorative lighting exhibitors and a progressive educational

workshop and live streamed seminar programme curated by Light

Collective. Making lighting specification an integral part of a festival of design to promote cross-discipline discussion and knowledgesharing was always top of our priority list when establishing darc

room and we were delighted with the diversity of visitors eager to learn about lighting design and technology as interior designers, architects, product designers and coders joined the lighting fraternity for a great two days.

In a similar vein, our darc awards / architectural is a unique concept

and event that is a game changer for traditional awards programmes.

All the entries are now in (every project in this issue is an awards entry) and the voting period has now begun (closing on 9th

November). As usual, all independent lighting designers and light

artists who vote (suppliers or non-lighting experts are not eligible

to vote) in the awards get a free ticket for darc night, the darc awards party. And if you can’t make the event then why not vote anyway -

it’s a great exercise for junior and senior lighting designers alike to keep abreast of the best lighting schemes all over the world.

This year’s awards party will take place on 6th December at MC

Motors, London. We have all mourned the demise of the industry

Christmas party so this year we decided to organise our own! As usual

there will be a free bar and street food as well as lighting installations created by the sponsors and lighting design teams so it promises to be another exciting and creative night.

Subscription records are maintained at Strawberry Studios, Watson Square, Stockport, Cheshire, SK1 3AZ. Spatial Ltd is acting as our mailing agent.

Paul James Editor

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PROJECTS

NEWS

Headlines Zumtobel launch 2018 Photographic Competition (Austria) – The Zumtobel Photographic Competition has opened for entries, based on the theme “Photos You Can Feel”.

Targetti celebrates 90 years by looking to the future (Italy) – Targetti is marking its 90th anniversary with a renewed focus on innovation, growth and technical partnerships.

PhoScope launches lighting initiative in Puerto Rico (USA) – PhoScope is launching Recreo de Noche, a model that will deploy solar lighting in community playgrounds.

darc room hailed a success as visitor figures double (UK) – darc room, London Design Festival’s lighting desitination, has exceeded expectations as visitor figures double.

Read more on www.arc-magazine.com

Increase in visitor numbers for GILE 2018 (China) – The 23rd Guangzhou International Lighting Exhibition saw an increase in numbers on previous editions.

University of Wismar Master’s programme to offer increased specialisation (Germany) – The Architectural Lighting and Design Management Master’s programme now includes specialisation in ‘Heritage Lighting’.

ABB joins new partnership programme with Signify (Germany) – ABB enters a partnership with Signify by unveiling new range of smart light switches.

Gamma Illumination opens new MENA office in Dubai (Dubai) – Gamma Illumination has expanded operations in the Middle East and North Africa with the opening of its first office in the region.

IALD announces Call For Entries for 2019 awards (USA) – The IALD has opened the entry process for the 36th annual IALD International Lighting Design Awards.

SLV Group announce new CEO (Germany) – Eric Lachambre becomes the new CEO of SLV, having previously held roles at Schneider Electric and Hilti.

Read more on www.arc-magazine.com

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Osram initiates sale of its luminaires business (Germany) – As Osram looks to increase focus on growth markets in high-tech fields, it is to divest its luminaires business.

Head Above Water London, UK As part of the London Design Festival and designjunction, British designer Steuart Padwick’s sculpture Head Above Water made a dramatic change to the London skyline in support of mental health.

Hoare Lea collaborated with Steuart Padwick to create a lighting scheme to engage and inspire.

Taking the form of a giant wooden head elevated above the Thames on Queen’s Stone jetty (aka Gabriel’s Pier), the nine-metre high interactive sculpture stood as a symbol of bravery, compassion, positivity and change for those who have come through or are confronting mental health issues.

Padwick said: “Head Above Water is a symbol of hope. It needed to be big, powerful and prominent, a beacon of humanity caring for others. It is for those who have or have had mental health issues, I want anybody and everybody to relate to it, to open a door perhaps.”

Hoare Lea’s lighting design specialists created the lighting scheme for the installation. Head Above Water was able to interact with users via social media, acting as a barometer for London’s wellbeing. Emotions

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and moods were sent to the sculpture via Twitter, triggering representative lighting scenes, allowing observers a unique level of interaction with the piece, creating a two-way interactive experience.

The technology and scripting behind the sculpture was developed by Hoare Lea to anonymously log and collate the interactions to show the emotional state of the audience over the course of the installation – in turn this information will be discussed and interpreted by psychologists and mental health professionals at King’s College London to assist their research.

This piece of public art supported Time to Change, the nation’s mental health anti-stigma campaign.

One in four people will experience a mental health problem in any given year, yet many people report being misunderstood by those around them. Time to Change used the dynamic platform created by Head Above Water to challenge negative attitudes and stimulate public perception and understanding around mental health. www.hoarelea.com

EYEOPENER

Pic: Dan Paton

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Night Vision by Tom Biddulph & Barbara Ryan

Light A Wish by OGE Group

Spider on the Bridge by Groupe LAPS

Amsterdam Light Festival Netherlands The Amsterdam Light Festival will return to the Dutch capital for a seventh year in November, with 30 artworks in place to illuminate the city centre.

For this year’s edition, artists, designers and architects from sixteen different countries will share their interpretation of the central theme: The Medium is the Message, the famous statement made by Canadian scientist and philosopher Marshall McLuhan. The idea behind his statement was simple: the way we send a message is at least as important as the message itself.

The participating artists will focus on questions such as: what role does light play as a medium or a message? And how can light create spaces that would otherwise have remained invisible?

The city of Amsterdam as a medium for telling stories is also a central part of this edition. On behalf of the festival, art historian Koen Kleijn

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went in search of remarkable stories about the city and from October onward they will be released as a ten-part series on the festival website. In his stories Kleijn identifies the connection between the city and the central theme.

There will be one exhibition, in the historical centre of Amsterdam, which can be experienced in different ways: by boat, by bike or on foot. This year, for the very first time, visitors can vote for their favourite light artwork. The Public Award will be presented to the artist of the winning artwork in the last weekend of the festival.

A selection of the participating artists and artworks for this year’s festival includes Ivana Jelić and Pavle Petrović of Serbia, who found inspiration for their work Starry Night in Van Gogh’s famous painting of the same name.

Since the beginning of the 21st century, as a

result of the increase in light pollution, starry nights are less and less visible in urban areas.

With the installation Starry Night, the Serbian duo will give Amsterdam its starry night back, reminding visitors of what they are missing out on.

Elsewhere, French artist collective Groupe LAPS has designed Spider on the Bridge: 80 spiders of two metres each, which together form one gigantic spider on the bridge between the Herengracht and Amstel. Light effects will give the illusion that the creatures are crawling all over each other.

Australian duo amigo & amigo – also known as Renzo B. Larriviere and Simone Chua – will explore the relationship between sculptures and light with their technically complex artwork. Parabolic Lightcloud is a cloud of light made with impressive colours, patterns and transitions. With this installation the duo tries

DRAWING BOARD

Starry Night by Ivana Jelić and Pavle Petrović

Optilli by Balmond Studio

Parabolic Lightcloud by amigo & amigo

Portam Civitatis by Peter Snijder

All the Light You See by Alicia Eggert

to picture human emotions and stimulate visitors to think about the impact of external impulses on our feelings and instincts.

Moreover: the installation consists of 1,000 LED lights and 800 metres of rope made out of recycled plastic from discarded bottles.

OGE Group from Israel are experts on light art; the founders Merav Eitan and Gaston Zahr are the artistic directors of Jerusalem Light Festival.

Their work is characterised by the powerful way in which it arouses emotions, with Light a Wish a clear example of that. The artwork pictures the moment you blow the fluff off a dandelion and make a wish while it scatters in the air. Eitan and Zahr cherish this childhood memory by making the dandelions float above de Herengracht, where everyone can make a wish during the festival.

UK-based Balmond Studio has become a friend of the festival, and the studio’s innovative

artworks are inspired by science, maths and biology. With Optilli Balmond Studio creates an optical illusion and shows the subjective way our brain processes light as a source of information. As soon as light is converted into impulses, our brain produces an image. The question is: is the displayed image correct?

Dutch visual artist Jeroen Henneman is guest of honour at Amsterdam Light Festival 20182019. Well known for his sculptures that look like ‘standing drawings’, he has designed exclusively for Amsterdam Light Festival Two Lamps, two gigantic lamp sculptures that will have their own stage between the streetlights in the famous ‘Golden Bend’ along the Herengracht. By day, the lamps form a graphic, dark silhouette, by night a ‘drawn’ line of light.

Other participating artists include Alicia Eggert from the USA, Felipe Prado from Chile, Femke Schaap, Frank Foole and Frederike Top from

the Netherlands, UK-based Gali May Lucas, Australian James Tapscott, Marcus Neustetter from South-Africa, Meke Vrienten from the Breitner Academy in the Netherlands, Italian Michela Bonzi, Peter Koros from Hungary, Peter Snijder of Belgium, Peter Vink, Serge Schoemaker, Sjimmie Veenhuis and Piet Hume from the Netherlands, Sebastian Kite of the UK, Germany’s Stefan Reiss, Portugal’s Teatro Metaphora, Tom Biddulph and Barbara Ryan of the UK, UxU Studio from Taiwan and China, and Tochka, Yasuhiro Chida, and Youichi Sakamoto from 9+1, all from Japan. www.amsterdamlightfestival.com Amsterdam Light Festival will run from 29 November 2018 to 20 January 2019.

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The Poem Pavilion UAE The UK Pavilion at Expo 2020 Dubai has been conceived by artist and designer Es Devlin OBE, and will highlight leading British expertise in Artificial Intelligence and Space.

Devlin is known for creating stunning large-scale performative sculptures that fuse technology, poetry, light and sound, and this project, entitled The Poem Pavilion, will feature a breath-taking illuminated ‘Message to Space’, to which each of the Expo’s anticipated 25 million visitors will be invited to contribute.

Of the design, Devlin said: “The idea draws directly on one of Stephen Hawking’s final projects, ‘Breakthrough Message’, a global competition that Hawking and his colleagues conceived in 2015, inviting people worldwide to consider what message we would communicated to express ourselves as a planet, should we one day encounter other advanced civilisations in Space.”

The 20-metre high, cone-shaped pavilion will be made up of rows of protruding slats that extend outwards from one central point to form a circular façade, while poems lit up in LEDs will scroll across the façade.

Visitors will enter the building underneath the cone, through an illuminated ‘Maze of Aspiration’. By featuring augmented reality-enhanced exhibitions, this maze is intended to transform the queuing experience into a virtue by entertaining and educating visitors while they explore Britain’s advances into artificial intelligence and space technology.

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Inside the pavilion is the ‘Choral Space’, which will be filled with a collective choral soundtrack featuring choirs from around the world.

Formed of layers of CNC-cut cross laminated timber populated with LEDs, the concept behind this design is so that guests entering the space feel like they are entering the resonating chamber of a wooden musical instrument.

The Poem Pavilion marks the first time since its inception in 1851 that the UK Pavilion has been conceived by a female designer, and Devlin will be leading a predominantly female team of experts in AI and Space technology.

It is an issue that she feels strongly about: “We urgently need to address the underrepresentation of women in STEAM (science, technology, engineering, art and maths) occupations,” she said.

“I’ve learned from my collaboration with theoretical physicist Carlo Rovelli that the evolution of scientific thought is often through the contribution of artists, musicians and philosophers as well as physicists.

My hope is that the fusion of architecture, poetry, music and science in this female-led project will attract and inspire girls and young women to investigate areas of science and technology that they might otherwise have felt weren’t for them.” www.esdevlin.com

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DRAWING BOARD

Renderings courtesy of OCTAV TIRZIU

Maritime History Museum France In partnership with the Projectiles agency, Hervé Audibert workshop has contributed to the museum and scenographic design for the Maritime History Museum of Saint-Malo, designed by Kengo Kuma’s architecture firm.

The museum, through a series of permanent and temporary exhibitions, as well as educational activities and events, is designed to highlight the French region’s prestigious maritime history throughout the ages.

Conceived as a new landmark for Saint-Malo, and a counterpoint to the historic city, Kuma references the new building’s context with a style that borrows from industrial and naval architecture, sitting on the banks of the port as three stacked, staggered volumes. Internally, these volumes appear as large hangars, capable of accommodating a wide range of exhibits and events.

To highlight the poetry of the location, the lighting proposed for the Maritime History Museum of Saint-Malo is inspired by the maritime nature of the city. It recalls the atmosphere of the open sea and borrows similar colours, bringing to mind the vision of looking out to sea from the docks or the furrow, the eyes plunging into the horizon. The devices are composed of all these tones, varying over the days and seasons.

Like the scenography, the lights alternate between the submerged spaces and the breathing spaces; this works in the manner of the contemporary museum, in order to punctuate the visitor’s journey. Moreover, thanks to an expanded museography, visitors become actors as they travel through the museum, discovering different scenarios and media as they go.

Wishing to become a new symbol in the heart of the city, the museum’s lighting design will act as a flagship beacon, transforming the building structure into a reactive light source. The museum becomes sensitive to its environment, its vibrating envelope, a change of speed according to the climatic movements: it announces the winds and the tides, and it expresses the time.

Construction is expected to begin at the end of 2019, with a completion scheduled for April 2022. www.atelierherveaudibert.com

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Pic: Don Indio

Spectra USA Coachella Valley Music and Arts Festival has a new icon: Spectra – a seven storey pavilion-cum-art installation that allows festivalgoers to climb through spirals of colour and see the site in a new light.

Conceived and realised by UK-based creative studio Newsubstance, the structure was one of six artworks commissioned for this year’s festival. Unlike the other works, however, Spectra is a permanent piece that will remain in place for at least the next three years.

A site-specific response to Coachella’s location in California’s Colorado Desert, Spectra both connects and contrasts with the landscape and sky, providing a relief to the flatness of the former while capturing and concentrating the colours of the latter – distilling the striking desert sunrise and sunset into a totemic column of coloured light.

Visitors climb a ramp that takes them on six revolutions of the structure to a viewing deck at the top. During the day, a succession of Perspex window panels bathe the space inside with intense colours and offer vibrantly colourised views of the surrounding festival grounds. At night, radials of LED Projects X-Ribbon RGBWW cove lighting in the ceiling illuminate the panels, turning the tower into a solid beacon of dispersive refraction and throwing those inside into silhouette.

Newsubstance Creative Director, Patrick O’Mahony, explained: “The colour shift element in particular reminded Coachella’s organisers of an installation from the very early days of the festival, which they really loved.

“We didn’t want it to become known simply as ‘the rainbow tower’ - it’s called Spectra, so it made sense that people could actually move through the spectrum on each floor. As well as producing a more interesting end result, a major driver was that we didn’t want the viewing deck at the top to be just one colour. Instead, we have this effect where you can walk around and see the whole site shift through different looks.”

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Pic: Eric Jon De Leon

SPOTLIGHT

“We were keen to not only highlight the structural beauty of Spectra but also bring a new dimension to visitors once the stunning desert sun had set over the valley,” added James Bawn, Production Manager and Lighting Designer at Newsubstance.

The structure of the tower is comprised of identical steel sections, prefabricated at Newsubstance’s UK workshops. Each section is repeated 90 times, wrapping round on itself to form a spiral that gains one floor with each loop. Each wrap of the structure features 31 custom cast Perspex window panels that together form one complete cycle through the colour spectrum, a cycle that repeats with each storey. As the windows spiral up through each level, the colours are offset by one pane to produce a staggered effect that echoes the natural angle of refracted light.

All lighting fixtures are hidden within the structure of the tower, as Bawn explained: “We utilised all 690 roof beams to install custom RGBWW LED tape, which was recessed into sections of aluminium extrusion prior to arriving on site. This significantly reduced the overall installation time and maximised efficiency on site.”

A series of Avolites custom-built DMX power supplies spread across a total of eight DMX universes enable the freedom to overlay pixel-mapped effects on to the whole tower. Although the strips are capable of producing a full spectrum of colours, the team wanted to avoid muddying the purity of the carefully selected Perspex panels. Instead, they explored the use of different colour temperatures of white light, subtly animated to produce gently shifting effects.

During Coachella’s daylight hours, all fixtures were set to 3500k, but as the sun went down and the light levels inside slowly increased, the scheme became more dynamic – fluctuating between 3000k and 5000k.

“We didn’t want to be running big disco chases or anything like that,” continued O’Mahony. “Instead, we began with very gentle temperature changes in the white – almost as if the tower is breathing – then, later on, we would send very slow pulses up through the space. It was really interesting because whenever we introduced even the smallest effect, people inside the structure would respond to it instantly – it was very easy to control the mood in there.”

During the festival, the LED strips were augmented by dynamic spotlights placed on the roof of the tower.

Eleven Robe Mega Pointe and eleven Robe BMFL fixtures extended Spectra’s presence up into the sky, with aerial effects proving particularly striking against the sand-enriched night sky.

The reaction to the piece has been universally positive.

“The response has been amazing,” added O’Mahony.

“We’ve had people messaging us and writing to us to say how much they loved it – including Coachella veterans, who have been coming to the festival for over a decade, saying how great it was to see the festival from a different point of view and in a different light.”

“The finished design was incredibly effective,” added Bawn. “It was great to see the public’s reaction to even the slightest changes in colour temperature or the subtlest of chases. I’m really looking forward to seeing how we can further develop Spectra for Coachella 2019.” www.newsubstance.co.uk

Pic: Angel Trinh

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SPOTLIGHT

Il Makiage New York USA Zaha Hadid Architects has worked with Light.iQ to create a pavilion for luxury makeup brand Il Makiage in New York.

The pavilion is informed by the label’s bold graphic identity, while its structure reinterprets the distinctive motif that wraps around the corner of all Il Makiage packaging.

A sequence of folded black and white structural ribbons generate a powerful rhythm of contrasts along the length of the pavilion. Each of these ribbons is rotated slightly to have a fractionally different relationship to those adjacent to it. The dynamism of this rotation engages perception and invites exploration within, creating a distinctly personal space, owned by each visitor on their path of investigation through the pavilion.

With alternating gloss and matt surfaces – a further reference to Il Makiage’s packaging – the structural ribbons interlace to describe a sheltered interior for visitors to experience the collection. “We wanted to create an environment defined by the women celebrated by Il Makiage,” said Kar-Hwa Ho, Head of Interiors at Zaha Hadid Architects. “A personal space that’s all about her, to select and apply her makeup.”

Light.iQ’s Gerardo Olvera designed a scheme that saw lighting installed below alternate structural ribbons and at the periphery of each mirror, ensuring an accurate evaluation of the many colours, tones and shades within the collection.

The lighting was designed to provide a uniform and soft glow throughout the whole store by seamlessly integrating lighting to the structural ribbons.

“We considered a number of concepts and products

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and mocked them up to achieve our design intent,” explained Olvera. “The final solution comprised LED-ner LED tape that was used to back light an opal diffuser with specific qualities to ensure there were no shadows or dark areas.”

The back lighting of the structural elements provides sufficient lighting to the make-up displays and mirrors.

There is supplementary lighting in the form of Loupi Lighting spots to the merchandise displays and product shelves, which visually increases the contrast in the product displays and maximises illuminance.

The pavilion is also softly washed from the side (near the window of the store) to reveal the shape and form of the structure after dark. A small theatrical control system using DMX was utilised to dim the lighting to visually comfortable levels, while retaining high levels of illuminance on the merchandise (around 1,200lx).

Olvera continued: “We had to go through an intensive period of tests and mock ups with several colour temperatures ranging from 3000K to 5700K. In the end, the chosen white was the most appropriate for the location of the pavilion (indoors with reduced natural light) and for the illumination of the products and customers trying the cosmetics.

“The final pavilion project in New York’s Soho (apart from being the first prototype of several pavilions to be built) is a real success given the complexity of the design, timescales, logistics and architectural design.

The lighting truly brings the structure alive, creating a dramatic environment for the display of the cosmetic products whilst providing the most flattering light for make-up with virtually no shadows vertically or horizontally.”

Vector

Pierpaolo Ferrari, 2018

Carlotta de Bevilacqua

106 Great Russell Street, London WC1B 3NB Tel. 020 7631 5200 info@artemide.co.uk

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SPOTLIGHT

The Manchester Lamps UK Celebrating Manchester’s rich history of innovation and community, Acrylicize has created an installation of giant lamps in the city centre.

Inspired by the famed Sir Robert Peel quote, ‘What Manchester does today, the rest of the world does tomorrow’, this public art sculpture honours Manchester’s industrial past whilst optimistically looking towards the future.

The artwork is centred around five playfully oversized domestic lamps that invite interaction and engagement with this key public space in the city centre. Each of the five installations marks a significant local historical innovation, its time period echoed by the lamp’s distinctive design style; Art Deco, Art Nouveau, Victorian, mid-century and contemporary.

Woven into the shades of these lamps are the stories they tell, each intricately designed in a vibrant and graphic fashion. The motifs illustrated on the Art Deco lamp celebrate Earnest Rutherford, whose research conducted at Manchester University in 1932 led to the splitting of the first atom. The book pages and fountain pen designs on the Art Nouveau lamp pay homage to the education and learning

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celebrated by Chetham’s Library, which lies in the heart of Manchester and is the UK’s oldest public library. Similarly the honeycomb design lattices across the 1950s bedside light denotes the famous Mancunian ‘worker bee’ mantra, whilst the humble green desk light represents world famous mathematician, Alan Turing, and his dedication to maths and computing technology via the famous Enigma code displayed overhead across the glowing green canopy. Finally, the modern Anglepoise lamp is turned upward, energetically projecting a vibrant display of shape and colour onto the surrounding wall, representing the next chapter of this city’s compelling and everevolving story.

A series of environmental graphics and bespoke signs, all created using a unique graphic language, invite viewers from the surrounding streets into the square; these are based on an abstract depiction of the map of the city, and culminate with a playful reveal to emphasise the sense of arrival. It is hoped that these lamps will serve visitors and locals alike, providing a unique meeting point for the people of Manchester to come together and connect. www.acrylicize.com

Foto: Lund+Slaatto Arkitekter

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SPOTLIGHT

McLaren F1 2018 Launch UK Michael Grubb Studio helped to create and deliver a lighting concept for the beginning of the F1 season, as part of McLaren’s #BeBrave campaign.

Approached by a production company at the beginning, a six-week pre-production collaboration went underway to deliver this lighting concept in its preliminary stage.

The Studio’s involvement and participation came to fruition during the final episode for a series of teaser leading up to the grand reveal of the McLaren MCL33.

This huge event required a detailed level of attention and confidentiality from the Michael Grubb Studio team.

Owen Cox, Associate Producer from WING, commented: “Michael and his team reacted swiftly to our creative concept, creating a bespoke design and bringing it to life.

Working together with a tight timeline, this challenging brief was met with professionalism and efficiency.

“As a creative agency, aesthetics are highly important to the production and to McLaren’s MCL33. Personally the F1 car looked incredible, centred on this installation, and the studio should be proud of their efforts to make this so.”

The creation of a three-dimensional structure that did not obstruct the visual impact of the F1 car was a challenging brief and something the studio had to spend time with in order to dissect, as well as recognise the importance of resting the integrity of a global brand in their hands.

Throughout the process, the team experimented with various forms, shapes and materials to create the desired impact. They used computer generated models and sketches before eventually agreeing on a triangular arrangement.

The fabrication of the structure was subcontracted to the team from LSE Lighting, a group who have a long track record of working with the Michael Grubb Studio team on projects with extremely tight schedules.

The framework was constructed from extruded

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aluminium, which was made off-site within ten days. This was then re-constructed in a three hour window on the day of filming on site in Surrey, UK. The team specified lighting equipment with adjustable frequencies in order to produce no flicker, which was joined by additional items supplied and installed by Lamps & Amps that were all positioned closely to the installation to add further impact.

Acrylic mirrors were arranged in a geometric pattern; they were both durable and allowed for the cabling to be hidden. Two major components the team had to focus on were to produce something that was clean, i.e. had no cabling or fixtures visible, and to ensure none of the equipment, props or the car was scratched during the construction.

The 2017 F1 McLaren car was used for the dress rehearsals, which gave the crew a sense of reality during angle tests that checked for reflections and glare from the mirrored floor and flicker in the camera.

The lighting control system was built with Touchdesign, and created a variable environment for editing and live feedback of the scenes. In order to keep up with the speed of the production team, the settings, frequencies and colours also had to be adjusted accordingly and quickly.

Once filming was completed, the MCL33 was swiftly flown to Barcelona for pre-season tests the very next day.

Michael Grubb commented: “Working with McLaren was 50 percent investment in design, creativeness and delivery. The remaining 50 percent was constantly reviewing, analysing and scrutinising where the potential risks could have occurred. Constructing, testing and filming in one day involved risks. We took that risk and, if you do your homework, reframing risks can be an opportunity for a project to be a success.” www.michaelgrubbstudio.com

We are the light that completes your project

SPOTLIGHT

Hard Rock Hotel & Casino USA In early 2018 Digital Ambiance was approached by the lighting design firm Fisher Marantz Stone to help bring to life the animated faรงade lighting for the new Hard Rock Casino in Atlantic City.

