arc December/January 2018/19 - Issue 107

107 DEC/JAN 2018/19 www.arc-magazine.com

EXQUISITE EXHIBIT DHA Designs celebrates 30th anniversary with ultimate darc award!

DARC AWARDS / ARCHITECTURAL WINNERS • DARC NIGHT INSTALLATIONS APPLELEC OLED REVIEWED • PLDC & IALD ENLIGHTEN EUROPE ROUND UPS

LIGHT MEETS PERFECTION

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Design by PARK ASSOCIATI Size | 50, 100 mm Versions | Ceiling, Suspension, Recessed Opticts | Opal, Office, Extra Low Glaring LEED V4 compliant

Cleveland House – Bath Anolis ArcLineTM Outdoor 20MC RGBNW non-optical linear luminaires were used above the public footpath the Grade Listed tunnel. The chosen luminaires had to be sympathetic to the tunnels heritage which is why Enlightened Lighting were the designers and installer, selected the ArcLine range for their low profile, non-intrusive footprint and performance that would not only make the tunnel safer but enhance the tunnels atmosphere.

CLEVELAND HOUSE, BATH Powered and controlled remotely by the ArcPowerTM 384 Rackmount, and a single ArcPowerTM 36 allowed for easy installation of the low voltage cable infrastructure adhering to the strict restrictions of planning.

HQ & Factory: Anolis, Hážovice 2090, 756 61 Rožnov pod Radhoštem, Czech Republic, Tel.: +420 571 751 500, Fax: +420 571 626 337, Email: info@anolis.eu North America: Anolis Lighting, 3410 Davie Road, Suite 402, Davie, Florida 33314, USA, Tel.: 1-844-426-6547, E-mail: info@anolislighting.com UK: Anolis UK, 3 Spinney View, Stone Circle Road, Round Spinney Industrial Estate, NN3 8RF, Northampton, United Kingdom, Tel.: 01604 741000, E-mail: info@anolis.co.uk France: Anolis France, ZI Paris Nord 2, Bâtiment Euler, 33, rue des Vanesses, 93420 Villepinte, Tel.: +33 1 48 63 84 81, Fax: +33 1 48 63 84 87, E-mail: info@robelighting.fr Germany: Anolis Deutschland Gmbh, Carl-Zeiss-Ring 2185737, Ismaning, Germany, Tel.: +49 89 9993 9090, Fax: +49 89 9993 9091, E-mail: info@robelighting.de Asia and Pacific: Anolis Asia Pacific, 12 New Industrial Road, #02-05 Morningstar Centre, S-536202, Singapore, Tel.: +65 6280 8558, E-mail: asiapacific@anolis.eu Middle East: Anolis Middle East, Al Asmawi Building DIP, Office Nbr 507 5th floor, Po Box: 391 898, Dubai, UAE, Tel.: +971 4 885 3223, E-mail: middleeast@anolis.eu

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048 DHA Designs

Celebrating 30 years in architectural lighting design, we delve into the career history of DHA Designs and look into the numerous high profile projects they have worked on over the years.

Contents

DEC/JAN 2018/19 022 024 026 028 030 034 044 046 146 154 156 160 162

Editorial Comment Headlines Eye Opener Dark Source Stories Drawing Board Spotlight Snapshot Briefing Case Studies David Morgan Product Review New Products Event Diary Bucket List

097 darc awards / architectural The winners of this yearâ&#x20AC;&#x2122;s awards as voted for by independent lighting designers and light artists around the world.

142 Erco Screening Erco recently hosted a screening for the BBC documentary Frank Lloyd Wright: The Man Who Built America, to celebrate the work of the late, great architect.

144 Light Asia Light Asia 2018 gave a group of students the chance to work with professional lighting designers to create a scheme for the Jotenji Temple in Fukuoka, Japan.

150 IALD Enlighten Europe The third installament of IALD Enlighten Europe was held in Barcelona in early November, bringing together lighting designers, manufacturers and students from around the world.

152 PLDC The Professional Lighting Design Conference successfully completed its first Asian edition of talks and exhibitions this October.

157 Interieur As Biennale Interieur celebrated its 50th anniversary, we look at some of the lighting highlights from the Belgian show.

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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.

066 Lava Tunnel, Iceland Nordic lighting designers at EFLA picked up the PLACES / High award at the darc awards / architectural for the Lava Tunnel in Iceland.

Projects

DEC/JAN 2018/19

076 Black Prince Road, UK Michael Grubb Studio won the SPACES / low darc award for the re-lit Black Prince Road underpass in Lambeth, London, with a design fit for royalty.

084 Agemar Headquarters, Greece The PLACES / High darc award-winning Agemar Headqaurters in Greece has anchored its new head office in the magnificent ship-like structure for the Anangel Maritime Group of Companies, created by Sparch Architects and strikingly illuminated by Eleftheria Deko Lighting Design.

092 Coralarium, Maldives Mushroom Lighting provided the lighting design for the Coralarium, a beautiful, unque tidal gallery in the Maldives created by artist Jason DeCaires Taylor that won the STRUCTURES / low darc award.

094 Ambience, Australia Ambience Lightingâ&#x20AC;&#x2122;s new office, studio and warehouse won the PLACES / low darc award for its colourful approach to office space lighting.

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SPOT 19/12/2018 11:40

EDITORIAL

Front cover: Hintze Hall, UK Photography: courtesy of DHA Designs

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

Oh what a night... darc awards 2018 ends in spectacular fashion with Christmas themed darc night and some stunning installations...

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 2018 darc awards came to an end on 6th December with darc night, a spectacular Christmas party event in the wonderful surroundings of MC Motors in London. Christmas tree light

installations, street food, a free bar and a unique presentation format all contributed to a hugely enjoyable and creative evening.

darc night marked the conclusion of a record-breaking six month process. There were over 400 entries (up from 300 last year)

including 100 entries in the PLACES (Best Interior Lighting) - High Budget category and over 100 entries in the Product categories.

Altogether there were projects from 50 countries submitted and,

remarkably, over 7,000 votes (up from 6,000 last year) making the darc awards a truly global, democratic awards programme.

A massive congratulations to all our winners but in particular to DHA Designs, who are celebrating their 30th anniversary this year, for

their Hintze Hall project at the Natural History Museum in London.

Even though this project was in the most highly contested category

(PLACES - High Budget), it still received the most votes out of any of the winning projects thus winning the ultimate darc award.

Whilst 18 Degrees and Delta Light won the Best Installation on the

night, all of the installations were spectacular in their creativity and

delivery. I want to thank all the sponsors and installation teams that participated and helped make darc night so spectacular.

As announced during darc night, we also have some exciting news

regarding darc room, our lighting specification exhibition that takes place during London Design Festival. 2019 will see the event partner with London Design Fair in the Old Truman Brewery in Shoreditch.

Taking place on 19-22 September, darc room will have its very own hall where we will continue our unique exhibiting concept as well

as having educational workshops and live streaming. We’re all very

excited about this new development as being part of London Design Fair will enable us to expose lighting design to even more design

professionals from outside the lighting fraternity. Something that we always strive to do with our events and media.

We look forward to your participation in next year’s [d]arc events.

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

Paul James Editor

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Bingo.

Bingoâ&#x20AC;&#x2122;s recognition in one of the most renowned design competitions worldwide has made us at Lival very happy. For over 70 years we have been inventing and manufacturing high-quality lighting solutions, always relying on our strong heritage in Finnish design.

Watch our video at www.lival.com

PROJECTS

NEWS

Headlines Fagerhult to acquire iGuzzini (Sweden) - Fagerhult has signed a letter of intent with iGuzzini to acquire 100% of the manufacturer’s shares.

Modular Lighting Instruments open new North America HQ (USA) – With a new headquarters and manufacturing facility opening, Modular Lighting Instruments is expanding into the American market.

KSLD joins EFLA Consulting Engineering (UK) – KSLD has announced that it has joined EFLA Consulting Engineering with immediate effect, becoming the EFLA Lighting Design Division.

Pic: Sarah Cullen

darc awards / architectural winners unveiled at Christmas-themed darc night (UK) – DHA Designs picked up the Best of the Best darc award at darc night, the darc awards / architectural ceremony, which took place at MC Motors in London on December 6th.

Read more on www.arc-magazine.com

Nulty’s Studio N appoints Managing Director (UK) - Alexander Holler joins Studio N, Nulty’s new architectural lighting design studio, as Managing Director.

IALD announce 2018 inductees to IALD College of Fellows (USA) – Patricia Glasow, Mark Major and Kevan Shaw have been inducted into the IALD College of Fellows.

Signify joins Illuminated River Project, work to begin on site in 2019 (UK) – The Illuminated River Project has brought in Signify as its Connected Lighting partner, with work scheduled to begin on site in early 2019.

ETC announces new Paris office with recent acquisition (France) – The new Paris office follows the acquisition of local distributor Avab Transtechnik France.

John Cullen Lighting opens new office (France) – John Cullen Lighting opens its latest office in Paris this October, following on from its recent expansions in Dubai and Mumbai as part of its international growth.

Pic: Dan Weill Photography

darc room to partner London Design Fair in 2019 (UK) – darc room to have its own hall in Old Truman Brewery as part of London Design Fair exhibition. www.darcroom.com

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Peer Oestergaard joins Anolis as Sales Director (Czech Republic) – Architectural LED lighting manufacturer Anolis has appointed Peer Oestergaard as Sales Director.

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EYEOPENER

Aperture London, UK Aperture is a serene and immersive visual experience created for the ninth annual Clerkenwell Design Week in collaboration with Jestico + Whiles.

The form of the sculpture takes inspiration from the George Eastman Kodak factory, which was located in Clerkenwell at the end of the 19th century, and uses Porcelanosa Groupâ&#x20AC;&#x2122;s next generation material, Krion.

A study on aperture and light, the Krion material is warm to the touch, resembles natural stone and consists of two-thirds natural minerals, with a low percentage of high-resistance resins.

The immersive sculpture experiments with light, form and perspective, and is comprised of 64 fins of the solid material. With lighting design by Visual Energy, these fins were dynamically lit using Lumenpulse fixtures, creating a unique visual experience.

Dynamic, coloured light travels along the underside of the form, illuminating the soft internal curves. This creates a mesmerising shift in perspective and the sculpture takes on an organic life.

Aperture signified the first time that Jestico + Whiles have participated in Clerkenwell Design Week since the firm moved to its new offices in the area in 2017. www.visualenergy.org

Pic: Aurelien Thomas

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DARK SOURCE

Dark Source Stories created by Kerem Asfuroglu instagram.com/darksourced

www.arc-magazine.com

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DRAWING BOARD

Pic: Zumtobel Group

Allianz Arena Germany The inside of the Allianz Arena in Munich is to receive a modern new lighting solution, courtesy of Zumtobel Group, that will illuminate the stadium in an even more vibrant red in the future.

The new scheme for the stadium, home of FC Bayern Munich, is scheduled for completion in 2019. Since the beginning of the 2018/19 season, the Zumtobel Group has been the exclusive lighting partner of FC Bayern.

“We are proud to have the opportunity as the lighting partner of FC Bayern to present one of the world’s most modern stadiums in a new way with our lighting solutions in the inside and outside areas,” said Alfred Felder, CEO of Zumtobel Group. “Translating the specifications and ideas of the architect and the light designer into tangible products was a major challenge, which we were able to meet.

We are pleased to see the Allianz Arena shine in a new light.”

The implementation of the complete lighting solution for the Allianz Arena began at the start

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of the 2018/19 season. The turnkey lighting solution for the stadium includes the entire project management and project execution, from recording the roof structure, production, delivery and installation to the commissioning of the systems.

During the first phase, the inner ring of the roof, with a circumference of 370-metres and at an installation height of approximately 50-metres above the pitch, will be equipped with coloured LED strips. In addition, the radially arranged joints in the roof area will be fitted with coloured LED lines. All LED strips can light up in the RGB colours and in white – if they shine in bright FC Bayern red, a visual fusion of the spectator stands and the roof area with its new lighting technology is created. The replacement of the lighting in the cascading stairways will follow in the next phase. The initial installation, which currently consists of lights with fluorescent lamps from the year 2005, will be replaced by a new lighting system with energy-efficient LED lights,

Zumtobel SLOTLIGHT Infinity IP54.

In the third construction phase, scheduled for 2020, the “balloon lights” on the esplanade in the outside area of the stadium will be replaced. The new, customised lighting solution is currently being developed in close cooperation with all project partners.

In the crater-like interior of the Allianz Arena, the new lighting concept of the Zumtobel Group unites harmonically with the design language of the building and accentuates its architecture with effective coloured lighting.

The architectural masterpiece was designed by the renowned Swiss architecture firm Herzog & de Meuron.

“With around 3.5 million visitors per year, the Allianz Arena has been a football temple and a venue for events since its opening in 2005.

The new extensive effect lighting brings an additional emotional component into play for the visitors,” said Andreas Jung, FC Bayern Munich Executive Board Member. www.zumtobelgroup.com

Eggboard

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DRAWING BOARD

Fornbuporten & Fornebu Senter stations Norway Zaha Hadid Architects and A_Lab have won the architectural competition to design the Fornbuporten and Fornebu Senter stations, two of the six stations planned for the new Fornebubanen metro line in Oslo.

One of Europe’s fastest growing cities, Oslo’s population has increased to more than a million people living within its urban area defined by forests and mountains to the north, east and west, and by the Oslofjord to the south.

Accommodating this growth without impacting the protected natural habitats that surround the city, the redevelopment of Oslo’s decommissioned airport on the Fornebu peninsula will create a community of 6,000 new homes together with civic, cultural and corporate developments providing up to 25,000 new jobs.

The new 8km Fornebubanen metro line will run in a sub-surface tunnel connecting Majorstuen interchange station in Oslo’s city centre to Fornebu Senter on the peninsula. The Fornebubanen line will include six new stations: Skøyen, Vækerø, Lysaker, Fornebuporten, Flytårnet and Fornebu Senter from where the journey to Majorstuen in the city will take approximately twelve minutes.

The entrances at either end of the new Fornbuporten station define two distinct civic spaces at street level. To the south, a layered, orthogonal pavilion and public piazza extend the Cartesian geometries of its surrounding urban fabric. To the north, an oval canopy sits within the natural landscape of the community park in which it is located. These contrasting geometries continue below ground to merge along the

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length of the station’s platforms. Both entrance pavilions reflect the full spectrum of scattered light that varies with the ever-changing Oslo sky.

Atmospheric lighting throughout the station fluctuates in tune with the time of day to enhance passengers’ wellbeing. Jason Bruges Studio have been recruited as lighting consultants for the Fornbuporten station.

Inspired by Norway’s mountainous landscapes and fjords that have been eroded over millennia, the Fornebu Senter station’s design carves canyons and spaces for the flow of people. Echoing this concept of re-imagined glacial landscapes, public plazas at street level transform fluidly into entrances at either end of the station, becoming meeting places for their new community with a distinct architectural identity.

Gianluca Racana, Director of Zaha Hadid Architects, said: “It is an honour to be selected by the jury to build two stations in this design competition with many talented architectural practices. The Fornebubanen will be a vital new transport link for the city.”

Ludovico Lombardi and Daniel Fiser, Zaha Hadid Architects’ Project Directors, added: “We look forward to collaborating with A_Lab on this important project. Together we aim to deliver the most accessible stations that will also enhance the public realm.”

One of Oslo’s largest infrastructure projects, construction of the Fornebubanen is planned to begin in 2020 with completion of the new metro line scheduled for 2025. www.zaha-hadid.com www.a-lab.eu www.jasonbruges.com

SPOTLIGHT

Pics: Loris Von Siebenthal

Amandolier Building Switzerland The Amandolier Building in the centre of Geneva, Switzerland, is an elegant cubic structure built in 2004 by Société Privée de Gérance housing offices and surrounded by a garden combining vegetation, metallic figures, black shale and water vapour in nothing less than a symphony.

The project re-imagines an iconic media façade.

The minimalist architectural composition results in a glass cube. The façade is stripped to its essential quality, a glass skin, opening a dialogue with the surroundings, depending on the variations in the light conditions inside and outside. During the day, it is transparent but also reflects the vibrant life of the city and the ever-changing sky. When daylight fades, the

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façade communicates a new artistic expression, with real-time data integration resulting in natural, calm movements of light and expressive geometries drawn from the architecture itself.

The basic repetitive geometry results in an open canvas for lighting and conveys a sense of order.

The grid modules can be grouped in segments or floors playing with the perceived scale of the building. The first ‘content family’ Geometries was inspired by the architecture. The second ‘content family’ Weather, incorporates real-time temperature, wind and humidity data. The data is collected online, analysed and parameterised, triggering changes in digital content that is created continuously by visual algorithms. For

example, cold temperatures result in cooler tonalities, or a wind speed increase makes the patterns move faster. The design started its life from a study of what is called a cybernetic loop: when an object in an urban context affects its surroundings and vice versa, the surroundings affect the object.

The third ‘content family’ 8 Bit plays with the façade grid, generating pixel art digital content considering each window like one pixel. The aesthetics for this kind of graphic recalls 8-bit and 16-bit computers and video game consoles, in addition to other old-school systems.

The renovation improved the aesthetics and energy efficiency of the façade lighting. The previous scheme was more than ten years old, some light sources had been replaced, resulting in different tonalities, and the controlling software was difficult to operate.

Lighting Design Collective (LDC) developed, together with the manufacturer Grupo MCI, a custom luminaire to fit the existing niche in the façade. LDC requested that the shadows in the corners be minimised and that each window blind be evenly illuminated. LDC built a mock-up in Madrid to test three different combinations of optics and holographic diffusers. The chosen optics were elliptic 24 x 48 optics with perfect colour mixing. The new fixture control was designed to be flexible and allow for soft movements of light. There are 320 linear luminaires and 20 corner luminaires; a total of 7,360 RGBW LED chips. Every two chips or 120cm can be controlled individually, resulting in 3,680 pixels with four channels.

Custom software was developed for lighting control. Different variations from the three content families are automatically scheduled, and the lighting can be changed with an online app from any location. www.ldcol.com

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SPOTLIGHT

Gasperich Water Tower Luxembourg The Gasperich Water Tower is a prominent feature of the Luxembourgian landscape. Located on the intersection of the A1, A6 and A3 motorways - a node for travellers from Luxembourg, Belgium, France and Germany, the water tower can be seen from miles around thanks to its poetic and unique structure.