The concept called for a series of six illuminated waves that flowed from one end of the U-shaped courtyard to the other along the inner faรงade of the courtyard, surrounding the main entrance in ambient light patterns that would reflect the seasonal mood of the Casino.

In the centre of the courtyard is a 40-foot tall illuminated guitar with pixel mapped strings fabricated by Jones Sign. This serves as the centerpiece of the installation and contains many audio reactive looks programmed by Digital Ambiance. Light patterns flow from the faรงade through the guitar, unifying the experience and giving the courtyard a distinct look, subtle at times and dramatic and eye-catching at others.

The design for the faรงade lighting required a custom electrical and communication system to be designed in order to pass UL Field inspection. As is required

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by most new properties, all lighting features must pass stringent safety and quality controls in order to be insured. Digital Ambiance has worked with many designers to sculpt their ideas into workable designs, and this project was no exception.

The LED strip used to create the looks in the courtyard needed to be custom made to meet the specifications of the design, as no off the shelf product existed that would fit the needs of the project. Digital Ambiance worked with its manufacturing partners to create custom addressable IP68-rated LED strips that would work with its strategy to pass UL Field Inspection.

Listing any installation with UL always brings with it unique challenges, but thanks to the experience Digital Ambiance has gained over past projects, the engineering prowess of the engineers at Nanode, and the tireless efforts of EGI Pro and countless union electricians, they designed and installed a system that cruised through the UL Listing process. www.digitalambiance.co www.fmsp.com

EON SLD EON Space and Lighting Design make thoughtful contributions to the architecture and interior field, creating beautiful environments by designing lighting concepts that harmonise with their surroundings.

Lotte World Tower & Mall Seoul, South Korea The traditional Korean art form of ‘Glory Blossom’ serves as the inspiration for the Lotte World Tower and Mall, South Korea’s tallest tower, with the entire structure consisting of a carefully integrated pattern and a dialogue through detailing.

The city of Seoul has regulations to protect the city from light pollution, limiting the maximum luminance levels for architectural façades. Because of this, the façade is shown in a much more gentle and soft light compared to typical skyscrapers.

The tower’s façade lighting is divided into three sections: crown lighting for the ‘urban lantern’, notch lighting for the ‘urban silhouette’, and media façade lighting for the ‘urban gallery’. The media façade design emphasises the harmony with the architecture, while an invisible spandrel installation means that this doesn’t impact the interior lighting. The façade lighting can also be programmed for special events such as Christmas and New Year.

The Mall is made up of four parts: entertainment, concert hall, casual and avenue. The lighting scheme for these areas reflects the idea of connecting spaces.

KEB Hana Bank Place 1 Seoul, South Korea KEB Hana Bank Place 1 is a newly remodelled bank and office building in the Samsung-dong district of Seoul. The structure was fitted with 350 pre-fabricated 3D modules of UHPC, giving it a unique appearance on three sides.

Lighting has been used to contour and fit with the building’s unique façade, creating a natural light that complements the structure.

At night, the lighting illuminates the modules to appear as a single structure, while still preserving the texture of the exterior façade.

Inside, a myriad of materials such as concrete, wood, ceramic, and stone were used to portray and mimic what exists in nature, such as a forest, cave, marshland, and tundra environment. Lighting plays a key role to illuminate these distinct areas of the building and to preserve the textures and patterns, yet keep the interior looking cohesive and consistent throughout the entire building.

Instead of using the typical wall grazing and wall washer fixtures to emphasise the different surfaces, indirect lighting and downlight was used. Linear indirect lighting was used to follow the pattern and structure of the building interior.

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SNAPSHOT

Le Meridien Seoul, South Korea Le Meridien is a newly renovated hotel in Gangnam, South Korea. Remodelling came with the difficulty of installing lights into the existing architecture with the consideration of the piping and wiring. To invoke a change in appearance and brand identity, Le Meridien took a different approach with lighting design. The concept of the hotel was to bring a mid-century European feel and look with traditional Korean culture mixed in and the incorporation of contemporary art. The use of lighting design helps to strengthen a refined and sophisticated hotel that uniquely embraces the concept of a lifestyle that enjoys art and culture.

The hotel’s unique step-like feature is accentuated by architectural façade lighting. Floodlights placed at the bottom directed upward follow the pattern of the hotel while avoiding direct light flooding into the guest rooms. This creates an upwards gradation of light that sweeps the entire front and back façade. There are also linear lights placed at the top to highlight the cascading steps. The lighting plan from the bottom section is reiterated in the hotel with floodlights at the bottom and linear lights that emphasises the outline of structures. The very top of the hotel has floodlights that softly illuminate the crown. Le Meridien takes a unique approach with architectural lighting to make it a piece of art in the landscape of Seoul’s nightscape.

EON SLD

Healing Stay KOSMOS Resort Ulleung Island, South Korea Healing Stay KOSMOS Resort is located on the cliff edge at Ulleung Island, South Korea. The main architectural structure represents the “KOSMOS ring”, offering the visitors a powerful synergy of both negative and positive energy while watching sunset over the horizon line at the site.

The main idea for the exterior lighting was to imply and embed natural lights found from the island inside and out. Moreover, the lighting design plan had to consider the abundant nature and natural light surrounding the site - to keep it less bright and gentle, creating a harmonious connection between the site and nature, but to accentuate organically formed architecture and provide minimum brightness

for visiting guests and their night activity through the architectural lighting and landscape lighting plan. Flexible lighting fixtures are recessed underground, uplighting the structures along the architecture to minimise light fixture exposure and maximise visual comfort. Linear lighting fixtures are also recessed on top of the resort building to highlight the curved rooftop.

The main idea for the interior lighting was to imply and embed natural lights found from the island inside and out. Designed with a 3000K, warm white colour scheme for the lighting plan as if the sunlight naturally lights up the abundant nature with a dimming system to calm down the common room as well as guest rooms.

First established in 2000 in Seoul, South Korea, EON SLD is comprised of designers from different backgrounds such as space, architecture, and industrial design. The projects are just as varied with architectural, interior, landscape, and event lighting for commercial, office, hospitality, and mixeduse facilities throughout Asia.

EON focuses not only on the design and on and off site consultation parts of lighting design, but is also a part of the city planning since 2000. City planning is the process of researching and gathering information to establish lighting guidelines for different districts in South Korea according to its appropriate environment, culture, and location. With these guidelines, EON has worked on many Seoul landmarks and historical sites. EON also provides educational design seminars for students and professionals alike to get a more in depth understanding of all aspects of design. www.eonsld.com

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BRIEFING

Dieter Polle Following the launch of DIAL’s new book, Smart Building Design - Conception, Planning, Realisation and Operation, arc caught up with Managing Director Dieter Polle to discuss Smart Lighting, and its role in the wider realm of building design.

How did you get into lighting?

I’ve been fascinated by light since I was a child. At university I was fascinated by these giant spheres and goniophotometers standing in all black rooms. I liked that lighting engineers focus on the interface to humans and that all the science is about improving the wellbeing of people in spaces. These interesting aspects came together with my passion for design and architecture, so what else could I do than become a lighting specialist?

Can you give me an overview of your career to date?

After my study of electrical engineering and lighting at university in Karlsruhe, I got my first professional experience at a mid-size designorientated luminaire manufacturer as a lighting designer. After a short time an interesting offer came to me. DIAL was just founded and was looking for someone to design a photometric lab as well as a white lab.

I took the chance. DIAL grew continuously, offering new challenges to me. We built an excellent lab and offered seminars to customers who wanted to learn about lighting. After some years I took over the position as a team leader of the lighting team. DIAL’s growth continued and I had the chance to take over as Managing Director a few years later. This was a challenging role, and it is still challenging me. In the last few years we’ve established DIALux, we’ve introduced LUMsearch, a luminaire search engine, the DIALux mobile app, and many more online services.

The building design field was developed as well, and we developed a design theory for intelligent buildings that we now teach.

You’ve been Managing Director of DIAL for almost 20 years now, how has the company, and the lighting industry as a whole, changed in those years?

20 years ago DIAL was already an interesting company. Perhaps 20 employees were sitting in a few rooms in an old factory. We conducted seminars in lighting and KNX and DIALux’s success was just beginning.

Today 90 employees are working at DIAL. We are working in our new company building, whose architecture we designed by ourselves, along with the lighting and the intelligence inside. It was an opportunity for us to show to customers that we understand what we are teaching.

The lighting industry has sped up a lot. LEDs have become the one and only relevant light source, and the digital transformation of nearly everything is also happening in lighting and building automation. Many manufacturers are questioning themselves about what this means for their products and business models. Everyone is asking how they might earn money in future. In general we observe a huge uncertainty, and there are good reasons for it. Disruption happens.

How has the emergence of ‘Smart Lighting’ impacted DIAL? Many people are talking about ‘Smart Lighting’. Some think that ‘smart’ means that it can be controlled via smart phone. For me, smart lighting is where the user does not have to worry about it. It switches on when you need it and offers the quantity and quality of light wherever you need it. For this to happen, a good designer is needed, along with a customer who wants to get such a solution. For us it is interesting and melts together our core competencies in lighting and smart buildings.

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DIAL has just launched a new book: Smart Building Design Conception, Planning, Realisation and Operation. What is the background behind this book? How was it conceived?

With this book we want to explain to readers how smart buildings can become reality. In short, by designing them. We believe strongly in the vision that architecture will become dynamic and intelligent. This is technically possible already and has been for quite a long time, but has never happened. Whenever you tell someone something about building automation most people reject it. They fear it might be too expensive, has no sense and does not function. They are right. The reason is: building automation it not part of a holistic design process. The design of the automation, how the building should behave, needs to become part of the general design process of the building. For the stakeholders this has been difficult to understand. From the designers perspective it is clear and easy: There is one product to design and it consists of both a shape and its function or behaviour. The synergy is one single thing, a product you might call a smart building.

Who is the book primarily aimed at? Lighting Designers?

Manufacturers? Architects?

All of them. Of course the architect has the strongest position to put things forward into this direction. I know many architects, not all of them are convinced that technology and software will play a key role in the value of the buildings they design. Yet. The book offers an insight into DIAL’s thoughts on how “Smart Buildings” should be designed. How important is lighting in the Smart Building concept?

Lighting is only one part. Doubtless an important part, because it affects people so much and because it plays a key role in the perception of spaces. But the challenge and the biggest value of intelligent buildings can only be achieved when everything is connected. It is a huge mistake to treat light individually.

Is this the first book that DIAL has produced? Do you have plans to work on any more?

Our first book was about how lighting can improve wellbeing. We wanted to put an emphasis on lighting design for the wellbeing of people instead of focussing on illuminances and power consumption, as it is too often the case. Lighting designers need to know that lighting affects wellbeing, and this needs to be taken into account. We are influencing people’s behaviour and health. We conducted research and published the results with this first publication. The results became a key aspect of the seminars we offer for lighting designers at DIAL today.

What do you think the future holds for the lighting industry?

What a huge question! Many possibilities, less restrictions, huge challenges but also risks. Everything is possible, technology gets cheaper and the margins shrink. IP connectivity of nearly every item allows solutions nobody thought of yesterday. www.dial.de

This year marks the 50th anniversary of Motoko Ishii Lighting Design. An innovator in her field, Ishii has done much to further the advancement of lighting design both in her native Japan and overseas. Here’s a snapshot of her work from the last half century.

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PROFILE

M

otoko Ishii Lighting Design was established in Tokyo in 1968, following Ishii’s return

to Japan from Europe, where she studied

and worked in the field of lighting design in Finland and Germany. She began her lighting design career in architecture and progressed to landscape design,

gradually developing her activities to include not only design of architectural and urban spaces, but also of light sculptures and light art performances.

In addition, Ishii participates in a wide range of important

ministry and government committees, and has always been active in opening new areas in the field of lighting.

Motoko Ishii Lighting Design handles a wide range of lighting design works, from urban lighting and landmark light ups - illuminating structures such as towers and bridges - to

architectural lighting, light planning for cities and towns, and

light art, illuminating sculptures and objects, as well as working

The Motoko Ishii Lighting Design team outside their office in Tokyo.

on light art performances. Motoko Ishii Lighting Design also

works in lighting product development, and has worked with a

number of lighting manufacturers, including collaborations with Stanley Electric, Sumitomo Chemical and Iwasaki Electric at this year’s Light + Building event in Frankfurt. www.motoko-ishii.co.jp

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Principal Designer: Kisho Kurokawa Architect & Associates

Space Capsule Akasaka, Tokyo / 1968 In 1962 when Motoko Ishii graduated from the Department of Design at Tokyo University of the Arts, the occupation of designer was just starting in Japan, and was not yet recognised by wider society. The design office where she was working got a lot of jobs and she was able to work on a wide range of projects including furniture, tableware, displays and logos. At that office, she also had the opportunity to design light fixtures. When the prototype was completed, placed on the table and turned on, she was very moved. It was then that she first realised that light is as essential to our visual world as air is to human life. “I want to learn more about light! I want to learn how to design lighting fixtures!” With that in mind, she thought that she would like to go to the Scandinavian countries, leaders in the field of design at that time.

Fortunately, she was able to work as an assistant to Lisa Johansson-Pape, Chief Designer at Stockmann Orno in Finland. As Lisa Johansson-Pape’s assistant, she learned about the design and fabrication of light fixtures.

The following year she moved to Licht im Raum in West Germany. Raum was an excellent company that, under Hans Dinnebier, used new methods and announced new products one after the other in the field of architectural lighting.

After learning about architectural lighting through practical

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experience in Dusseldorf, she returned to Japan. Back in Tokyo, she was at a loss because no one understood what “lighting design” was or what a “lighting designer” did. She summarised what she had learned in Europe and visited several famous architects, with the goal of writing an article for an architecture magazine.

At that time, architects were looking ahead to the 1970 Osaka Expo, the first world exposition to be held in Japan, and the architectural world was full of vitality and the desire to do something new. Two of the architects that she visited invited her to join their projects. One was Kiyonori Kikutake’s Hagi Municipal House and the other was Kisho Kurokawa’s Akasaka Space Capsule. Her involvement with these two projects gained her recognition in the Japanese architectural world and Akasaka Space Capsule was a harbinger for the Osaka Expo.

Akasaka Space Capsule was a much-talked-about discotheque at that time (1968). The interior was enveloped in stainless steel mirrors with a variety of lights enclosed in glass globes containing red, green and blue small lights covering the walls and ceiling. The upper half of each globe is covered like a mirror. A simple device controls the blinking of the lights. Innovations for this project included television chandeliers, black lights recessed in the floor and light panels at the rear of the stage.

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PROFILE

The Illuminated Ocean – Ocean Expo ’75 Okinawa, Japan / 1975 After Expo ’70 Osaka, Ishii’s lighting design work seemed to be heading in a good direction. She had several new projects, but the oil crisis of 1973-74 caused major cutbacks. As Japan was highly dependent on oil imported from Middle Eastern countries, energy had to be conserved and the use of electricity reduced. New lighting design projects were almost nonexistent. It seemed that the field had no chance of survival.

However, under these difficult circumstances, Ocean Expo ’75 gave Ishii a big chance.

In 1975 Ocean Expo was held in Okinawa, part of the southernmost group of islands that comprise Japan. The venue, covering an area stretching four kilometers from north to south and 800 metres east to west, faced a beautiful coral reef.

At that time, it was highly unusual in Japanese society that the overall task of lighting this event was left to her, a woman still in her thirties, partly because the field of lighting design had not yet become generally known and because she was still young - and a woman. Many voices were raised saying, “Can such a young woman really light the entire event venue?” but she not only lit the outdoor areas of the venue. She dared to try something never done before, by placing a number of lights in the sea itself.

It took six months of repeated surveys and experiments for her to be able to place lights in a one-kilometre stretch of the ocean. The support and cooperation of the event’s organisers, the Ocean Expo Association, and of the Japan Lighting Society enabled her to complete the project successfully, with no trouble during the event period.

The lighting design policy consisted of a number of interesting factors: the lighting allowed the moonlight and starlight to be seen, and also revived the use of traditional garden shadow lighting in the expo site; the design also developed undersea lighting fixtures in preparation for the oceanic age, and allowed Ishii to design lighting fixtures that can adequately withstand the severe forces of nature in Okinawa; most importantly, the design created a dynamic night scene for the Expo.

Square garden lamps little less than a metre high were newly designed and variations were made for each lighting cluster. Ishii floodlit wooded areas and the outside walls of buildings, and installed underwater lights in ponds and water fountains. Thus, she achieved lighting in keeping with the policy that enhanced the nighttime view of the environment.

Xenon lights placed atop the Aquapolis and on two gates in the illuminated ocean became columns of light shining one kilometre up in the sky, creating a new landmark.

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Architect: Minoru Yamasaki & Associates

Shinji Shumei-Kai, Shiga Sacred Garden Shiga Prefecture, Japan / 1983 The construction of Shiga Sacred Garden of Shinji Shumei-Kai was carried out over a period of eight years, beginning in 1976. It was finally brought to completion in May of 1983 in the centre of an enormous site, close to Shigaraki Village. It is located in an isolated spot, separated from the outer world by an approach road that stretches for seven kilometres.

The lighting plan for the Sacred Garden can be broadly divided into three categories: outdoor lighting, indoor lighting designed for the Sanctuary and special lighting for the basement floors.

The main concern over the outdoor lighting was to render lighting that is harmonious with the natural environment surrounding the site. For this concept, pole lights were not used at all, except for the Plaza ground.

Instead, Motoko Ishii Lighting Design used flood lighting for trees and cliffs.

Recessed indirect lighting was used for the Sanctuary, where a serene and solemn atmosphere was desired. The same concept was applied to the indoor lighting, where chandeliers were designed to have a refined simplicity.

The Plaza in front of the House of God, with its gorgeous marble paving stones, features nine-metre high pole lights, each comprising a mirrorfinished tapered pole (used for the first time in Japan), while halfmirrored glass produces brilliant illumination.

For the garden area of the site, numerous direct or indirect recessed lighting fixtures are installed. The effect of floodlighting for trees and cliffs enhances the night scene of the garden throughout the year.

The Sanctuary covers a vast area and features a gentle curving dynamic

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white ceiling, with no visible columns. The lighting concept was based on three points suggested by the architect, Minoru Yamasaki: simplicity, holiness and quiet.

As fixtures are installed inside the forty-metre high space, especially on lighting methods for the altar area where high illumination is required, it was decided after a series of mock-up experiments to use a combination of xenon lamps and halogen spotlights. The former was selected for their high level of illuminance and the latter for their brilliant lighting effect. The two types of spotlights, known to produce high-intensity light, are usually used only to produce a sharp spotlighting effect. However, by directing a number of spotlights at the altar area, soft but efficient lighting is created. Metal halide lamps and halogenlamp downlights used for general lighting (also used as accent lighting) cast a soft light over the curved ceiling. A gondola mechanism, running between the floor and the luminous ceiling, was installed to facilitate maintenance.

In contrast to the dynamic features of the Sanctuary, rooms on the basement floor feature elegant spaces. The main lobby is right below the entrance foyer of the first floor. Compared to the high-ceilinged space of the Sanctuary and the entrance lobby, this main lobby has a narrow space with a comparatively low ceiling, providing a serene, relaxed atmosphere.

Following the main lobby, is the foyer with a decorative plastered domeshaped ceiling. As the central point of the floor, the foyer features a simple chandelier, comprised of vertically suspended brass pipes and clear lamps.

Millennium light up / 2000.

PROFILE

Rainbow Bridge Tokyo, Japan / 1993 & 2000 The 800-metre-long Rainbow Bridge spanning northern Tokyo Bay between downtown and the Daiba waterfront area is one of Japanâ&#x20AC;&#x2122;s longest cable-suspension bridges. The bridge was constructed with the goal of easing traffic congestion. The Tokyo Metropolitan Government had been actively pursuing a plan to redevelop the Daiba waterfront area, and the nighttime appearance of this bridge was carefully considered from the initial stage of the construction process.

After four years of preparation, including discussions with various public organisations related to harbour, aviation, shipping and transportation activities and several on-site experiments, the bridge was finally completed. Through several on-site experiments, it had been verified not to disturb sea, ground, and air transportation. The influence on birds was also studied and their safety was confirmed.

Motoko Ishii Lighting Design used computer graphics to simulate lighting patterns from various points of view, and also constructed a 3.5-metrelong, 1/300 scale model of the bridge to study lighting effects on the main cable and floodlights, which were difficult to confirm with just the computer graphics system.

To express the beauty of this bridge, highly integrated lighting techniques were adopted for the main tower, cable, anchorage, and girders. Cables were illuminated to enhance the structure of the bridge.

Each unit contains coloured non-electrode lamps that change colour to suit the day and time: white, a neutral public colour; green, the colour of Tokyo symbolising the waterfront; and coral pink, symbolising the dawn of the 21st century. The colour of the illumination gradually changes every hour on the hour and the half-hour, giving the feeling of gently lapping waves.

On weekdays, the base colour is white and it changes to green; on weekends, the base colour is green and it changes to white; on national holidays, the base colour is white and it changes to coral pink. For national holidays, programs and colours can be selected from among various computerised presets that are automatically operated.

Lighting for the main tower is varied slightly according to the season.

Metal halide lamps provide cool white lighting in spring and summer, while metal halide and high-pressure sodium lamps provide warm white lighting for autumn and winter; the seasonal change is made automatically.

In consideration of the environment and energy conservation, Motoko Ishii Lighting Design used solar panels atop each main tower to generate about 40 percent of the energy for cable illumination. Long-life nonelectrode lamps (7000hr, 18w each) with an expected life-span of 20 years were also used.

The adoption of a midnight lighting pattern for the top of the main tower and 50 percent of the anchorage saved electricity; resulting in additional cost and energy savings.

As a special light-up to welcome the new millennium and produce scenery with a strong impact, symbolic of the beginning of the year 2000, a simple, safe and highly effective dramatic installation was implemented by temporarily adding special filters to existing floodlights used for the normal bridge illumination. The bridge towers were tinted in the colours of the rainbow, as its name indicates, and illumination of the cables brilliantly decorated the moment of the countdown to this once-in-a-lifetime occasion.

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053

Sensoji Temple Tokyo, Japan / 2004 To create a new light landmark in Tokyo for Sensoji Temple, with its history of more than 1,300 years, it was agreed with the shopping arcade association to create this light scheme, intended to give new nighttime life to this tourist area.

Low-energy light sources were chosen to enhance the vermilion colour of the famous Kaminarimon Gate, as well as the Hozomon Gate and Kannon-do in the temple precincts.

The outer Kaminarimon Gate was emphasised by illuminating its two guardian deities and big paper lantern. High-pressure 2500K sodium lamps were chosen to illuminate the vermilion pillars and ornamentation, while metal halide lamps light up the white walls and tiled roofs; spotlights shine on the lanterns, gables and Deva statues.

The inner Hozomon Gate was brightly lit from the front. Its stately appearance was further enhanced by emphasising the vermilion colour with uplights.

Floodlights were mounted on specially designed poles giving the feel of the Asakusa district and blending with the daytime scene.

The gables and eaves of the Kannon-do Main Hall (almost 30 metres tall, with a floor space of about 1,395sqm) were lit up, as was the roof to dramatise the historic design.

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Ishii lit the spire and eaves of the 84-metre-tall, five-storied pagoda in the temple precincts to complement the skyline and to make the structure stand out when viewed from mid-distance and afar. Lighting accentuates the timberwork under the eaves; light fixtures were unobtrusive, hidden from sight by parapets and eaves.

Addressing time and budgetary constraints, wiring and poles were kept to a minimum. No new poles were installed and running costs were reduced by using long-life light sources with a life span of 8,000-15,000 hours. Louvers were added to reflector-equipped lights to minimise light spill.

These structures are lit up until 23:00 every night, attracting a large number of visitors. This challenge became an example of how to foster night-time tourism and contribute to local revitalisation.

PROFILE

Tokyo Tower Tokyo, Japan / 1989 & 2008 Tokyo Tower was lit up on January 1 1989, in celebration of its 30th anniversary. In order to plan the concept for the lighting design, Ishii investigated the night view from various locations in Tokyo.

The lighting of a landmark such as the Tokyo Tower should not be overdone to the point where it becomes distasteful, and it must harmonise with the surrounding lights. To emphasise the Tower’s structure and enhance its beauty with lights, finding the most appropriate lighting was a very delicate operation. In addition, energy-saving measures had to be considered. As a result, the electric power required to light Tokyo Tower is only half that required to light the Eiffel Tower, although Tokyo Tower is 33-metres taller than its Paris counterpart.

The Tower illumination from below is created by 148 floodlights. Metal halide lamps are used from spring to summer and high-pressure lamps from autumn to winter.

Twenty years later, on the occasion of the tower’s 50th anniversary, the familiar lighting of this ‘Grande Dame’ was given a new name - ‘Landmark Light’. The makeover featured improved efficiency and energy savings, and a sparkling new dramatic expression called ‘Diamond Veil’. The multitudinous point light sources installed on the tower faces light for two hours, from 20:00 to 22:00 on weekends and holidays in special programs designed for specific seasons or events.

Since its start in December 2008, this illumination has attracted much attention, giving birth to the phrase ‘Tokyo Tower traffic jam’, used to describe the condition of surrounding streets that are full of sightseers. Landmark Light and Diamond Veil have individual identities. They do not appear together; the changeover and switching on and off underwent detailed consideration. Spectators can enjoy the various ‘veils’ worn by the Grande Dame throughout the year.

In this lighting plan, consideration was given to the global environment. Diamond Veil uses about half the energy required for previous light-ups, with combined savings for the whole illumination reaching about 25 percent per day. Further, the light colours communicate delicate nuances - i.e. noble white symbolises eternity; pure green, nature; angel red, love. Thus, this Tokyo Tower illumination evolved from just something to look at, to light communicating a message, carving a new place in history as a landmark in nighttime Tokyo.

‘Diamond Veil’ / 2008.

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PROFILE

Nagano Toumyou Festival – Zenkoji Temple Olympic Colours Light-up Nagano Prefecture, Japan / 2003 - 2018 This project was more than just lighting up architectural and urban spaces. It was the coming together of a years-long effort - a project in which the lighting designer was in the forefront, creating a new space and time.

In 2003, a new lighting event was organised for Nagano City’s Zenkoji Temple, well-known all over Japan, and the event has been held every year since then. A five-coloured illumination of Zenkoji, held during the Nagano Toumyou Festival, is held annually on ten nights in the bitter cold of February.

Originally introduced to commemorate the fifth anniversary of the Nagano Winter Olympics, the event increases in scale every year and has become a well-known event, and now attracts more than 600,000 visitors.

To celebrate full visibility of the San-mon Gate, which had been under repair for several years, a special system was put into operation to change the colours of lights successively for this gate, situated in the centre of Zenkoji. Red, purple, blue, yellow and green were used, in keeping with the five Olympic and Buddhist colours.

Other main structures in the compound were lit in the same colours: red for the front of the Hondo (Main Hall); purple for the east side of the Hondo; blue for the west side of the Hondo; yellow for the Bell Tower; and green for the Kyodo. Orange, representing the Olympic Flame, was used to light the Nio-mon (Deva Gate) and deep blue accents were added for the Daikanjin Entrance adding a new feeling of warmth to ‘Our Zenkoji’ for local residents and tourists alike.

This installation, dubbed Zenkoji Dream Nightlight (2008), was accompanied by a Dream Lantern Picture Exhibit showcasing cutout pictures pasted on lanterns to represent thoughts of peace that were submitted by the general public, a photo contest and other events. All combined to warm the heart of Nagano during the ten-day event.

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PROFILE

Kurashiki Lighting Project Okayama Prefecture, Japan / 2006 - 2008 The historical quarter of Kurashiki, known for its white walls, can now be enjoyed at night, as well as in the daytime. In 2006, a lighting installation was completed in the areas along the Kurashiki River, surrounding the Ohara Museum of Art and Ivy Square based on the Kurashiki scenic lighting plan created the previous year.

The Council for the Preservation of Groups of Historical Buildings set strict guidelines for preservation of the scenery: daytime scenery could not be altered — all fittings had to be hidden; power requirements could not be increased; and construction had to be minimal, within budget.

By replacing the streetlamps with fittings using the latest technology and the existing design, Ishii bathed the white walls in soft light without changing the scenery in any way.

All buildings on both sides of the river were illuminated giving the town a feeling of continuity reflected off the river surface, creating the inviting feeling of people living there hundreds of years ago. Custom lamps were installed in dark uninhabited houses to give a feeling of life; upon residents’ request, timers could be used by the city to turn lights on between sundown and 21:00, adding charm to the nightscape.

Thanks to the cooperation of residents in houses facing the river, small Japanese-style lamps were placed in second-floor windows, creating a unifying warm gentle light.

To meet strict design conditions, two newly developed the compact spotlights with special lenses were installed in each existing streetlight, transversely illuminating second-story walls. In each globe, the fitting incorporates two lamps: one for normal scenic lighting and one for late-night lighting, conserving energy. Compact LED lamps hidden in building eaves provide light for safety at night. The lighting plan for 2006 covers Japan’s first modern Western art museum, the Ohara Museum of Art, the tourist spot, Ivy Square, and a wide-ranging walking route proposed with consideration given to nighttime safety.

In 2008, a new zone was added to the already highly acclaimed scenic lighting in Kurashiki, Okayama Prefecture, a project underway for the past several years. The lighting plan begun in 2006, fittings for the Japanese garden, Shinkei-en, were hidden beneath the floors or in the roots of trees so they would not be visible to guests viewing the garden from the Japanese room of the Keiken-do; detailed studies of the near and intermediate views and shape of the greenery resulted in a calm, but elegant nightscape.

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Different.

Creating New Beauty For Our Home Planet®

PROFILE

In corroboration with: Akari-Lisa Ishii

Light Message for Peace Berlin, Germany / 2011 In 2011, a light and sound performance was held at the Brandenburg Gate, the symbol of the German capital, Berlin, to commemorate the 150th anniversary of the start of diplomatic relations between Japan and Germany. This event was one of the highlights of the anniversary celebration and aimed to spread the message that our Earth must be protected, create a bright future and work toward peace. The President of Germany and the Crown Prince of Japan served as honorary chairpersons for the 150th anniversary celebration.

2011 marked the 75th anniversary of the Berlin Olympics. The word for ‘Peace’ was translated into 48 different languages, representing the official languages of the 204 Olympics participants, and the images of those words projected on the Brandenburg Gate.

In addition, March 11 was a day of unprecedented catastrophe — the Great East Japan Earthquake. To mark this, a light message was added depicting the desire to hold ‘Life’ dear, to protect the ‘Environment’ for all living things and to believe in the ‘Future’ of the country and the continued recovery with the help of international support. Sounds were added to harmonise with each projected image, creating a deeper feeling and attraction among the visitors. Part of the power for the event was supplied by solar energy.

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PROFILE

Tokyo Gate Bridge Tokyo, Japan / 2012 Tokyo Gate Bridge, nicknamed Dinosaur Bridge because of its unique shape, was opened to traffic in February 2012. An illumination was held on April of the same year. Symbolic lighting enhances the peculiar shape of this 2,168-metre-long bridge that serves as a new gateway to Tokyo.

Designed to give a feeling of the future, lighting is energy-conserving and environmentally friendly, as well as considerate of sea-going traffic.

The bridge is the product of nine years of detailed design work including consultations among persons concerned with maritime affairs, bridge designers and construction companies. As a result, each of the 492 trusses is lit individually and light dispersion from colour LEDs on the sides of bridge footings is tightly controlled. Bridge footings and the underside of the span are attractively lit.

From dusk to midnight, the entire Tokyo Gate bridge is illuminated by three lighting items. 886 LED lights installed on the bridge under-span,

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at intervals gradually increasing towards the ends of the bridge in harmony with its gentle arch, create a colourful, dynamically changing design. The LED lighting from specially developed fittings is easily visible from land, but light dispersion is controlled to prevent glare from interfering with air or sea traffic. 56 floodlights attractively show off the bridge piers. All fittings are unobtrusive, but are installed in easily accessible locations in consideration of daytime scenery and ease of maintenance.

Coloured LED lighting on the bridge sides shines gently in traditional Japanese colours that change to match the image of the particular month. Pearl is used for February, green leaves for May, the sea for July, autumn leaves for November, etc.

For 3-5 minutes every hour on the hour, the installation changes dynamically to produce the image of moving waves. On weekdays, the waves flow across the bridge from end to end; on weekends the waves flow from both ends toward the centre; and on special days congratulatory waves bubble up from the centres of the two truss sections. In addition, special colour illuminations are held to dramatise national holidays and special days (Mothersâ&#x20AC;&#x2122; Day, Christmas Eve, etc.).

About 40 percent (510kWh/day) of the total power consumption (1,414kWh/day) used for scenic lighting is provided by solar power, making this an eco-friendly structure.

Inverting the Pyramid The newly-opened V&A Dundee has been getting plaudits througout the design world thanks to Kengo Kumaâ&#x20AC;&#x2122;s unique architectural design, while Arupâ&#x20AC;&#x2122;s lighting design seamlessly blends natural and artificial light, creating a warm, welcoming atmosphere inside.

PROJECT DETAILS V&A Museum, Dundee, UK Client: V&A Dundee Lighting Design: Arup, UK Architect: Kengo Kuma and Associates, Japan Exhibition Design: ZMMA, UK Interior Design: Lumsden Design, UK Photography: Hufton + Crow

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I

f you’re in any way affiliated with

museums and art galleries across the world,

doubt have already seen countless

modelling allowed them to analyse the weather

the design world then you’ll no

images of the new V&A museum in

including the V&A in London. Computational condition data and sun path across each day

Dundee, Scotland over the past few months.

throughout the year in all areas of the building,

Kuma, opened in mid-September, and has been

with the architect. It was particularly important

The museum, designed by Japanese architect Kengo lighting up the design community with its unique, sloped façade, inspired by Scotland’s mountains.

allowing them to develop daylight strategies that no direct sunlight entered the galleries,

as exposure to UV lighting can be particularly

As Scotland’s first design museum, V&A Dundee

damaging to some of the more sensitive exhibits.

international importance of design alongside

in Arup’s designs, as a key aspect of the

achievements. At the heart of the museum, the

reliance on artificial lighting in the public

aims to tell a global story, investigating the presenting Scotland’s outstanding design

This focus on daylighting played a key role

brief, alongside sustainability, was to reduce

Scottish Design Galleries feature 300 exhibits

spaces by providing daylight to spaces without

design, as well as from museums and private

Façade openings are formed to offer views out

drawn from the V&A’s rich collection of Scottish collections across Scotland and the world.

The lighting brief for the museum was developed

introducing glare from direct sunlight.

onto the water and across the city of Dundee, while providing good levels of daylight at the edges

by Arup, in close collaboration with Kuma and

of the space. However, deeper into the space,

the design service for daylighting, architectural

sola-tubes that sit just above the perforated

the V&A, with Arup’s lighting team providing

lighting to all front of house areas, gallery and

exhibition lighting and the exterior façade lighting.

The distinctive architecture of the building

presented clear objectives for lighting the spaces with an emphasis on daylight, architectural integration and sustainability. The lighting

team brought with them experience gained from

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daylight is provided by a series of large diameter ceiling, delivering high levels of daylighting to

the restaurant and main hall, giving the space a

light and consistent appearance during the day.

For the temporary galleries, north-facing

skylights integrated into the roof system bring in natural light where desired, while an adjustable blackout shading system integrated into the

Previous Page The V&A Dundee, designed by renowned Japanese architect Kengo Kuma, has gained a lot of plaudits for its unique façade design.

Top Left The unique façade design features a number of openings, offering views out to the water and across the city of Dundee, while flooding the interior with natural light.

Above Left Artificial lighting has been sensitively integrated into the fabric of the building, providing comfortably lit spaces that enhance the architecture.

Above Right The light quality in the Charles Rennie Mackintosh Oak Room, a reconstruction of an old Rennie Mackintosh tea room, has been reproduced using original glass fittings and concealed high quality LED light sources.

PROJECT

Above Arup worked alongside exhibition designers ZMMA on the lighting for the Scottish Design Galleries, with artificial lighting for this space intended to accent and reveal the range of design objects on display. Mike Stoane Lighting’s Surf and iGuzzini’s Palco fittings have been used in the display wall and on DALI tracks respectively to highlight the displays.

skylights allow the modulation of incoming daylight to meet

different conservation requirements for different exhibitions.

Elsewhere, a series of small windows and one large window

fitted with dual open weaved/black out blinds are strategically

positioned in the Scottish Design Galleries to provide views out.

An automated blind control system has also been installed here to ensure that the blackout blind is only deployed when the sun hits the picture window. This maximises the view outside, and

the influx of daylighting, while protecting the sensitive exhibits

inside. Above all, the careful use of daylight achieves an open and

naturally lit environment without compromising sensitive exhibits.

Blending into this use of natural daylighting, artificial lighting has been sensitively integrated into the fabric of the building,

providing comfortably lit spaces that enhance the architecture. For example, the main angled walls of the central foyer are softly lit

from above, giving the space a warm and welcoming appearance.

Arup worked with exhibition designers ZMMA on the lighting for the Scottish Design Galleries, in consultation with the V&A. The artificial lighting for this space has been designed to accent and reveal the range of design objects, while light levels also vary, with the most sensitive exhibits being lit at levels just below 50lux. Track mounted projectors equipped with high colour

rendering LEDs are carefully aimed and focussed to model and reveal the colours and textures of the objects on display.

Each of the galleries has its own lit character pertaining to the

objects on display. This range of light qualities was achieved by

using iGuzzini’s Palco track fittings, which provide a wide range of interchangeable optics and accessories to shape and direct light.

These track fittings are installed on DALI tracks, and fitted with

potentiometers to allow for local control. Within the display wall,

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Previous Page A key aspect in Arup’s design brief was to reduce reliance on artificial lighting in public spaces by providing daylight to spaces, without introducing glare from direct sunlight.

Above The unique angled walls of the main hall are softly lit from a high level, providing a sense of warmth and definition from the reflected light of the timber.

Left In the Charles Rennie Mackintosh Oak Room, the original pendants and wall lights have been fitted with modern LED filament bulbs, retaining the desired feel of authenticity while considering energy consumption.

Concealed 3000k gobo projectors and 6000k LED strips mounted behind glass provide and added sense of depth and an abstracted quality of natural light to the space.

Next Page Lights mounted in the reflecting pools surrounding the building uplight the exterior, revealing the complex forms and unique texture of the façade, designed to represent a Scottish rock face. The central walkway under the building in particular provides a space where this uplighting can be appreciated.

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Mike Stoane Lighting’s Surf is used to highlight

general lighting and accent lighting to the café

local dimmer in each display, meaning that they

element of flexibility for setting up the space

A central feature in the Scottish Design Galleries

can be added to the tracks for this purpose.

(CRMOR) - an original Rennie Mackintosh oak

a feature display wall intended to represent the

has been designed as a truly immersive space,

merchandise, are lit from very narrow beam

been reproduced using original glass fittings and

while the mobile retail units are lit from tracks

the original pendants and wall lights have been

shelves to accent the smaller items on sale.

the desired feel of authenticity while ensuring

main hall, visitors are welcomed with the café

Concealed 3000k gobo projectors and cooler

The bar is illuminated mainly by the fittings

a sense of depth and an abstracted quality of

providing a greater interest and distinctiveness

and emergency lights are cleverly concealed,

while a variety of LED strips from Deltalight

The main hall meets a number of functions, and

the shelves and into the food vitrines.

shop on the ground floor, and a restaurant at the

abundance of natural light and an amazing view

space are softly lit from a high level, defining

good general levels of daylight to balance

warmth from the reflected light on the timber.

automatically from the central control system,

the space at a dynamic angle, providing fixed

of accent projectors provide accent lighting to

the displays. These fittings are controlled via a

and retail spaces below. This also brings an

can be set for the particular object on display.

for special events where additional lighting

is the Charles Rennie Mackintosh Oak Room

The shop, designed by Lumsden Design, includes

tearoom reconstructed by Smith and Garratt. This

tidal flow of the Tay. The textural walls, and the

where the light quality of the original space has

TTX2 track fittings from Mike Stoane Lighting,

concealed high quality LED light sources. Here,

above, and have integral linear strips under

fitted with modern LED filament bulbs, retaining

Adjacent to the main entrance and just into the

that energy consumption is duly considered.

bar, smartly situated under the main stairs.

6000k LED strips mounted behind glass provide

integrated into the bar at various locations,

natural light to the space, while maintenance

in the otherwise dark under-the-stairs space,

so as not to disrupt the original ceilings.

are carefully hidden below the counter, under

houses the ticket office/reception, a café and

The first floor restaurant benefits from an

first floor level. The unique angled walls of the

across the city. Wide beam projectors provide

the edges of the space and providing a sense of

the space, which are dimmed down at night

A simple concealed track system runs across

provided by Lutron. Between these, a series

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tables and the unique furniture details within

is a great space to spend time in, and the

from shelves lit using Pixalux, and Rubn’s

of the smaller details and geometries

that reflect the natural light beautifully

Associate Director of Lighting at Arup.

The restaurant features an open terrace

artificial lighting to the angled walls is a key

battery-operated lanterns for the tables,

how it changes over the course of the day.”

façade, creating a backdrop for the space.

process as another key factor in the project’s

evident during the day, it becomes a very inviting

She continued: “Focusing the Galleries was a

glimpses of the interior from outside, as the

and ZMMA. The Scottish Design Galleries are

the interior lighting to glow out, giving the

character depending on the exhibits on show.

reflect in the water around the building. Lights

qualities of each exhibit, while providing a

the building uplight the exterior and reveal the

“Creating the ambience in the CRMOR

designed to represent a Scottish rock face.

custom decorative glass fittings was very

a dramatic space, where this uplighting of the

Throughout the whole museum, Arup, alongside

On completion, designers at Arup are pleased

visitor experience, that lives up to Kengo Kuma’s

lighting, both natural and artificial, supports

fitting for Scotland’s first design museum.

the space. Accent lighting at the bar comes

longer you do, the more you become aware

suspended Copolla amber glass pendants,

of the building,” said Laura Phillips,

during the day, and glow in the evening.

“The use of natural light in combination with

for use day and night that is provided with

contributor to the success of this space and

while linear in-ground fittings uplight the

Phillips also cited the collaborative nature of the

While the soft, warm interior illumination is

success, particularly in the gallery spaces.

and key attraction at night, when you can see

very collaborative process with the V&A team

small windows built into the linear façade allow

quite unique in that they vary in colour and

windows the appearance of small lanterns that

The lighting helps to bring out the inherent

mounted in these reflecting pools surrounding

visually comfortable backdrop to the space.

complex forms and unique texture of the façade,

room through focusing and dimming of the

The central walkway under the building provides

rewarding, and is a very immersive space.”

detailed façade can be fully appreciated.

ZMMA, has created a remarkable, immersive

with the end result, and the way that the

unique architectural design, and is certainly

the architectural ideas for the building.

www.arup.com

“The main double height foyer of the V&A

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PROJECT

Seeking Culture A celebration of Kuwait, Islamic and Arab cultures and history, the Sheikh Abdullah Al Salem Cultural Centre, in the Al-Sha’ab district of Kuwait City, presents a collection of world-class museums that showcase some of the world’s richest cultures and are illuminated with a befitting lighting scheme by Sutton Vane Associates.

W

ith a gallery area covering a vast

correct. Alongside this extensive team of experts

Cultural Centre is one of the largest

landmark complex was delivered in its entirety

22,000sqm, the Abdullah Al Salem museum complexes in the world,

contractors Alghanim International and Beck.

of the space and evokes the feeling of walking

Associates (SVA), which worked alongside 96 other

down a busy Kuwaiti street, tying the complex

together. There are six main museums across the

The lighting design was completed by Sutton Vane consultants and sub-contractors from thirteen countries to bring the large project together on

complex: Ecosystems, Human Body & Mind, Our

time. SVA was initially appointed to design all

Robots and the Space Museum, along with multiple

construction had not started at this point and a

theatres. Outside the museum complex stands an

not giving the team long to devise and input their

Earth, Arabic Islamic Science, Transportation & cafés and restaurants, educational rooms and

of the lighting schemes back in 2015. However, soft launch opening deadline was set for 2017,

array of large-scale sculptures, including a rocket

lighting design. Mark Sutton Vane, Director of

spots, creating an effective visual impact.

huge project so quickly, the lighting design

that is illuminated with Pulsar’s colour changing

Sheikh Abdullah Al Salem Cultural Centre Kuwait City, Kuwait, Iraq Client: Diwan Amiri Lighting Design: Sutton Vane Associates, UK Architect: SSH, Kuwait, Iraq Exhibition Designers: Cultural Innovations, UK Pics: Sutton Vane Associates

with the efforts of architects SSH Design and

housing 22 galleries and thousands of exhibits.

Its central covered thoroughfare acts as the spine

PROJECT DETAILS

for the internal content of these exhibits, the

The Cultural Innovations team assembled more than 140 members, of which 30 specialised in

the lighting firm, commented: “To build this

process was carried out backwards. The electrical contractor, SI, had to know where the fittings

content creation, interpretation and content

and the wiring were going to be, to give them

with additional expertise for graphics, and audio-

the designers, had designed all the displays.”

development, alongside 25 exhibition designers visual development. This group of experts were

brought together from a variety of backgrounds, including universities, zoos, botanic gardens, museums and organisations such as the

European Space Agency to provide advice and

ensure scientific facts and interpretations were

time to install it all before Cultural Innovations, In order to combat this issue, SVA designed a

“generic toolkit of very flexible lighting, which

could start to be installed and then was ready to light the amazing exhibits that the exhibition

designers developed,” explained Sutton Vane.

During the initial stages of planning, the team

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“To build the project so quickly, the lighting process was carried out backwards.

The electrical contractor had to know where the fittings and the wiring were going to be, to give them time to install it all before Cultural Innovations, the designers, had designed the displays. ”

Previous Page Dinosaurs are illuminated with high light levels to create striking and bold displays of ancient creatures from the Animal Kingdom.

Top Left Fiery illuminated seating using LED Linear LED tape in an auditorium creates a vibrant and engaging atmosphere for visitors.

Top Right A forest of colour changing light fibres by UFO form part of an interactive experience for visitors to immerse themselves in.

Next Page Inside the Transport and Robots Museum, modern technology is illuminated in clear glass plinths, with a stark black and white theme throughout the gallery area. It is visible to see the staggering amount of spotlights used throughout the museum gallery spaces, highlighting the difficulty the SVA team would have faced when designing a lighting scheme without seeing the exhibit space first.

Mark Sutton Vane, Sutton Vane Associates

at SVA carried out daylight and sunlight studies for each gallery

space, which posed a challenge for the lighting designers. It was

into where the hot spots of the Kuwaiti sunlight was getting in

alive and flourishing, as the task of removing a full-sized dead

space to give the architects and exhibit designers a crucial insight to. These studies also aided the architects in placing windows, specifying glazing and designing of electrical window blinds.

The lighting was specifically designed to be different

for each of the individual museums in order to maintain

visitors’ interest and to keep elements of separation visible between the varying subject matters of the museums.

For many of the individual exhibits, SVA used a large selection of fittings to specifically illuminate the artefacts and installations.

Mike Stoane Lighting provided a large number of spotlights, many of which were built into the exhibits and provided a useful range of optics and powers for the teams to work with. For the more

subtle illuminations, Applelec and Cooledge provided LED Light

Panels for backlighting the exhibits and graphics along with LED

Linear, which integrated linear lines of LED tape into the exhibits.

One example that took particular advantage of the varied lighting designs put in place was the Ecosystems gallery. A live forest of

trees, creepers and bushes was put into the centre of the museum

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extremely important, financially and practically, to keep the forest tree was not an option for the Cultural Centre. SVA sought advice from planting specialists for the lighting levels needed for the

living forest to survive. 26,000 high-powered lumen floodlights

by GE Lighting were used to provide growth lighting. Additionally, the forest can be flooded with colour for special events. Sutton Vane described the visitors experience further: “Visitors enter this forest on a ten metre high walkway that goes through the

trees. At the end there is a long sloping travellator that carries them down to the forest floor. Changing images of eyes and

snakes in a projected jungle background spook the visitors as they move downwards, seeing the visions appear as they descend. An aquarium is in the same gallery space and its lighting had to be much lower to prevent the growth of algae. So, a lot of careful

aiming and timing of the lights had to be carried out. This was all

made a little easier in the end because some of the forest was made artificial, so did not need the high light levels originally planned.”

Martin Professional changeable gobo projectors

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“There is a large sphere shaped Planetarium that can be seen from outside one of the museums. At night, twenty moveable multi-gobo and multiwheel projectors light the huge sphere with imagery representative of the main planets and the sun.”

Mark Sutton Vane, Sutton Vane Associates

were used to create the projected effects that visitors

exhibits all appear to be lifted off the floor with glows under their

In an equally large gallery, a huge display showing how white blood

complex, including downlights from acdc, miniature spotlights

experience when moving down the travellators.

cells move towards and attack bad bacteria in the human body is formed out of several thousand LED spheres. These spheres are all programmed to chase around the gallery in spirals moving

towards large glowing models of bacteria. Some of the spheres

are lit red to represent the red blood cells and others are white.

Several days were taken to programme the various attack sequences of the UFO built LEDs and supporting structures to create the desired dramatic effects in the spiralled blood cell display.

In the Innovate gallery, designers created a forest of hanging light fibres by UFO that visitors push their way through and get lost in.

Sutton Vane explained the design of this gallery space further: “All of the fibres change colour in a complicated programme to support the

story that is being told by the graphics and the audio visual displays.

There is a large sphere-shaped Planetarium in one of the museums

that can be seen from outside. At night, twenty moveable multi-gobo and multi-wheel projectors, by Martin Professional, light the huge

sphere with imagery that is representative of the main planets and

the sun. So the sphere first looks like Mars, then like Venus, then the boiling Sun and so on.”

UFO also provided an external LED fibre optic map of the stars of the universe for people to gaze at.