Designed by Jim Clemes Associates, the impressive, 68.5-metre high design wraps the functional core of the water tower with a seemingly dynamic mesh of flat, white-coated aluminium ribbons, which cloaks the inner concrete wall at a distance of approximately 50-centimetres.

With a volume of 1,000 cubic metres, the tower takes centre stage among the surrounding industrial landscape by virtue of its impressive visual presence, both during the day and at night.

In order to provide the perfect setting or the tower in the evening, Licht Kunst Licht was tasked with developing a lighting concept to complement the unique appearance of the tower by rendering the texture and colour of the exterior building envelope palpable. The resulting illumination, which stems from the base of the tower, adds a soft luminous veil to the tower’s exterior, revealing the object in all its facets and dimensions.

The conceptual starting point of the lighting design - the image of pure, fresh and cool water - is highlighted by the 6,500k colour temperature of the fixtures, which ensure illumination of the nocturnal woven façade with cold while light acting as a symbol of purity and genuine naturalness.

As a result, the water tower pleasantly contrasts the predominantly warm surrounding illumination

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with its pristine crispness, which stems from the increased proportion of blue in the light spectrum more through its suggestive colour than through its ostensible brightness.

A total of 24 Philips Color Kinetics eW Reach Powercore gen2 LED floodlights are concentrically arranged around the tower. The luminaire ring nearest to the tower is located at a distance of around 5.5-metres from the tower’s footprint. Here, the wide beam angle ensures a soft, seamless emphasis of the lower section of the tower.

Positioned at a range from 8.5 to 9.5 metres and 14.5 to 19.5 metres, two further variants of the luminaire - a narrower beam and a very narrow beam respectively - provide the illumination of the tower’s middle and upper zones.

The result of this gradual calibration is a carefully constructed lattice of light, which succeeds in creating an omni-directional, astonishingly homogenous light presence.

Despite varying light distributions, the same outdoor fitting is used throughout. The use of a modular system of exchangeable optical lenses generates the required beam angles without having to establish a multitude of different luminaire types with differing maintenance cycles and spare parts.

As a result of the magical interplay between the material of the façade and the poetic light arrangement, the building’s function transcends into a sensory experience, which reveals a beautifully delicate nighttime impression in stark contrast to the surrounding area. www.lichtkunstlicht.com

E

For high rooms and high standards Stella

A law of nature: illuminance recedes with the square of the distance between the light source and illuminated plane. This is why wide lighting distances demand high lumen-output luminaires – such as Stella spotlights, floodlights and wallwashers from ERCO. The name Stella represents efficient and

precise tools for accent lighting, e.g. for display surfaces in shopping arcades, large sculptures in the foyers of museums and uniform wallwashing in airports.

Luminous flux levels to 9840 lumens and seven light distributions via LED projection optics, packaged in a concise, technical design – Stella

is a family of professional lighting tools that creates new flexibility in design for creative lighting designers. www.erco.com/stella

Light is the fourth dimension of architecture

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SPOTLIGHT

Portsoken Pavilion UK The City of London Corporationâ&#x20AC;&#x2122;s Aldgate Highway Changes and Public Realm Improvements project has contributed to a transformed Aldgate, headlined by the removal of the tired Aldgate gyratory system and introduction of the new Aldgate Square.

The Portsoken Pavilion houses a cafĂŠ and sits within Aldgate Square, promoting social enterprise, improvement to wellbeing, spatial awareness and provides space for events and leisure. The Portsoken Pavilion blends with the surrounding historic buildings, despite its more contemporary, striking architectural form. The pavilion is formed by an asymmetrical steel structure with sliding glass walls set between three triangular support points, which can be opened to connect with the redeveloped garden. The pavilion can be used to host meetings, exhibitions and yoga classes, as well as serving as a gathering place for the local community and the City at large.

Its striking design belies the tiny footprint, and the warm tones of the weathered steel harmonise with the brown brick of the adjacent Grade I listed church and red brick Grade II listed primary school. Over time, the steel will darken and provide an earthy, complementary counterpoint. Within the structure, the bands of the cladding are mimicked by the soffit, with layered geometric white laminate timber panels, which have punched slots to aid the acoustics. The ethereality of the structure is accentuated at dusk

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by concealed lighting. LED linear strips arrayed continuously to respond the architectural form wash the feature perforated ceiling with soft light, creating delicate stepped glowing layers.

The high output and efficacy of the light fittings were key to resolving the challenge of providing sufficient ambient light to the space with indirect lighting only where the reflected surfaces are limited due to the acoustic perforation.

The integration of light fully responds to the form, geometry and materiality of the cladding. Two large asymmetrical roof lights are located over the central counter to incorporate natural light into the building.

Mini spotlights are placed at the perimeter of the roof lights to create a supplementary focal glow on the counter so that daylight and artificial light are completely blended. The various lighting elements divided into groups are individually controllable to offer different lighting scenarios.

As daylight fades, the effect of the interaction between faceted geometry and uplighting elements becomes more pronounced, giving the sensation that the entire volume is floating. The shape and form of the entrance overhang is subtly revealed by internal light spill, gradually transiting into well-illuminated and inviting cladding, which will attract the attention of and appeal to passers-by. www.aecom.com

SPOTLIGHT

Marsa Plaza Oman Marsa Plaza is a newly build public space in Al Mouj Muscat, Oman. The square is located at the end of a central avenue and offers a panoramic view over the marina. It also serves as a corridor for people crossing through the newly developed area.

The Plaza was designed by Acme Architects, who used elements referring to traditional Omani geometric floor patterns and architecture, as well as to the principle of an amphitheatre. Ă&#x2026;F Lighting developed a lighting design that supports the architectural design and the ambition of building an inviting public space by creating a light setting with extraordinarily high visual comfort and reference to being in an oasis at night time.

The lighting design consist of four different layers: The layer of functional lighting aims at creating a place where people generally feel comfortable, safe and find it easy to move around and orientate themselves. The functional lighting consists of pole-mounted projectors, pointed at the ground floor at the walk-lines around the heart of the Plaza.

To support the movement across the Plaza in a more meandering manner, and to create a more intimate atmosphere, bollards are used in the middle part of the square alongside the small plant beds. This way the greenery is also accentuated.

The architectural layer aims at enhancing the characteristic features in the design and at creating a balanced composition between the different vertical elements. The architectural lighting consists of

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projectors mounted in the canopy structures around the edges of the Plaza. The canopy structures offer shade in daytime and their tectonic inspired structure, with reference to traditional Omani Architecture, are an important visual feature of the square.

The layer of social lighting aims at creating an inviting and more intimate atmosphere, where people will find it comfortable and natural to take a seat. Integrated bench lighting at the Plaza creates a light setting without glare, and in-ground luminaires around the trees enhance the organic roof over many of the benches, adding to the feeling of being in a smaller intimate space at the square.

Finally, the layer of scenographic lighting aims at giving people something to look at and enjoy during their stay at the square. It also aims at creating an atmosphere and identity with connection to the Middle Eastern terrain. This is done by using static gobo-projections, which project a pattern onto the pavement. The pattern resembles small pools of water contour lines intersected precisely between the lines in the pavement. In addition, gobo-projections mimicking light falling through foliage enhance the greenery. Small light dots in the pavement lead the way into the Plaza from the avenue and they demarcate the actual waterfront. The representation of colours and warm colour temperature accentuates the sand-coloured surfaces. Together, these design elements create the feeling of being in an oasis. www.afconsult.com

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The colour rendering (CRI 92) is also outstanding, which ensures that objects are illuminated true to life. Tiny and Powerful? Yes, it’s possible. The 200Cent is an optimal crossing of outstanding technology and minimalistic design.

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SPOTLIGHT

Mirrored Landscapes Italy Mirrored Landscapes is an interactive green space in the Piazza Mascheroni, in the Old Town of Italian city Bergamo. Conceptualised by designers Sarah Eberle and Anna Sbokou, Mirrored Landscapes is intended to invoke the idea of the urban square as a lively space for social interaction, especially when it offers green spaces and furniture, inviting visitors to stop and rest.

Visitors are encouraged to enter and pause in the square, observing the green hills staged by Eberle, with the moonlight effect suggesting paths along the different areas of the square.

The concept for the lighting of this installation was driven by the landscape proposal and approach, as well as the existing elements within the square. The intention from ASlight was to create a different experience in the nightscape of the square, using artificial lighting from Flexa Lighting to evoke natural theatrical effects like moonlighting and the dappled leaf patterns.

Public spaces need to be occupied and felt as the ever-changing environments that they are, therefore it was important for ASlight to enhance the experience for visitors. The nighttime lighting scheme, coupled with the landscape installation, gives a new lease of life to an already impressive location.

The landscape concept, driven from the surrounding mountains, gave Sbokou the perfect platform to use light to explore the natural nocturnal experiences of the open-air spaces in the Bergamo Old Town, creating a pleasant, soft and almost theatrical environment that, in its nocturnal vision, strengthens the integration between the existing architecture and the wider landscape. www.aslight.eu

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Acrylicize The London and Seattle based lighting design firm brings a modern flair to its installations that are both beautiful and also politically and culturally relevant to toady’s society.

Aspect Telford, UK In Telford’s new Southwater development, an interactive landscape of viewpoints and real world ‘filters’ was commissioned by Telford and Wrekin Council and installed

by Acrylicize.

It is a series of human scale sculptural pieces that invite the public to move through the space and re-align themselves with what they see in their environment. Created from a series of frames, each covered in a dichroic film, the artworks selectively allow some colours to pass through, whilst others are reflected, resulting in an abstracted and manipulated view. Each frame is also lined with an LED to flush the films with light as evening falls, allowing the installation to transition softly from day to night. This experiential installation is a physical manifestation of the social media filter and aims to create an interactive photo opportunity that floods photographs of visitors with colour.

James Burke, Founder of Acrylicize, commented: “This was an amazing opportunity to create artwork for the town of Telford that was inclusive and accessible. It invites people of all ages to come together and enjoy moments that reframe the environment around them. The frames provide the tools, but the interaction with the viewer brings them to life and completes the circle - it’s a two way street.”

Timeless London, UK 60 individual letters hang suspended 40 metres above the ground in a vast atrium space at Senator House on the River Thames in London.

The building sits directly over the ruins of some Roman baths, historically used as a place to gather and connect. This was the main source of inspiration for the designers at Acrylicize. The sea of seemingly random letters represents the echoes of past conversations rising like steam from the surface of the hot pools.

The Roman typeface, which Acrylicize designed specifically for the installation, illuminates in a varied palette of colours to connect the letters and spell out the time on every hour.

As such, the space functions as a giant time piece, providing order amongst apparent chaos and linking the past, present, and future.

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SNAPSHOT

LiveWire Slough, UK It explores Slough’s evolving landscape and celebrates the UK’s exciting new relationship with data-driven technology. The piece was designed to symbolise the growth of Slough as a new centre of technology, and attract tech start-up companies as new tenants.

Made from aluminium, glass and LED, it is a permanent installation in a communal working space and meeting area. The piece is designed to encourage public interaction: People can change the behaviour and colour of the wall by tweeting #theswitchslough followed by a colour. The piece also comes alive every fifteen minutes to show off one of its many moving patterns, and incorporates colours in response to the outside temperature. It illustrates and celebrates the endless re-invention that comes with technological advances.

Contours Seattle, USA It is a site-specific light installation sitting at the heart of Tableau Software’s new Seattle Headquarters, exploring themes of nature and discovery in a nod to the data visualisation techniques that Tableau is famed for.

The contoured lines that make up the composition have been designed to represent the reversed topography of Washington’s most famous landmark; Mount Rainier.

Designers at Acrylicize wanted to celebrate the calming and dramatic qualities of the local landscape. The piece brings the outdoors in, and evokes human kind’s fascination with mountain ranges and the conquering of their summits.

It was carefully designed to be viewed from multiple perspectives around the building, taking a different form from every angle, further connecting the installation with the sense of intrigue and discovery at the core of Tableau Software’s data driven products.

Submotion London, UK Inspired by the flow of water from the River Fleet that runs beneath Farringdon, the lighting feature it drifts through 20 Farringdon Street, the latest scheme from international developer HB Reavis. Acrylicize worked in collaboration with architects Denton Corker Marshall and HB Reavis’ in-house teams to create it.

Emanating from the entrance numbers that sit above the entrance portal on the facade, the 650 light batons gently pulse as if inspired by the movement of water, guiding visitors on a journey through the reception and beyond. This carefully considered piece also has the option of being set to a continual, steady glow of light, which reflects Farringdon’s perpetual flow of energy and movement, echoing the motion of passers-by outside. the light installation continues into the building’s core as it pours through the stairwells, encouraging visitors to be led by foot to their destination.

Acrylicize This London and Seattle based design firm is an award-winning studio of artists, designers and craftsmen, disrupting both the traditional art world model and accepted notions of branding. By playing in the space between art and design it aims to tell the unique stories of its global clients, creating bespoke artworks that champion the concept of ‘art as identity’. Research and exploration define the projects and give meanings behind the work created.

From their site visits and client workshops, through to historical, cultural and contextual investigation, the job is to find the unique stories to tell. The narratives established are identified holistically, with client collaboration from the beginning. www.acrylicize.com

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BRIEFING

Kevan Shaw It’s been a busy few months for Kevan Shaw, Founder of KSLD, following the firm’s success at the Codega Awards, Shaw’s induction into the IALD College of Fellows at IALD Enlighten Europe and the recent merger of KSLD and EFLA. arc sat down with Shaw to discuss all the recent developments.

How did you get into lighting?

This is something I have thought about a lot over the years. There are the influencing factors, which include my father’s practice as a stained glass artist and tapestry weaver, which he carried out at home, and the consequential visits to cathedrals in France and elsewhere during family holidays. Then being introduced to stage lighting while at university.

This resulted in opportunities to work in technical and design lighting for touring shows with rock bands, which kind of sealed my fate as being someone who became bound to light as a medium for creative expression.

Can you give us a brief overview of your career to date?

From becoming active in stage lighting at university, I went on to work as a trainee at Max Fordham engineering then spent several years touring shows with various bands. I then went to work with David Hersey designing lighting effects equipment, acting as a design assistant to David Hersey in the theatre, continuing stage lighting with Jethro Tull and doing some broadcast TV lighting. I also got into exhibition lighting and worked on The Mirage Hotel in Las Vegas.

You established KSLD in 1989, how has the company, and the lighting industry as a whole, changed over the past three decades?

Pretty massively! It started as a one-man consultancy, and has now grown and extended its international reach. The lighting technology has changed radically, with exponential change to LED lighting technology in the past decade. Overall, we have seen the manufacturing of lighting products shift from Europe to China and now the ownership of major historic brands follows as the big companies have backed out of the lighting business.

Do you have an overriding design philosophy that you like to implement in your work?

Yes! Really it is working to provide the best experience of light for the ultimate users of the space you are designing for, guiding clients to the optimum solution that achieves this.

Congratulations on your recent induction into the IALD College of Fellows - what does such recognition mean to you?

This is a great honour and recognition of the contribution I have made to the IALD and the profession as a whole. Being given this recognition from my peers makes me very proud.

As a member of the IALD, you are heavily involved in their work in the EU. How have you worked to improve the standing and reputation of lighting design as a profession within the EU? I hope that by interacting with the EU at a very professional level we have demonstrated that we are serious knowledge holders in lighting. Most stakeholders are representing positions for what is most advantageous for them alone. We have always tried to provide reasoned

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commentary as to what is best, not just for us as lighting designers, but also for what will benefit the end users. Over the past nine years we have not been an official consultee and have had to work hard to gain access. In October, we were granted status as an official consultee, and now lighting designers are even being mentioned in communications by senior people in the Energy Commission. This is significant high-level recognition of the profession.

KSLD joined EFLA Consulting Engineering in November of this year.

How did this merger come about?

We have known EFLA for many years. They have invited me to Iceland, and Kristján Kristjánsson came over and worked at KSLD for about two years. When he returned to Iceland, we discussed cooperation between KSLD and EFLA, and ultimately the closest cooperation would be through a merger. We have discussed this over several months and have now completed the transaction.

What will the move mean for KSLD? Basically, the EFLA lighting design division offices in Reykjavík and Oslo are the same size, so you could say KSLD has doubled in size and now has three offices! We will be trading as KSLD EFLA Lighting Design, combining our experience and resources. We are now also part of a significant engineering consultancy with a broad range of specialisms, of which lighting design is one; so we now have the possibility of collaborating on multidisciplinary projects from the Nordic offices. In Edinburgh, we will remain a lighting design office.

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

Well let’s put it this way: I will be considering fluency in Chinese a valuable skill for new employees! As a consequence of the rush into LED technology and the overly rapid banning of conventional lamp technologies, the largest volume of lighting manufacturing has moved to the Far East. The former major players have been divesting themselves of lighting businesses and many of these are now Chinese owned. The inevitable consequence will be that new ideas and innovative products will originate in the Far East. This is already in evidence; the filament LED lamp was invented in Taiwan.

We are still learning a lot about the impacts of light on people. While there is a lot of marketing based ‘human centric lighting’, there is much research to be done to understand the implications of the nonvisual receptors in the eye. This will result in new knowledge and new considerations for lighting design. I really hope that as lighting designers, we can be involved with and contribute to this aspect of lighting. www.ksld.com

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Adam Grater

Jonathan Howard

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DHA Designs was founded in 1988 by leading theatre lighting designer David Hersey and architectural lighting designer Adam Grater.

Now 30 years later, they have a host of architectural lighting projects under their belt.

PROFILE

D

HA Designs has its roots in DHA Lighting Ltd,

a versatile company with a design studio and a

manufacturing division that created a wide range of

gobos and effects to support David Hersey’s theatrical productions, which included Cats, Starlight Express and Les Miserables. The design studio was also

attracting a growing amount of architectural projects and in 1988 Hersey and Grater split the architectural

lighting design company away from the sales orientated parent company,

forming DHA Design Services, an independent lighting design consultancy.

The company established its international reputation in Las Vegas, at the Mirage

and Treasure Island hotels, and later at the Bellagio. The company’s portfolio has since expanded to include hotels, resorts and corporate interiors in the Middle East, China and India.

DHA Designs also specialise in museum and gallery lighting, working for many

leading British institutions. At the Victoria & Albert Museum alone, the company has now lit 75 permanent galleries, and over 30 temporary exhibitions. DHA

Designs also acts as lighting consultant to the Science Museum, British Museum, British Library and Mary Rose Trust.