Throughout all of the museums and galleries, luminaires have been built in to heighten the displays and in some gallery spaces the

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plinths. A large combination of fixtures were installed across the

from LightGraphix, downlights from Reggiani, Linear LED profiles with built in optics by UK LED Lighting, Linear RGB LED strips

by LED Flex and spotlights by Concord, Mike Stoane and Erco.

Notably, the Space Museum is an incredible feat for the

design teams to undertake. A full size accurate replica of the

International Space Station was created for visitors to explore.

SVA spent a lot of time and effort to research and replicate the specific light fittings used inside the space station and

matched them as best as possible to make the true replica.

In total, SVA specified over 20,000 light fittings from the

multiple suppliers. Most of the fittings are DALI dimmable

and some work on local DMX control systems. Philips Color

Kinetics and Pharos Controls, both supplied by Architainment

Lighting, provided control systems for controlling some of the DMX controlled lighting, which demanded fast changes in the

exhibits or were controlled by AV or visitor interaction. Helvar

completed all of DALI control systems across all of the museums.

Once construction of the complex was complete, it didn’t leave a lot of time for the implementation of the fixtures. SVA had two

or three designers on site for months to carry out the aiming and

programming of this huge site. They also acquired a team of Nepalese abseiling workers to aid in the focusing and aiming of the fixtures in

the fourteen-metre high galleries across the museums. Sutton Vane

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Previous Page Left Small illuminated globes encase individual exhibits, creating an interesting and unique design to exhibiting artefacts.

Previous Page Right Podiums are illuminated underneath to create the illusion that they are floating in the middle of the room.

This Page Above Inside the illuminated live forest in the Ecosystems Museum main gallery area. The blue wash light creates an intriguing atmosphere for visitors to explore the live forest.

This Page Below Left An artificial monkey swings from the branches in a brightly lit gallery presenting different ecosystems.

This Page Below Right Projections of the hot sun engulf the large planet sphere that can be seen through the windows of one of the museums.

described the challenges his team had to face

Some decorative elements were also added:

to adjust the beams on the thousands of track

pendant lights and a bulkhead with retro LED

during this process: “We had to teach them how mounted Concord Beacon Muse DALI spots and how to aim the fittings really precisely - one degree of rotation from fourteen metres up

is a big distance down on the floor. At ground

level, we gave them sample fittings to practice with and taught them simple instructions

like ‘rotate left’, ‘rotate right’, ‘bigger beam’,

‘smaller beam’ and so on. This was made more complicated because they only spoke Nepalese

and their boss only spoke Arabic and Nepalese!

So everything was translated from English

into Arabic and then from Arabic to Nepalese,

which was then shouted up fourteen metres.”

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Original BTC with the Titan Size 1 decorative lamp for a model plane installation. Traxon

Technologies installed individually addressable RGB LED Dot XL 3 with domes for a black hole exhibit in the Space Museum. Also used were Megaman dimmable globe E27 lamps with

opal coating and Instyle LED 24V ultra violet LED tape for black light effect lighting.

The hard work has paid off for the SVA

team, winning them the Public Building of the Year at the ABB LEAF Awards in

2017. It has also been entered into the darc awards / architectural 2018 awards. www.sva.co.uk

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A Monument to the Mountain The China Resources Land Archive Library, located just outside Shenzhen, features a beautifully subtle lighting scheme, courtesy of Beijing Ning Field Lighting Design, that blends seamlessly into the ornate architecture.

PROJECT DETAILS China Resources Land Archive Library, Shenzhen, China Client: China Resources (CR) Land Lighting Design: Beijing Ning Field Lighting Design, China Architect: Studio Link-Arc, USA Interior Design: Studio Link-Arc, USA Landscape Design: Studio Link-Arc, USA Photography: Su Shengliang, Studio Link-Arc

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Previous Page The China Resources (CR) Land Archive Library sits against a mountain just outside Shenzhen.

Top Lighting from Beijing Ning Field Lighting Design is intended to seamlessly blend natural and artificial light, creating a subtle, warmly welcoming effect.

Above Left The library features layers of platforms and long footsteps, blending it in with its surroundings as it appears to lean against the side of the mountain.

Above Right Perforations in the brick façade allow natural light to fill the interior.

T

o the east of Shenzhen in Xiaojingwan,

Lighting design for the CR Land Archive Library

the sea, sits the China Resources (CR)

Lighting Design, the team behind last year’s IALD

leaning against a mountain and facing

Land Archive Library, an exquisite new

facility that houses archival storage, exhibition

areas and office space, bringing a sense of culture and history to the surrounding coastal communities.

Designed by New York-based architects Studio

Link-Arc, the library appears to lean against its

surroundings, and features layers of platforms and long footsteps, based on the trend of its surrounding environment.

The building is covered in handmade grey bricks, which unify the structure and add texture to the

exterior surfaces. These bricks are articulated in

many different ways, bringing a sense of texture

and calm to the building, while better expressing the flow of both natural and artificial light throughout.

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came from Chinese firm Beijing Ning Field

Radiance Award-winning Harbin Opera House.

Beijing Ning Field came on board with the project

having met architects Yichen Lu and Qinwen Cai of Studio Link-Arc at the China Pavilion of the World Expo in Milan in 2015. Through conversations, the lighting designers learnt that Studio Link-Arc

attach a great deal of importance to lighting design in their work, and when the CR Land Archive

project came up, they recommended Beijing Ning Field for the job.

Dongning Wang, Director of Beijing Ning Field,

explained the brief handed down by the architects: “The architect wanted the building to be elegantly lit with a balanced combination of natural and artificial light.”

This balanced lighting concept covers both the

interior and exterior schemes, with a particular

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project

Left The entrance lobby is dominated by a large staircase, clad in a beautiful golden glazing, while a large skylight at the top fills the stairs with natural daylight.

Below Left The differing articulation of the brick exterior adds an element of texture to the minimalist architecture.

focus on “reducing the influence of outdoor lighting on the night sky”.

For the landscape and architectural lighting design, Beijing Ning Field mainly relied on

internal transmitted light, supplemented with low-level ambient light, which minimises the negative effect of over-lighting at night.

Hollowed-out brick walls bring daylight into the interior space at day time and extend the view of the space, while after dark, it adds a warm

glow to the building outline, forming a contrast of light and dark and enriching the sense of the exterior space.

“With the lighting, we wanted to create a

self-glowing building, which looks natural and in harmony with the surrounding

environment,” Wang explained. “In Shenzhen, a city with great light pollution, we wanted to

use light in a low brightness to create a peaceful and noble land at the top of the mountain.”

The idea of creating a self-glowing entity

extended to the landscape design also, as Wang and his team utilised fibre optic fixtures to

illuminate the plants and flowers on the path leading up to the building.

“The main purpose is not only to lower the

illumination levels, but also to eliminate the inherent image of light fittings and create a romantic effect that the green plants and

flowers are self glowing. The light from the fibre optics softly glows the plants nearby without polluting the quiet and dark night sky.”

As visitors approach the building, they are met with an entrance canopy of black steel. As part of its quest for a more subtle, hidden lighting scheme, Beijing Ning Field chose to use

recessed downlights in black, concealing the light fittings in the daytime. These recessed lights are small in size, with a narrow beam angle to control glare.

Stepping inside to the lobby area, the design is

implicit and steady. Light fittings from Erco and PAK are again all concealed to ensure the

integrity of the interior design. Track lights are

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Dongning Wang, Beijing Ning Field Lighting Design

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installed at the seams of the brick masonry walls

concealing the light fittings when the lights were

view of the surface while blending artificial and

the space evenly and without glare when the lights

The reception desk is softly illuminated by light

To the rear of the lobby is a grand staircase glazed

atmosphere, while the warm glow from light coves

point for visitors entering the building. At the top

space.

with a natural light. However, to provide a shading

throughout the building is something that the

source at night, the lighting designers developed

the very start of the project, as Wang explained:

light simulations carried out with the architects.

the architects to the owner, you could feel the

and natural light enters the space through the

and the pursuit of the purity in the space.

At night, the curtain is closed, and PAK spotlights

architect, the picture was even cleaner. There are

This light is then reflected and evenly scattered

Instead of having an even horizontal lighting in the

As with the architecture of the building, the

lighting by zones and emphasise ambient lighting,

throughout, creating exactly the kind of gentle

Similarly in the lounge and exhibition areas,

strived for. “We want people not to focus on the

perforated cover, intended to blend into the

aesthetic atmosphere of the building itself,” Wang

“In order to conceal the light fittings and keep the

“Lighting harmonises the relationship between

and decided to use an aluminium grille as a drop

the beauty of the light.”

perforated where the light fittings are installed.

artificial light throughout the CR Land Archive

below a large skylight, which keeps the aesthetic

off, while making sure that the light transmitted to

natural light.

are on.”

fabrics, which help to create a welcoming

in a bright golden hue, which acts as a visual focal

on the ceiling outlines the perimeter of the interior

of the staircase is a large skylight, filling the space

The idea of a subtle, hidden lighting scheme

element during the day, and an indirect light

architects and lighting designers worked on from

an electric ‘organ curtain’, following some natural

“In the rendering images of the lobby submitted by

During the day, this organ curtain is fully opened,

effective fusion of natural light and artificial light

skylight, providing general lighting to the space.

“In the lighting proposal we submitted to the

mounted on either side are pointed up towards it.

hardly any exposed light fittings on the ceiling.

into the space, giving the appearance of daylight.

space, we persuaded the architects to instead apply

lighting design remains very subtle and minimalist

thus achieving a pure visual impression.”

ambience that both architect and lighting designer

Geosheen strip lighting is installed with a

techniques of the lighting design, but on the

ceiling’s aluminium grilles.

said.

ceiling clean, we communicated with the architects

natural light and artificial light, making people feel

ceiling,” Wang elaborated. “The grilles are

The harmonic relationship between natural and

The key was to find the optimal perforation rate for

Library is emblematic of the relationship between

Previous Page Hidden lighting fixtures from Erco and PAK add a gentle illumination to the entrance lobby, complementing the abundance of natural light.

Left The staircase skylight features a custom-built “organ curtain”. When closed, PAK spotlights mounted on either side are pointed up towards it, and the reflected light gives off the appearance of daylight.

Above Left Hollowed out bricks in the exterior façade allow natural light in during the day, while at night the interior lighting gives off a warm glow.

Above Right Beijing Ning Field Lighting Design persuaded the architects to apply lighting by zones and emphasise ambient lighting “thus achieving a pure visual impression.”

Next Page Lighting in the lounge and exhibition areas has been fitted with perforated covers to blend into the aluminium grille drop ceiling, meaning that the fixtures are concealed when the lights are off, and transmitted evenly and without glare when the lights are on.

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Beijing Ning Field and the architects at Studio

work, the architects communicated with us to

two firms.

times, but they respected our professional

Link-Arc, this despite the distance between the “It was a challenge to communicate effectively

with the design team over long distances,” Wang

revealed. “The project is located on a mountain far away from downtown Shenzhen, while the architects are in New York, USA.

“However, we established several communication groups with the architects in WeChat. In these

groups, we discussed the technical drawings and were able to solve problems by photos, voice messages, videos, etc.

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“Despite the architects being far away in New York and the fact that we seldom communicated with each other in person, the trust and constant

communication meant that we could achieve a good design result.”

Alongside the constant long-distance

communication, Studio Link-Arc’s sound

understanding of the importance of effective

lighting design meant that the project was always going to be a success.

Wang continued: “Throughout this project, the architects had a better understanding of the

process and function of lighting design. During the

make comments on the lighting designs several opinions and rarely commented on technical

aspects. From this point of view, we implemented our own lighting concept in a relatively complete way, and the architects and owners were both happy with it.”

With just reason, the lighting design seamlessly fits into the fabric of the building, providing a

natural illumination inside, while casting a delicate glow on its exterior.

More than just providing an aesthetic detail, Wang believes that the lighting scheme brings an ethereal quality to the building.

“Lighting endows the building with a calm power, emanating from the inside of the building,” he

said. “Light provides occupants with emotional power and the space with rhythmic change.

“Buildings are capable of moving the heart with

the help of light. It is lighting that makes the CR

Land Archive Library on the mountain more like a monument, depicting the enterprise’s glorious history.”

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Helter Skelter Office for Visual Interaction (OVI) has created a pristine, uniform lighting scheme for the stunning new Meixi Urban Helix, overlooking Lake Meixi in the Chinese city of Changsha.

PROJECT DETAILS Meixi Urban Helix, Changsha, China Client: City of Changsha Lighting Design: Office for Visual Interaction, USA Architect: KSP JĂźrgen Engel Architekten, Germany Photography: Ines Leong

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Above The Meixi Urban Helix extends above a man-made plateau on Lake Meixi, offering spectacular panoramic views of the lake, as well as the planned expansion of the city of Changsha.

Right The spiralling double helix structure rises to a height of 34 metres, and utilises a backdrop of indirectly illuminated architectural finishes and surfaces to create a consistent, balanced lighting scheme.

M

erging the natural elements of water with the

the exterior nighttime identity with a continuous, flowing

beautiful new structure, uniting the two worlds

the double-helix ramp and connecting bridge. To intensify

urban development, the Meixi Urban Helix is a

band of radiant light that creates a visual connectivity of

of nature and man-made constructions.

this infinite metaphor, we kept all structural elements, such

Located in the southwest of Changsha, China, this new

as the radiant vertical helix columns and the undulating

Engel Architekten, is a multi-functional public space

In order to effectively articulate the project as a flowing, infinite

well as the planned city expansion that it overlooks.

continuously up-lighting the helix ramp and bridge surfaces

spiralling to a height of 34 metres through an exposed ramp

of visually separating layers of the outer ramp surfaces from

provides visitors with a reversing path ramp leading from the

For the nighttime identity of this iconic new structure, concealed

Lighting for this impressive structure comes courtesy of New

night to articulate a continuous, spiralling ribbon of light. To

(OVI). By combining few directly visible lighting elements

specified, allowing to distinguish the outer ramp surface

finishes and surfaces, OVI has created a consistent,

Elsewhere, handrail-integrated linear LED luminaires

OVI regularly collaborate with architects and design teams very

guide visitors through the ascending and descending paths,

project develops. This project was no different, as OVI worked with

While these lighting fixtures help to enhance the nighttime

project. Because of this, OVI was able to develop a strong lighting

amount of illumination for visitors to enhance the spectacular

Markus Fuerderer, Project Lead and Product Design at OVI,

a low-mounted guiding element of sparkle using miniature

to generate a well-conceived lighting design scheme.

walkway and intuitively guide visitors up and down the helix.”

urban axis, designed by German architects KSP Jürgen

wave structure of the bridge, dark in contrast.”

where visitors can enjoy panoramic views of Lake Meixi, as

band of light, OVI sought to increase this character further by

The structure ascends above a man-made plateau on the lake,

consistently. Colour capability was also included as a means

measuring six to eight metres wide. The interior of the helix

inner surfaces, creating visual clarity and added depth.

structure’s highest point down to the new urban area.

linear LED uplight coves illuminate the ramp undersides at

York-based lighting designers Office for Visual Interaction

increase visual depth, RGBW capable luminaires have been

with a backdrop of indirectly illuminated architectural

from the inner surface by adjusting the light colour.

balanced lighting scheme spanning the structure.

provide additional illumination for bridge and ramp areas to

early in the design process, maintaining a regular dialogue as the

connecting between the structure and the new urban area.

KSP Jürgen Engel Architekten from the competition stage of the

identity of the structure, OVI was keen to reduce the perceived

concept that remained consistent as the project progressed.

panoramic nighttime views. Fuerderer continued: “We designed

explained: “We extracted the essence of the architecture

marker lights along the inner ramp perimeter that light the

“For Meixi Urban Helix, we envisioned an iconic gesture for

Situated on an artificial island with an area of about 20,000sqm,

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project

“We envisioned an iconic gesture for the exterior nighttime identity, with a continuous, flowing band of radiant light that creates a visual connectivity of the doublehelix ramp and connecting bridge.”

Markus Fuerderer, Office for Visual Interaction

radiant in-grade lines of light correspond

by Electrix Illumination to generate a soft light

centre of the helix’s geometry. Zooming in,

reaching up to eight metres in distance.

with the paving pattern that originates at the concealed step lights and under bench lighting details accentuate the stage and steps, while miniature in-grade LED uplights at the base of each vertical structural beam illuminate

the edge of the vertical elements. This serves to generate a subtle visual framework for

the spiralling ribbon, complementing the fluidity of the design and contrasting it

against the nighttime backdrop of the city.

One of the most remarkable things about the Meixi Urban Helix is the consistent, uniform lighting across its span. This,

according to Fuerderer, is an integral part of the structure’s design. “A key feature of the

lighting gesture is the continuous appearance of the illuminated, flowing, infinite band of light along the bridge and helix,” he said.

“We designed a miniature linear cove detail at the bottom edge of the sectional profile.

This cove accommodates a high performance linear wash luminaire with optimised optics

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gradient across the entire ramp overhang, “An important visual aspect of this

detail is the shielding: the cove detail is dimensioned to avoid direct views into

the light source, while maintaining the architectural integrity of the design.”

OVI’s overriding approach to lighting

design, across an extensive portfolio that

Previous Page While the majority of the lighting is hidden, creating a seamless glow, OVI designed a low-mounted guiding element of sparkle by using miniature marker lights along the inner ramp perimeter, lighting the walkway and intuitively guiding visitors up and down the helix.

Top To effectively articulate the project as a flowing, infinite band of light, OVI continuously uplit the helix ramp and bridge surfaces consistently, creating a smooth, balanced illumination.

Above OVI worked closely with architects KSP Jürgen Engel Architekten to create a lighting scheme that is a natural extension of the architectural language of the structure.

has seen it work with the likes of Zaha Hadid Architects, Foster + Partners and Grimshaw, is to “reinforce the architectural features and give life to a project ‘after dark’”.

And Fuerderer believes that this philosophy has been met again with the Meixi Urban Helix. “The lighting design should be a natural extension of the architectural

language and we feel that is the case here.

“There are so many visitors at night

that we hope we have given them the

opportunity to experience a magical moment when they visit this unique place.” www.oviinc.com

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PROJECT DETAILS Four Seasons Hotel Kuwait at Burj Alshaya, Kuwait City, Kuwait Client: The Alshaya Property Development Co. Lighting Design: Inverse Lighting, UK Architect: Gensler, UK Interior Design: YabuPushelberg, Canada Additional Design: Kokai Studios, China Photography: Paul Thuysbaert/Four Seasons, Inverse Lighting

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Traditional Luxury The new Four Seasons Hotel Kuwait, part of the Burj Alshaya development, brings a refined sense of luxury and class to the Kuwait City skyline.

I

n Kuwait City, where the ever-expanding landscape is becoming

overwrought with large, ostentatious skyscrapers, a new, altogether more subtle and sophisticated development has emerged.

The Burj Alshaya, a mixed-use project featuring the new five-star Four

Seasons Hotel Kuwait, the corporate headquarters for global enterprise Alshaya Group, and a connecting podium, features a unique design concept that takes inspiration from the culture and tradition of the region.

Designed by architects Gensler, the Burj Alshaya was developed around the tradition of the ‘mashrabiya’, an element of traditional Arabic architecture that sees windows enclosed with a latticework – a technique that has been used since the Middle Ages to provide shade and privacy while maintaining views.

A hybrid architectural element that is both functional and decorative, the

mashrabiya merges the form and function of the Islamic window screen with a conventional jalousie, taking on the materiality of local culture.

This element was one of the key design drivers in a concept that sought to develop a building envelope that was both efficient and iconic, related to Arabic architecture, whilst embodying a novel approach to reducing the effects of the high ambient

temperatures and intense solar radiation that characterise the local environment.

Tom Lindblom, Principal and Global Hospitality Leader at Gensler explained: “Our

inspiration was to redefine a vernacular tradition. Arabic architecture is one of the world’s most celebrated building traditions, known for its radiant colours, rich patterns and symmetrical silhouettes.

“We wanted to produce a coherent and practical design, rich in layered

ornamentation, which emanates the luxury and quality that Four Seasons and Alshaya embody.”

The resulting design reinterprets this tradition, presenting a contemporary take on

traditional patterns and forms, via a three-dimensional lattice in various scales and locations across the development. The diamond pattern of the lattice provides solar

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Previous Page The exterior design of the Four Seasons Hotel was developed around the tradition of the ‘mashrabiya’, an element of traditional Arabic architecture that sees the windows enclosed with a latticework, providing shade and privacy whilst maintaining views.

Left The interior lighting design, developed in collaboration with interior designers YabuPushelberg, blends hidden architectural lighting with grand decorative pieces, creating a subtle, sophisticated atmosphere.

Below The mashrabiya-style design covers the eastern and western façades, leaving the northern and southern sides to provide views across the Kuwait skyline.

control for the building, and the approach integrates the project’s

At 22 storeys high, the Four Seasons Hotel features 284 rooms and

towers and covering large sections of the podium with a mashrabiya

expansive pool-level terrace, three restaurants and two lounges, and

main elements by wrapping the east and west elevations of both

type envelope. While there are no mashrabiyas on the northern or

southern façades, fritted glass with diamond-like patterning helps

maintain the design continuity, providing shading and privacy while also offering a sense of drama and dynamism both from the inside and outside of the building.

The geometry of the shading fins enhances climatic performance for

the occupied spaces and continues over to wrap the roof terraces and

shade outdoor activities from the sun, while providing a recognisable and significant addition to the city’s skyline.

Alongside the aesthetical appeal of the façade design, it offers

additional economic benefits, as Lindblom explained: “Buildings with fully glazed façades offer tremendous views and natural

lighting, but they also encourage heat gain when the sun comes out.

We developed a unique response with the objective to reduce interior heat gains and glare.

“The size of the individual diamond modules changes according to

the location, therefore ensuring the interior benefits from suitable amounts of daylighting.

“Having carried out daylighting and shading studies with façade engineers, we modelled the façade to ensure the design utilises

natural sunlight from within whilst reducing reliance on electric

light, maintaining human health and a productive work environment during daytime.”

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suites, including two large ballrooms with conference suites, an a world-class spa and fitness facility.

Gensler worked very closely with Toronto-based interior designers YabuPushelberg and engineering partner KEO International on the hotel’s interior design, striving to bring the design concept of the

façade inside, creating a holistic, seamless experience for locals and international guests.

“The room layout and how the interior spaces work is extremely

dependent on the architecture and the façade,” continued Lindblom.

“Decisions on where to position the fritted glazing were key to

maintaining and maximising the views out of the towers and also had a bearing on the furniture arrangement, so we had to work very

closely with YabuPushelberg and all parties to ensure the final design delivers the functional requirement with an interpretation of local vernacular culture in a contemporary manner, echoing Alshaya’s philosophy and the Four Seasons’ brand.”

In keeping with the Four Seasons brand, the hotel provides a

luxurious experience for its guests – something that Lindblom

believes is exemplified by the scale of the facility. However, despite

this grand scale, there is a sense of intimacy throughout, as Lindblom explained: “While the front-of-house components are grand in their own scale, they are all well-connected and intimately knitted with one another, and often visually connected with the exteriors for a total immersive ‘inside-out, outside-in’ experience.”

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“The surrounding buildings are competing for attention with elaborate lighting schemes, but with our towers we wanted something more sophisticated and understated.”

Tom Lindblom, Principal and Global Hospitality Leader, Gensler

Inverse Lighting designed the lighting for the project, working collaboratively with Gensler to create a lighting concept that

accentuated façade geometry at night time. Lindblom continued:

“The other surrounding buildings are all competing for attention at

night with elaborate and ostentatious lighting schemes, but with our

towers we wanted something more sophisticated and understated, to complement the complex geometry of the building and to stand out from the rest of the skyline.”

Inverse’s lighting design incorporates programmed lighting that the client can animate and vary depending on their requirements. The

standard illumination on any usual day is to graduate the light up the tower and through the canopy, bringing people’s eyes through the

whole project. This is something that Lindblom feels was “core to the symbiosis” of the lighting design and architectural concept.

Onur Sunguroglu, Director at Inverse Lighting, added: “The façade lighting was developed to compliment the traditional patterns.

Rather than floodlighting the whole cladding, we, after a full scale

lighting mock up of a façade panel in London, decided to position the

luminaires on the façade, not only emphasising the patterns but also the lighting itself, creating diamond shape patterns.

“We also developed structural details for fixing the lights to the

façade so they became a part of it, not just an item attached on to it.”

As guests enter the hotel, they are greeted by a tall, dramatic

entrance lobby, featuring a huge, freestanding spiral staircase that curls to a height of thirteen metres, the world’s biggest hanging crystal, created by Lasvit, and numerous complex works of art, including a Marc Quinn sculpture.

Alongside the huge lobby area, Inverse tackled the multifarious lighting requirements of large but flexible events spaces, an

atmospheric spa and corridors to the 217 guest rooms and suites.

In illuminating these spaces, Inverse worked closely with Left As visitors enter the hotel, they are greeted by an expansive, dramatic entrance lobby dominated by a huge, freestanding spiral staircase and the world’s biggest hanging crystal, created by Lasvit.

Above Left Inverse Lighting worked with YabuPushelberg to create a lighting scheme that was “integrated within the fabric of the space as much as possible”, reinforcing the interior design with lighting.