With a core of five directors, the company has a particularly low turnover of

staff, ensuring continuity for their clients throughout each project. The company prides itself in its documentation, and the hands-on site supervision and

commissioning, both essential parts that go towards the success of its designs.

DHA Design’s team of like-minded designers come from a variety of

backgrounds that serve to form its distinctive approach. Degrees in theatre,

drama, architecture, industrial and environmental design are just some of the qualifications held by DHA designers, creating a rich blend of inspiring and inquiring minds in the studio.

“Successful lighting design in architecture and museums is about collaboration;

with colleagues and clients alike,” comments Grater. “It has been a real privilege for us to have worked with many talented teams of designers, architects,

technicians and artists to realise such an exciting and diverse range of projects.”

Lighting design awards have reinforced DHA Designs’ position as a world-class lighting design consultancy both in the UK and abroad. Every year the awards

continue to raise the standards that the company aims to achieve for its clients.

This trend continued, with DHA Designs winning the top prize at the 2018 darc awards / architectural for its Hintze Hall project. www.dhadesigns.com

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Hintze Hall, Natural History Museum London, UK / 2017 DHA Designs first worked with the Natural History Museum in 1991 on the Ecology Galleries (with Ian Ritchie Architects). Over the past 27 years it has worked for the museum on permanent galleries such as the Treasures Gallery (2012, with Casson Mann) and temporary exhibitions including Life in the Dark (2018, with Nissen Richards).

The highlight has been the Hintze Hall, which was described as a ‘cathedral of nature’ when the museum opened in 1881. The museum’s plan was to completely renovate the space entirely in a project that lasted four years, redeveloping the displays over three floors, creating a new visitor entrance space and most controversially of all, replacing ‘Dippy’, the cast of a Diplodocus fossil, with the skeleton of a Blue Whale, eventually named ‘Hope’.

DHA’s scheme replaced a collection of overlapping lighting solutions that had accumulated over the years across the floors of the central hall, using a variety of light sources, with a unified scheme that was entirely solid-state, simultaneously reducing energy costs and maintenance requirements. The scheme included the exhibition lighting across the floors, and all the case lighting, some of which was designed to be seen from tens of metres away. In all of this, the lighting primarily revealed the astonishing grandeur of Waterhouse’s architectural scheme and the astonishing depth of the museum’s core collection of natural history via cased and uncased objects – which included a preserved Marlin in many gallons of silicon fluid, alongside the full-sized whale.

Finally, a new control system was designed to subtly adjust the lighting across the linked spaces during the day, depending on external lighting and time triggers. This reduces the staff requirement to manually set lighting systems, while allowing events staff to set quickly for a cinema show or a full-scale event during the evening – the hall is one of the most popular (and spectacular) hire venues in London.

The new space has been highly praised, described as a ‘glorious renaissance’ for the museum, and the project was the subject of a BBC Horizon documentary in 2017.

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Designers: Casson Mann Historic Building Consultant: Purcell

Life & Death in Pompeii Hollywood Costume Savage Beauty & Herculaneum V&A Museum V&A Museum British Museum

Rodin & Antiquity Frida Kahlo British Museum V&A Museum

Michelangelo & Sebastiano National Gallery

Atmosphere Gallery Science Museum

U-Boat 534 Liverpool

Mary Rose Museum Portsmouth

Jameel Gallery of Islamic Art V&A Museum

Grand Entrance V&A Museum

Emirates Towers Dubai

Great Expectations, Grand Central Station New York

Beau Rivage Casino Biloxi, Mississippi Bellagio Hotel Las Vegas

Everyman Theatre Liverpool

IWM North Manchester

New Bodleian Library Oxford

Michelangelo: Closer to the Master British Museum

BFI IMAX Cinema London

Science Museum Facade London

Wynn Palace Cotai

2018

Ashcroft Galleries Imperial War Museum London

Young Vic Theatre London

Londonâ&#x20AC;&#x2122;s Transport Museum Covent Garden

Art Deco V&A Museum

Selfridges Birmingham

Fairmont Hotel Dubai

Gorey Castle Jersey

Videogames: Design/Play/ Disrupt V&A Museum

Ceramics Galleries & Ceramics Study Galleries V&A Museum

Emirates Palace Hotel Abu Dhabi

Paintings Gallery V&A Museum

Harry Potter: A History of Magic British Library

David Bowie isâ&#x20AC;Ś V&A Museum

The Wellcome Wing Science Museum London

German Underground Military Hospital Jersey

Vinopolis City of Wine London

In Flanders Fields Museum Ypres, Belgium

Pirate Show Treasure Island Las Vegas

New Hibiya Tower Tokyo Wynn Resorts Boston

Mirage Volcano Show Las Vegas

1988

Design Lines

Ecology Galleries Natural History Museum

Gurkha Museum Winchester

Henry VIII, National Maritime Museum

Exhibitions

Cadbury Chocolate World Birmingham

Museums & Heritage Expos Exteriors Hospitality/Shows/Retail

Sheraton Hotel Cairo

Tower Vaults QE2 Cruise Liner Pageant Southampton Tower of London

Lucent Technologies Innovation Centres

Magna: The Face of Steel & The Big Melt Rotherham

DHA Designs National Museum of Scotland Edinburgh

Riverside: Glasgow Transport Museum

Franklin Museum Philadelphia

Treasures Gallery British Library

Treasures Gallery NHM

Egyptian Galleries, Ashmolean Museum Oxford

William Morris Gallery Walthamstow

Royal Albert Memorial Museum Exeter

Hancock: Great North Museum Newcastle Nelson, Navy, Nation, National Maritime Museum

Van Dyck: 400 years Royal Academy

Money Millennium Dome

Self-Portrait Millennium Dome

Faith Millennium Dome

Home Planet Millennium Dome

BBC Experience

Forces London Pirates Sweethearts National Maritime Museum Imperial War Museum

Jockey Club Hong Kong

Dynamic Earth Edinburgh

Medieval & Renaissance Galleries V&A Museum The Deep Kingston-Upon-Hull

First World War Galleries, Imperial War Museum London Irish Pavilion 2015 Milan

IKEA Museum Sweden

International Centre for Life Newcastle

Queenâ&#x20AC;&#x2122;s Diamond Jubilee Galleries Westminster Abbey

Hong Kong Telecom Headquarters

2018

Hintze Hall NHM

National Museum Oman Pendennis & St Mawesâ&#x20AC;&#x2122; Castles Cornwall

National Museum of Science & Technology Taiwan Kerry Museum Ireland

Exhibition Road Project V&A Museum

Macau Pavilion 1998 Lisbon

British Pavilion 2000 Hannover

Hampton Court Kitchens Surrey One Tower Bridge London

British Pavilion 1998 Lisbon

British Pavilion 1988 Vancouver

British Pavilion 1992 Seville

British Pavilion 1993 Korea

Hard Rock Cafe Cairo

Royal Academy of Arts Shop London

Cafe Consort Le Meridien Virgin Hotel Atlantic Royal Albert Hall Vienna Upper Class cabin

Omkar 1973 Worli, Mumbai

Wynn Resorts Macau

W Hotel Doha Qatar

Bentley Pavilion at Autostadt Wolfsburg

Endeavour Galleries National Maritime Museum

Royal Academy of Arts Restaurant London

Virgin Atlantic 787 Dreamliner

Eneko at One Aldwych London

BXR Gym London

PROFILE

The Mary Rose Portsmouth, UK / 2003-16 DHA Designs first worked with the Mary Rose Trust in 2004 when they designed the lighting for the salvaged hull of the Tudor warship in its “Hot-Box” - a sealed enclosure fitted over and within a dry dock at the Historic Naval Base in Portsmouth. The hull was constantly being sprayed - at first with salt water, and then a preserving chemical (PEG) to prevent the water logged cells from collapsing as they dried out. The spray could only be turned off for half an hour at a time to get access, and the team had to wear full protective kit including air masks, so it was a long process to install the system and get the lights focussed. Additionally all of the lighting fixtures were fitted with specially cast seals, as the PEG would have eroded the standard sets.

Strict conservation guidelines meant DHA could only use low light levels, but this actually worked out well as a series of slow cross-fades picking up parts of the hull alternating with backlight shining through the gun ports were plotted, and these, coupled with the mist from the PEG, gave a most striking, eerie, atmospheric effect.

Following conservation, the collection and the hull were reunited in an ambitious new museum, built over and around the Hot Box. The museum unites the unique collection of Tudor artefacts with the preserved hull over three floors. The main Context Gallery houses the remains of the starboard side of the hull down one half and a virtual replica of the port side interior on the other within a 35-metre long, 8-metre high conservation showcase that corresponds to the Mary Rose’s deck layout. The case houses part of the huge collection of recovered objects that range from highly ornate brass cannons to tiny personal artefacts. Additional galleries at the East and West ends of the museum house the remaining objects that focus in detail on aspects of Tudor life on board the ship, as well as the salvaged crow’s nest and anchor.

In all, over 19,000 objects are on display, all rescued from the seabed, and lit with more than 3000 fibreoptic ends, carefully focused by DHA to draw attention to textures and features of the artefacts that could easily be lost.

In 2016, the conservation enclosure was removed from around the hull. DHA returned to design a new, atmospheric, slowly changing lighting scheme, which reveals the complexity and beauty of this unique object, reunited with its collection.

Architect: Wilkinson Eyre Architects Interiors (inc. Context Gallery): Pringle Brandon Museography: Land Design Studio

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Architect (Mirage): Atlandia Design Architect (Bellagio): Atlandia Design and The Jerde Partnership Architect (Wynn Palace Cotai): Mike Hong Associates

The Bellagio & Mirage Hotel Las Vegas; Wynn Palace Cotai / 1998 David Hersey first worked with Steve Wynn/Mirage Resorts during the design phase of the Mirage Hotel in Las Vegas, which opened in 1989, the year after DHA Designs was founded. Wynn had been told of Hersey’s reputation for creating spectacular theatrical lighting. The theme was of a Polynesian island and David suggested he could create a volcano using lights. From that conversation, an iconic attraction was born and a relationship that lasts to this day was created.

Wynn put the team back together for the creation of the Buccaneer Bay show at Treasure Island, which opened in 1993, and Hersey worked closely with the team to conceal many theatrical lighting techniques within the heavily themed set-work of this outdoor extravaganza. The show has been credited with making Las Vegas a destination for families for the first time and beginning a resurgence in its popularity.

By now the Las Vegas projects were becoming more elaborate and the size of the team required to work on them grew. In 1996, DHA were appointed to design the external façade and landscape lighting for the Bellagio, which opened in 1998 - a project themed on the Italian village on Lake Como. This was an enormously significant project for all involved. It changed the rules on how casinos in Las Vegas were designed, while giving DHA another iconic project to add to their

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impressive portfolio.

The project was run initially from the studio in London and in the final eight months from an office in Las Vegas. The office was shared with WET Design, who created the famous fountains. Later in the project DHA were engaged to design a theatrical lighting solution for the Conservatory and Registration Courtyard within the hotel. During this time the DHA’s Las Vegas team were busy working on projects such as the Siegfried & Roy gardens at the Mirage and the design of the Beau Rivage Hotel and Casino in Biloxi, Mississippi, opening a year after Bellagio.

In the 2000s, Steve Wynn was one of the first Vegas operators to see the potential of the gaming market in China. Gaining a licence to operate a casino in Macau, Wynn brought DHA on board in 2003 to design the interior and exterior of the Wynn Hotel and Casino. This led to their continued involvement in Macau projects for thirteen years, culminating in the Wynn Palace project in Cotai, which opened in 2016.

Today, 30 years after first promising to create a volcano in the desert, DHA continue their collaboration with the Wynn organisation, notably on their Encore Boston Harbour hotel and casino, scheduled to open in 2019.

PROFILE

Magna Science Adventure Centre Rotherham, UK / 2001 DHA Designs was appointed by the Magna Trust and Event to design the two main show areas for the Magna Science Adventure Centre at the old Templeborough steel works in Rotherham.

The main hall of the steelworks had originally housed two massive electric arc furnaces.

One had been removed to another steelworks in Sheffield; the other remained, derelict but intact. Although there were plans to scrap the furnace to make extra gallery space, DHA suggested that the steelmaking process could be recreated using lighting, smoke, pyro effects and sound to bring the dormant beast back to life. A visit was arranged to the sister furnace so DHA and sound designer Peter Key were able to see the machinery in action.

DHA then produced a draft storyboard and a voice-over script was commissioned by Event Communications.

Howard Eaton (HELL) and Jim Tinsley (Stage One) then joined the team. Eaton and his team designed and installed the flame effects and the shooting spark generators that, married with Key’s soundtrack, vividly recreate the awesome power of the melting process. Tinsley’s team produced automated replicas of the three massive carbon rods that travel down into the furnace, as well as refurbishing various items on the furnace, including one of the overhead travelling cranes, which provided a moving platform for various lighting fixtures, including a pair of digital light curtains.

A week of programming synchronised all these elements into multi-media experience, breathing new life into the sleeping dragon and delivering an authentic recreation of the melting process, as well giving an informative guide to the steel making process.

In addition to the arc furnace “Big Melt Show”, DHA were also responsible for lighting the Great Hall, the first area of the actual steelworks that the visitors would enter after arrival and ticketing. This cathedral space would house the introductory A/V experience and the design team decided that less would be more here, and that it would be dramatic to embrace the darkness, giving the A/V installation maximum impact.

DHA achieved this with a minimal scheme that carefully picked out the high vaulting steel frame structure with cool metal halide spots that were fitted with light blue tempered glass filters. Additional accents then picked out features such as the overhead crane gantry structure and abandoned machinery at high level. Clusters of red warning beacons were then distributed around the space to add some drama.

All of the lighting was very tightly controlled and balanced to work alongside the AV so the periphery of the enclosing space fell off into darkness.

Exhibition Design: Event Communications Architects: Wilkinson Eyre Architects

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PROFILE

Exhibition Design: V&A Design Dept (unless otherwise stated)

V&A Museum London, UK / 2001-present The first exhibition DHA Designs lit for the V&A Museum was Radical Fashion in 2001 (with Event Communications), and soon after DHA was appointed by FuturePlan lighting consultants. FuturePlan was, and still is, a hugely ambitious project that aims to refurbish all galleries across the museum. Early FuturePlan projects DHA completed were the Canon Photography Gallery, the Paintings Galleries and the Miniatures Gallery (with Casson Mann).

Through the 2000s, the V&A displayed a famous series of major exhibitions looking at the history of design styles, and DHA lit many of these including Art Deco (with Casson Mann); Arts and Crafts (with Allies and Morrison); Modernism (with EJA); Cold War Modern (with UDS) and Surreal Things (with Metaphor). At the same time DHA worked with EJA on the British Sculpture Galleries, the Grand Entrance and the Jewellery Gallery.

In 2009 DHA worked with MUMa on the exhibition lighting for the ambitious Medieval and Renaissance Galleries, a suite of spaces that span the whole East Wing of the museum. It worked on the daylight-linked Ceramics Galleries (with Stanton Williams) and Ceramics Study Galleries (with Opera Amsterdam). As well as galleries, DHA has lit the Cromwell and Exhibition Road façades, and the Restaurant (with MUMa).

DHA has also revisited early schemes: in 2006 it lit the Jameel Gallery of Islamic Art (with Softroom), and in 2013-2015 slowly upgraded the lighting to LED whilst maintaining the original design. To date DHA has lit more than 80 galleries at the South Kensington site.

Through the 2010s, DHA has worked on many blockbuster exhibitions, including Hollywood Costume (with Casson Mann), David Bowie Isâ&#x20AC;Ś (with 59 Productions and Real Studios), Balenciaga and Savage Beauty (with Gainsborough and Whiting and Daniel Landin). They also designed the new temporary galleries and entrance - the Exhibition Road Project - with AL_A. This was the biggest construction project undertaken at the V&A since the original buildings.

More recently, DHA lit the first V&A Museum outside London - in Shekou, Shenzhen - with Sam Jacob Studio, which opened in 2017. In 2018, DHA has lit six temporary exhibitions, including Frida Kahlo (with Tom Scutt / GTA) and Fashioned From Nature, and have several exciting new exhibitions opening in 2019.

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NEW

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PROFILE

British Museum London, UK / 2006-present

Exhibition Design: BM Design Dept (unless otherwise credited)

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DHA Designsâ&#x20AC;&#x2122; first exhibition for the British Museum was the blockbuster Michelangelo: Closer to the Master (with Metaphor) in 2006. Displaying both sides of pages of his sketchbooks - objects that were never meant to be exhibited - DHA worked closely with Metaphor to design and display a lighting system that allowed both images to be clearly visible.

From 2007 to 2013, the Grade I listed Round Reading Room was used for temporary exhibitions. Each exhibition was built on a platform that covered the desks, and with the wonderful dome above, lighting positions had to be designed into the setworks each time. Of the ten temporary exhibitions, DHA lit six of these: Hadrian: Empire and Conflict (2008); Shah â&#x20AC;&#x2DC;Abbas: The Remaking of Iran (2009, with Real Studios); Italian Renaissance Drawings (2010); The Book of the Dead (2010, with Land Design Studio); Hajj: Journey to the Heart of Islam (2012) and Life and Death: Pompeii and Herculaneum (2013, with Land Design Studio). This landmark exhibition was the last in the RRR and was seen by around 500,000 people.

Through this period, DHA worked with the Estates team, refreshing and re-focusing galleries on the first floor, including Roman Britain, Clocks and Watches and Ancient Iran. In 2016, DHA was commissioned to produce a Masterplan report which looked at all 70 galleries individually, assessing their current lighting and energy usage, and advising on an upgrade strategy for eventually converting the whole museum to LED technology.

DHA has been fortunate to work with a range of guest curators and artists at the BM including Antony Gormley (Statuephilia, 2008); Grayson Perry (Tomb of the Unknown Craftsman, 2011, with Gary Egleton) and Ian Hislop (I Object, 2018).

Since the World Conservation and Exhibition Centre opened with its 70-metre purpose-built exhibition space, DHA has lit several exhibitions including Ming (2014), Celts (2015, with Real Studios), American Dream (2016, with Nissen Richards) and Scythians (2017). In 2018, DHA has lit both Rodin: Art and Antiquity (with Metaphor) and the current exhibition I am Ashurbanipal (with Opera Amsterdam), with two forthcoming exhibitions in 2019.