Above Right A closer look at the beautiful mashrabiya-style cladding on the hotel’s façade.

YabuPushelberg, a firm that they have a long-standing working

relationship with, to create a scheme that was “integrated within the fabric of the space as much as possible,” according to Sunguroglu.

“We mostly followed the lead of the interior designer, who created these majestic spaces,” he added. “So the unspoken brief was to

enhance the guest experience by reinforcing the interior design with lighting.”

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project

“The unspoken brief was to enhance the guest experience by reinforcing the interior design with lighting.”

Onur Sunguroglu, Director, Inverse Lighting

Throughout the hotel, the lighting is discrete, often

recessed into the floor, ceilings and furniture so that

fittings are out of sight. This brings the focus firmly on the high-spec brief and the larger decorative pieces.

Hidden lighting has also been used in the long corridors to transform what might otherwise have been prosaic

passageways into dynamic, welcoming spaces, helping to gently ease visitors into the relaxing mood of the spa and lounge spaces.

“Integrated lighting plays a vital role in creating the

luxury atmosphere,” continued Sunguroglu. “A prime example of this can be found in the spectacular lobby

stairs, where light was completely integrated into the

stairs, creating a glowing centrepiece and enhancing the effect of a swirling ‘stairway to heaven’.”

Elsewhere, Inverse implemented a number of decorative lighting elements with YabuPushelberg, to further exemplify the luxurious atmosphere. A rectilinear chandelier in the Al Soor lobby lounge, along with Top Throughout the hotel, the lighting is discrete, often recessed into the furniture so that the fixtures are out of sight, bringing the focus firmly on the high-spec brief.

Bottom For the exterior lighting, Inverse Lighting sought to complement the traditional patterns of the façade design, and developed structural details for fixing the lights so that they became a part of the façade itself.

custom pendant lanterns produced by Viso, help to unify the design of the lobby and pool areas with the décor in the guestrooms.

The lighting design also covered meeting and prayer

rooms, bar and dining areas, a pool deck and the rooftop restaurant, designed by Kokai.

The architecture and interior of the Four Seasons, and Burj Alshaya as a whole, reflect the city’s modernity, while paying tribute to the local traditions, while its sleek, avant-garde luxury places the building as the stylish new centrepiece of Kuwait City, creating a

prestigious backdrop for business and the new focal

lighting specified Ares Tapioca Endo LEDz Rs Flos Lightcut Mini formalighting LED Strip F4656 formalighting Multi Gimbalo formalighting Venus Concave Square Hera R68LE iGuzzini Reflex M404 Orluna Mini Recesseed fixed Orluna Roc RCL DR7 RCL DR8 Reggiani Yori Track Viso Various Custom Decorative

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point for the city’s social scene.

Indeed the reaction to the building is something that has not gone unnoticed by Gensler, as Lindblom enthused:

“We think it’s great that everyone has reacted so well to it.

“During the design stage we made a conscious decision not to include a hotel sign at the tower top, as the architecture design is so unique that the building becomes immediately recognisable.

“The hotel is now so well known in the local community and people have no difficulty finding its location – I think that’s a testament to its strength.” www.inverselighting.co.uk www.gensler.com

PROJECT DETAILS Mosque of Sheikh Khalifa Bin Hamad Bin Abdullah, Mecca, Saudi Arabia Client: Al Radwan Contracting Co. Lighting Design: Umaya Lighting Design, UAE Architect: Arab Centre for Integrated Studies, Egypt Interior Design: Creative Touch Décor, UAE Lighting Suppliers: Sagitario, ELR, Lamp, Truelux, Grupo MCI, Lumenpulse, Hydrel, Civic, B-Light, Lasvit

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project

Spiritual Connection Umaya Lighting Design bring a blend of architectural and decorative elements to the Mosque of Sheikh Khalifa Bin Hamad Bin Abdullah, creating a soft, balanced atmosphere to the place of worship.

W

hen creating the lighting for the

elevating oneself spiritually and connecting

Arabic patterns and recomposed to form

Hamad Bin Abdullah in Saudi

astronomical clock, to consider the time

hold hand-blown clear and opal pieces of

Umaya Lighting Design opted for a multi-

The integration of the lighting equipment

shadows onto the domes.

hierarchy of elements, while keeping a soft

avoiding any visual clutter and in exposing

sources with high efficacy, to ensure

Mosque of Sheikh Khalifa Bin

Arabia, designers at UAE-based

layered scheme, in order to assign a clear

and balanced atmosphere throughout the building.

with God. This feature is controlled by an shifts during the year.

into the architecture was paramount in the craftsmanship of the finishes.

Downlights were avoided where possible, or

kaleidoscopic geometries. Golden frames glass, which project an array of natural Throughout the project, efficient light minimal heat dissipation and maximum light production, were employed. The

Key elements, namely the mehrab, domes,

seamlessly inserted into the ceiling patterns

quantity of these sources was reduced to only

priority, not only as a means of showcasing

Backlit patterned coffers framing the domes

lighting load. In addition, the fixtures chosen

a logical sequence of views, aligned with

need to add any additional equipment.

reduce maintenance needed in the future.

arches and screens were given visual

the high level of artistry, but also to establish

by matching their size, geometry and colour. provide general illumination, without the

what is needed in order to reduce the overall were ones with a long lifetime in order to

the actual worship ritual. The remaining

All ceiling and wall coves were carefully

Finally, the control scheme is designed in

light, to achieve the necessary lighting levels

any veiling reflections, especially with

are turned off when they are not needed.

lighting strategies were treated as fill-in for lecture (Quran) and carefully studied contrast ratios.

studied to provide a smooth effect and avoid reflective materials. The main challenge was the coordination with the other disciplines

such a way that ensures that the light fittings This is achieved with the use of motion and occupancy sensors that are integrated into

The lighting to the main domes goes

to achieve the intended integration of the

the mosque, ensuring that the luminaires

communicate with the faithful and convey

Umaya Lighting Design was appointed at

The downlights and decorative fixtures are

beyond pure illumination, and is used to

a message. At Adhan (call for prayer) the

warm white wash starts shifting to cooler

temperatures of white, ending in a blue hue by the time all people gather and prayer starts (Iqama). This is not only visually

attractive, but also represents the act of

lighting equipment. Fortunately enough, an early stage and given a good amount of creative freedom, which helped

tremendously when requesting special details and considerations.

The bespoke chandeliers add magnificence to the space. These were inspired by traditional

turn off when the mosque is not in use.

grouped and controlled in such a way that

allows the downlights to be turned off after prayer time, thus preventing energy from being wasted.

www.umayalighting.com

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115

project

Light Railway As part of an expansion of Helsinki’s Metro rail system, Valoa Design has created a distinct identity through light for each of the line’s eight new stations.

T

he Länsimetro, or Western Metro in

conceptualising the different themes.

in the autumn of 2017 and extends the

in the stations’ design, the principles of human-

the Helsinki metropolitan area, opened Helsinki Metro system’s two existing

lines from central Helsinki to the neighbouring

Espoo area. The lighting project, completed by Valoa Design, consists of eight metro stations on the new line, with each station reflecting the particularities of its neighbourhood.

The architecture of the eight stations was designed

by CJN Architects, HKP Architects, Artto Palo Rossi Tikka Architects, ALA Architects, Architect Esa Piironen and Helin & Co Architects.

The aims of the lighting project were to create a

distinct identity for each station in order to make them easily recognisable, as well as to provide

an accessible public space where passengers and commuters feel safe and comfortable.

The identities of the stations were brought out by choosing for each station a natural element that

reflects the surrounding area – water and the sea, ice and snow, foliage, red soil – and using illuminated surfaces with integrated lighting to reflect the

element. Spatial experience was a key factor in

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Since safety and comfort were important aspects centric lighting were employed in the lighting

design. In the Western Metro this was achieved

by increased lighting on a clear and bright day and

inversely by less lighting at dusk. This way there is less contrast for the eye to process when moving

between the interior and exterior spaces, and the lighting adapts to the circadian rhythm.

The main idea in all the stations was to rethink

general lighting by using architecture-integrated lighting. Transparent walls were backlit and

general lighting fittings were hidden into the

architectural structures. LED lighting was used

for the entire project, and human-centric lighting was realised with a control unit that monitors the

varying amounts of daylight according to the Nordic seasons.

The new underground metro line will cater for the

increasingly urbanised Finnish capital far into the

future, with a further continuation for the line under construction.

www.valoa.com

PROJECT DETAILS Helsinki Metro Stations, Helsinki, Finland Client: Länsimetro Oy Lighting Design: Valoa Design, Finland Architects: CJN Architects, HKP Architects, Artto Palo Rossi Tikka Architects, ALA Architects, Architect Esa Piironen, Helin & Co Architects, Finland Additional Design: Lighting Design Collective; artists: Kim Simonsson, Mari Rantanen, Grönlund & Nisunen, Finland Lighting Suppliers: Purso, Reggiani, Planlicht, Erco, Martin, iGuzzini, LED Linear, Osram, Traxon, Sattler, Halla, Bega

project

An Optical Illusion To match the high-end aesthetic of the Opticals department of Selfridges, London, Nulty has created an impressive, LED lighting scheme that delivers a luxury feel alongside the illumination needed for an optometry department.

N

PROJECT DETAILS Selfridges Optical Department, London, UK Client: Selfridges Lighting Design: Nulty, UK Architect: FDA Architecture, UK Interior Design: Alex Cochrane Architects, UK Lighting Suppliers: Applelec, Crescent, Viabizzuno

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ulty has recently completed work on

Terrazzo display units positioned throughout the

in Selfridges, London. The Opticals

create back-illuminated tops that create luminous

final part of the world’s largest accessories hall.

pinstripe LED detail that surrounds the mirror and

to create an impressive LED lighting scheme that

onto the face without creating shadows.

providing the proper illumination required for an

the new concession with stacked copper display

A central part of the Nulty lighting concept was

track-mounted spotlights that to pick up the sparkle

feature displays, cabinets and walls to create a

The luxurious experience continues into the

A series of feature walls punctuate the back of the

lighting and downlights from Crescent provide

to shoppers. A large hexagon is surrounded by an

lighting control system has been installed to

opticals within. Perspex triangle boxes featuring

within treatment rooms when performing eye

utilised as display stands for the glasses, creating

to remain partially lit when the downlights have

green acrylic diamond has been back illuminated,

Anna Sandgren, Associate at Nulty, said:

showcasing the opticals within.

moments that were meant to stand out and

detailing provides additional feature lighting within

opportunity to collaborate creatively with the design

shelving joinery, provided by Viabizzuno, highlights

special.”

the UK’s largest eyewear destination

centre of the concession utilise Applelec fixtures to

department spans 4,000sqft and is the

display cabinets. Bespoke circular mirrors have a

Nulty worked alongside Alex Cochrane Architects

provides the perfect amount of soft illumination

delivers a unique high-end aesthetic, while also

Intricate lighting continues into the luxury area of

optometry department.

boxes featuring linear LEDs and miniature jewel-like,

carefully integrating lighting into the joinery,

in the high-end quality of the products on display.

purposely refined and well-illuminated space.

optometry consultation rooms. A mix of task

retail area and provide additional visual interest

a flexible, calm and relaxing feel for clients. A

illuminated linear trough detail that frames the

allow the optometrist to control the level of light

small LED light sheets from Applelec have been

examinations. A cove detail allows treatment rooms

a glowing effect from below. Further along, a

been turned off for examinations.

providing a visually stimulating display and

“Throughout the retail space we purposely created

A clean line of light within the perimeter cove

capture the customer’s imagination. It gave us the

the retail area. The lighting integrated within the

team and the architect to create something rather

the front of the products and picks up the various

www.nultylighting.co.uk

design details featured in the glasses on display.

Tracker Endless possibilities.

Visit us at Architect@Work Milano: 14. & 15. November 2018 Istanbul: 23. & 24. November 2018

www.intra-lighting.com

project

Back to the Futurium Futurium, a new venue in Berlin, examines the issues, challenges, risks and opportunities that the future may bring, now a new lighting solution from realities:united and Daniel Slota puts these insights into a whole new light.

T

he Berlin Futurium has

for the general audience.

funnel-shaped white luminaires forming

of the Future’, representing a

subtlety develop new approaches. Simple

staggered orthogonal arrangement of linear

visionary future platform, future museum,

computer-aided control algorithms allow

Motion detectors in conjunction with DMX

Covering three floors, the venue offers

light in the building becomes an information

persons. On the upper floor, open linear

experiment. Visitors are encouraged to take

time. It can act as a living organism with

the high and rising ceilings of the main

about the future of politics, business, culture

to people and events in the house. Person-

The exhibition halls are equipped with a

this unique building.

possible to create not only brightness but also

of supplementary exhibition lighting to

realities:united, alongside Daniel Slota

Light “spaces” or “bridges” reflect the social

luminaires. All luminaires are standardised

building. When working on the lighting

The design and arrangement of the lighting

industrial trunking systems. The individual

naturally arise to whether individual products

on large, homogeneous fields of luminaires,

to their differentiated and, in some cases,

test of time. The latest ‘hot’ products and

dominate the room. The overlap of different

www.realities-united.com

a rapid aging process than established ‘cool’

polymorphic floor plan of the architecture

planning approach was to use technology

of stress. Additional accent luminaires and

century, and to reinterpret and augment

to counteract the minimalist impression of

grid ceiling on ground floor and the bulky

Three essential arrangement types coin

Although definitely out-dated, the vintage

the public areas of the building: In the

established itself as the ‘House

The reuse of such formats allows to

a luminous ceiling. On the ground floor a

groundbreaking combination of

conventional luminaires combined with

luminaires behind a pendant-mounted grid.

future laboratory and future forum.

innovative application scenarios. Artificial

luminaires enable precise light tracking of

ample space to discover, discuss, explore and

and communication medium at the same

luminaires are arranged in lines under

on an active role, exchanging personal views

its own behaviour patterns or it can react

exhibition hall.

and science and thereby shaping the future in

dependent, sensor-based control makes it

large number of tracks for the integration

Berlin-based art and architecture studio

darkness as a dynamic spatial experience.

be added in addition to the continuous

developed the lighting design for the

interaction of individuals.

industrial types and also suspended using

design for a ‘House of the Future’, questions

hardware is very simple and clear. It is based

systems are particularly efficient thanks

and lighting design approaches can stand the

which are repeated in large numbers and

dynamic and interactive control options.

approaches are more vulnerable to undergo

orthogonal and diagonal grids with the

standard methods. As such, the designers’

sporadically creates accents and moments

and design approaches typical for the 20th

downlights have been concealed in order not

them. This applies especially to the light

the lighting system.

suspended luminaires down in ‘the Cave’.

the overall impression of the lighting in

aspect is not a prevalent feature, at least not

basement a dense field of special designed

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PROJECT DETAILS Futurium, Berlin, Germany Client: BImA Lighting Design: realities:united with Daniel Slota, Germany Architect: Richter-Musikowski Architekten, Germany Interior Design: Richter-Musikowski Architekten, Germany Lighting Suppliers: Zumtobel, acdc, Trilux

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»Light is a beautiful way to sense the world.« www.top-light.de

project

Bridge of Light The 263-metre-long Shimen Bridge, an important link over the Songyin River now features a beautiful illuminated walkway, thanks to a lighting scheme designed by students from Tsinghua University.

T

he Shimen Bridge, connecting the

In addition, corresponding to the position of the

was built in June 1974. The 263-metre-

bridge is open, echoing the structure of the old

villages of Shimen and Shimen Xu,

old bridge arch, the ceiling of the new lounge

long bridge was once an important

bridge. Linear LED luminaires with a narrow beam

north-south transport channel on the Songyin

angle concealed in the custom lamp grooves at

local government once considered dismantling the

creating a comfortable and soft indirect ambient

River scenic area brought with it new possibilities,

separately in normal mode, gives the villagers a

of retaining the Shimen Bridge and building a

The lounge bridge is cut off in the centre and the

The newly built walkway lounge bridge adopts a

with a wide view. The green trees illuminated by

refers to the architectural form of the local

structure, which also implies the open green island

continuity with the houses of villages on both sides

The original bridge holes and arches are

The setup of the lighting is based on the logic of

normal mode, the colour temperature is 4000K,

to awaken and deepen peopleâ&#x20AC;&#x2122;s memory of the

when the villagers have some special activities or

wooden structure is embedded with four sets of

The nightscape of the Shimen Lounge Bridge

surface is covered with opalescent acrylic). When

on both sides, but also further attracts tourists

space for the villagers to have a rest and chat,

development and the construction of the village,

according to the rhythm of the lounge bridge

landscape of this area.

River. Due to disrepair and safety hazards, the

both ends light up the ceiling of the lounge bridge,

bridge, but the subsequent construction of Songyin

light. This part of the lighting design, switched on

leading to the architect proposing the strategy

comfortable light environment for sightseeing.

walkway lounge bridge on it.

space is enlarged abruptly to form a platform

wood-assembled structure, whose appearance

spotlights continue the rhythm of the wooden

buildings; the sloped roof maintains a sense of

in the Songyin River.

of the river.

illuminated by linear RGBW luminaires. Under

space composition. The lighting design is intended

which can be switched to coloured light mode

shape of the lounge bridge during the day. Each

important holidays.

soft and dimmable LED linear luminaires (the

not only strengthens the connection of villagers

night falls, it not only provides a shared public

to the local area, promotes the local economic

but also builds a sense of drama and atmosphere,

and constructs the unique natural and cultural

structure.

www.arch.tsinghua.edu.cn

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PROJECT DETAILS Lounge Bridge in Shimen Village, Songyang, China Client: Songyang County Tourism Development Lighting Design: X Studio, School of Architecture, Tsinghua University, China Architect: DnA Design & Architecture, China Lighting Suppliers: Acolyte, StrongLED

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project

Light in the Dark For a series of new installations at the Natural History Museum, Jason Bruges Studio shone a light on some of the darkest depths of the Earth.

J

ason Bruges Studio was commissioned

Towards the end of the exhibition, visitors reach

for Life in the Dark at the Natural

where only the most ingenious and adaptable

to create a series of three installations

some of the most challenging habitats on earth,

History Museum – an exhibition that

creatures survive. The Natural History Museum

delves into the darkest corners of Earth to reveal a

wanted to bring visitors into these spaces that are

bizarre and extraordinary.

aimed to transport visitors into the deep ocean.

an inspiring learning environment that brings to

recreate the magic of bioluminescence. At 500

live in the dark. Working closely with exhibition

hunt, hide, reproduce and survive. This

Studio worked towards interactive experiences that

volume of light that is programmed to represent

with art and technology to bring visitors closer to

animals that live in the some of the deepest

Life in the Dark takes visitors on a fascinating

The bioluminescence uses bespoke LED boards.

where foxes, owls and badgers entice us into the

RGB LED on each side, controllable as a unit. These

students Ala Nunu leszyńska and Natasza Cetner to

wires, up to three boards per strand, with 800

artwork that reveals the playful nocturnal habits of

bespoke control boards, and both power and data is

Delving deeper, visitors reach complete darkness

“We also have a few off the shelf LED strips and

environment uses a clever combination of custom

added Bruges. “They are all controlled via Arduino

among a colony of flying bats. Using a simple

Life in the Dark is a boundary-pushing exhibition

highly memorable experience of exploration and

Through three installations, Jason Bruges Studio

“For the bats, we got bespoke LED strips made,”

an educational tool, revealing animation and

84 high power LEDs that are individually

behaviours and engage children and adults with

vibrant, buzzing ecosystem that is rich, diverse,

typically out of reach and so Jason Bruges Studio

The Natural History Museum were keen to create

The studio designed a voxel of 1,500 LEDs that

life the habitats and behaviours of creatures that

to1000 metres many sea creatures use light to

designers, Nissen Richards Studio, Jason Bruges

phenomenon is imagined as a vast, immersive

are multisensory and dynamic, combining science

the different distinctive and unusual behaviours of

nature.

darkest corners of our planet.

journey. It begins in a forest setting at twilight

These small boards - about 1x1cm PCBs with an

night. Jason Bruges Studio worked with RCA

are suspended on a pair of 0.5mm spring steel

develop a charming multi-layered projection

strands in total. Up to 40 strands are connected to

these familiar woodland creatures.

sent through the steel wires.

and discover a bat cave. The immersive

LED rings to represent various deep sea creatures,”

controlled LEDs and shadow play to emulate being

Duos.”

theatrical set up, Jason Bruges Studio produced a

that explores innovative approaches to learning.

discovery.

demonstrates how light can be used creatively as

explained Jason Bruges. “Each strip is fitted with

diverse moments of theatre that mimic animal

controllable. They are modular, so can be daisy-

nature. The installations contribute elegant

controlled through a bespoke control board, which

on a magical journey into the lives of creatures that

potential to display image content and to receive

www.jasonbruges.com

chained to any length. The LED strips are

expressive forms of illumination that take people

can read a video file. This gives the LEDs the

live in the dark.

data.”

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PROJECT DETAILS Life in the Dark, London, UK Client: Natural History Museum Lighting Design: Jason Bruges Studio, UK Architect: Nissen Richards Studio, UK

Project

Terrace Culture BDP’s use of integrated, low-level lighting creates a subtle ambience, closely connected to the architecture at Wilkins Terrace, a multi-functional space for UCL’s Bloomsbury campus.

W

ilkins Terrace is a multi-

downlighting. On the upper terrace, lighting

harmonious environment through balancing

over a once cluttered service

the sky. Graduated changes of soft wash and

of this technique in London, which still

London (UCL). It connects the main Cloister

This series of accents was used to build the

requirements.

with the refurbished Refectory on the

to the floor to drop to very low levels just

Transforming UCL programme delivering

outdoors space for students and staff that

The most important aspects for the multi-

Bloomsbury campus within an existing Grade

The design brief for the terrace was to

orientation and connectivity. Low-level

Director of UCL Estates. “It is a fabulous

staff and students but also to provide

and lighting façades, accenting stone

visitors and will benefit and inspire our

connect the Bloomsbury Campus. The aim

emanating from the materials with no down

to come. This project – its scope and quality

subtle scheme, tightly woven within the

absence of glare.

of Transforming UCL in Bloomsbury and

integrated, low-level lighting, with the

where the accents needed to be applied as

www.bdp.com

These bright vertical surfaces and the

lighting could be. This entailed the architects

lighting to the terrace without the need for

adding a special planning concession for

functional open terrace built

levels decrease, creating a natural link with

the horizon plane contrast is a first example

yard at University College

sharp accent give emphasis to task spaces.

gained technical sign off for local codes and

Buildings and the Bloomsbury Theatre

visual plane, allowing traditional light levels

“This is a significant milestone for our

lower ground level, providing an attractive

above 1Lx.

flexible outdoor space at the heart of our

can house large scale events.

tiered Wilkins Terrace were legibility,

I listed building,” said Andrew Grainger,

create an attractive new social space for

lighting is interwoven with the architecture

space developed for our staff, students and

routes to surrounding spaces to better

reveals and building up a presence of light

entire academic community for generations

for BDP’s lighting design was to create a

lighting or visible light fittings and a total

– really encapsulates the vision and scale

architecture. To achieve this, there is only

Strict Emergency Escape codes determined

beyond.”

surrounding façades lit.

the base minimum for how low the external

integrated low-level details provide enough

modifying their complex stone details and

columns or bollards, freeing up space on

the stair treads to confirm these are not a

at the viewers, but only reflects off of the

in the steps required the distributed

whole space appears brighter.

using non-standard techniques. Stripping

of the Refectory and has a higher lighting

Emergency purposes, for task illumination,

the terrace. When no light shines directly

trip hazard. Emergency lighting embedded

materials, the eye adjusts easier and the

battery network to work according to code,

The lower terrace is treated as an extension

back an exterior lighting scheme to

level, still achieved without dedicated

then designing reflected light to build a

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PROJECT DETAILS Wilkins Terrace - University College London, London, UK Client: University College London Lighting Design: BDP, UK Architect: Levitt Bernstein, UK Lighting Suppliers: LED Linear, Philips Color Kinetics, acdc, Selux, Bega, iGuzzini, Mike Stoane Lighting

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A Technical Future

I

n the past ten years, Lumiere festival, based in Durham, England, has grown in scale and popularity to become the UK’s largest light festival and has expanded a spin-off edition in London and Northern Island.

Lumiere works with international and UK based artists who work in the medium of light to present the urban environment in new ways. The festival also employs a large number of technicians to aid the designers in bringing their installations to life.

With the announcement of next year’s Lumiere festival celebrating its tenth anniversary, Artichoke highlight the importance of the technical help they receive each year to put together the installations and the need to encourage potential future technicians into the industry.

However, Artichoke, an arts charity that produce the festival, has recently observed the ageing UK workforce is decreasing by 50,000 technicians a year through retirement. They say

it is estimated more than 70,000 technicians will be needed

in the UK in the next decade to meet the future demands for

employers. In a bid to resolve this issue, Artichoke partnered

up with the Gatsby Foundation’s Technicians Make it Happen, which supports young people in the technical event sector.

Artichoke Director and Artistic Producer, Helen Marriage,

commented: “Lumiere may look effortlessly magical, but none of it would be possible without the essential skills of hundreds of technicians who help turn the vision of artists into reality.”

Last year’s festival included 28 installations, all of which relied

on the skills of more than 90 technicians working across science,

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EVENT

technology, engineering, maths and the

the pieces can be absolutely magical, seeing

The festival also partnered with Technicians

of all ages and from all walks of life is great.”

technicians in the UK and encourage young

on her career, worked as a production

boost declining numbers in this field.

Lumiere, helping to set up the seven

arts to realise the fifth edition of the event.

Make It Happen to raise the profile of the people to consider it as a career choice to Head of Production at Artichoke, Ian

Bone, has worked on the festival since its

the way they excite, bringing together people Amelia Kosminsky, who is starting out assistant for QED Productions on

video installations in the festival.

“I’ve always had an interest in light and

inception: “For me, the work of a technician

nature. In my early twenties, I began working

artist’s project and bringing it to life in an

of light, both manmade and natural and

excellent collaboration skills, critical

Video Design for Live Performance at

is an art form in itself. The skill of taking an exciting and safe manner takes ingenuity,

as a photographer and looking at the use

how we react to it. Currently I’m studying

thinking and a whole lot of common sense.

the Guildhall School of Music and Drama

you start, trying to envisage why your job is

between light and video projection.

“As a young technician, it can be hard when important. There are many mundane jobs that are required to be done; there can be

and looking at the collaborative nature “I am constantly learning by working alongside others who are real experts

long hours and very little sleep, but this

in their field. What they have always

person and each job completed on any

teamwork and constant openness towards

is all part of the learning process. Each

project become part of a greater whole.”

Harry Ricardo, a Senior Audio Visual

Technician at QED Productions worked on numerous installations at Lumiere 2017.

He observed: “The best thing about what I do now is seeing the public’s reaction,

especially to things like Lumiere. Some of

Pics A selection of installations from previous editions of the Lumiere festival in Durham, UK and a technician at work to help bring these installations to life.

taught me is the power of collaboration, new ideas and new technologies.”

Lumiere will return to Durham in November 2019 to celebrate it’s tenth anniversary, where it will feature highlights from

the previous five festivals and more. www.lumiere-festival.com www.technicians.org.uk

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The Perfect Light

Pic: Nayan Kulkarni

The Search Goes On… Light Collective tell us about the Perfect Light Experience, a competition launched in conjunction with Citizen that took a team of lighting designers on a pilgrimage to Japan in search of the Perfect Light.

I

n 2017, Light Collective set off on a mission to discover

to its make up.

Citizen. The project involved capturing the thoughts and

these factors, together with Citizen, we kicked off a competition at

what makes the ‘Perfect Light’, in conjunction with

characters of well-known lighting designers around the

As part of the continuation of the project and in order to analyse

the start of 2018. We asked entrants to make a one-minute video that

globe at this unique time in the development of light and lighting.

described either a Perfect Light Experience that they had previously

22 of the worlds leading lighting designers on the topic of Perfect

Tapio Rosenius of Lighting Design Collective, Florence Lam of Arup

The end product was a 35-minute film that outlines the opinions of Light.

The film has since been shown in London, Paris, Berlin, Milan, New

had, or would like to have in the future. The entries were judged by

and artist Nayan Kulkarni, who picked their favourite three entries.

The chosen three accompanied Light Collective, Lam and Kulkarni on

York, Reykjavik, Winterthur, Athens, São Paolo, Beirut, Dubai, Turku

a trip to Japan in search of a Perfect Light Experience of our own. The

and Mexico later this year. Everyone that has viewed the film has

from Arup, Alita Escobada, a stage lighting designer from Mexico and

use of LEDS.

We wanted to select people that were passionate about light and to

and at PLDC. There are also further planned showings in Stockholm commented on the timely nature of it in questioning our ubiquitous

winners were Francesco Anslemo, lighting and interaction designer Stuart Alexander, lighting designer from Michael Grubb Studios.

The Perfect Light Project led us to conclude that we do not have a

offer them a chance to experience, share and discuss light with us as

generally respond to that could help create a ‘Perfect Light’. It also

We created a trip that included a stay in James Turrell’s House of

perfect light source yet, but there are properties of light that people generated a discussion about what is a ‘Perfect Light Experience’.

For those of us who love light, we know what it’s like to be in a

part of our journey to find the Perfect Light.

Light in the Echigo Province, a walk through an ancient beech forest, watching the sunset at Mount Fuji, walking through the city lights

moment where the lighting conditions take away our ability to speak.

of Shinjuku and Ginza and an opportunity to see one of natures most

light does something so magical that it transcends our practical

The trip has been captured in a new film that ponders the question

Where we are astounded. Where our breath is taken away and where needs. This is what we refer to as a Perfect Light Experience.

These moments allow us to realise how crucial it is to seek out inspiration and experiences where, for that one brief point in

time and place, light is perfect. The parameters of a Perfect Light

Experience vary. It’s probably impossible to apply scientific metrics

to them but we believe that there are general factors that contribute

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efficient light sources – the firefly – up close.

of what makes a Perfect Light Experience. The London showing will

take place on December 12th 2018. Please contact Light Collective for a space at the event.

The Perfect Light Project is supported by Citizen and will continue in 2019. For more information, email hello@lightcollective.net www.perfectlightproject.com

THE LIGHTING & LED TECHNOLOGY RENDEZ-VOUS

LIGHTING FOR CITIES LIGHTING FOR BUILDINGS LED TECHNOLOGY

13-15 FEBRUARY 2019 EUREXPO - LYON

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EXHIBITORS & BRANDS

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A GENUINE BUSINESS & EXCHANGES ACCELERATOR 10th edition of the ForumLED Europe Congress 3 days of conferences, dedicated to indoor and outdoor lighting and for Cities Business professional meetings

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TO PARTICIPATE: Lionel LEONE lionel.leone@gl-events.com Tel. +33 (0)4.78.176.196

darc room doubles up in London

F

ollowing the critical success of the inaugural event last year, darc room 2018 exceeded expectations with over 2,000 visitors, double the figures in 2017. darc room took place at the Nicholls & Clarke Building on

Shoreditch High Street on 19 & 20 September as part of London

Design Festival and is the festival’s only dedicated lighting event.

Paul James, director of darc room, commented: “I am absolutely

delighted with the way darc room was received this year. Last year’s

Held over two days during London Design Festival, the lighting specification exhibition darc room built on the critical success of its inaugural year with a hugely successful event built on creativity and design.

event was a critical success and this year it was a smash hit!

“Our substantial increase in both exhibitors and visitors prove to us that there is a need for a dedicated lighting design event at London Design Festival.”

The boutique lighting specification exhibition had 50 exhibitors,

eight workshops and the lighting industry’s first-ever live stream of lighting talks.

darc room : workshops and darc room : live, curated by the event’s

creative consultants Light Collective, were very popular across both days with packed audiences enjoying the unique format of the educational content.

darc room : workshop participants included Tapio Rosenius, Skandal Technologies; Jeremy Fielding, Atrium; David Kriebel, LensVector; Francesco Anselmo, Arup; and Rebecca Hutchinson, John Cullen

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darc room

Pics: Sarah Cullen and Andy White

Lighting, as part of the ILP’s How To Be Brilliant

Collective’s Back Page in arc magazine from 2010

of Dr. Karolina M. Zielinska-Dabkowska RIBA,

Delta Light organised a cocktail making

series. A Human-Centric Lighting panel consisted IALD, IES, MSLL who lead a discussion with fellow professionals Mark Ridler (Director of Lighting at

BDP); Rebecca Weir (Creative Director at Light IQ); Stephen Lisk (Lighting Designer and current

President of CIBSE) and Iain Carlile (Lighting Designer and current President of the SLL).

darc room : live participants included Keith

Bradshaw, Speirs + Major; artist Liz West; Paul

Traynor, Light Bureau; Marci Song, SEAM; Neil

Knowles, Elektra; Mark Tweedale, Light4 Cundall;

Chiara Carucci, Tengbom; Olga Tuzova, Politecnico di Milano; Cinzia Moretti, Moretti Interior Design; George Singer; Ben Rigby, Haberdashery; and

Monique Tollgard, Staffan Tollgard Design Group.

The darc room : inspirations event, sponsored by Delta Light, celebrated the launch of the

Inspirations book, a collection of 45 pieces of

artwork created by designers and artists from

around the world that were published in Light

to 2017.

competition to find the best ‘Inspiration’ cocktail

that will be the signature cocktail at darc night, the darc awards / architectural party in London on 6th December. The winners were Match Lighting Studio and 18 degrees.

darc room manufacturer participants included

acdc, AC Special Projects, Aion LED, Airstream,

Alto, Applelec, Art et Floritude, AxaLight, Chroma Q, Casambi, Citizen, Coelux, Delta Light, Eaton, EcoSense, ELR, Elumeros, Erco, ES-System,

Exenia, Feelux, Forge, formalighting, Hadler, Insta UK, ledbcn, LED Linear, LED Ltd, LensVector,

Ligeo, Lightly Tech, Ligman, Linea Light Group, LightGraphix, Lite, Lumid, Madrix, Nicolaudie,

ProLED, Pulsar, Quasar Science, Radiant, SAAS,

SGM, Studio Moritz Waldemeyer, Targetti, tossB, Traxon, Tryka, Whitegoods and Zico Lighting. www.darcroom.com

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glowing in the darc darc room featured over 50 lighting brands at this year’s event in Shoreditch on 19th - 20th September. Here is a round up of some of the products on show.

LensVector Dynamic Beam Shaping using LensVector’s liquid crystal lens allows infinite beam control from spot to flood. It couldn’t be simpler to integrate and use. The lens seamlessly integrates with track and recessed luminaires and even laser devices. For architects and designers, control is at your fingertips regardless of wired or wireless protocol. Visit their booth to see how Casambi can be used to manage local or remote luminaires and view Targetti fixtures that already integrate Dynamic Beam Shaping from LensVector. www.lensvector.com

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tossB Belgium company tossB returned to darc room to display its decorative yet technical range of lighting. When tossB designs its lighting, the unique place taken up by light in our lives and its influence on our sense of well-being are considered very crucial elements. Inspired by the ‘Calumet’ sacred pipes smoked by the indigenous tribes of North America, Tribes is a family of pendant luminaries with a graphic and minimalist design. Equipped with two direct and one indirect LED spot modules, it is manufactured in two versions – individual and triple. www.tossb.com

Ligman Ligman’s Vancouver range encompasses numerous standard column and bollard options. Ligman showcased a special Vancouver design with the unique corporate mashrabiya pattern of Abu Dhabi City Municipality. Column versions of this bespoke design are now installed around the grounds of the main Municipality HQ in Abu Dhabi in a matching RAL finish to the historic building cladding and more already underway for other Municipality sites. www.ligman.com

LightlyTech Hikari SQ is the ultra-thin LED light source from Lightly Technologies. Just 3.2mm thin, it emits a uniform surface of low glare, CRI 90 light with an output of up to 400lm in a range of colour temperatures. It requires no additional heat sink or optics and uses standard LED drivers. Hikari SQ is the only ultra-thin light source that does not compromise on design, performance or affordability. Hikari SQ delivers maximum creative freedom for a new generation of architectural and decorative lighting designs. www.lightly.tech

darc room

Aion LED Dynamic Tuner takes the pressure off technicians to research and recreate complex multi-channel dim curves proprietary to a specific dynamic lighting fixture. Designed to be triggered by popular third party controls, DTM commands occur directly on the network, so no DMX interface is required, it just works. Dynamic Tuner features Aion LED’s patented technologies including: RGBW+ (full spectrum colour tuning), Dim to Glow (warm-dim) and Sundial (automated circadian rhythm). The intuitive iOS interface enables programming and even integrating with automation systems. www.aionled.com

Nicolaudie Nicolaudie showed their full suite of lighting control solutions at darc room including the new ESA Pro 2. Now compatible with the entire Stick range, the ESA Pro 2 software from Nicolaudie Architectural combines many innovations along with an ergonomic design. Entirely designed from scratch, ESA Pro 2 is Mac and PC compatible and offers amazing new features like timeline automation, pixel mapping, multi-zone programming and more. www.nicolaudie.com

Targetti Zeno DBS is the first projector fitted with innovative Dynamic Beam Shaper (DBS) technology, the result of collaboration between Targetti and LensVector. The combination of the expertise of Targetti in developing optical systems and this exclusive technology brought about the development of the Zeno DBS projectors fitted with a specially designed optical system to dynamically vary the beam opening angle passing in a gradual manner from a Spot (around 10°) type emission to a wider Wide Flood (around 50°) without any mechanical parts but by using an IoT control system. www.targetti.com

Linea Light Group This LED lamp series consists of a pendant light with a matching wall light, a ceiling light, as well as a standard lamp in a curved and a straight version. The acrylic glass diffuser, set into a lampshade made of polyurethane, has invisible micro-engravings, which deflect the direction of the light beams. When turned off, the diffuser is completely transparent.

The series is available in an elegant black or white, as well as in yellow or pale blue. www.linealight.com

Hera MPX 6RGB Series are used in projects such as media facade lighting, outdoor video displays where high brightness and standard pixel pitch distance is needed. It can be animated with large fixtures without limitation of geometry, shape and range. It uses X-PD 512 as a power supply. MPX 6RGB Series is produced in 100mm, 200mm, and 300mm and pixel pitch is in standard dimensions, although pixel pitch distance can be customised. Dome cover can be used for changing angle and appearance. Unit consists of six LEDs and can be seen from long distances. www.www.heraled.com

EcoSense EcoSense returned to darc room this year to show their award-winning Rise fixture amongst others. Meticulously designed to the last detail, the Rise lighting system incorporates a multi-faceted light platform made up of energy-efficient spot, accent, landscape and floodlight fixtures. The lighting system impresses with its aesthetically distinctive and compact design as well as its powerful technical features such as a fivedegree beam angle and a light output of 300 to 11,000 lumens – it thus embodies an impressive new tool for lighting designers. www.ecosense.com

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Casambi Casambi has introduced a module that enables the use of DALI sensors for presence detection or daylight harvesting as well as the control of DALI drivers that have an integrated DALI bus power supply.

The new CBU-DCS module, which draws its operating power directly from the DALI bus – typically running at 16V – can also be used directly with a DALI-controlled LED driver that integrates a DALI-based power supply.

Example driver devices include the Philips SR or the OSRAM DEXAL (Data Exchange for Advanced Lighting) range of LED drivers. www.casambi.com

LITE As well as displaying their distributed brands such as Studio Due and Philips Color Kinetics, LITE Architectural Lighting showed their own MaxiLED range for the first time at a UK exhibition. Fittings such as the IP66 rated MaxiEDGE (pictured) for corridor and window edge lighting simplifies what has been historically complicated LED installations when DMX controllability is required. MaxiLED combines power and data in to a single set of wires, which lowers installation costs and greatly simplifies retrofit installations, when energy savings or dynamic solutions are desired. www.lite-ltd.co.uk

ledbcn Barcelona-based company ledbcn made its debut at darc room showcasing its Design collections such as the colourful design spot tracks Auri (pictured), Ero for 48VDC mag track and Straight minimalist family of LED projectors. To complement these collections ledbcn showed its latest ‘less is more’ concept - small diameters with narrow beam angles but at the same time powerful LED light fittings. A series of recessed luminaires with great visual comfort, low luminance and UGR completed their portfolio for the show. www.ledbcn.com

ES-System ES-System showed its WHY system at darc room. An innovative, concave shape, the luminaire shines in four directions whilst the sides emit white light or light in any RGB colour. An opalised diffuser ensures uniform light distribution. A parabolic louvre or a microprismatic diffuser guarantee a low unified glare rating (UGR<19).

Different module lengths are available. A high colour rendering index and different color temperatures ensure excellent visual comfort. www.essystem.pl

Citizen The application of dramatic light installations to make an illuminated object look more beautiful has been growing, and the demand for ‘quality of light’ has become increasingly more diversified. In response to these needs for lighting, Citizen Electronics has developed the high chromatic LEDs and the CitiLED Vivid series. ce.citizen.co.jp/e

Lumenpulse Group The Lumenpulse Group displayed their Exenia range of decorative yet technical light fittings at darc room. The distinctive feature of Exenia collections is the colour, totally natural, with over one thousand catalogue finishes and endless possibilities of personalisation. For example, the Willy pendant mounted LED luminaire with direct light distribution features housing and a decorative ring that are finished in liquid paint with a plethora of colour choices. www.lumenpulse.com

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ENHANCED INTELLIGENT SUSTAINABILITY

COLUMBUS

LIGHTSOFT

STARTECH

ELMET

SMITH

Integral occupancy sensor public realm lighting solutions for optimised project energy savings and light pollution avoidance.

www.ligman.com /ligmangroup

Bion Technologies LITE Architectural Lighting showed fittings from German manufacturer Bion Technologies at darc room. Discus 1, a flat, circular light fixture, is available in three performance classes and offers a selected portfolio of application-orientated light distributions. The IoT control option – a native integration of WiFi in the fixture – enables direct involvement of the digital light technology LED in digital IT‑networks and thus, a direct link to the digital world. www.biontechnologies.com

Tryka LED Manufactured in the UK, Stripline provides high performance, efficient linear lighting in lengths of 300mm, 500mm and 1000mm.

At 12w/m, Stripline26 measures just 26mm wide, making it perfect for discrete installations. Whilst the range grows in size and power up to 77w/m. Mono or full colour arrays with a wide variety of beam angles and with optional glare shield accessories. www.tryka.com

acdc acdc’s new Blade linear wall washing luminaire defies convention with its single linear LED optic. Its outstanding colour mixing technology means no shadowing, just a clean lit effect. Discrete with a powerful lighting effect, Blade is available in three versions: surface mount internal, surface mount external driver and Linear recessed internal driver. Blade’s louvre and diffusers prevent any possible glare from spilling into windows or the surrounding environment. www.acdclighting.co.uk

AxaLight Micraline 140 provides homogeneous linear lines of light with right angle corners and is available in luxurious very warm whites down to 2,000K. Micraline features rigid PBC based to ensure thermal management, durability, modularity and serviceability. High lumen efficiency single binning Nichia LEDs are utilised. Micraline is made to measure for fast installation in lengths 50-2000mm. www.axalight.com

MP Lighting Canadian manufacturer, MP Lighting, made their UK debut by showing, amongst others, the L199 Interior Pendant that provides lighting for counter tops, floor, open space and architectural features. MP Lighting specialises in manufacturing specificationgrade architectural LED fixtures, as well as Low Voltage, Line Voltage, and Multi-Circuit Track Systems. Established in 1994, MP Lighting is a Canadian owned and operated company with headquarters in Vancouver. www.mplighting.com

Ligeo Ligeo merges peak lighting performance with creative design, and the outstanding part is you are the one defining what the design should look like. Ligeo combines installation simplicity, design freedom, high build quality, and environmentally friendly low voltage LEDs with your creativity. The result is the most personally expressive lighting system on the planet. www.ligeo.de

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WHY luminaire system

Among the 20 most innovative products at Light + Building 2018

One of the 14 ďŹ nalists at the Lux Awards 2018 Among 10 innovations you must see at LuxLive 2018 www.essystem.pl

darc room

Applelec Applelec’s range of rigid and flexible OLED light panels is now available to the UK lighting market, with luminaire products becoming available to purchase later on in the year. Featuring the latest in lighting technology, OLED panels provide new possibilities in lighting design and are seen by many experts as delivering more human friendly characteristics than other lighting solutions. The OLED light panels produce no glare or UV, feature lower blue light levels than non-organic LEDs and generate a low heat output, which eliminates the need for heat sinks and diffusers. www.applelec.co.uk

SAAS Instruments SAAS has a growing collection of awardwinning light fittings. These luminaires have been created especially for SAAS by a wide range of designers. The lamps are evocative statement pieces, manufactured in Helsinki and found in several design museum collections around the world. One such luminaire is the Sub. Designed by two rising Finnish design stars for SAAS Instruments, Sub is a big fixture with a subtle indirect light.

Sub can be mounted in the ceiling or on the wall, giving a nice ambient light. www.saas.fi

Art Et Floritude Art et Floritude is a French manufacture specialising in high-end and bespoke lighting sculptures. It offers a diverse and unique range of lighting fixtures by combining centuries old techniques with the very latest technology. The company designs, prototypes and builds in France with skill and care, with the bespoke fixtures coming to life in its workshops in Beaulieu-sur-Loire, thanks to its production team and design office. Art et Floritude uses an expanded materials palette: porcelain elements, metal and light sources are assembled by hand to create the decorative fixtures www.artetfloritude.fr

Chroma Q Chroma-Q’s multi award-winning Inspire fixtures range featured at darc room. With fully homogenised colour mixing, Chroma-Q Inspire RGBW LED house lights provide an excellent selection of stunning soft pastels, bold saturates and ‘true’ whites, with no unsightly colour separation shadows; adjustable between 1,000k to 10,000k CCT. Featuring the 9,125 lumens Inspire XT, the 4,390 lumens Inspire, and the 3,010 lumens Inspire Mini, the range has the ability to seamlessly transform the look and feel of a space. www.chroma-q.com

Pulsar Pulsar brought their brand new LuxEOS InGround 09 luminaire to darc room.

Designed and built in Cambridge, UK, this is a luminaire for anyone who’s looking for a tough, reliable, and attractive InGround with state of the art features. Equipped with intelligent DMX / RDM control, Pulsar’s custom light engines and LuxRAMP technology, the InGround 09 takes all the innovative features from the LuxEOS range of floodlights and puts them into an InGround format. www.pulsarlight.com

Coelux The LS is the second range of compact modules from CoeLux, suitable for many different settings, creating an artificial window facing a luminous sky, traversed by the rays of a bright sun. The main distinguishing feature of CoeLux LS amidst the CoeLux range of products is that it is our first compact module with a visible sun. A hazed sun through interaction of the sunlight with clouds. The sophisticated optical system creates depth through a parallax motion effect meaning no controls are needed to allow multiple systems to work as one. www.coelux.com

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Put light where you need it

90°

90°

3160 60°

60°

6320

9480

Push the limits of your lighting 30°

30°

C0-C180

C90-C270

12640 cd.klm

If you want to push the limits, and get more from your lighting, then it’s time to speak to Forge. We work with lighting OEMs to design and manufacture what you really want.

Forge produce secondary custom optics for all types of lighting applications, from single optic lenses for task lighting to multiple arrays for street lighting applications.

LED solutions, at surprisingly good value +44 (0)1229 580000

Custom Optics November 20108.indd 2

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sales@forge.co.uk

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darc room

Radiant Lighting Centura is a flexible, modular LED interior linear lighting system, designed to make complex designs simple. An innovative design offers the flexibility to follow curved surfaces, encircle columns and domes, and make irregular shaped pendants, all whilst offering excellent lighting control and uniformity. It is available in uplight and downlight solutions, surface-mounted or suspended, and with a light output of up to 5,000lm/m, making it ideal for a range of applications including architectural, hospitality, leisure and retail. www.radiantlights.co.uk

Studio Due LITE Architectural Lighting demonstrated Pin Light, Studio Due’s compact ultra narrow LED spot designed to create dramatic lighting effects on façades and architectural surfaces. It’s equipped with a coupled ultra-narrow 1.5-degree optic for accurate and detailed projection on surfaces to create effects of great impact. Suitable for outdoor installations thanks to the IP65 rating protection, it is available with one monochromatic LED (warm white, neutral white, cool white, red, green, blue or amber).

On/off or dimmable function are also available options. www.studiodue.com

Quasar Science Quasar Science showed their RGB-X Rainbow Linear Fixture at darc room. The Rainbow combines powerful RGB LEDs with the variable white crossfade technology used in the Q-LED X-Crossfade Linear fixtures. The 2,000-6,000k diodes give a full range of high CRI, broad spectrum light, whilst providing a full 360-degree palette for vibrant fully saturated colour; or when mixed with X-fade white light it produces beautiful soft pastels.