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PROFILE

Science Museum London, UK / 2000-present DHA Designs has been working with the Science Museum since the start of their major expansion project, the Wellcome Wing in the late 1990s.

The new wing provided the museum with over 10,000sqm of new space, including four floors of galleries and new retail and café spaces. The wing’s concept by McCormick Jameson Pritchard made extensive use of blue light to create an ethereal and nebulous quality to the space, created artificially and via an enormous glazed curtain wall of cobalt blue glass that filtered and controlled the daylight.

DHA collaborated with the two exhibition designers, Casson Mann and Wilkinson Eyre Architects, to light the new exhibition galleries in a unified but distinctive method that worked with the blue background light.

Each of the spaces (Antenna, Pattern Pod, Who Am I?, Digitopolis & The Future) has a unique feel, but lighting helped link them as different parts of the same whole: extensive use was made of colours to react against the blue or to complement it, depending on the need of the particular space. As DHA was designing in the 90s, careful use of a variety of light sources was made to make the light as efficient as possible, despite requiring deep and powerful colours to work with the blue hues. As a result of this collaboration, DHA has worked on many further projects, including the Energy Gallery, Atmosphere Gallery - on climate change and the re-design of Who Am I? (all with Casson Mann), which reflects the latest discoveries in genetics.

In 2012, DHA was asked to design a new external lighting scheme for the museum to complement the new pedestrian streetscape that had been designed for Exhibition Road, to give the building a greater presence on the road and to reveal the newly-cleaned and restored façades; the scheme was designed and installed to be ready on time for London’s hosting of the 2012 Olympics and to reflect London’s status as a city welcoming the world.

DHA has designed many temporary exhibitions over the past 20 years, including the Google-led Weblab (2012, with UDS and MAP) and the blockbuster Cosmonauts (2015, with Real Studios). Its most recent collaboration is the Sam Jacob Studio-designed exhibition, The Sun: Living with our Star, which opened in October 2018.

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PROFILE

Royal Opera House Muscat, Oman / 2011 Following the successful collaboration on the Emirates Palace Hotel in Abu Dhabi, DHA Designs was appointed in 2008 to work with Wimberly, Allison, Tong & Goo (WATG) on all interior, façade and landscape lighting for the Royal Opera House in Muscat.

The Royal Opera House, opened in October 2011, is Oman’s premier venue for musical arts and culture. Located in the centre of Muscat, it was built on the royal orders of Sultan Qaboos of Oman, and reflects unique contemporary Omani architecture. The opera house complex consists of a concert theatre, auditorium, formal landscaped gardens, and a cultural market with retail, luxury restaurants and an art centre for musical, theatrical and operatic productions.

The building was influenced by the grand style of modern Omani palaces, and DHA’s brief was for a luxurious, sympathetic and discreet

lighting solution. The exterior lighting scope encompassed lighting the stunning façades and colonnades, as well as all landscaping lighting, which extended to twenty acres. DHA also took care of the interior frontof-house spaces, including the architectural lighting to the 1,100-seat auditorium.

Visitors experience a majestic entry to the building through an entrance that is backed by tall decorative archways to the main foyer, where the grand staircase is revealed before them. DHA worked closely with WATG to conceal light sources wherever possible, designing small wall niches within the stucco to create elegant details that glow with warm white light.

Externally, the façade lighting includes a soft, close offset wash to the lower façades, using non-adjustable in-ground metal halide fixtures fitted with asymmetric lenses. This ensures a constant lit effect on the vertical plane. Further up the building, the façade steps backwards, presenting opportunities to layer the light, using fixtures concealed behind parapet walls.

The adjacent landscape is beautifully illuminated using a family of fixtures integrated into the landscape architecture, guiding visitors safely through the majestic site.

Architect & Interiors: WATG Landscape Consultant: WATG Landscape Photography: WATG

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PROFILE

Virgin Atlantic Airways Toulouse, France / 2003-2012 DHA Designs began consulting for Virgin Atlantic Airways in 2000. At the time, Virgin were refurbishing the Upper Class (Business Class) cabins on itâ&#x20AC;&#x2122;s fleet of A340-300 and B747 aircraft. Virgin are pioneers when it came to aircraft cabin interiors. Rather than accept off the shelf furnishings and fittings, Virgin will design as much as possible of their cabins, particularly in the Upper Class section.

Over the next fourteen years, DHA had the responsibility for designing the lighting for all new and retrofitted Virgin aircraft. In 2002 Virgin were the first to fly the Airbus A340-600 aircraft. On board was a new Upper Class interior including fully flat beds, called the Upper Class Suite, and a new bar, as well as an inflight beauty treatment area. This was a huge project for all involved and great effort was taken to challenge some of the assumptions of aviation lighting. The technology on aircraft was bigger and less smart than would be found on an architectural project and Airbus were not particularly interested in changing how things were done. At the time, mood lighting was achieved by using a white fluorescent tube next to a gel wrapped fluorescent tube.

Even though RGB technology was available in the architectural market, Airbus preferred technology that was proven and certified for use on aircraft. The control system, for example, was so complicated that changing a few settings in a scene required five hours of coding on board the aircraft at the delivery centre in Toulouse.

Following the successful launch, DHA was asked to do a presentation to Airbus engineers on how the lighting control system could be improved for the future.

In 2009, during the commissioning of the A330-300 aircraft in Toulouse, it was clear that they had listened and the programming had become somewhat easier.

The rollout was a huge success for Virgin, passengers loving the combination of a fully flat bed, mood lighting as well as other touches more commonly associated with hotels or restaurants. By now other airlines had started to pay attention to the benefits of mood lighting and Airbus and Boeing began to see the commercial benefits of providing airlines with a more flexible approach. In subsequent projects the fluorescent lamps were replaced with LEDs and by the launch of the Boeing 787 Dreamliner in 2011, full LED integration and RGB mood lighting had been achieved. For Virgin Atlanticâ&#x20AC;&#x2122;s 787 aircraft, the mood lighting extended all the way through the aircraft, not just the business class section: a tribute to the importance of lighting to Virgin.

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Design Boeing B747 & Airbus A340-300: Virgin Atlantic, Softroom & Pearson Lloyd Design Airbus A330-300: Virgin Atlantic Design Boeing 787: Virgin Atlantic & Viewport Studios Photography: Virgin Atlantic Airways

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PROFILE

Queen’s Diamond Jubilee Galleries, Westminster Abbey London, UK / 2018

Architect: Muma M&E Consultant: Max Fordham Photography: Alan Williams, courtesy of Westminster Abbey

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The Queen’s Diamond Jubilee Galleries is a new museum inside Westminster Abbey, located in the medieval triforium, a gallery running 50ft above the Abbey floor. Hidden to the public for over 700 years, the opening of the Galleries in June 2018 marked an exciting moment in the Abbey’s history.

The Galleries give visitors magnificent views to the Palace of Westminster and into the Abbey church. They tell the history of Westminster Abbey through 300 treasures from the Abbey’s collection, reflecting its rich and varied thousand-year history.

DHA Designs was responsible for the lighting design for all gallery spaces in the triforium. The design is based on a family of high level track mounted spotlights, using five types of optics, manufactured

by Mike Stoane Lighting. All fixtures use Xicato Artist XID 3000K LED modules and are controlled via Bluetooth using Xicato’s GalaXi lighting control. This allowed the electrical installation to be greatly simplified, compared to more conventional lighting control solutions.

In addition to the track lighting, some displays also have integrated case lighting; either using LED or fibre optic lighting, including two areas of beautifully lit stained glass displays. These were also controlled on the GalaXi system to make programming and operation easier.

A total of 23 ceiling mounted PIR and daylight sensors are located across the galleries, which recall lighting scenes at the beginning and end of the day. Daylight sensors automatically adjust the lighting levels during peak daylight hours, allowing DHA to preserve the limited lux-hour budget in the galleries. Xicato’s Intelligent Network Gateways connect the devices together, and provide remote access across a secure network.

A small wireless touchscreen device provides the client with manual scene control, sending scene commands across the Gateways, whenever the gallery is used for special functions or out of public hours.

PROJECT DETAILS The Lava Tunnel, Reykjavik, Iceland Client: Raufarhรณll ehf Lighting Design: EFLA, Iceland Photography: Petur Thor Ragnarsson

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PROJECT

Tunnel Vision Nordic lighting designers at EFLA have showcased the beauty of nature, highlighting the amazing colours of the Lava Tunnel in Iceland.

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L nature.

ocated 30 minutes from Reykjavik,

“We had a conversation about the project and how

Tunnel - a newly opened attraction

well-planned lighting scheme to perfect the guest

Iceland, is the Raufarhólshellir Lava showcasing the power, and beauty, of

Formed as the result of massive eruptions 5,000 years ago, the Lava Tunnel is one of the longest

such phenomena in Iceland at 1360 metres long,

and features a majestic yet intricate interior collage of colours and textures.

Near to the entrance of the tunnel the ceiling has

caved in, creating three beautiful columns of light.

At the far end, it branches into three smaller tunnels where magnificent lava falls and formations are clearly visible.

These geological wonders have now been revealed in all their splendour thanks to a creative lighting Previous Page The main aim for the lighting in the Lava Tunnel was to develop a strong interaction between contrasts, intensifying the natural colours and emphasising the geological highlights of the tunnel.

Above Lighting had to be carefully positioned at the three openings in the ceiling to avoid any light pollution to the surrounding area, as it is one of the best locations for seeing the Northern Lights.

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installation from Nordic firm EFLA.

Agust Gunnlaugsson, Senior Lighting Designer at EFLA and the man behind the scheme, explained

how the company joined the project: “The owners of the tunnel had visited the Langjökull Ice Cave,

an earlier project of ours, and really liked what we had done there.

important it would be for the project to have a experience, with lights, cables and other equipment as invisible as possible.”

From the offset, the aim of the lighting design for

the Lava Tunnel was to develop a strong interaction between contrasts, light and shadow, to intensify the natural colours and emphasise the geological highlights of the tunnel. To complement this

aesthetic, it was important that all lighting was

unobtrusive, fitted and concealed, with minimal impact on the environment and the biology and ecosystem of the tunnel.

“Our mission was to ensure that the lighting was as harmonious and integrated with the

environment as possible, with the overall goal of producing a unique, adventurous visitor experience,” Gunnlaugsson added.

The lighting concept also helps build some subtle drama and anticipation for visitors as they pass

through the entrance and walk 400 metres into the tunnel. At this point, the tunnel is plunged into

total darkness and complete silence, apart from

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the odd water droplet. After a minute, the guide

- with the help of an installation team of

programmed lighting sequence, where each

sight.

uses a hand-held remote to activate a pre-

element of the rock and lava is illuminated and highlighted individually, as the guide explains their related geology and history.

Alongside the lighting scheme, EFLA installed an elevated walkway, allowing for guided tours to safely take visitors deeper into the tunnel,

showcasing its copious interiors and exquisite

magical atmosphere. As with the lighting, this also had to blend into the surroundings, as

Gunnlaugsson explained: “The rustic steel ramps, staircases and pathways were also designed by EFLA. They fit exceptionally well into the environment and become a part of the

environment, rather than an uninvited guest there.”

EFLA used 100 Anolis ArcSource Outdoor fixtures with various lenses throughout the tunnel,

scattered all over the bed of the cave, secreted

behind rock sills and tucked into crevices, arranged

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professional climbers - to be completely out of Installing these fixtures, and making sure that they remained hidden, was just one of the

challenges that came with working within such an unusual and testing environment.

“It took a lot of testing on site to find the right

spots, out of sight for visitors, with the right lenses and the right colours, finding ways to hide the cables and distribution boxes, and so on,” Gunnlaugsson continued.

“In the beginning it was very difficult to travel

through the cave. It was very slippery, with a great

altitude difference - big rocks that we had to climb over with heavy and expensive equipment.

“It was not so much fun when you got into the cave bottom and found out that something had been

forgotten outside! But it got easier once the stairs and paths had been finished later on in the project.”

Most of the real location work for the fixtures,

finding the right spot and testing each fixture had

lasting impression, and it was essential for EFLA to

of scenario that could be easily or practically

natural colours, without oversaturating them or

to take place on site, as the tunnel is not the kind visualised. For every location, a light source with suitable lumen output and beam angles was

positioned, aimed, focused and colour-adjusted to

capture the intricacies, native colours and surfaces of the lava rocks.

The pathway lighting was designed to fit the environment. Low bollards of steel were

constructed so that the material rusts in line with

the bridges and platforms in the tunnel, with a high focus on lighting the paths without stealing any

attention from the attractions and preventing glare.

This process of testing everything on site meant

that the project evolved organically, in every sense of the word. Gunnlaugsson also believes that this was a big part of the project’s charisma and specialness.

Another aspect that adds to the special wonder is

the magnificent natural colour palette. The array of red, pink and orange tones in the rock creates a

provide the right lighting to highlight these making them feel artificial.

“Getting the precise colours - via DMX control

- was vital to setting the aesthetics of the Lava

Tunnel,” Gunnlaugsson said. “As was creating the

required contrasts of light and shadow to intensify the natural colours and accent the dynamic geological DNA of the space.

“We took tests beside one of the three openings in the roof of the cave, where the daylight came in, and ‘copied’ the colours in order to get the most accurate colours.”

Lighting in these three openings also proved to be

a challenge for Gunnlaugsson and his team. As the

Previous Page The openings in the tunnel mean that rain and snow pour into the tunnel during the winter months, creating a fantasy, Winter Wonderland-esque space.

Far Left Alongside the lighting design, EFLA also installed raised walkways, allowing for safe passage through the tunnels and opening up the space for guided tours.

Top Left Having previously completed work on an ice tunnel, EFLA were prepared for the freezing temperatures and harsh conditions in the Lava Tunnel.

Top Right EFLA used 100 Anolis ArcSource fittings to highlight the beautiful natural colours of the stone within the tunnel, while Pharos’ DMX controls were integral in getting the precise colours..

Above An essential part of the brief was for all light sources to remain unobtrusive, fitted and concealed, with minimal impact on the environment and the biology and ecosystem of the tunnel. Custom-made light poles from Osram helped ensure that the footprint from each light source was minimal.

surrounding area is one of the best locations to see the Northern Lights, it was important to cut the light around the openings to prevent light

pollution from the cave while at the same time

lighting up the highlights around the openings without causing any glare to the guests. As

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PROJECT

installation took place over the summer, it wasn’t

hiding cables, lamps and other equipment as

around the openings, because of the long days,

floors.

autumn.

dissimilar in terms of technical solutions, the

could have caused some complications when it

white.”

entrance to the middle section of the pathway, the

for visitors, but the lack of any real structure to

openings in the ceiling allow for rain and snow to

health and safety concerns, to the point that in

this part of the tunnel can be treacherous, as ice

The new lighting scheme, along with the raised

Deeper inside the tunnel, the temperature remains

visitors to see the natural wonders inside safely.

Celsius. Humidity also remains constantly high for

scheme has been received: “I’m really happy with

the stone and dripping from the ceiling. Luckily,

experience is just as we wanted.

Ice Cave (a previous darc awards / architectural

owners and visitors about the overall experience,

possible for EFLA to focus and adjust the lights

almost all lights are placed inside the walls and

therefore these parts had to be adjusted in the

“Although these two are in many ways not so

Further to this, the near freezing temperatures

differences between them are totally black and

came to installing lighting in the tunnel. From the

Prior to EFLA’s work, the tunnel was a popular site

temperature mimics that of the outside, while the

explore inside meant that there were a number of

enter. When the temperature drops below freezing,

2016 the tunnel had to be closed.

covers the stone pathway.

walkways, has reinvigorated the site, allowing

static most of the year at around five degrees

Gunnlaugsson is pleased with how well the new

most of the year, with rainwater seeping through

the solution, and the final impression and

EFLA’s prior experience working on the Langjökull

“There has been strong feedback, both from the

winner) meant that they were used to working in

and the lighting. It’s been especially nice to get

However, while working on the Ice Cave gave EFLA

the tunnel with just headlights before. Now they

differences between the two projects were still

powerful, more dramatic.”

as Gunnlaugsson explained: “It’s different for so

much better? The lighting, of course.

“Most of my projects are done at least 80-percent

key parts of how well it has gone,” Gunnlaugsson

the spot. If we think about projects in nature then

dramatic, spacious feeling, with better colours, and

pretty clear ice that gives light through and differs

www.efla-engineers.com

such conditions.

good reviews from people who had often been in

experience of working in extreme conditions, the

describe the experience as being much more

enough for this to feel like a wholly new challenge,

And what is it that makes the experience that

many reasons.

“I would say that the lights are definitely one of the

in the office, this one was at least 80-percent on

enthused. “The lighting helps to build up a more

we can mention the Ice Cave: there you have a in colours, and there’s a different solution for

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overall a much more powerful experience.”

Above EFLA included a special preprogrammed lighting sequence 400 metres into the tunnel. Here, visitors experience total darkness and complete silence, save for the odd water droplet, before the lighting illuminates each element of the rock and lava individually, as the guide explains their geology and history.

lighting specified Anolis ArcSource Outdoor 24 MC Anolis ArcSource Outdoor 48 MC Osram custom-made lightpoles Pharos DMX Control System

A Royal Jewel Michael Grubb Studio re-lit the Black Prince Road underpass in Lambeth, London, in a design fit for royalty.

PROJECT DETAILS Black Prince Road, London, UK Client: London Borough Of Lambeth Lighting Design: Michael Grubb Studio Photography: Mike Massaro

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Previous Page A clear view of the arched ceiling of the bridge and underpass of Black Prince Road in Lambeth, London. Michael Grubb Studio worked meticulously to replace the previous fluorescent lighting with up-to-date LED modules.

Left A close up of the LED Linear fixtures used to create the bold, ruby red colouring throughout the tunnel. Historic artworks are subtly illuminated

by Schréder Handrail modules beneath the red luminaires above.

Next Page Using an even distribution of the LED fixtures, the designers at Michael Grubb Studio have managed to achieve a consistent colour wash across the curved brick roof of the tunnel covering the Black Prince Road.

“For engineers, the bridge presented many difficult challenges. Its tunnel walls were old, uneven and in a state of disrepair.”

Stuart Alexander, Michael Grubb Studio

I

n March 2016, the Lambeth London Borough Council decided to regenerate Black Prince Road, an historic landmark in the area.