Each fixture can be individually mounted or combined into large arrays to provide complete artistic control. www.quasarscience.com

Zico Lighting Zico Lighting is a UK company that creates exceptional quality LED filament lamps with unique designs. It has built a strong niche in the lighting market by fusing the design of the antique style lamp with LED efficiency in a high quality product with exceptional features including the smoothest dimming. It works with interior designers, lighting designers and lighting manufacturers who traditionally specified tungsten and halogen lamps for their client projects to create practical yet beautiful lamps. www.zico.lighting

Forge Forge showcased their custom optic capability at darc room. Create stunning lighting effects with a super narrow <10-degree beam angle incorporated into Forge’s compact yet mighty 50mm downlight module. The module can be fully customised including heatsink colours, beam angle and light output. Forge enables lighting designers to work with their manufacturers to achieve exactly what they need. www.forge.co.uk

Elumeros UK company Elumeros showed the Colour Combat MP, a high-output DMX/RDM flood fixture, at darc room. By adding the colour Lime into the mix the colour intensities are increased, better hues and saturations are achieved, and the lumen package is increased when compared to the traditional RGB/W/A technologies. The use of Lime in Elumeros’ fixtures means they are suitable for RGB, RGBW, RGBA and Dynamic White applications, all in one fixture. This technology is also an option across the entire Elumeros portfolio, honouring their slogan ‘Progressive Solutions’. www.elumeros.com

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Erco With this range of recessed luminaires, Erco has extended the spectrum of round and square recessed lighting tools with a linear design. The slim luminaires – available from a width of 52mm – offer a subtle decorative detail in the ceiling whilst providing extremely efficient lighting tools with high standards of visual comfort. The new oval wide flood light distribution developed by Erco meets the requirements of glare control for office projects (UGR<19). Compar is an aesthetic alternative to conventional linear luminaires and fluorescent lamps. www.erco.com

Feelux The Monorail track system features a super slim linear. Its specialty offers a comprehensive long run track installation with a single power supply point. By installing Monorail Pro in a row, spot free concept can be continuously displayed. Various different sizes of the fixture with cuttable track would be a great solution for specific required installation condition. Additional accessories and dimming function with 2,700K/3,500K/4,000K/6,000K may bring a more special atmosphere in areas applied, such as in retail shops and hotels. www.feelux.com

formalighting Cobra is an elegant, modular, serpentine system, which smoothly wraps around rounded or non-linear surfaces, lending itself perfectly to the sleek illumination of sophisticated architectural surfaces and façades. It is also an ideal solution for indirect cove lighting in jewellery boutique applications. Each of Cobra’s individual robust miniature elements, measuring only 32mm in width 54mm in length, are connected through a smart metal link system which maintains the catena’s flexibility and enables Cobra to slink seamlessly around a surface. www.formalighting.com

LED Linear Light where it’s meant to be. This is the principle of LED Linear’s new luminaire Mars Wall Wash. The integrated Bartenbach reflectors array for longitudinal glare reduction enable a light distribution with a hard cut off for a precise and sharp wall wash effect. It offers a high flexibility to lighting designers and architects, making its implementation possible in any architectural concept. The recessed version enables a discrete integration with a visible height of only 10mm sticking out of the ceiling. Perfect for precise lighting in galleries or museums. www.ledlinear.com

Madrix Madrix is the ultimate LED pixel mapping system. The award-winning control software made in Germany features powerful yet simple tools for professional lighting control in 2D or 3D. It supports all major communication standards and protocols for input and output. Controlling your LEDs has never been simpler or more creative. www.madrix.com

LightGraphix LD34 is a fixed 2.5-degree tilt, shallow recessed, low glare, in-ground linear wall grazer, which offers outstanding continuous wall washing capabilities. This IP67 rated, high power surface grazer, features an optional frosted diffusion filter to illuminate lower parts of the wall, with individual cowls over each LED ensuring low glare from the viewers perspective. Available in customised lengths up to 1.4m, with integral glare control options and a range of colour temperatures, including RGBW and Tunable white, the LD34 combines a compact minimal design with the latest in LED technology. www.lightgraphix.co.uk

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Centura

Modular interior flexible LED linear pendant system Up to 5,000 Lumens per mtr

3D LED Flex 100 IP66 Modular exterior 3D flexible LED linear lighting system Up to 6,500 Lumens per mtr

Tel 44 ( 0 ) 208 348 9003 Web www.radiantlights.co.uk email david@radiantlights.co.uk

Mondo October 2018 full page.indd 2

Design by

09/10/2018 18:28:19

darc room

Whitegoods Having introduced the Whitegoods 20linear range in all its glory at the show, the most popular product amongst visitors was the new, P20LWW, plaster-in linear wall wash.

With minimal visual impact and reduction of detail, it provides beautifully even vertical illuminance and gently lifts the lit surface to create a comfortable visual brightness - it fits right in with the Whitegoods philosophy of integrating light into space. www.whitegoods.com

Concept Light The CL-Profile LED CLEDLIGHT is a waterproof profile projector with customised gobo options for accurate framing on façades.

The projector can zoom at 18/31° or 60° in two versions, 160W at 23,500 lumens or 200W at 25,000 lumens. Version 2, in 2700K/3000K/4000K/5000K in DMX/RDM or standard new driver, was announced at darc room. Additional new optics, new driver DMX/RDM and technology are coming with patented technology, two optics, new zoom and wider beams with RGBW colour gobos and framing with shutters. www.conceptlight.fr

Insta UK Il 1060 LH inground light line utilises built in driver technology, you can connect up to 20 metres from one 230V mains feed.

Constructed from V4A Stainless Steel, this robust product is drive over rated, available in various colour temperatures and dimmable via DALI. Il 1060 LH is the original inground lighting solution. www.ledlux.info

ELR The ELR ‘WarmDim Nest’ LED module features dimming performance down to less than 1 percent whilst maintaining an impressive CRI of 95. The WarmDim technology provides a seamless colour curve from 2700K/3000K towards the warmer 1800K creating a very intimate scene. The WarmDim technology is available in the 35Nest, 50Nest, 50P and 100P LED module series. Beam angle selection is from 20°, 35° and 60° www.elr-group.com

Alto RingO is a luminaire that is suitable for ceiling, wall or pendant luminaire installation. A mounting device allows quick installation by simply pushing the large luminaire into the bracket. The plastic diffuser is shockproof, dustproof and maximises the diffusion of the soft, glare-free light. It comes with a choice of different colour temperatures. The daylight mode measures the current room light via sensors and automatically adjusts the light intensity. www.alto.co.kr

ProLED The ProLED Flex Tube Pro RGB is an innovative LED product replacing the classic neon tubes. It can be used at every location including edges and corners. The Flex Tube has cutting signs printed on for an easy cutting to the required length. Installation is quite easy. Due to the high flexibility and pliability various shapes and designs are possible. With an operating voltage of 24 VDC and the protection rating IP67 Flex Tube is absolutely safe for indoor and outdoor use. www.proled.com

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Decorative wooden lighting poles combine modern aesthetics with natural elements. For many years Valmont has been the industries trusted producer for Steel and Aluminium columns.

Material plays a major role when it comes to added value.

Some materials may seem cold and industrial while others convey a more warm and natural feeling.

Our laminated wooden poles are expertly engineered, and beautifully manufactured from PEFC certified timber.

Are you ready to take your project to the next level?

Hello Moto Following its appearance at darc room, David Morgan takes a closer look at formalightingâ&#x20AC;&#x2122;s extensive Motolux range of motorised architectural lighting products.

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development.

hen a lighting company started by two Italian brothers in London in the 1960s grows into

an international business with headquarters in Milan and Hong Kong, sales offices in

New York, London and Shanghai, it seems certain that the company will also have a highly adventurous approach to product

formalighting was founded in the UK by brothers Guido & Lorenzo Maghnagi as a distributor for a number of Italian lighting brands, including iGuzzini. The Maghnagi brothers chose to open their showroom in the Business Design Centre in Islington.

Working with leading Italian designers, the company then started to develop its own architectural lighting products. Lorenzo moved to

Hong Kong and established one of the first European-owned lighting factories in China to manufacture these ranges. The combination of Italian design flair with the lower manufacturing costs available in

China has allowed the company to expand steadily over 50 years and it now employs more than 180 staff worldwide.

When I first met Lorenzo in the 1970s, I would not have predicted

that formalighting would become the kind of company to create an impressive range of motorised architectural lighting products, but that is precisely what they have achieved.

The benefits of being able to aim and focus projector luminaires

without the need for cherry pickers, scaffolds or ladders have become more obvious due to increasing health and safety at work legislation.

These requirements have dramatically increased the costs of

manual aiming in larger spaces. Conversely, the production costs of remote-controlled luminaires have fallen as the various enabling

digital technologies develop, which in turn has widened the market opportunity.

Looking specifically at formalightingâ&#x20AC;&#x2122;s Motolux range, it initially started as a collaboration with an American engineer who had

an existing patent for a fairly simple form of motorised lighting,

although the history of motorised and remote-controlled lighting

dates back to a much earlier period in the 1920s. Technical pioneers, including Herbert F King from Massachusetts, first filed a patent for a fiendishly complicated mechanism with separate control of pan and tilt, all driven by electric motors, which would allow products

on display in shop windows to be individually lit in sequence. A little later in 1929, Charles Andreino from Canada patented a similarly complex remote-controlled, motorised spotlight system that included focus control.

The first, and fairly limited, product introduction of the Motolux

range was at Light + Building in 2016, which resulted in a new patent David Morgan Associates, a Londonbased international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting.

Email: david@dmadesign.co.uk Web: www.dmadesign.co.uk

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for the motorised multi-axis gimbal rings. The initial range was well received and the formalighting development team spent the next two years leading up to this yearâ&#x20AC;&#x2122;s Light + Building show creating

an impressive twelve different product families incorporating the

technology. These families include individual recessed downlights,

DAVID MORGAN

Clockwise from Top Left The Motolux Control App, powered by Casambi; Moto-Zero Compasso 40 - Recessed; Moto-Palla In & Out; Moto-Zero Compasso 40 - Track; Motolux Remote Control; Moto-Ola Pendant; Moto-Ola 130 track fitting

multiple recessed projectors, track mounted projectors, pendants

focusing is available as one option but other versions incorporate

versions of these types. In many cases the remote-controlled

reviewed in arc 104. One of the advantages of incorporating Lens

and surface mounted luminaires, as well as some exterior IP-rated versions are based on the original, manually aimed, luminaires, which are still available for simpler projects.

The Motolux range is so extensive that there is not enough space in this review to discuss any particular luminaire in detail. If I was to choose one of my favourite products I would opt for the Moto Ola, a minimal pendant gimbal with motor control suspended on two

slender power cables. The Moto Ola can be fitted with a Soraa Snap light engine so that all the Soraa snap accessories can be attached

magnetically. The head can be rotated in both axes although at this point, as far as I know, the suspension cable length is not remotely controlled. However cable length control is available, if required, with the rather larger Moto Roulette pendant.

The smallest track mounted spotlight in the range is the Moto Zero 40 Compasso, which is only 40mm in diameter. The mechanisms

incorporated within the various luminaires are highly miniaturised, and have been cleverly designed so if the luminaire body is rotated

manually, no mechanical damage is caused and automatically resets to the start position when powered up.

The Motolux range introduced this year includes a very wide variety of light engine options and complementary technologies which

supplement and compliment the motorised control. Mechanical

the LensVector liquid crystal solid state focusing system, which I

Vector is that the luminaire size is reduced to that of a non-focusing product. Apparently, formalighting was one of the first companies to develop luminaire designs incorporating the early LensVector technology.

A dedicated Motolux hand transmitter is available that enables all the functions to be individually controlled for each luminaire, but there are also versions incorporating Casambi wireless control. When a

luminaire is selected for control either by the hand transmitter or via Casambi, a green indicator LED lights.

The variety of light engines available includes tuneable white, dim to warm and colour changing. The remarkable full spectrum Lumenetix

LED module, providing both tuneable white and colour changing, can also be incorporated in the range complete with Casambi control, which is another first for formalighting.

formalighting has created a well-designed and very comprehensive range of remote-controlled luminaires that can be used in a wide variety of architectural and retail lighting applications. Their

ambition to push the boundaries of product development has set them on a clear trajectory to increase the overall market size and their share of this market segment. www.formalighting.com

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Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced

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DARK SOURCE

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EVENT

Pics: Matthias Rhomberg

Industry Trends The second Trends in Lighting event took place in the scenic Austrian city of Bregenz in September, sparking the debate between design and technology.

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he second Trends in Lighting (TiL) event, held

playing in revolutionising lighting and how increased connectivity

Expo (LpS), saw lighting designers, innovators,

value and pitfalls of IoT and how to transform lighting into a

alongside LED Professional Symposium and

will manifest, alongside issues surrounding the potential

architects and planners come together with

multidisciplinary service - one that plays an integral part in

technologist, engineers and researchers with the ultimate goal

architecture, aesthetics, behavioural sciences and technologies.

Curated by Rogier van der Heide, this year’s TiL welcomed

that saw more than 300 delegates board a boat across Lake

Austria, where they provoked, explored and learned together

of the LpS TiL Awards were announced. The awards range from

With more than 40 dedicated lectures, four hands-on workshops

to solutions, designs, and innovative applications, celebrating

were tackled head on. The assembled delegation were guided

Trilux, Seoul Semiconductor, Nichia, Silvair and Bilton.

technologies, design, application markets and lighting.

a venue for the new paradigms of the lighting industry: a platform to

Ambient Communications workshop to Trends in Lighting,

meets science. Engineers engage with coders, users brief creators.

“TiL is a great example of a cross-pollination event that we

somewhere and we have to start soon. TiL 2018 is that starting point.

only talk with designers and industry only talks to itself.

Siegfried Luger, Event Director, added: “This year

researchers. It’s bringing the right people together.”

event to meet the needs of delegates, exhibitors and

questions such as what does Human Centric Lighting really

“This year highlighted the continued need for us to all come

education in the lighting that surrounds them? How can lighting

lively forum, to support each other. The future of lighting is

user behaviours and new functionality requirements?

are all making the right, informed decisions to safe guard our

technology and the potential this is bringing to lighting was also

www.trends.lighting

of bridging the gap between technologies and applications.

The event also featured a special, celebratory evening event

more than 1,600 people from around the world to Bregenz,

Constance for a drinks reception in Lindau, where the winners

about lighting and today’s new challenging requirements.

groundbreaking scientific research in lighting, all the way through

and three in-depth debate panels, key industry-wide questions

the complete spectrum of light. Winners at the awards included

through, and educated in, the very latest developments in

Speaking after Til, curator Rogier van der Heide said: “I want to create

Tapio Rosenius, CEO of Skandal Technologies, brought his

connect the established with the new, and a place where technology

and he was impressed with the variety of speakers and visitors.

“I know change is not just around the corner, but we have to start

need more of,” he said. “We are a siloed industry; designers

It leads to a new and exciting future of lighting design for everyone.”

Here you have a mix of these people at the table, along with

was a huge success and we will continue to grow the

This year sessions explored poignant topics, asking challenging

the lighting industry and research as a whole.

mean, how does it affect design and do users require further

together, to communicate with each other in an open and

design become more agile to keep up with rapidly changing

evolving faster than ever before and we need to make sure we

In addition to the human-focused issues, the evolution of

collective relevance and positive impact on the world.”

addressed. Speakers investigated the role that digitisation is

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EVENT

Eastern Lights

We take a closer look at some of the latest innovations on show at Light Middle East 2018.

Acousto Intra Acousto is a luminaire that features a sound absorber with excellent absorption, making the area not only quieter but also more private. Acousto is suitable for applications when creating large and open spaces with a majority of hard surfaces and an echo or when you’re simply seeking a different and green solution.

The addition of the MOSSwall panels not only help absorb the noise but also bring nature indoors with maintenance-free. www.intra-lighting.com

Daisy LEDiL Make your office look good and increase wellbeing in the workplace with DAISY, the LED optic for a modern, glare-free office.

The 1.1-metre long black shade eliminates glare and is a perfect fit for today’s office.

As well as making the luminaire look elegant, the housing works seamlessly with the lenses to provide uniform lighting with high in-use-efficacy. www.ledil.com

Hexagon Prilux Hexagon is the new modular projector designed by Prilux. Its performance and versatility makes it a great choice for high-altitude enclosures, sports, cultural, industrial buildings and tunnels. Equipped with DALI regulation system as standard, it allows for creative lighting spaces, adapting them to the needs of each application. www.grupoprilux.com

Pixer Sylvania Pixer is an architectural office luminaire range that focuses on aesthetics as well as ambience. The product is based around illuminated ‘Pods’ that can either be recessed (to create a clean/flush ceiling) or dropped (offering flexibility and creating enhanced ambience) a mix of dropped and recessed pods provides a unique solution with enhanced visual interest.

Pixer can be manipulated into either a square or rectangular form and meets and exceeds UGR <19 standards with SylSmart technology as standard on certain models. www.sylvania-lighting.com

Athlon Unilamp The Athlon family is a functional mini spotlight/floodlight.

The slim and clean design of Athlon allows a hidden installation. Athlon is designed for a streamlined time effective installation.

Tight beam control utilises selected lenses from world-renowned manufacturers.

Athlon is available with symmetric, asymmetric and bisymmetric light distributions and the broad range of accessories such as a ground spike, tree strap, colour filters, honey comb louver and glare shield hood makes it a dynamic floodlight choice. www.unilamp.co.th

Nactus 6X2 SIL Khatod These optical modules are made of ultraclear silicone, consisting of twelve optics with 25.40mm lens pitch. Engineered for 3.5x3.5mm Power LEDs, they also fit 5x5mm package LEDs. Three beams: IESNA Type II/ III /V medium cutoff.

IESNA Type III optics also meet ME3A requirements. Designed to comply with IP65 rating and IK10 rating (20 Joules).

No glass cover is required. They system boasts high optical efficiency, great temperature resistance, non-yellowing effect and also available with holder in PC, on request. www.khatod.com

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CASE STUDY

Light a Box of Chocolates Targetti lighting has been used to create a dramatic, intense atmosphere at the Venchi pavilion in the FICO Eataly World food park in Bologna.

S

ituated in the FICO Eataly World food

beams of medium wide flood (MWFL) optics. This

pavilion takes visitors on a 360-degree

the entire area and at the same time emphasise

park in Bologna, the new Venchi tour of the world of chocolate.

image.

company’s mission and is enhanced by the hi-

experiences, visitors are invited to discover the

tech contribution of “experiences” created by the innovation and design firm Carlo Ratti Associati

Inside the pavilion dedicated to sensory

emotions aroused by tasting chocolate. The

lighting in this area concentrates on the tasting

(CRA).

stations using the particularly narrow, clean

lighting solutions for the entire pavilion: every

creates defined accent lighting without halos

accompanies visitors on the tour route designed

tendentially dark space.

Targetti collaborated on the project by supplying environment has its own ad hoc atmosphere that

beams of Dart Small projectors. This solution that emphasises the sensory stations within a

and developed by the firm.

From the sensory spaces visitors then enter

pralines welcomes visitors at the entrance to the

chocolate production process. For this particular

A wall made of more than 30,000 chocolate

pavilion. This wall creates the effect of a pixel

image spread over an eight-metre-long, three-

a laboratory where they can see the entire

environment Targetti supplied LED strips from the

LED Belt range that light each part of the glass wall

metre-high surface. To light this impressive wall,

that describes the various phases of the production

fitted with optical systems with soft wide beams to

system, the lighting follows the correct sequence

Dart Medium adjustable projectors were used, create a uniform, diffused effect.

In the space dedicated to the company’s history

Dart Small projectors installed on a specially made housing designed by the firm Ceri were used to light the products on display and the counter.

The narrow, defined beams of the projectors with spot optics (SP) combine with the softer, wider

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the characteristic golden elements of the Venchi

The brainchild of Studio Ceri, the project combines tradition and innovation in line with the Turin

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makes it possible to create uniform lighting over

process with grazing light. Using a Casambi control of the various manufacturing steps described in the laboratory. For general lighting in this area

white Cloud Mini recessed extractable projectors were chosen: a solution that integrates perfectly with its surroundings. www.targetti.com

CASE STUDY

Pics: Michal Rehak

Landmark Lighting Anolis was recently recruited by local lighting designers ArchLights to illuminate the Church of the Holy Trinity, a landmark location in the Czech Republic city of Vratislavice nad Nisou.

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ratislavice nad Nisou is a district in Liberec, the fifth

the façade of the road-facing wall, the annex and the tower on special

thinking municipality led by Mayor Lukas Pohanka

of the building from the ground to the different height roofs.

largest city in the Czech Republic, and its forward-

brackets, positioned to outline the clean architectural lines and form

wanted an extra special touch for its landmark Church

The ArcLine Mini Outdoor products have a slim 27mm diameter

of the Holy Trinity, a beautifully well-preserved and now protected

and provide a high-powered linear LED source for areas that are

In recent years a new stone road and stone steps were built and

housing, which is ideal for both interior and exterior usage thanks to

new trees and flowers were planted around the building when it was

The ArcSource Outdoor 4 MC Pixel contains one RGBW multi-chip

This was an intricate task to get right. Local architectural lighting

very accurate colouring, dimming and intensity. With multiple beam

scheme that highlighted its attractive architecture, and its team,

also an ideal choice for the project.

chose Anolis ArcLine Mini Outdoor 18 and ArcLine Mini Outdoor 36

teaser as it was important they were concealed and as short as

The concept of lighting the Church was initiated by Pohanka and

DRS located inside the church near two Hager control switchboards,

seen some of the positive affects that urban lighting and a bit of

DMX.

For Anolis CZ, the project was co-ordinated by Josef Valchar Jr on

programmed schemes - cool white, warm white or a combination

elements of the installation.

different celebratory schemes which use the full colour range.

in keeping with its unique and well-preserved architecture. Another

excellent and the church has become even more of a local talking

preserving its full aesthetic and structural integrity, a tricky task

The citizens of Vratislavice are now able to enjoy the Church’s

The ArcLine Mini Outdoor strips are installed directly inside the three

the mayor and his team are delighted with the results.

single baroque building dating back to 1700.

inaccessible to larger fittings. They have tough extruded aluminium

complemented by stylish lamps and benches adjacent to the church,

an IP67 rating.

refurbished, and illuminating the church was the next logical step.

and when combined can create dramatic ‘media style’ effects with

specialist ArchLights was asked to propose an appropriate lighting

angles, precision optics and a small, compact housing, these were

led by lighting designer Pavel Holzknecht and owner Michal Rehak,

Finding expedient cable routes for all the fixtures was also a brain-

LED luminaires together with ArcSource Outdoor 4 MC Pixels.

possible. For that reason, they are powered by Anolis ArcPower 600s

his colleague Pavel Podlipny. Pohanka has travelled extensively and

one in the control room and one in the roof, which are connected via

imagination can bring to communities.

The municipality can currently change between six different pre-

sales and Radim Zlebek, who assisted with some of the technical

of both, a nationality colour scheme with red, blue, white and two

The challenge was to ensure that the church lighting was elegant and

The reaction from the public to the new lighting scheme has been

was physically fitting the products to the building unobtrusively and

point and an additional attraction for visitors coming to the region.

needing a lot of precision and diligence.

impressive architecture after dark as well as during the daytime, and

window cavities, which are high up along the roadside façade of the

www.anolis.eu

church. The ArcSource Outdoor 4 MC Pixels are mounted directly on

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Fitted LED design solutions – for interior and exterior for business houses and private residences, façades, parcs, gardens, museums, public spaces, churches, shopping malls, showrooms, film and television studios, hotels … above: LED-AROUND | below: LED-LINARGO

®

by TTC Timmler Technology

TTC Timmler Technology GmbH Christian-Schäfer-Str. 8 D-53881 Flamersheim T E

+49 2255 921 200 info@ado-lights.com

www.ado-lights.de www.led-luc.de www.ttc-technology.eu

CASE STUDY

Pics: Dave Parker Photography

A Cut Above Architectural firm Clarisford turned to Delta Light to provide the finishing touches on Hari’s Hairdressers’ new flagship location on Fulham Road.

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ondon-based hair salon Hari’s

in a series of layers; the background would

client. Products specified and fitted include

opened a new flagship store on

flooring, exposed services and acid washed

installed into the aluminium panel exposed

number of salons up to four.

utilised antique Indian furniture in places to

solution.

to design the salon, which embraces

salon. “We were also able to open the rear of

the Midispy track spotlights, complementing

technology, and a botanical-inspired

which we incorporated natural planting to

the salon, which lacks any natural daylight,

stays true to its classic, luxury roots, which

“When considering the lighting, we naturally

offers uniformity and a perfectly balanced

opened his first standalone salon.

beautifully crafted, understated and blend

providing an impressive diffuse lighting

explained: “When Clarisford was approached

salon.”

Owner of Hari’s Hairdressers, Hari Salem

had to think carefully about what style, vibe

worked with the Clarisford team and their

and Delta Light is genius. Admittedly I was

provide.

a focus on aesthetics to complement the

of the lighting, as it is such a crucial aspect of

enterprise over the past 40 years, over which

of the fittings contrasted beautifully with

“Our clients love what we have created

clients. One day whilst walking down King’s

with the industrial quality harmonising with

business and staff morale is up as they have

second person, young and old, stopped to

stability and accuracy, a critical factor in a

To have some of the leading figures in the

but also for his engaging, eclectic and quirky

supplied were of CRI 90 and above, which is

coolest salon they have ever been in is pretty

the salon had to represent Hari’s personality

Delta Light provided all the salon’s ambient

in by the design team.”

Clarisford approached the interior design

glass chandeliers supplied personally by the

Hairdressers has recently

be contemporary, with clean lines, concrete

the Mini Diro Trimless, which has been

Fulham Road, bringing its total

metal work. Overlaid on this, the designers

ceiling, delivering an appealing and chic

Architectural firm Clarisford was appointed

provide depth and texture throughout the

The green leafy wall was accentuated using

innovative design, state-of-the-art

the shop with a huge lantern rooflight under

the natural vibe further. On the lower level of

philosophy. The company believes the salon

provide a calm oasis,” Foley added.

Delta Light’s Super-Oh Trimless fitting

date back to 1976 when owner Hari Salem

approached Delta Light, whose fittings are

light output, with the circle of LED’s

Clarisford’s Senior Architect, Ultan Foley

in excellently with the overall design of the

effect throughout the salon’s lower level.

by Hari to design a new flagship salon we

Once involved in the project, Delta Light

enthused: “The overall design by Clarisford

and atmosphere we wanted the aesthetic to

design to provide high-quality fittings, with

nervous at the outset regarding the success

“Hari has built up a hugely successful

look and feel of the salon. The modern style

the project, however the result is amazing.

time he has developed a loyal following of

the traditional décor to deliver character,

here, we are getting more and more new

Road with Hari I was astonished as every

the antique retro style. To guarantee colour

an amazing environment to work within.

say hi to him. Clients go to Hari for his talent

hairdressing salons lighting, all products

industry visiting and saying that it is the

personality. It was from this moment I knew

the standard for Delta Light.

special and a testament to the hard work put

in all forms, it could not be boring.”

lighting, with some decorative Murano

www.deltalight.com

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Up to 150LPW

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Factory Add: 1 Xianke 1st Road, Huadong Town, Huadu Dist.,Guangzhou, China E-mail:Sales@ledialighting.com Tel: 0086-20-37706052

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case study

Pics: B+E Fotografie, Düsseldorf

Mellow Yellow ADO Lights illuminates the headquarters of the ARAG Insurance Group Tower, the stand out landmark of Düsseldorf.

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he headquarters of the ARAG

were both replaced, which presented

above northern Düsseldorf

lighting scheme, which was supplied by TTC

Insurance Group tower rises

and is around 125 metres high,

deeming it an iconic city landmark. Designed

by Lord Norman Foster and Düsseldorf-based architects Rhode Kellermann Wawrowsky

(RKW), this building’s architecture has been a popular topic of conversation since it opened

in 2001, not only in the region but throughout the architectural industry.

Düsseldorf’s largest office block is an eyecatching building for its size and elliptical

shaped footprint. During a renovation period

of the forecourt of the building, the continuous façade drainage guttering and linear grating

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an opportunity to integrate a dramatic

Technology/ADO Lights. The outdoor LED wall

washer is integrated into the façade guttering, which stretches over a length of 38-metres.

The lights face an upward direction,

dramatically accentuating the building’s

entrance area and elegantly illuminating the

front porch from below. The warm yellow hues create an inviting atmosphere and provide

visitors with a clear point of reference, whilst also representing the company’s corporate design in the exact colours. www.ado-lights.com

ANOTHER PERSON’S DARK SPACE IS OUR BLANK CANVAS. AN IALD PROFESSIONAL LIGHTING DESIGNER SEES THE POSSIBILITIES IN EVERY ENVIRONMENT. LEARN HOW AN IALD LIGHTING DESIGNER CAN TURN YOUR VISION INTO REALITY. VISIT IALD.ORG AND CLICK ON "FIND A LIGHTING DESIGNER" TO REFINE YOUR SEARCH.

PUBLIC PASSAGE | MUNICH, GERMANY | LIGHTING DESIGN, PFARRÉ LIGHTING DESIGN | © ANDREAS J. FOCKE

CASE STUDY

More Than An Office The Amsterdam office for law firm NautaDutilh utilises lighting from Intra to create a hospitable work environment, far removed from the “standard” office space.

N

autaDutilh’s office in the heart of Amsterdam’s financial

aesthetic connection between the floors that represents the role

lighting playing an important part in the renovations.

Lighting’s Pipes R downlights to illuminate this feature, directing

district has undergone a complete makeover, with

NautaDutilh is one of the largest law firms in Europe,

of this office ‘aorta’. Lighting designers Rublek Studio used Intra attention towards the stairs.

with a history that dates back to 1724, with more than 400 lawyers,

The lighting solution supports the idea of the investor providing

When construction of its Amsterdam office started in 2014, architect

being, but at the same time supports the design of the architecture

civil law notaries and tax advisers in offices all over the globe.

Casper Schwarz aimed to create a fusion of traditional values and

contemporary rituals. The idea was to create a work environment

employees with high-quality illumination that promotes their welland modern office aspects. Intra’s Pipes R were just a perfect pick

for the project, boasting high luminous efficiency, light quality, and

that offers more than just a plain office space, instead creating an

excellent light comfort. The light control system and sensors make it

in creating a custom interior for NautaDutilh was to connect the

guaranteeing total flexibility for every employee’s preferences,

integrate it carefully into the design of an office that boasts a feeling

maintenance free.

office site that fully supports new office trends. The main point

innovations, transparency and the exchange of knowledge, and

possible for every working environment to be controlled individually, but at the same time making the site highly energy efficient and

of hospitality. Employees and their needs were at the top of this

“We chose to work with Intra lighting because of their quality on

Their plans resulted in a 12,000sqm space in the financial district

balance between price and quality,” said the lighting designer from

priority list.

of Amsterdam that’s far away from the usual radiance. NautaDutilh wanted to create a space where work and life blend in a relaxed way

many levels. Our goal was to find a luminaire that has a perfect

Studio Rublek, added that the toughest challenge of the project was

to find decorative elements that would completely blend in with the

and they did just that by combining coffee corners and transparent

interior.

With this in mind, the heart of the office is a restaurant with a bar

the quality of light and its impact on productivity, well-being,

offices that considerably improved interaction between employees. that not only creates a personal ambience that’s perfect for informal

chats and brainstorming, but also accentuates the personal approach of the law firm.

A special feature of this office is the stairs connecting the eleventh

and twelfth floors, which are designed to represent the importance of endless growth. At the same time, the stairs surpass the traditional cell structure of law firms and create a central open space with an

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But creating lighting in offices is not all about beauty. It’s about concentration and collaboration. Modern office spaces strive to

create energy-efficient lighting solutions that can be individually

adapted without being too complicated to handle, and that’s just a

cherry on the top of the characteristics that distinguish good offices from excellent ones.

www.intra-lighting.com

Leaning Tower of Poznań Designed by renowned architects MVRDV, the Bałtyk Tower is an unusual new landmark for the city of Poznań, while the interior lighting scheme from Lug Light Factory allows the building to glow like a beacon for the Polish city.

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he Bałtyk Tower is a new

allowing a complete view of the panorama of

line of light fittings throughout the entire

Poznań. Executed by MVRDV

The 25,000sqm site features a wide array of

solution to fully implement this concept,

landmark in the Polish city of in cooperation with Polish

architectural firm Natkaniec Olechnicki

Architekci, the building was erected on the

site of the cult Bałtyk cinema, an important

spot on the cultural map of the city to which the new project owes its name.

Because of the site’s heritage, one of the main ambitions of the architects was to

link the past with the present, but what

particularly makes the tower stand out is its form, which constantly changes depending on the perspective of the viewer.

The outer shell of the building consists of a

glass elevation divided by concrete structural frames that soften the inflow of sunlight

inside the building, while at the same time

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the city.

functionalities; the lower storeys host the shopping and service zone with a number of coffee shops. The middle levels feature

universal office space, while the upper floors boast conference areas, a one-room hotel and a panoramic restaurant.

The building is connected via a passage with the neighbouring Concordia Design, with which it shares a courtyard serving as an

ideal urban space for meet-ups, concerts and film screenings.

While the building is an impressive

architectural feat, it features no façade

lighting, and is instead illuminated entirely

from the inside. To achieve the illumination effect, the architects conceived a unified

facility. Lug Light Factory developed a

making it possible to maintain a similar style

and, additionally, meet the extremely diverse requirements of the individual tenants.

Dominating office spaces required Lug

Light Factory to create versatile solutions that would meet the varied demands of

prospective leaseholders. Lug partnered with ceiling specialists at Rockfon to

create special ceiling ducts for light fixture installations, allowing the lighting to

become an integral part of the ceiling

while maintaining a cohesive lighting style throughout the facility. This cohesion was further aided by a consistency in colour

temperature and light intensity throughout the building.

case study

A great challenge for this project was the

building was intended to be a lantern of

an unlimited number of angles. Because

illumination effect, meaning that it doesn’t

unusual shape of the building, which yielded of this, the lighting had to be technically adapted to every room. Lighting lines on

each floor had to be technically adapted to every room, while lighting lines on each

floor had to run in a similar way, so that they would match on every level.

Lug used 2,567 Volica luminaires in the building, different in colours, size and

installation type. In order to ensure an adequate amount of light in offices of

different sizes, additional supplementary lighting in the form of Lug’s Vertica was installed.

After dusk, the Bałtyk comes to life, with illumination coming from within the

sorts, with its internal lighting giving off an need any additional exterior lighting.

Owing to the implementation of the joint lighting system, identical temperature

colour and strength of light, in addition

to the individually designed and matched spacing of the lamps, it was possible to achieve this stunning effect.

The whole lighting project is a synergy of

good design and modern LED technology, offering aesthetic values and optimised

energy consumption, while the uniform lighting creates comfortable working conditions.

www.luglightfactory.com

building. The one-of-a-kind form of the

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CASE STUDY

Lighting Up The Airwaves Acclaim Lighting has recently been brought in to illuminate the Alphen aan de Rijn TV tower, bringing new character to the 1960s construction.

W

hen Alticom, a Dutch telecommunication infrastructure company, purchased 24 telecommunication towers

from the National Dutch Telecom (KPN), it was hard to

imagine the structures becoming prominent landmarks.

Built in the early 1960s, the transmission towers were originally

constructed for the distribution of TV and telecommunication signals throughout the Netherlands. Alticom took on the project to update

the systems and set up sustainable data centres within the towers. In 2010, the Alphen aan de Rijn was completed as a second data centre,

following the construction and successful delivery of the data centre in the Zwolle tower.

The idea to illuminate the radio mast came from an inhabitant of Alphen, Ben Wilms, who presented this to the Economic

Development Board Alphen (EDBA). The goal was for the 135-metre tower to become a focal point of the city, as well as to be visible and recognisable from a distance.

When the EDBA approved of Wilms’ idea, ETK Lighting was brought in to develop the project. To make Wilms’ vision a reality, ETK

Lighting enlisted Acclaim Lighting to ensure that the tower would be a landmark for the city of Alphen aan den Rijn.

The tower is illuminated daily with a basic colour scheme of white

and green, in reference to Alphen aan den Rijn as the centre of the ‘Green Heart’, an area in the Dutch Randstad in central-western Netherlands. The colours can be adjusted for special events and

celebrations. For instance, the tower is covered in green and red light

during Christmas, while it is orange on the King’s Day, and red, white and blue in celebration of Liberation Day.

Working in tandem with ETK Lighting to create a custom lighting

system, Acclaim Lighting selected fixtures with a high IP66 rating for wet locations, to provide durability and resistance against

weathering and debris as a preventative measure against extreme weather conditions.

To illuminate the concrete base construction from the bottom

upward, four Dyna Drums HO 4000K, with a beam angle of six-

degrees, were installed, each providing 10,103 total lumens. The

fixture features an adjustable yoke for customisable focus and an

onboard digital display for menu selection and addressing to adjust

colour schemes. With a lumen maintenance rate of 50,000 hours at 70-percent, the fixture will shine bright for years – an important

quality requirement for fixtures used on a permanently illuminated

structure. The fixture also performs in wet conditions, adding to the lighting system’s weatherproof capabilities.

In addition to the lights at the base of the tower, the six different floors with balconies on the structure received their own unique

lighting applications. A total of 24 Dyna Flood XT DMX RGBA fixtures with a beam angle of 70-degrees were installed to highlight the six

floors. Because of the high output, and the weather resistance, these fixtures are the perfect solution for large-scale façade lighting and flood illumination, featuring a total lumen output of 3,200 for the RGBA version. With an adjustable head and internal DMX driver,

the brightness and placement of the concentration of light can be adapted to the desired use.

Finally, two Acclaim Lighting Dyna Drums SO 4000K were

incorporated into the design, crowning the metal construction and

antennas at the top of the tower with the fixtures. The high output, outdoor rated, LED flood fixtures shine bright to make the tower

the city’s focal point. The adjustable yoke, on-board digital display

and weather resistant capabilities complete the customised lighting solution.

Permanently illuminated since December 22, 2017, the end result is an energy-efficient, weather-resistant lighting system that

accomplishes Alticom’s primary goal: to make a telecommunication tower a highly visible and recognisable landmark of the City of Alphen aan den Rijn.

www.acclaimlighting.com

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CASE STUDY

Pics: Jackie Chan

Underneath the Palm Trees A stroll along Circular Quay in Sydney, Australia offers not only a view of the Sydney Opera House, it also leads you past an avenue palm trees, beautifully bathed in Erco light.

W

hile the Sydney Opera House is the

palms. Until recently these were illuminated

harbour district, development of the

load of 35W. In the interim, the City of Sydney

focal landmark of the Australian cityâ&#x20AC;&#x2122;s area had been underway from as early

as the 1910s, some 40 years before construction began on the iconic building.

One aspect of this development was the widening of Macquarie Street. When this was proposed,

Joseph Henry Maiden, Director of the Botanical Gardens, persuaded the authorities to plant an alley with Canary Island Palm Trees (Phoenix Canarienis).

In the intervening years the palm trees have since been protected by a preservation order, and have

been the inspiration for the planting of many other species in Sydneyâ&#x20AC;&#x2122;s urban districts.

Circular Quay has also been greened with date

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after dark by metal halide lamps with a connected has initiated a new lighting scheme using LED technology.

Today Tesis in-ground luminaires from Erco, with

a connected load of 15W, set the scene for the palm trees. Each palm tree is illuminated by two 3000K

spotlights. The exceptionally accurate aligned light not only emphasises the shape of the palm trees, it also brings out the fine structure and subtle

colouring of the trunks and leaves. This produces an almost surreal impression, which adds to the attraction for passers-by of a night-time stroll around Circular Quay. www.erco.com

Recolight_Adverts_July2018_Mondo.pdf

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03/08/2018

13:26

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CASE STUDY

The Perfect Blend L&L Luce&Light has added a touch of class and serenity to the outdoor areas of drinks giant Pernod Ricard’s new training centre, the Pernod Ricard University.

I

talian manufacturer L&L Luce&Light has provided

the effect of extending the park, playing as it does with the light and

training centre created by Pernod Ricard, the French

In the walkways around the outside of this building, the Parisian

the lighting in some of the outdoor areas of the new drinks giant. Designed by the French architect Cyril

Durand Behar, the Pernod Ricard University campus is a high-tech

training centre stretching over 6,500sqm and structured around four areas of activity: work, relaxation, accommodation and conviviality,

represented by as many different architectural structures. Four, too, is the number of the principle materials used in the project: stone, wood, concrete and metal.

The project has gained the BREEAM certification as ‘Very Good’, as it embraces the concepts of sustainability that make it architecturally

cutting edge in terms of technology, energy efficiency and respect for the environment. The learning centre – the Chai – is the symbolic

heart of the project. Its structure seems to disappear into its setting, thanks to the purity of its forms and the chosen materials. The

reflection of the surrounding nature on its mirrored façades creates

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the scenery.

lighting design studio Distylight, which was responsible for the overall lighting project, used the Plin 1.1 bollards from

L&L Luce&Light. The 12W Plin 1.1 fixtures, with a 3000K colour

temperature, finish in cor-ten and diffuse optics, are characterised

by a simple, minimal design. The head containing the light source is

tilted by 45-degrees: the resulting controlled downward beam avoids light dispersion.

The other application of L&L Luce&Light fixtures is in the outdoor

walkway next to the reception, housed in the structure known as ‘le Prieuré’ (the Priory). Here, 6W Litus 2.0 uplights have been used.

These fixtures have 7-degree optics, a colour temperature of 3000K, and a cover entirely in glass, with no visible screws. www.lucelight.it

Singapore Professional Lighting Design Convention 25. â&#x20AC;&#x201C; 27. October, 2018

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28 paper presentations

PLDC 2019

4 Keynote speakers

Call for Papers 1. September, 2018

Recognised as an official CPD event

Gala Dinner Moderated Discussions

Social Events

PLD Alliance Lounge

Marketplace for the PLD community

Exhibition of leading manufacturers Pre-convention meetings Citiesâ&#x20AC;&#x2DC; Forum

Excursions to Atlas Bar Gardens by the Bay South Beach

www.pld-c.com

180816_Advert_arc_236x333_3mm.indd 1

17.08.2018 17:23:10

CASE STUDY

Penthouse Glamour Panzeri fills a Bangalore based penthouse with architecturally intricate fixtures that add layers of opulence and design to the luxury apartment.

C

overing a floorplan of more than

interesting angles with unique customisations.

largest penthouse in Bangalore. It

with the installation called Sky Light, a grid-like

4,500sqm, the EKAA Penthouse is the was designed to be part of the sky, a

shelter from which you can take in the views of the

‘Garden City’, as Bangalore is referred to in India. It took the architect Husna Rahaman and the interior designer Shrunga N Srirama of Fulcrum Studio two years to complete the project.

In each room, the standout design elements are the result of an amalgamation of materials, geometries and textures. Handcrafted elements from remote Indian regions have been reinterpreted to create

beautiful design pieces, in perfect balance between modern and antique.

Lighting and design have been treated as

instruments to achieve extreme living comfort.

Intersecting light profiles, both horizontally and vertically, can be found in the spacious

halls, dining rooms and corridors and the colour temperature of the lights can be adjusted in

accordance with the surrounding natural light.

Throughout the penthouse, Panzeri’s Brooklyn, Brooklyn Spots and Manhattan fixtures draw luminous lines, classic intersections and

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A focal point of the design is in the living room structure made with 50×50mm architectural

profiles, with a satinised gold finish, combined

with light profiles with differing orientations, both downwards and horizontal. The LED temperature

range reaches 2,700K, a warm light that integrates well with the golden look of the profiles. The Sky Light structure perfectly fulfills its purpose of

highlighting precious materials on show in the apartment.

The lighting design of this project was completed

by the Indian company IvoryEdge. The Bangalorebased partner worked side by side with the

architects of Fulcrum Studio for the integration of architectural lighting, to ensure it was subtle

enough to allow the design elements to stand out and demand the full attention in the space. The

installation of the profiles proved challenging for

the designers with some sections of the Sky Light

reaching 5.5metres in length, leading to difficulties during the assembly. www.panzeri.it

Project Designer: Your experience should include a background in lighting design consultancy. You will need excellent communication skills and the ability to present ideas both verbally and graphically. A good working knowledge of AutoCAD, Photoshop, InDesign and DIALux is required.

S R

P R O J E C T M A N A G E R N E W Y O R K C I T Y

Office for Visual Interaction (OVI) is expanding our team and looking for candidates who are eager to contribute to the creation of lighting for world-class, international projects. Now accepting applications for candidates with a degree in lighting/electrical engineering, theatrical lighting, architecture and/or interior design with 8+ years of Project Management experience. Our ideal candidate loves design, is self-motivated, possesses exceptional task management as well as communication skills and enjoys working as part of a talented team.

EOUATION

We are an award-winning independent lighting design consultancy, based in the vibrant design community of Bankside, London. We are currently seeking creative, enthusiastic and self-motivated lighting designers to join our talented and experienced design team.

gia

Lighting Designer Roles:

Assistant Project Designer: A passion for design and the ability to communicate your ideas through drawings, sketches and 3D visualization software is essential. Experience in the use of AutoCAD, Revit and Photoshop is desirable. A willingness to learn and the ability to work under your own initiative is necessary.

We offer a competitive salary and structured career progression in a pleasant working environment in central London.

If you are motivated by challenge and excited by the prospect of developing your career within a leading lighting design practice, please apply in writing enclosing a current CV together with examples of your project work to Keith Miller. keith.miller@giaequation.co.uk

Salary based on experience. Send cover letter, resume and portfolio/work samples in PDF attachment to hr@oviinc.com Applicants must be eligible for legal employment in the U.S. We offer a generous benefits package including medical insurance and 401k plan.

OVI is an award-winning, international, architectural lighting design studio, based in NYC with an established record for design excellence and the illumination of award-winning projects around the world. For more information about OVI and our projects, visit www.oviinc.com

17 Risborough Street | London SE1 0HG | Tel: + 44 (0)20 3772 2760 | www.giaequation.co.uk

ADVERTISERS INDEX Acclaim......................................................... 43 Acolyte.......................................................... 91 ADO Lights................................................. 159 Alto.............................................................. 143 Anolis........................................................... 4-5 Applelec........................................................ 85 Architonic........................................................9 Artemide...................................................... 37 Astro............................................................. 61 Barrisol....................................................... 123 Bega.............................................................. 73 Build2Perform................................................8 Climar........................................................... 47 CLS................................................................ 12 Collingwood............................................... 127 Concept Light.............................................. 17 Concord........................................................ 83 darc awards / architectural....................... 1-2 Dial.............................................................. 159 Erco............................................................... 79 ES-System.................................................. 139 Feelux........................................................... 67 Forge........................................................... 141 formalighting............................................. 109 Fuhua Electronic ...................................... 125

GIA Equation.............................................. 175 Glamox......................................................... 39 Guangzhou Intl Lighting Exhibition........ 169 GVA............................................................... 59 Hacel............................................................ 6-7 Huda........................................................... 155 IALD............................................................ 163 Illumination Physics.................................... 15 Intra............................................................ 119 Khatod........................................................ 157 KKDC............................................................. 57 Koizumi........................................................ 63 Kreon............................................................ 69 L&L Luce&Light........................................... 10 Lamp Lighting.............................................. 41 LED Linear.................................................. 180 Ledia........................................................... 161 LightGraphix.............................................. 105 Lighting Days............................................. 131 Ligman........................................................ 137 Linea Light Group....................................... 23 MBN.............................................................. 16 Neonlite...................................................... 153 Nexo Luce.................................................... 97 Nicolaudie.................................................... 11

Nordic Light............................................... 179 OVI.............................................................. 175 Panzeri......................................................... 25 PLDC........................................................... 173 Precision Lighting........................................ 33 Radiant Architectural Lighting................. 145 Recolight.................................................... 171 Remote Controlled Lighting..................... 113 Roxo.............................................................. 21 Sagitario..................................................... 117 Seoul Semiconductor............................... 161 SLV................................................................ 31 StrongLED.................................................... 14 Studio Due................................................. 165 Tanyao Wires............................................. 177 Targetti......................................................... 75 Tehomet - A Valmont Company.............. 147 Top Light.................................................... 121 Unilamp........................................................ 13 Unonovesette............................................ 165 Vexica......................................................... 101 Vode.............................................................. 19 Wibre............................................................ 89 Zumtobel.........................................................3

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

PROJECTS

EXPO DIARY

Event Diary Industry events where youâ&#x20AC;&#x2122;ll find arc in the months ahead INTERIEUR 18-22 October Kortrijk, Belgium

MATELEC 13-16 November Madrid, Spain

ARCHITECT@WORK 23-24 January 2019 London, UK

www.interieur.be

www.matelec.ifema.es

www.architect-at-work.co.uk

PLDC 25-27 October Singapore

LUXLIVE 14-15 November London, UK

SURFACE DESIGN SHOW 5-7 February 2019 London, UK

www.pld-c.com

www.luxlive.co.uk

www.surfacedesignshow.com

HONG KONG INTL LIGHTING FAIR 27-30 October Hong Kong, China

BUILD2PERFORM 27-28 November London, UK

LIGHTING DAYS 13-15 February 2019 Lyon, France

www.hktdc.com/fair/hklightingfairae-en

www.cibse.org/build2performlive

www.lighting-days.com

INTERLIGHT MOSCOW 6-9 November Moscow, Russia

ILLUMINOTRONICA 29 November - 1 December Bologna, Italy

EXPO LIGHTING AMERICA 5-7 March 2019 Mexico City, Mexico

www.interlight-moscow.ru.messefrankfurt.com

www.illuminotronica.it

www.expolightingamerica.com

IALD ENLIGHTEN EUROPE 7-9 November Barcelona, Spain

DARC AWARDS / ARCHITECTURAL 6 December London, UK

EUROLUCE 9-14 April 2019 Milan, Italy

www.iald.org

www.darcawards.com/architectural

www.salonemilano.it

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THE BACK PAGE BUCKET LIST

#06 WHITEvoid / Christopher Bauder

Curated by

“See, the world is full of things more powerful than us.

But if you know how to catch a ride, you can go places,” Neal Stephenson, Snow Crash

What: A sunset at Lake Constance in West Germany, where I am originally from.

Where: A small part of Lake Constance where it flows back out into the Rhine. This spot is one of the most beautiful natural sights in the whole of Germany.

How: The magnificent sunset is best seen from the boat pier in the small village Mammern on the Swiss side of Lake Constance.

When: On a warm summer evening in July or August when the golden sun produces sparkling reflections on the clear water before its sets behind the hills on the German side of the lake.

Here a sunset is often followed by a clear night sky full of shooting stars Why: When the sun sets, it loses a part of its glistening daytime brightness and becomes a source of warm, positive vibrations. Each beautiful sunset burns a lasting image into our memories.

A sunset triggers feelings of happiness, tranquility and the feeling of being at ease and totally in the moment. At the same time, it brings a bittersweet sadness because it’s not going to last forever and soon the night will cast its shadow.

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www.whitevoid.com