Located in central London, Lambeth is an area that

houses up to 30,000 people as well as being home to the

International Maritime Organisation. The street name’s origin is derived from Edward of Woodstock, known as Edward, the Black

Prince, who lived in Lambeth during the fourteenth century. As the

eldest son of Edward III, his presence in the area resulted in much of the freehold land in Lambeth to remain under Royal ownership to this day.

Michael Grubb Studio was selected to help rejuvenate this area, and worked on replacing the lighting for the bridge that overlooks the

road. Using inspiration from the Black Prince’s ruby, which is one of

the oldest parts of the Crown Jewels of the United Kingdom, the team decided to illuminate the road and underpass in a rich red colour. The Black Prince’s ruby belonged to the Prince during the 1300s and has remained in the Royal Family ever since.

After designing a unique concept around this historically influenced area, Michael Grubb Studio brought in Schréder UK to support the

project’s installation. The team experimented with various materials and light source samples to finalise the desired effect. The final

outcome resulted in the installation of 52-metre custom made red LED strip fixtures by LED Linear.

Stuart Alexander, Associate at Michael Grubb Studio, explained some of the challenges the team faced: “A challenge for the project was to

appreciate the historical significance of the structures as well as gain the approval from a host of interested stakeholder groups.

“For engineers, the bridge presented many difficult challenges. Its tunnel walls were old, uneven and in a state of disrepair. The LED

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“It was a simple idea very well executed with a stripped down, simple bespoke luminaire. The lighting is key; you really don’t (and shouldn’t) notice the housing apart from during the day, and that’s exactly how it worked out.”

Stuart Alexander, Michael Grubb Studio

strip mounted onto the walls had to be level and

impact within the space. Equally, making sure

levelling mounting channel was used by the

glare made the use of handrail luminaires the

finished result.

“We recognised no one had used handrail LED

that were designed to fit together as a jigsaw,

it was the perfect solution and something we are

place on the tunnel walls. As a result, the process

Handrail luminaires have a huge range of

designers, manufacturers and engineers to create

factor that can be easily built into many different

original vision for the project,” Alexander added.

an added bonus is they’re built to be used as part

team had to be careful to ensure the fixtures were

with no problems!”

fluorescent luminaires. Using a standardised size

transformed this functional street space in

potential future issues could be easily resolved.

firm’s profile.

Linear strip lights reflected off a hammered

much and reach the top of the space; the

with vinyl custom graphics applied. 27 Schréder

used a street light reflector within the housing of

the strip to provide the desired lighting levels

but no one anticipated the effect would work as

small size and photometric performance.

Alexander on the final look of the project.

lighting considerations the scheme had to

stripped down, simple bespoke luminaire. The

was lit to the correct standards, as well as

notice the housing apart from during the day, and

contributed to the red light giving the maximum

www.michaelgrubbstudio.com

true to achieve the desired effect. Therefore, a

the pedestrian experience didn’t have any high

specialist installation crew to ensure a fantastic

perfect solution.

“The strip was divided into two-metre modules

luminaires for street lighting before but we found

with each having custom graphics and a specific

looking to use elsewhere in future projects.

required communication between suppliers,

controlled optics, they come in a very small form

the stunning end result and do justice to the

bespoke shapes and only have 24V in them - and

Due to the delicate nature of the structure, the

of a handrail, so you can take a baseball bat to it

mounted using the same method as the previous

The overall simple, but powerful effect,

and making them vandal proof meant any

London and it’s become an iconic project on the

The core installation of 52-metre custom red LED

“We didn’t realise the red would really ‘ping’ so

aluminium panel onto a polycarbonate protector

resulting impact was far better than expected! We

LED handrail modules were built into the base of

the red LED to give a crystal effect on the acrylic

needed on the road, and were chosen for their

well as it did. It really came to life!” reflected

Alexander described the key architectural

“It was a simple idea very well executed with a

maintain throughout: “To make sure the highway

lighting is key; you really don’t (and shouldn’t)

ensuring no excess light flooded upwards,

that’s exactly how it worked out.”

Left Pedestrians are able to appreciate the full impact the lighting has throughout the tunnel as both a piece of light art as well as creating a safe environment to pass through during the darker hours. The luminaires are encased in discreet housing so as not to be seen by passersby.

Above The overall impact of the red lighting of the tunnel celebrates the area’s historical royal importance, whilst also providing a modern light art piece that is both aesthetically pleasing and also functional for pedestrians and drivers.

lighting specified LED Linear Custom made red LED linear light Schréder LED Handrail Module

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PROJECT DETAILS Agemar Headquarters Athens, Greece Client: Agemar Headquarters Lighting Design: Eleftheria Deko Lighting Design, Greece Photography: Nikos Daniilidis

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Sea of Reflections The Agemar Headquarters in Greece has anchored its new head office in the magnificent ship-like structure for the Anangel Maritime Group of Companies, created by Sparch Architects and strikingly illuminated

by Eleftheria Deko Lighting Design.

L

ocated in Athens, Greece, the

Deko explained that the brief handed over to

impressive stamp on the landscape

they were targeting the scheme to be applicable

Agemar Headquarters building is an of traditional Greek suburbia.

The 30,000sqm ship-like structure is the new home for the Anangel Maritime Group and is nearly all rounded in shape, with only a

few squared areas. Eleftheria Deko Lighting Design was suggested to the client by the project’s architect Rena Sakellaridou.

Eleftheria Deko, Owner and Principal Designer at Eleftheria Deko Lighting Design, recalled

their application process: “We sent over our

portfolio to the client and the project managers

and had a long interview where we discussed our

philosophy, working procedure and the approach we were going to take with lighting the building.

“Shortly after, we were told that we had been

chosen above other applicants, and thus began our collaboration.”

them from the client was not specific, but that for the Platinum LEED award specifications.

“We had several meetings with the architect

before presenting our lighting ideas, in order to

fully understand the building and get a feel for its personality and desired ambience. We were on

the same track aesthetically with the architect, which created the base for a very smooth and creative collaboration,” Deko explained.

“After the presentation of the preliminary

lighting design to the client and the project

and construction managers, we gained their

trust and everyone was happy with the lighting direction. This offered us a very open field to

design the lighting schemes on this project for the interior, exterior, façade and landscape.”

Taking a little more than four years to

complete, the team worked closely with

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PROJECT

Previous Page Unlit water pools at the base of the structure provide the perfect area of reflection that emphasises the concept of the structure looking like an illuminated ship.

This page Inground Linea Light spotlights subtly light the base of the landscaped trees surrounding the building, adding the finishing touches to the dramatic overall effect.

Next Page The scale of this dramatic building is shown off with great impact through the use of carefully placed linear light fixtures lining the natural curved lines of the structure.

“After the presentation of the preliminary lighting design to the client and the project and construction managers, we gained their trust and everyone was happy with the lighting direction.

This offered us a very open field to design the lighting schemes...”

Eleftheria Deko, Eleftheria Deko Lighting Design

numerous people to bring the concept to realisation, including Sparch Architects, in particular Rena Sakellaridou; Dimand Project and Construction managers; Dimos Kapetanelis, a

lighting automation expert; Jepa Electrical Engineers; and Mc Bains and Green Living, LEED Consultants and trainers.

As is with many unique architectural projects, this one was no

different, and brought multiple challenges for the team to overcome.

The foundations of the design were based around the idea that

the building will look like a luminous ship, not only because of its shape, but because Agemar is a shipping company. With a clear

idea and concept to work towards, the team had to figure out which lighting fixtures would be suitable for a uniformed, continuous and

diffused look with matching colour temperatures that would suit the white marble of the façade. The peculiarity of the structure of the

building proved complicated for the locations of the fixtures. Each size and width of the different surfaces of the façade needed to be

lit differently as each floor varied. The team decided on finding one

fixture for each application, otherwise a narrow beam fixture for the narrow surfaces and a wide fixture for the wide surfaces would have created a dissimilarity in the intensity of light. Furthermore, the

costs of multiple different fixtures would have been unaffordable.

“The final decision was to separate the luminaires in groups based on their location and to use DMX to control the intensity of each group,” explained Deko. “We also decided to use different diffused media to achieve the varied beam angles needed.”

In addition to these architectural considerations, the luminaires

also had to be custom made, linear, LED, IP high rated and low on consumption due to the LEED award restrictions. After testing

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Luxembourg Pavilion Venice Architecture Biennale 2018 Curators: Master in Architecture - University of Luxembourg, Florian Hertweck / LUCA Luxembourg Center for Architecture, Andrea Rumpf Co-curator: Philippe Natan Visual identity: Thomas Mayfried & Swantje Grundler Commissioner: Ministry of Cultural Heritage Ph. StudioPointer

linealight.com

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PROJECT

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PROJECT

“As in music, the silent parts are as important as the melody, similarly we believe that the choice to keep something unlit is as important (sometimes more so) than lighting it.”

Eleftheria Deko, Eleftheria Deko Lighting Design

Far Left A clear view of the structure standing out amongst the suburban area of Athens, Greece.

This Page Above An underside view of the impressive building, giving a clear insight into the carefully selected locations for the linear light fixtures that are grouped together to ensure an even distribution of light.

This Page Below Architectural elements are illuminated and emphasised with the particular locations of the lighting fixtures.

multiple different brands, the team opted

in comparison to its surroundings, however

these specific luminaires for the project.

Deko regarded, “it stands out with grace”.

that were supported in a way that allowed for

three fixed scenarios, one for full intensity,

the uniformity of the façade lighting arose

to tailor for different lighting occasions.

to place the luminaires on. Additional bases

lighting, which crossfades smoothly and

fixtures to the same levels as the others.

100 percent, giving the impression that the

from creating the overall desired look, was

The building’s reflection on the unlit water

Deko explained the luminaires chosen for the

layers to the structure, along with the unique

for the façade was a custom-made linear light,

making it an iconic stamp on the landscape.

and 3000K. Linea Light derived it from the Paseo

compensating with lighting on such a structure:

units that were connected in groups of ten.

as the melody, similarly we believe that the

1,213 BoxLED ECO M Plus G3 modules by

(sometimes more so) than lighting it.”

and 3.1W per module, IP66 and 3000K.

and daylight sensors all helped to reduce the

and two bollards by Simes. For the planted

space and the external lighting fixtures were all

heights of Traddel’s Twig bollards and pole,

at the end of the project’s construction, it was

inground Linea Light spots lights of narrow and

award the team had worked so hard to achieve.

to go with the Linea Light Group to create

it does not disturb its neighbourhood. As

The luminaires were set in-ground in slots

Integrated into the lighting scheme are

rainwater to run off. Issues with maintaining

another at 50 percent and a third at 30 percent

in areas where there was no window support

There is also an extra option for dynamic

were created specifically to elevate the

slowly upwards and downwards between 30-

One of the main priorities for the fixtures, aside

building is breathing and moving like a ship.

to conform to the LEED award specifications.

features adds further aesthetically pleasing

individual needs: “The main fixture we used

light lines that follow the architectural lines,

15cm long, 24V (constant voltage), 2.3W, IP65

Deko reflected on the importance of not over-

family of linear light modules. We used 1,730

“As in music, the silent parts are as important

“To wall wash the claustra, we used

choice to keep something unlit is as important

Osram (in chains of 32 per ten metres)

The combination of LED lighting, motion sensors

“At the entrance we used four smooth poles

energy consumption for the indoor working

areas of the landscape, we used three different

carefully selected for their attributes. As a result,

whilst selectively up-lighting the trees with

deservedly presented with the LEED Platinum

wide angles, depending on the type of tree.”

www.edeko.gr

Aesthetically, the ship-like building is bright

lighting specified Ares Kirk 70 Eral High & Top Protection i-LED Cu-Flex i-LED Fasim i-LED Guardian i-LED Iris 67 i-LED Orma_R i-LED Paseo i-LED Paseo_M i-LED Pixar i-LED Reika i-LED Rubber Strip i-LED Silicone_C Basic i-LED Quara Inox Klus PDS 4-ALU Kundalini Spillo Lights On Custom garden luminaire Linea Light Custom linear LEDs Linea Light Inground spotlights Osram BoxLED Eco M Osram Plus G3 Simes Smooth Poles Simes Twig Bollards Traddel Twig Traddel Spillo

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091

Pathway to the Sea Mushroom Lighting provided the lighting design for the Coralarium, a beautiful, unique tidal gallery in the Maldives created by artist Jason DeCaires Taylor.

T

he Coralarium is a semi-

point of the artistic intervention.

algae and weathers within the environment.

by artist Jason DeCaires

submerged staircase, which leads up towards

above water and leads into a dry elevated

submerged tidal gallery created Taylor, that interlinks the

skyline, inter-tidal waterline and seabed.

Situated in the centre of the largest

developed coral lagoon in the Maldives,

on the island resort of Fairmont Maldives Sirru Fen Fushi, the work aims to create a direct pathway to the ocean.

A long swimming pool transects the

island and denotes the starting point.

The installation begins by following this line into the clear shallow waters of the

sea where an underwater coral pavement begins. Sea-scaped with underwater

poplar trees and endemic planted corals,

it heads 100-metres through the shallows

towards the underwater realm, a symbolic

pathway to another world and the starting

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After a 50-metre swim, visitors encounter a a semi-submerged tidal building. The

building is cube shaped, six metres tall, with its front façade submerged up to median

tide of three metres. The design of the walls is based on natural coral structures, and is

porous to allow the tides, current and marine life to pass through it and the structure to

â&#x20AC;&#x2DC;breatheâ&#x20AC;&#x2122; within its location. The complex

structural formation is designed to dissipate oceanic forces while creating a protective

space that encourages nature to colonise and seek refuge. The construction, using high

grade, polished, marine stainless steel aims

to reflect and mirror the surrounding blues of the coral atoll and the sky above. A mirage on the horizon, that over time will take on the

patina of the sea as it becomes colonised by

The entrance of the building is situated

viewing platform. The roof is perforated with a coral pattern to allow beams of

light to illuminate the individual works and a series of submerged lights to

illuminate the space during the night. The Coralarium becomes a portal or interface to the wonders of the underwater world.

Mushroom Lighting was approached

in December 2017 by the installation

electrical company Welford Lamplighters, on behalf of DeCaires Taylor, to design a lighting scheme for The Coralarium.

The budget was very tight and required the lighting of submerged and semi

submerged sculptures within the stainless steel structure. The lighting was designed

to not only light the sculptures but also to

PROJECT

light the enclosure so that it was visible

various elements of the structure.

behind it, and also light the water so

twelve minutes, and then settles into a

from the shore at night, as the sun set that night diving would be possible.

Mushroom Lighting chose 24 of the new

Gantom Storm DMX RGBW 4.8 watt IP67 floods for above the water and eight

Teclumen Mini Sub Color TKX RGBW 15

watt IP68 Spots with 120-degree beam for beneath the waves. The Gantoms were

supplied in a custom aluminium finish to blend in with the stainless steel, and the

Teclumens were finished in stainless steel.

A total of eight programmes were

installed into a Chromateq controller, with a light show on the hour. This

includes various themes, such as fire and ice, when the waves take on the

appearance of flames, and the structure turns ice blue, as well as highlighting

The program runs over approximately

static scene, with the whole cycle repeating every hour. A time switch built into the

control system keeps the cycle repeating.

Numerous challenges were overcome that are not the norm, such as monsoon rain and the entire working area frequently

being underwater. The underwater element has provided an amazing environment

for fish, and the scuba divers are taken on a journey through the Coralarium,

experiencing night diving at its finest. www.mushroomlighting.com

www.underwatersculpture.com

PROJECT DETAILS Coralarium, Sirru Fen Fushi, Maldives Lighting Design: Mushroom Lighting, UK Artist: Jason DeCaires Taylor, UK Main Lighting Suppliers: MLT Gantom, Teclumen, Chromateq

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Abstract Ambience Ambience’s new office, studio and warehouse presents a colourful approach to office space lighting.

A

mbience’s new workspace is located in Melbourne,

system was put in place to help control the daylight and heat levels,

and artistic office lighting installations.

Stephen Justice, of Ambience, reflected on the team’s journey

Australia, and is home to its experimental

The old chemical supplier factory and office

was purchased by Ambience and transformed into their artistic, labyrinth-like playground space.

“Our brief to our interior designers and architects, Studio

Y, was to create a workplace where people wanted to work.

This had two meanings; one where it created a harmonious and productive workplace, but most importantly an

environment where people wanted to come every day,”

explained David Justice, Managing Director at Ambience.

Taking a mere seven months from conception to completion, this project was very important for the Ambience team,

as it was essential its own workspace reflected the lighthearted branding and creative tone of the firm.

Designed to give varied stimulation at different times of the day, making use of the bright Australian sunshine to the

rainbow prism effects and colour gradients, with bolder colours and contrasting shadows, depending on the time of day.

The design process encompassed a varied amount of restrictions

and challenges the team had to overcome. As with many projects, budget was of course an influencing factor when it came to

renovating the older building. A customised perforated ceiling

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which in turn created a smooth, calming and futuristic effect.

through production: “We ended up changing some of the creative

execution throughout the process, as it became quite experimental.

As the space evolved, our lighting approach evolved with it. For

example, we created some beautiful custom perforated linear table features, but when we went to install them, we thought they were

cluttering the space so we made the tough decision to remove them.

“We added linear LED profiles after we added the dichroic

film onto the glass to create a laser effect. The dichroic film on the glass itself is a lighting element where by depending

on the time of day and amount of natural daylight that filters into the space, reflects and bounces colour and shadow contrasts throughout the office, walls and ceilings.”

All of the downlights were custom painted to live harmoniously in their allocated colour zone and linear LED extrusions were

painstakingly assessed to be placed for the greatest effect and interaction with the dichroic and seating arrangements.

David explained how this project differed to others Ambience had previously worked on: “The creativity of the lighting execution

was paramount. With other projects, lighting is usually, at best, a secondary consideration. However, with us being the lighting designers, the entire project was centred around light.

PROJECT

“The pressure was on being able to execute

create the finished effect, including 3500K

overall task lighting with consistency. The

downlights by Neko, custom perforated

a lighting design concept that provided an

concept was tried many times in the past, which resulted in a lack of overall consistency.

“The consistency of light across the entire

perforated ceiling added another layer and dimension to the office space; one that is

prominent in the aesthetics overall, yet a

subtle and calming environment can be felt

when working under the light itself. It gives

varied visual stimulation at different times of the day, from mesmerising natural sunlight

to mind-bending prism effects and arresting

backlit colour gradients, with colours becoming denser and shadows more dynamic.”

Working simultaneously to the dichroic film

installation is a striking large lighting feature; a custom-designed backlit double layered

acoustic panel in the ceiling. It was created to

provide mood-calming and gentle lighting for

staff in the main office area without cluttering the ceiling with suspended fixtures.

The team used an array of fixtures to

LED panels by EMAC, sense adjustable

mesh pendant by Jan Flook Lighting and Symphony ‘Solo’ recessed LED profile.

A number of accent fixtures were added

meticulously for greatest impact and interaction with the dichroic film and seating arrangements in the space. Fixtures used for this specific

area included Symphony ‘Piccolo’ micro LED profile, Symphony ‘Rhapsody’ LED neon

profile and the Mini Roll LED Track Light.

The finished product of Ambience’s new

office is a modern and timeless space that

has staff and visitors alike pausing to take in the colourful Australian sunshine and creative installations in the workplace.

“When the staff entered the space for the first time, they were gobsmacked by the beauty and mood of the space,” claimed David. www.ambiencelighting.com.au

PROJECT DETAILS Ambience, Bundoora, Australia Lighting Design: Ambience, Australia Architect: Studio Y, Australia Interior Design: Studio Y, Australia Main Lighting Suppliers: Ambience, Jan Flook Lighting, Neko, Symphony

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095

2018

darc awards / architectural

6 D EC EM B ER 2 0 1 8 / L O N D O N

Welcome...

The 2018 darc awards came to an end on 6th December with darc night, a spectacular Christmas party event in the wonderful surroundings of MC Motors in London. Christmas tree light installations, street food, a free bar and a unique presentation format all contributed to a hugely enjoyable and creative evening. darc night marked the conclusion of a record-breaking six month process.

There were over 400 entries (up from 300 last year) including 100 entries in the PLACES (Best Interior Lighting) - High Budget category and over 100 entries in the Product categories. Altogether there were projects from 50 countries submitted and, remarkably, over 7,000 votes (up from 6,000 last year) making the darc awards a truly global, democratic awards programme.

As announced during darc night, we also have some exciting news regarding darc room, our lighting specification exhibition that takes place during London Design Festival. 2019 will see the event partner with London Design Fair in the Old Truman Brewery in Shoreditch. Taking place on 19-22 September, darc room will have its very own hall where we will continue our unique exhibiting concept as well as having educational workshops and live streaming. Weâ&#x20AC;&#x2122;re all very excited about this new development as being part of London Design Fair will enable us to expose lighting design to even more design professionals from outside the lighting fraternity. Something that we always strive to do with our events and media.

A massive congratulations to all our winners but in particular to DHA Designs for their Hintze Hall project at the Natural History Museum in London. Even though this project was in the most highly contested category (PLACES - High Budget), it still received the most votes out of any of the winning projects. A remarkable achievement for a remarkable project.

We look forward to your participation in next yearâ&#x20AC;&#x2122;s darc awards.

Paul James Director, darc awards / darc room

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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

STRUCTURES:

www.darcawards.com/architectural

Best Exterior Lighting Scheme Low Budget

WINNER

Coralarium, Maldives

Mushroom Lighting was approached in December 2017 by the installation electrical company Welford Lamplighters, on behalf of the installation artist Jason DeCaires Taylor, to design a lighting scheme for his latest project, the Coralarium at Fairmont Maldives, Sirru Fen Fushi.

The budget was very tight and required the lighting of submerged and semi submerged sculptures within a stainless steel structure.

The lighting was designed to not only light the sculptures but also to light the enclosure so that it was visible from the shore at night, as the sun set behind it, and also light the water so that night diving would be possible.

Mushroom Lighting chose 24 of the new Gantom Storm DMX RGBW 4.8 watt IP67 floods for above the water and eight TecLumen Mini Sub Color TKX RGBW 15 watt IP68 Spots with 120-degree beam for beneath the waves. The Gantoms were supplied in a custom aluminium

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finish to blend in with the stainless steel, and the TecLumens were finished in Stainless Steel.

A total of eight programmes are installed into a Chromateq controller, with a “Lightshow” on the hour. This includes various themes, such as fire and ice, when the waves take on the appearance of flames, and the structure turns ice blue, as well as highlighting various elements of the structure.

The program runs over approximately twelve minutes, and then settles into a static scene, the whole cycle repeating every hour. A time switch built into the control system keeps the cycle repeating.

Numerous challenges were overcome that are not the norm, such as monsoon rain and the entire working area frequently underwater. The underwater element has provided an amazing environment for fish, and the scuba divers are taken on a journey through the Coralarium, experiencing night diving at its finest.

SECOND PLACE: KEB Hana Bank Place 1, South Korea

by EONSLD, South Korea THIRD PLACE: The Cape, Germany

by OC|Lichtplanung, Germany

Project: Coralarium Location: Sirru Fen Fushi, Maldives Lighting Design: Mushroom Lighting, UK Client: Jason DeCaires Taylor Artist: Jason DeCaires Taylor, UK Main Lighting Suppliers: MLT Gantom, Teclumen, Chromateq

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M

Y

CM

MY

CY

CMY

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STRUCTURES:

www.darcawards.com/architectural

Best Exterior Lighting Scheme High Budget

WINNER

Agemar Headquarters, Greece

For Eleftheria Deko Lighting Design, the process of designing the lighting of the Agemar Headquarters in Athens was an impressive journey.

Taking into consideration its size and shape, all rounded with only a few squared areas, the challenge for the lighting was great.

In the front and by the public road, there are two major water features that were left unlit so that they act as mirrors to reflect the building, recalling the reflection of a ship in water. The landscape lighting is discreet and minimal, so the eye-catching subject remains the building.

The light fixtures are unseen from the street/ ground level. From the neighbouring buildings and from a higher view, the look at night reminds that of a lit ship.

The building is awarded with LEED Platinum certification. Façade lighting had to comply with the requirements for LEED, but at the same time had to be impressive as well as discrete.

For this project, lighting designers used custommade LED fixtures by Linea Light. The uplight fixtures were recessed in the marble apron on the floors, with an innovative construction detail in order to drain water, light only the exact area

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of the above ceiling and avoid light pollution.

This task was demanding because each floor is different from the other, and the surface that had to be lit is differentiated from floor to floor and from side to side.

Another issue that had to be considered was the glare factor for the employees working inside. This which was resolved by positioning the fixtures at such a distance from the window, that only when the employees were very close, could they see the light.

As Eleftheria Deko Lighting Design used LED technology, the power consumption remained very low, which gave an extra LEED point.

Another aspect that was introduced in this project was that of dynamic lighting. Although there are five scenes programmed for different events or occasions, there is one that is called “dynamic scene”, which is a sequence of cross fading, in a very slow pace, the lighting of the façade, from the ground floor to the sixth and vice versa. This is so slow that it is almost unnoticeable, and gives a sense that the building breathes in and out.

SECOND PLACE: Sound Tube, Australia

by Electrolight, Australia THIRD PLACE: Antwerp Cathedral, Belgium

by Susanna Antico Lighting Design Studio, Italy

Project: Agemar Headquarters Location: Athens, Greece Lighting Design: Eleftheria Deko Lighting Design, Greece Client: Anangel Maritime Group of Companies Interior Design: Sparch Architects, Greece Architect: Sparch Architects, Greece Main Lighting Suppliers: Linea Light Group

PLACES:

www.darcawards.com/architectural

Best Interior Lighting Scheme Low Budget

WINNER

Ambience, Australia

The workspace for Ambience was a playful yet carefully considered use of natural light, shadow and colour mixed with artificial light.

The concept weaved Ambience’s light-hearted branding and tone throughout and was based on creating ‘a workspace where people want to work’.

The creative execution was centred around optical prisms, which can break light into its constituent spectral colours. This phenomenon was creatively executed through the use of lighting, colour and angular lines that visually connect walls, floors and ceilings.

It is designed to give varied visual stimulation at different times of the day, from mesmerising natural sunlight, to mind-bending prism effects and arresting backlit colour gradients, with colours becoming denser and shadows more dynamic – depending on time. In fact, the workspace literally changes colour and light at every minute of the day.

This layered and compelling design is perceived differently from every direction, allowing visual connections throughout and altering perceptions of depth and range.

Working hand-in-hand with the dichroic film

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is the huge lighting feature; a custom-design backlit double layered acoustic panel in the ceiling. This was created to provide moodcalming and smooth illumination for staff, and to not clutter or confine the space with messy suspended fixtures. And it creates a trackstopping and awe-inspiring moment whenever visitors or staff enter the space for the first time.

The project is almost like a playground or labyrinth with charms and illuminated surprises around every corner. There are more intimate zones scattered throughout, defined by bright pastel colours and glazed panels with a dichroic window film.

Detail and decication was king. All downlights were custom painted to live harmoniously in their allocated colour zone and linear LED extrusion was painstakingly assessed to be placed for greatest effect and interaction with dichroic and seating arrangements.

The result is a bold, highly visually stimulating and vivacious workspace that inspires and impresses throughout the working day. It’s audacious nature is one that has met with wonder from staff, clients and visitors alike.

SECOND PLACE: Dream & Nature, Italy by artec3 Studio, Spain THIRD PLACE: Pitaro Showroom, Israel

by Orly Avron Alkabes, Israel

Project: Ambience Location: Bundoora, Australia Lighting Design: Ambience, Australia Client: Ambience Architect: Studio Y, Australia Main Lighting Suppliers: Ambience, Symphony, Neko, Jan Flook Lighting

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PLACES / DARC AWARD WINNER: Best Interior Lighting Scheme High Budget

WINNER

Hintze Hall, Natural History Museum, UK

Hintze Hall is the largest public gallery in the Natural History Museum in London, and was described as a ‘cathedral of nature’ when the museum opened in 1881. The museum’s plan was to completely renovate the space in a project that lasted four years, redeveloping the displays over three floors, creating a new visitor entrance space and most controversially of all, replacing ‘Dippy’, the cast of a Diplodocus fossil, with the skeleton of a Blue Whale, eventually named ‘Hope’.

DHA’s scheme replaced a collection of overlapping lighting solutions that had accumulated over the years across the floors of the central hall, using a variety of light sources, with a unified scheme that was entirely solidstate, simultaneously reducing energy costs and maintenance requirements, whilst revealing the complex and beautiful architecture. The scheme also had to include the exhibition lighting across the floors, and to design the lighting for a number of display cases. In all of this, the lighting primarily had to reveal the astonishing grandeur of Waterhouse’s architectural scheme and the astonishing depth of the museum’s core collection of natural history.

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Finally, the scheme had to develop a complex control system that allows the lighting to be used for the many events that are staged in the space throughout the year, whilst enabling it to be instantly reset to return it to its use as a public gallery the following morning.

The solution was to locate the lighting in a number of positions across the hall, concealing all of the locations from view, while still placing them in accessible locations to allow for planned maintenance. Fixtures were chosen from a variety of manufacturers, all of whom could demonstrate technically able fixtures with a small visual impact, all of which could be custom-coloured to work with the unusual terracotta stone colours and required a minimum of control equipment to lessen the impact of wiring. The scheme significantly reduced the energy load of the gallery, has virtually removed all maintenance requirements and has taken away a great deal of the visual ‘clutter’ of the older collection of unrelated lighting systems.

The new space has been highly praised, described as a ‘glorious renaissance’ for the museum.

SECOND PLACE: Gasholders London, UK

by Speirs + Major, UK THIRD PLACE: European Spa, Sweden

by DesignPlusLight, UK

Project: Hintze Hall Location: London, UK Lighting Design: DHA Designs, UK Client: Natural History Museum Interior Design: Casson Mann, UK Main Lighting Suppliers: Lucifer Lighting, Lightworks, Precision Lighting, Light Projects, Dynalite, Lumenpulse

Spheres Project, Riyadh (Saudi Arabia) Architectural and Lighting Design: ALS

We are the light that embodies your ideas

www.lamp.es/spheres

SPACES:

www.darcawards.com/architectural

Best Landscape Lighting Scheme Low Budget

WINNER

Black Prince Road, UK

Lambeth London Borough Council decided to regenerate Black Prince Road, replacing its legacy lighting with LED luminaires. Michael Grubb Studio was appointed to provide the creative vision and design capability for new lighting of the bridge overlooking the road.

Housing almost 30,000 people and home to the International Maritime Organisation, Lambeth is a district in Central London with a rich, everchanging history. In the 14th century Edward of Woodstock – known as Edward, the Black Prince – lived in Lambeth. The eldest son of Edward III of England, his presence has caused much of the freehold land of Lambeth to remain under Royal ownership to this day, with one area named after him: Black Prince Road.

Michael Grubb Studio’s chosen design was a depiction of the crystallisation of ruby, in reference to the Black Prince’s Ruby – one of

the oldest parts of the Crown Jewels of the United Kingdom. The Black Prince’s Ruby belonged to Edward of Woodstock in the 1300s and has been worn by royalty ever since.

After Michael Grubb Studio had developed the concept and brief, Schréder UK supported the implementation of this unique design. Samples were produced and used in an experimentation phase, which looked at the different materials and light sources that would create the desired effect.

The installation features a 52-metre custom red LED strip. The lighting reflected off a hammered aluminium panel onto a polycarbonate protector with vinyl custom graphics applied. 27 of the LED handrail modules were built into the base of the strip to provide the desired lighting levels needed on the road, chosen for their small size and photometric performance.

SECOND PLACE: Mirrored Landscapes, Italy

by ASlight, Greece/UK THIRD PLACE: Höhlenlichter Dechenhöhle, Germany

by World of Lights, Germany

Project: Black Prince Road Location: London, UK Lighting Design: Michael Grubb Studio, UK Client: London Borough of Lambeth Main Lighting Suppliers: Urbis Schreder 108

www.arc-magazine.com

www.darcawards.com/architectural

SPACES:

Best Landscape Lighting Scheme High Budget

WINNER

The Lava Tunnel, Iceland

The dimensions of the Lava Tunnel, formed as a result of massive eruptions 5,000 years ago, create an impressive room space, while a decorative collage of colours shows its unique character, proclaiming the story of its mineral origins. Near the entrance of the tunnel the ceiling has caved in, creating three beautiful columns of light inside the tunnel.

The environment in the tunnel is difficult for lighting and electrical equipment. From the entrance to the middle part of the path, the temperature is the same as outside.

Where the openings are in the ceiling, it rains and snows inside the tunnel. In the wintertime, this looks like scenery from some fantasy, with ice stalactites and stalagmites carefully lit up.

Deeper in the tunnel the temperature holds even at around 5°C. With the help of lighting, the magnificent colour palette in nature gives the guests an unforgettable experience with almost no visible lighting equipment or cables.

From the beginning, the aim of the lighting was to maximise the guest experience, develop a strong interaction between contrasts, light and shadow to intensify the natural colours,

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and emphasise the geological highlights of the tunnel. Building up the experience from the entrance to a peak 400-metres inside the tunnel, guests experience complete darkness and total silence for one minute. After a minute, the lighting illuminates the highlights of the tunnel one by one.

At the end stop, the most difficult task was to find spots to mount the lights because the platform is very wide and takes up most of floor area, while the walls slope in over the platform.

Lights where placed under the platform and on rock sills, high up on the walls, with a good help from rock climbers, and placed out of line of sight.

The pathway lighting was designed to fit the environment. Low light bollards of steel were constructed so the material rusts in line with the bridges and platforms in the tunnel. With a high focus on lighting the paths without stealing any attention from the attractions and to prevent glare.

Most of the work was on the location; finding the right places, testing equipment and final design during the installation phase and programming of the control system.

SECOND PLACE: Leake Street, UK

by Nulty, UK THIRD PLACE: The Piece Hall, UK

by BuroHappold, UK

Project: The Lava Tunnel Location: Reykjavik, Iceland Lighting Design: EFLA, Iceland Client: The Lava Tunnel Main Lighting Suppliers: Anolis, Pharos, Osram

Four Seasons Hotel George V, Paris, France, www.fourseasons.com/paris © Anthony Parkinson; Four Seasons Partner: MW MarvalWay, Lyon, www.marvalway.com

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ART:

www.darcawards.com/architectural

Best Light Art Scheme Low Budget

WINNER Aperture, UK

Aperture is a serene and immersive visual experience created for the ninth annual Clerkenwell Design Week in collaboration with Jestico + Whiles.

The form of the sculpture takes inspiration from the George Eastman Kodak factory, which was located in Clerkenwell at the end of the 19th century, and uses Porcelanosa Groupâ&#x20AC;&#x2122;s next generation material, Krion.

A study on aperture and light, the immersive sculpture experiments with light, form and perspective, and is comprised of 64 fins of the solid material. With lighting design by Visual

Energy, these fins were dynamically lit using Lumenpulse fixtures, creating a unique visual experience.

Dynamic, coloured light travels along the underside of the form, illuminating the soft internal curves. This creates a mesmerising shift in perspective and the sculpture takes on an organic life.

Aperture signified the first time that Jestico + Whiles have participated in Clerkenwell Design Week since the firm moved to its new offices in the area in 2017.

SECOND PLACE: Life in the Dark, UK

by Jason Bruges Studio, UK THIRD PLACE: Duet, UK

by ITHACA Studio, UK

Project: Aperture Location: London, UK Lighting Design: Visual Energy, UK Client: Jestico + Whiles Architect: Jestico + Whiles, UK Main Lighting Suppliers: Lumenpulse Photography: Aurelien Thomas 112

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We look for Sales Agencies Become a part of the Top Light family.

We look for Sales Agencies worldwide and Sales Partners.

Contact us: jessica.pollpeter@top-light.de

WINNER

®

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

ART:

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Best Light Art Scheme High Budget

WINNER

Skalar, Germany

Skalar is a large-scale audiovisual installation by light artist Christopher Bauder and musician Kangding Ray that explores the complex impact of light and sound on human emotions.

This artistic venture was first hosted by CTM Festival at Kraftwerk in Berlin in 2018.

Skalar is a large-scale interpretation of light and darkness as endless cycles of day and night that define our perception of time and influence our emotions. Bauder’s endless fascination with light allows him to treat this intangible means as a solid material, sculpture and shape it to architectural dimensions, evoking abstract emotional associations of the viewers. Although Bauder’s artwork applies complex technology, first and foremost, it discusses fundamental human feelings and universal beauty. The concept of Skalar is based on Robert Plutchik’s psycho-evolutionary theory of emotion that considers eight primary emotions — anger, fear, sadness, disgust, surprise, anticipation, trust, and joy. Bauder chose to provoke these emotions by a combination of motion, light, and sound.

The massive light installation was enhanced by electronic music from composer Kangding Ray,

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whose deep exploration of synthesized sound and rhythm resonate with Bauder’s passion for artificial textures in space and music, and reinforce his awe-inspiring artwork. Measuring about 45m in length, 20m in width and 10m in height, the generative luminous structure encompasses a perfectly synchronous interplay of 65 motorised mirrors, 90 moving lights, and a multichannel sound system — elevating creative possibilities to a whole new level.

Skalar was installed at Kraftwerk, Berlin’s former power plant built around the same time as the Berlin Wall. The space allowed visitors of Bauder’s massive light and sound sculpture to immerse themselves into a mystical atmosphere and experiment with their senses.

From the production side, Skalar is made possible by the technical expertise and support of three main partners. The art and design studio WHITEvoid managed the project’s production and provided custom software development, Kinetic Lights offered its high-performance precision motor winch systems, and Robe lighting ensured the highest quality in moving light technology.

SECOND PLACE: The Brilliant Waltz, Italy

by Luca Carapezzi, Italy THIRD PLACE: La Flèche dans les Nuages, France

by ACTLD, Belgium

Project: Skalar Location: Berlin, Germany Lighting Design: Christopher Bauder and WHITEvoid, Germany Client: CTM Festival Interior Design: WHITEvoid, Germany Main Lighting Suppliers: Kinetic Lights by WHITEvoid, Robe Photography: Ralph Larmann

Keynote Speakers Florence Lam

Michael Grubb

Martin Klaasen

Head of Global Lighting Design, ARUP

Creative Director, Michael Grubb Studio UK

Principal & Founder, Klaasen Lighting Design

Bruce Ramus

David Skelley

Antony DiMase

Founder/Creative Director, Ramus Illumination

Director, DjCoalition

Ninotschka Titchkosky

Principal Architect, DiMase Architects

Adam de Guara

Steve Brown

Design Director, Glowing Structures

Principal, BVN

Design Director, NDYLIGHT

The Future of Retail Lighting: Illuminating Brand and Refining Experience // Modifying the Mood: Lighting Up Australiaâ&#x20AC;&#x2122;s Hotspots // The Challenges of Lighting Heritage Buildings // Changing Expectations for Building Tenants: How they Impact Lighting Design Typologies // Lifting Mood, Lighting the Home // Effective Collaboration Between Design Professionals // Lighting Public Events

Featuring: RAPID LIGHT TALKS Blurring the line between speaker and attendee

30 Experts 30 Minutes 30 Philosophies

combined together in one session*

27 MARCH 2019

MELBOURNE CONVENTION & EXHIBITION CENTRE

#LightSpaceDesign www.lightingdesignsummit.com.au T : +613 9545 0360

*Up to 30 registered delegates will showcase their lighting design work or philosophies, for one minute each. Present your ideas, latest or best work, thoughts, or philosophies â&#x20AC;&#x201C;anything that showcases you as a professional and unveils enlightening or inspiring ideas on lighting design.

EVENT:

www.darcawards.com/architectural

Best Creative Lighting Event

WINNER

Lumiere Durham, UK

The fifth edition of Lumiere Durham was held over four nights, 16th-19th November 2017.

From its inception in 2009, the audience for Lumiere Durham has grown from 75,000 to 240,000 in 2017, when it generated an economic impact for the county of £7.5m.

Artichoke invites international and UK artists to respond to Durham’s unique architecture and landscape and works to extremely high technical specifications to produce as seamless an audience experience as possible.

Audience favourites of Lumiere 2017 included What Matters by Schuster & Moseley, a glittering installation of thousands of pieces of illuminated coloured glass pieces depicting the birth of light in the universe, hung inside St Oswald’s Church, and Methods, by Spanish artist Pablo Valbuena. An ambitious new commission at Durham Cathedral, Methods used the building in a completely new way. Inspired by the 17th century art of change ringing in which bells are rung in a series of numerical sequences, Valbuena focused on the architecture of the building itself, dividing it into ten segments, each one corresponding to one of ten bells in the bell tower. All the bells were fitted with

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sensors and the spatial sections of the building were lit up in time to the rhythm of the bells, as they were rung by teams of bell-ringers.

Artichoke makes a point of engaging and developing local artists in Lumiere through its BRILLIANT scheme, which invites anyone either living in or from the North East, to submit their idea for a lightwork to the competition.

In 2017, winners included Know Thyself, an illuminated throbbing red heart by Finola Finn informed by her studies of medieval emotions, and Sagacity by Aidan Moesby, an interactive installation inspired by the Periodic Table of the Elements, which invited the audience to tweet their emotions and see the corresponding word illuminate on the screen.

Local people and communities have become central to the story of the festival, both as inspiration and as context for many of the installations. Lumiere 2017 delivered the greatest ever community outreach opportunities involving 1,700 people across the county, participating in and contributing to artworks such as The Umbrella Project by Cirque Bijoux, Our Moon by Hannah Fox, and The Common Good by Shared Space & Light.

SECOND PLACE: Lumiere London, UK

by Artichoke THIRD PLACE: Winter Lights at Canary Wharf, UK

by Canary Wharf Group

Event: Lumiere Durham 2017 Location: Durham, UK Organiser: Artichoke Main Partners: Artists included Shared Space & Light, Aidan Moesby, Hannah Fox, Luminarie de Cagna, Pablo Valbuena, Kari Kola, Finola Finn, Adam Frelin, Shuster & Moseley, Cirque Bijou Main Sponsors: Durham County Council, Arts Council England, Wellcome, Durham University, Garfield Weston Foundation, Bloomberg Philanthropies Photography: Matthew Andrews

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KIT:

www.darcawards.com/architectural

Best Architectural Lighting Products Exterior Luminaires

WINNER

3D LED Flex 100 IP66 - Radiant Architectural Lighting

The Radiant 3D LED Flex 100 system IP66 has been developed for use in a wide variety of exterior architectural lighting projects requiring cove lighting and wall wash lighting, where the building surfaces are non-linear with curved profiles, including columns, domes and curved faรงades.

The patented articulated joint system allows the individual modules to be bent and twisted in three dimensions to follow complex building contours while maintaining a 25mm spacing between LEDs, thus ensuring continuous lit effects without shadows or dark areas.

Each LED heat sink module can operate up to 10 Watts providing a light output of more than 8,000 lumens per metre.

A variety of TIR lens and reflector options allow the output to be controlled to create precise lighting effects on large-scale architectural projects.

Integral Radiant-designed LV DC to DC constant current drivers allow long runs to be powered from a single remote power supply.

The Radiant digital thermal control feedback system ensures that the LEDs work at an optimal temperature even in high ambient

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conditions in locations such as the Middle East.

Either low iron UV block glass covers or hard coated UV stable polycarbonate windows can be specified depending on the application area.

For projects with high levels of sunlight and/or sand abrasion, the glass windows should be used and for areas subject to vandalism the polycarbonate windows are more suitable.

The system is available in custom lengths based on a 100mm module up to two metres.

Satin black, satin white or any RAL paint colour finish can be specified.

The system incorporates a separate dimming channel and a wide range of dimming options are available including 1-10V, DMX and DALI. The 3D LED Flex range is modular and the various components can be assembled together in different combinations to meet project requirements.

A wide range of LED light engine, reflector and lens options are available, including RGB, RGBW, and dynamic white LED. System components including the antiglare snoots and mounting brackets can be customised to meet each project requirement.

SECOND PLACE: Brick Light - Simes THIRD PLACE: Coral Power Pedestal - Keha4 FOURTH PLACE: LinearLight Flex RGB-W System Osram FIFTH PLACE: Flexi-Light - Vexica Technology SIXTH PLACE: Blade - acdc SEVENTH PLACE: Lang - Neri EIGHTH PLACE: Concrete Dunbar - Astro Lighting NINTH PLACE: X-Effects LED Projector - Rosco TENTH PLACE: Archiline - Linea Light Group

WINNER 2018

AWARDS

2018

Winner

Outdoor Lighting Product of the Year

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www.darcawards.com/architectural

KIT:

Best Architectural Lighting Products Interior Luminaires

WINNER

Atto - Precision Lighting

Despite its size, Atto combines Precision Lighting’s signature attention to design, detail and materials with a number of features typically only found on much larger fixtures to produce a beautiful, reliable, user-focused and highly efficient range of display luminaires.

Atto’s minimalist design fits perfectly into Precision Lighting’s cohesive design language found throughout its portfolio. Its tiny size and careful detailing allow it to sit unobtrusively in the most sensitive of display environments.

Precision Lighting uses only the highest quality materials and machine from aerospace grade 6063-T6 aluminium and high-grade brass that not only produce beautiful surface finishes but have superior thermal properties, increasing the efficiency of the light engine and the lifespan of the product.

Precision Lighting is obsessed with the finer details of design, and Atto is no exception, miniaturising all the features typically found in the larger luminaires of its portfolio without compromising on aesthetics, quality and usability. Tool-less site changeable optics, fully lockable bearing aided 360-degree rotation and 180-degree constant torque

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tilt, tool-less site adjustable stem lengths, interchangeable snoots, accessory holders and lenses, and a huge range of standard and custom finishes combined with a variety of both surface and recessed mounting options have produced an incredibly versatile display luminaire.

Atto offers multiple mounting and installation methods to suit any display lighting scenario.

Precision Lighting’s new Minipoint system was developed specifically for Atto and allows users to quickly and simply plug and unplug luminaires as often as they like.

Atto produces 102lm from just 1W and delivers it through a range of four interchangeable TIR optics carefully selected for their minimal losses and excellent beam quality. Atto offers beams of narrow 16-degree through to wide 90-degree.

All these features combine to ensure flexibility at specification and after installation. Atto can change with the display, eliminating the need to replace fixtures unnecessarily, and is a truly adaptable, beautifully designed, highly innovative, efficient and user-friendly display luminaire.

SECOND PLACE: Centura - Radiant Architectural Lighting THIRD PLACE: Ato - Kreon FOURTH PLACE: Arc Adjustable Luminaire - Soraa FIFTH PLACE: Constellation - Sonnemann SIXTH PLACE: Favo - Sattler Lighting SEVENTH PLACE: Protozoa - Mike Stoane Lighting EIGHTH PLACE: Altea - Astro Lighting NINTH PLACE: Cobra - formalighting TENTH PLACE: Ikar - LED Luks

WINNER 2018

www.darcawards.com/architectural

KIT:

Best Architectural Lighting Products Technology

WINNER

Bluetooth Lighting Controls - Xicato

Xicato has applied its best-in-class approach in producing the industry’s most consistent, beautiful light to engineer and deliver best-inclass lighting controls. Working closely with lighting designers around the world, Xicato has focused on ensuring its lighting controls provide the functionality, flexibility and management tools that lighting designers require, without the headaches of complex interfaces, needless wires, extra costs, and weeks or months of installation cycles. Xicato’s Bluetooth Controls play nicely with DALI and 0-10V systems, and work with virtually any luminaires. Now there is a powerful solution that simplifies how lighting controls are installed, commissioned, and managed.

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Xicato’s Bluetooth Controls solution is easy to manage and control, reducing complexity and cost while accelerating commissioning.

It improves site-wide reliability, and can work without wires and expensive hubs. Based on open standards, it is also completely scalable.

From large modern office buildings to small offices and historic sites undergoing refurb, Xicato’s attention to quality and reliability is realised in all aspects of the technology. It’s now possible to exactly specify what is needed on a case-by-case basis, quickly achieve optimal results and savings, and always be assured that Xicato’s industry benchmark for quality is provided to clients.

SECOND PLACE: Dynamic Beam Shaping - LensVector THIRD PLACE: Pure CRI 99 - Atea Lighting FOURTH PLACE: Hikari SQ - Lightly Technologies FIFTH PLACE: SunLike - Seoul Semiconductor SIXTH PLACE: CITILED Vivid Series - Citizen Electronics SEVENTH PLACE: Lighting Control Solution - Silvair EIGHTH PLACE: PerfectWhite COB LEDs - Luminus Devices NINTH PLACE: Tri-K - Technolite TENTH PLACE: Moda Glowdim - Moda Light

8th Professional Lighting Design Convention

23. - 26. October, 2019 Rotterdam/NL

www.pld-c.com

- merging masterminds -

PLDC is a brand of the

181217_Advert_arc_236x333_3mm.indd 1

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INSTALLATIONS darc night

All installation photos courtesy of Gavriil Papadiotis (www.gavriilux.com) unless otherwise stated

CAROUSEL

WINN

ER

Delta Light & 18 Degrees Carousel celebrates the wonderful world of Christmas, where light and materials come together in perfect harmony.

18 degrees bring to life Gianni Rodari’s ‘Planet of Christmas Trees’ fairy-tale story, centred around the young protagonist Marco. After a long space trip, Marco discovers a fabulous planet where every day is Christmas Day, with trees decorated with sweets and festoons. On this festive planet, whatever people need is free, and technology is available to everyone. Once he returns from his journey, Marco brings with him the wish to see Earth transformed into the wonderful Planet of Christmas Trees.

This beautiful story conjures up such vibrant,

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vivid and festive images, retold through a zoetrope formed of light and shapes, created by design practice 18 Degrees and lit using Delta Light products.

Delta Light’s circular Superloop fitting angled at different heights provided the general illumination, with tunable white LED tape used to create contrast between the background silhouette and Carousel. Mini Deep Ringos were used to draw attention to the small houses, with the trees illuminated with uplighters of varying beam angles, designed to create patterns on the ceiling. All kit was Bluetooth controlled using Delta Light’s CTRL system.

Design: 18 Degrees Sponsor: Delta Light (Andy Barnett, Eve Gaut, Keith Jeffryes, Andy Wilde) Equipment: Delta Light Superloop HC 90 SBL 930 Delta Light Kix SIX Delta Light Mini Deep Ringo 82710 Delta Light Mini Deep Ringo 82720 Delta Light Mini Deep Ringo 92740 Delta Light Tunable White LED Tape in Shelfline 19 profile All CTRL Delta Bluetooth Controls

www.darcawards.com/architectural

DEAR...

Linea Light Group & Nulty

Dear…

We hope you are all looking forward to Christmas, fingers crossed for a white one! For us the festivities commenced at the start of December, when our teams excitedly came together to create an installation for the darc awards / architectural. Inspired by Christmas cards we made as children, we produced a giant card with a pop-up Christmas tree, illuminated with soft indirect light integrated within the structure to express the form, layering and materiality.

An envelope, with a specially commissioned Christmas stamp, and an illuminated post box that changed colour when someone posted a card, accompanied the scaled-up card.

We also took inspiration for our installation from the joy of giving and receiving, and taking the time to catch up with friends and loved ones – all of which make the holidays so special.

At Nulty and Linea Light team members will be traveling far and wide to do just that: from Norfolk to Italy, Sweden to New Zealand.

But as you know, not everyone is lucky enough

to have people to share the holidays with. In the UK this Christmas there will be four million isolated older people, many who spend it alone.

There are 122,000 refugees who have had to leave their friends and family at home, and of the 75,420 looked-after children in England, only five per cent were adopted during 2018.

Along with our installation we made 500 Christmas cards for darc night. Thinking about those less fortunate, people attending the awards took a few minutes out from the festivities to send a card, with a personal message, to someone who might be isolated or alone in our local neighbourhood.

As ever, [d]arc put on a fantastic evening that was full of Christmas spirit and had “community” in mind – we’re already looking forward to the next one.

Wishing you all a very Merry Christmas and all the very best for the New Year, let’s catch-up soon!

Lots of love, Nulty & Linea Light

Design: Nulty Sponsor: Linea Light Group Equipment: Linea Light Group Vos Downlights Linea Light Group Paseo Linear RGBW Linea Light Group Optilight Sheet

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INSTALLATIONS

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darc night

INFINITREE

Targetti & dpa lighting consultants

The concept for INFINITREE was conceived with the unanimous desire of the design team to create a sculpture that for one â&#x20AC;&#x2DC;was not obviousâ&#x20AC;&#x2122;, but was also much larger than its own physical confinement and the space it is exhibited within.

At first glance it presents itself as a subtle yet high-impact but non-described composition of glowing elements. No association to a Christmas tree would naturally be made whilst exploring the structure from the surround.

Visitors are encouraged to step inside the installation, immerse themselves within its intricacy and discover its true meaning.

Structurally it consists of steel frame open for

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views and access from all four sides, enclosed only from the top. Ceiling and floor panels are mirror clad with minimal slot cut outs to conceal the lighting equipment best possible. The double mirror array provides the desired infinity effect, reflecting the illuminated elements in between and through natural perspective shaping them into an abstract Christmas tree like cone.

Although a DMX lighting control system with full spectrum RGBW capability was utilised, as the physical aspect of the design evolved, it became more and more apparent that a small core selection of solid colours would provide the most striking visual impact and experience for the audience.

Design: dpa lighting consultants (Ingo Kalecinski, Laura Voss, Zyginta Barcauskaite, Adam Busby, Ian Clarke, Declan Sullivan, William Dalziel, Ashley Rogers) Sponsor: Targetti (Dariusz Malak, Cesare Coppede) Equipment: Targetti Jedi Lin 600 RGBW Spot Nicolaudie SLESA-U8

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INSTALLATIONS

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darc night

ALL THESE MOMENTS Ligman & Michael Grubb Studio

Ligman and Michael Grubb Studio created an installation generated purely out of luminaires from the Ligman exterior range. The fixtures are things that you wouldn’t believe; all have been adorned and customised by MGS and Ligman with bespoke optical patterns and full IRL control and tuning for replicant centric lighting.

A seething future metropolis or something offworld… you can decide.

Ready to provide involuntary dilation of one’s pupils in time for 2019, and tough enough to last at least until 2049 with no incept date and an above average strength and ability, evoking

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memories of green, of belated unicorns and, for some, faded dreams of a lost narration. The candle that burns twice as bright, burns half as long; so who among you are the ones that burn so very brightly? We shall all see what the future brings.

An origami dove adorns the top of the tree, not a tagged-on drive into a sunset borrowed from outtakes, with snowy mazes and a room 237, but referencing how moments and memories at this special time of year can be reminisced, or released to fly off and fade… “like tears in rain”.

Design: Michael Grubb Studio (Michael Grubb, Stuart Alexander, Matt Waugh, Greta Smetoniute, Melissa Byers, Will de LiefdeFoote) Sponsor: Ligman (Martin Valentine, Emre Gunes) Equipment: Ligman Capsule Ligman Jet Ligman Mic Ligman Odessa Ligman Paragon Ligman Triangle Ligman Zaab

INSTALLATIONS darc night

BELONGING(S) formalighting & Arup

The concept of BELONGING(S) began as an exploration of the meaning of Christmas. For the privileged among us, this often means time with family and friends, feasting, gifts and general togetherness. In cruel contrast to this, for many others this time will be spent torn apart from loved ones, being uprooted, fleeing their homes and making dangerous journeys in hopes of finding a safe place to settle.

BELONGING(S) is an inverted Christmas tree of suspended items twinkling in the glowing light like festive decorations, coloured red, gold and green. On closer inspection of the items, we see that they are not decorations but functional and personal pieces; watches, photos, passports,

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keys, bottles, wallets, teddy bears, coins, toothbrushes and jewellery. Above them looms the silhouette of a boat as though viewed from underwater. The installation invites viewers to consider an inversion of the conventional meanings of Christmas; those for whom this time wonâ&#x20AC;&#x2122;t mean togetherness, resting and feasting but rather separation, struggle and danger.

The items represented in the installation were taken from a film created by the UN Refugee Agency based on the poem What They Took With Them by Jenifer Toksvig, inspired by firsthand testimonies from refugees forced to flee their homes and the items they took with them.

Design: Arup (Aliki Vaina, Ashleigh Dolan, Lauren Blow, Sara Ramos, Tina Wikstrom) Sponsor: formalighting (Sharon Maghnagi, Pietro Filippo Ferrara, Mark Cunningham, Michael Monsenego, Eugenio Romano Scotti) Equipment: formalighting Moto-Terraluce On-Ground RGBW

www.darcawards.com/architectural

MAKE A WISH!

EcoSense & Lichtvision Design

Christmas is the time for giving and sharing, reflecting on the year gone by and looking into the future with visions and wishes for the New Year ahead of you. Most importantly it is a time when people get together to celebrate community, reunion, and harmony.

The base of Lichtvision and EcoSenseâ&#x20AC;&#x2122;s Christmas tree is an infinity mirror into which everyone was invited to place a wish that they are hoping to have come true. These illuminated, glowing messages were reflected multiple ways within the structure, creating a depth and sense of infinity as well as an affirmation of the wishes.

Centered on top of the structure, large, triangular shaped shards were placed. They create an

abstract tree and were decorated with wishes by the Lichtvision Design team, all in the variety of languages spoken within the company.

Imagine looking upon a pine forest next to an expansive glacial lake. The warm sunlight shines through the trees, reaching the cool, snowcapped terrain. The green hue of the trees gets reflected on the water. Looking though a wide array of trees your view might occur endless.

The installation was created for communal interactivity and to help start a positive dialogue.

It embraces reflecting upon the past, celebrating the present moment and making wishes for the future.

Make a wish!

Design: Lichtvision (Karen Ihlau, Paolo Cocconi, Anna Baumgarte) Sponsor: EcoSense (Jeffrey Griffiths, Neil Spurling) Equipment: EcoSense Rise F080 EcoSense Trove L50 Line of Light EcoSense Slim Cove Dim

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INSTALLATIONS darc night

SPECTRE

LED Linear & MBLD Spectre is collaboration between LED Linear and Maurice Brill Lighting Design studio (MBLD).

The lighting installation has been designed as a giant gift box, simple from the outside and unexpected in the inside. The aim was to create a fun holiday lighting installation with clean and floating lines of light, encouraging people to enter inside the gift and explore the infinite inside of the box, where a “spectre” tree hides and seems to come out of the wall, taking the spectator in an immersive experience trough an infinitive illusion of an upside-down reality.

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In order to achieve this effect, the box’s inner side is completely dressed with mirror sheets.

Different layers of clear acrylic sheets with polished edges are fixed in one corner of the box to create the stylised shape of a Christmas tree and use the reflection of the two sides to complete its 3D effect.

An ever-changing range of different fastpace pre-set scenes run continuously, giving to the visitors the possibility to explore their imagination in an alternative Christmas dimension.

Design: MBLD (Alberto Monti, Iliana Zotou, Dimitris Theocharoudis, Eleni Nikiforidou, Francesca Bottazzi, Alessandra Ravinale, Federica Carrozzo) Sponsor: LED Linear (Rob Anderson, Stuart Knox, Fran Kershaw, Dan Walker, Eliot Horsman) Equipment: Modified LED Linear Kalypso RGB HD20 iDrive Thor 36 DMX Driver with Pharos Touch Panel Controller and programming software

www.darcawards.com/architectural

TREE-CYCLE Osram & Speirs + Major

Each year during the festive season, a tree will appear in many households across the globe.

It is decorated and personalised, transforming it from a simple tree into an internationally recognised symbol - the Christmas tree.

Tree-Cycle celebrates the evolution and transformation of each small pinecone and seed throughout its various stages of life through to its rebirth as a Christmas symbol.

Cloaked behind a mysterious screen, a golden pinecone, the heart of the tree, appears suspended in air, beating steadily as every stage of growth is slowly revealed. With each layer representing a phase of growth, the evolution from a young sapling to mature tree gradually

becomes visible: Darkness suddenly falls. A faint glimmer emerges above the pinecone and slowly ascends, like a spirit, transforming into an eye-catching, sparkling star that captures our imagination before disappearing, along with the holiday season, to begin the cycle once more.

To deliver the installation, a suspended system was designed and constructed to support light catching metals and fabrics as well as cool and warm white LED downlights and LED modules of varying beam angles strategically positioned to both conceal and reveal each element of the installation.

Design: Speirs + Major (Justyna Ashcroft, Keith Bradshaw, Gordon Chan, Rafael Garcia Turegano, Mark Major, Luciana Martinez, Benz Roos, Iain Ruxton, Neville de Sรก, Oscar Siame) Sponsor: Osram (Karen Cawley, Martyn Roberts) Equipment: Osram Prevaled COIN 50 COB downlights Osram BASIC disc LED modules

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INSTALLATIONS darc night

HOC

LITE & Hoare Lea Lighting Design Christmas is a divisive time for many people.

Whilst for some it is joyful, for others it is a time of disconnection and loneliness. As a Christian festival it inadvertently excludes other faiths but also those who have no faith at all. Meaning has been lost in commercialisation. Consumption, waste and overindulgence seem incongruous in a world where need is so great for so many.

For most it has become a celebration of time off work, family and togetherness but for those without such connections it is a time of isolation and solitude.

Hoare Lea and LITE’s ‘tree’ is a fragile house of cards – built from the positive and negative feelings people have about the festive period; a celebration of the dichotomy of the Christmas period.

The tree panels included messages of hope, disconnection, poems, film quotes, tacky

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Christmas songs and facts on everything from the environmental impact of Christmas to stats on loneliness. A mixture of personal and popular culture sound bites.

MaxiPunch 102 RGB luminaires light the 240 individual acrylic panels and highlight the intricate engraved wording, integrating light and the tree panels to create a spectacle of light.

MaxiLED lighting combines data over power, allowing DMX Data to be sent down the same line as the power. This eliminated the need for an additional data cable to be installed.

The installation is part of a bid to raise money for ‘The Campaign To End Loneliness’, which helps to make connections with people who are alone. Christmas is a complex time for many but it is very difficult if you are lonely. www.campaigntoendloneliness.org

Design: Hoare Lea Lighting Design (Juan Ferrari, Emma Barr, James Buck, Martin Crick, Jonathan Rush, Harriet Davis Sponsor: LITE (Chung Lee, Tim Plumb), Lumid Equipment: MaxiPunch 102 RGBW Pharos Controls

www.darcawards.com/architectural

OUUUUUU

L&L Luce&Light & BDP

BDP and L&L Luce&Light collaborated on bringing you Ouuuuuu, culminating art, technology and a festive brief. The team utilised intelligent white and proximity sensors to illuminate a seasonal suspended tree. The installation aimed to emulate the sparkle and excitement of the festive season whilst achieving a sustainability concept of reusing components.

The tree structure is made up of suspended triangular layers creating an abstract tree form.

Each triangle consists of repurposed lenses from discontinued L&L Luce&Light products,

which are fixed to laser cut clear acrylic supports. The tree form is illuminated top and bottom with Neva 6.1 luminaires. These narrow beam dynamic white fittings produce a dynamic lit effect with proximity detectors changing the colour temperature of the luminaires local to each detector creating an interactive experience.

Struggling to think of a name for the installation, a common expression used by colleagues when seeing the design on screen and the 2,300 lenses in the office was â&#x20AC;&#x2DC;Ouuuuuuâ&#x20AC;&#x2122;, we had to use this as the name.

Design: BDP (Nick Meddows, Katja Nurminen, Giorgos Kourtelis) Sponsor: L&L Luce&Light (Richard Muirhead, Marco Amato, Luca Cusinato) Equipment: L&L Luce&Light Neva 6.1 luminaires

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INSTALLATIONS darc night

INSPIRAL

Atrium & Light Bureau Inspiral is built as a helical structure, like a stair climbing to reach the stars. The shifting form is a tree in constant rotation, heads spinning, representing the familiar pine tree, symbolic of Christmas celebrations. The lighting elements pulse in rhythms to remind us of the familiar fairy lights around the beloved fir tree. The joy of the festive season rushes into us.

The finish of Inspiral is minimal and colourless, so that the tree is reduced to its essence - light. The binary rhythms of the spiral of lights switch alternatively in a hypnotic motion. After a short time, the viewerâ&#x20AC;&#x2122;s eye loses focus on the form and just the shifting light remains,

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mesmerising but calm. Only pure white light is used, reminiscent of our shared image of white Christmases and the way we read the forms of trees by their snow-covered silhouette. The minimal form is intended for maximum impact, blasting away the Christmas spirit.

The concept is singular - one product type used in different lengths from 0.2m to 2m, the aluminium profile with opal diffuser from Modular is supplied with 4000K tape. The cylindrical shaft that connects them houses wiring, connecting the Xicato / Eulum Bluetooth controllers in the base.

Design: Light Bureau (Hortense Duthilleux, Ellie Bainbridge, Paloma Plumed-Martin, Paul Traynor) Sponsor: Atrium (Charlie Petschi, Victoria Clifton, Ulysse Dormoy, Jeremy Fielding) Equipment: Modular SL Micro (Surface) 4000K Eulum / Xicato Bluetooth control (commissioned by Roger Sexton and Patrick van der Meulen at Xicato)

www.darcawards.com/architectural

KITCHMAS Pulsar & Superteam

Kitchmas tree was borne out of the commercialised perfection that surrounds Christmas of recent times, with everyone seeking the perfect time, giving the perfect presents and of course having the perfect tree.

The Superteam was an experiment, the first ever at darc night, to be made up of a team of varied design practices. The idea was to create an imperfect tree installation that represents what Christmas should be about: fun! An impressive four metre high supporting structure constructed out of scaffolding holds aloft a 2.7-metre tree formed out of stretchy white lycra fabric, pulled taught over a suspended polyethylene pipe frame.

A celebration of Pulsarâ&#x20AC;&#x2122;s tradition for bold and precise exterior washing fixtures, multiple layers

of overlapping light effects were created by a contrasting backdrop perimeter wash, and powerful projected spot effects to an internal and external mirrorball, scattering moving light patterns onto the fabric and out in to the room.

Pulsar provided four Luxeos 09 fixtures in Vivid Colour (RGBW) that illuminated the interior of the Christmas tree in bold colours. A further four Luxeos 09 fixtures in Vibrant White (variable white) lit up the mirrorballs on the inside and outside of the tree. To enhance the piece further, four Chroma Powerline 100 luminaires were utilised to wash the wall behind the tree.

Some recognisable old favourites, the Chroma Cubes, got into the festive spirit disguised as gifts under the tree.

Design: Superteam (Harish Persad, James Poore Lighting Design, MS Lighting Design, Workplane Lightplanning) Sponsor: Pulsar (Paul Johnson, Mark Trainor-Hayes, Hallam Smith, Dave Cowan) Equipment: Pulsar Luxeos 9 Vivid colour Pulsar Luxeos 9 Vibrant white Pulsar ChromaCube Pulsar ChromaPowerLine Pharos Control System

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INSTALLATIONS

www.darcawards.com/architectural

darc night

STRÖVA

Fagerhult & Cundall Light4

In 1945, Bertil Svensson, the founder of Fagerhult, designed a light fitting for his mother so that she could see more clearly whilst knitting. Coupled with the story of Bertil’s mother knitting, inspiration was also taken from Sweden’s love and respect for nature and for looking after the environment. Within Sweden there is a freedom to roam and this is where the name of the installation came from. Ströva means ‘To Roam’. In keeping with the ideals of caring for the environment, the wool, log baskets, bricks, towel hook, stage cloth and lights used for the installation will all be re-used.

There was a lot of debate amongst the team

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about the colour of the wool, the colour of the lights, animations and interaction. However with each discussion, they kept returning to the idea that a simple, clean, high contrast installation would capture the eye and stay with you for longer. The colour was therefore provided in the light fittings, with the Ogles and Fabian taking on both early Fagerhult shades and new metallic finishes. As the first few strands of wool were tied to the bricks in the basket and looped through the towel rail there was more debate on how many strands and balls of wool would be needed. 52 balls of wool later Ströva was complete.

Design: Cundall Light4 (Andrew Bissell, Mark Tweedale, Liz Skelton, Kim Riley, Hannah Murphy, Kenny Cliffe) Sponsor: Fagerhult (Marianne Trotta, Sam Ashdown, Scott Allen) Equipment: Fagerhult Fabian Atelja Lyktan Ogle LTS Vale Tu

Sunlight Spectru

m

Conventional

Sunlight Spectru

m

info.europe@seoulsemicon.com

DARC AWARDS / ARCHITECTURAL Thanks for a great darc night!

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Tommaso Gimigliano, dpa lighting consultants

Pic: Sarah Cullen

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Pic: Sarah Cullen

www.darcawards.com/architectural Photography: Gavriil Papadiotis (www.gavriilux.com) unless otherwise stated.

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: Sarah Cullen

Pic: RCL & Precision Lighting Photobooth

Pic: Sarah Cullen

Pic: Sarah Cullen

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Opening Night Erco recently hosted a screening for the BBC documentary Frank Lloyd Wright: The Man Who Built America, to celebrate the work of the late, great architect.

I showroom.

n October, Erco rolled out the red carpet for a special

screening of Frank Lloyd Wright: The Man Who Built

America, a documentary celebrating the life and work

of renowned architect Frank Lloyd Wright at its London

The documentary, a Wildflame production originally shown by the

BBC, sees Welsh architect Jonathan Adams journey across America,

exploring the works of Wright up close and personal - from his home in Oak Park, Illinois, to the Johnson Wax administration building in

Wisconsin, the stunning Fallingwater residence in Pennsylvania, and the iconic Guggenheim Museum in New York City.

Along the way, the feature also looks back on Wrightâ&#x20AC;&#x2122;s

unconventional personal life, examining his Welsh heritage and

upbringing in rural Wisconsin, his Unitarian faith, and his multiple marriages.

For the screening, Erco invited a selection of VIP guests from the design world, including architects, and a number of esteemed clients, including the Royal Collection Trust and Bonhams.

In an introductory speech before the screening, Managing Director of Erco UK Chris Tiernan said: â&#x20AC;&#x153;The reason for this screening is

quite simple - I was captivated by the programme when I first saw

it on the BBC earlier this year, not just for the architecture and the

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EVENT

wonderful presentation, but also the stories and

and as such I wanted to share it with a wider group.

Adams added: “Making the film was a wonderful

architectural philosophy, we just want to share

interconnections that unfolded.”

experience. The entire film crew was just myself and two others; Ian the Director and Huw the

Cameraman. Being with a film crew meant that we had unlimited access to all of the buildings, for as long as we wanted, and every one of the

buildings was truly astonishing. Each one far more impressive than I’d ever imagined.”

The screening proved to be a huge success for Erco, garnering a lot of interest on social media - posts

on the screening received more than 35,000 hits and Tiernan is keen to bring the film to more Erco locations around the world.

“From a new world location, it’s the best event

that we’ve had feedback on,” he said. “We’d like

to continue this and share the film with our global business colleagues. We’re opening a showroom

in LA, so there is a good opportunity for us there to take it to the USA.

“There is a cultural connection with our customers,

We’re not trying to push a product or a particular these ageless designs, and I think that this is

something that should be of interest to anyone in the world of design.”

Adams added: “The event in London was excellent - superbly organised and a joy to be a part of. If

there are other events in the future it would be an unexpected bonus as far as I’m concerned - I’d be delighted if it happened!

“With this film, we all shared the goal of making it a human story rather than an academic thesis, and we all felt that Wright’s story was so extraordinary

that if we could achieve that goal, viewers would be sure to find it interesting.

“We wanted to show how creative genius can

Far Left Erco rolled out the red carpet at their London showroom for the screening.

Top Right Following the screening, guests were treated to a reception with wine and canapés at the neighbouring Robilant + Voena art gallery.

Top Left The stunning Fallingwater residence in Pennsylvania.

Middle Left Keen to create an authentic, cinematic screening, Erco provided popcorn to the VIP selection of guests.

Middle Centre Jonathan Adams, narrator and host of the film (centre), talks to guests after the screening.

Middle Right The VIP guests included architects and designers, alongside some of Erco’s most esteemed clients.

Bottom Left The iconic Johnson Wax Administration Building in Wisconsin.

Bottom Centre Erco UK Managing Director Chris Tiernan opened proceedings with an introductory speech before the screening.

Bottom Right The Charles Ennis House in Los Angeles. Designed by Frank Lloyd Wright, this property has featured in a number of Hollywood productions, including Blade Runner, Black Rain and The Day of the Locust.

spring from quite ordinary people and places - to

make Wright’s story relatable and, by doing that,

to help viewers engage with the architectural ideas and experiences.” www.erco.com

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EVENT

Temple of Light Light Asia 2018 gave a group of students the chance to work with professional lighting designers to create a scheme for the Jotenji Temple in Fukuoka, Japan.

T

he 2018 instalment of Light Asia took place in Hakata

said. “The main goal is to make it inspirational, educational for

The event, the fourth incarnation following events

professional experience with the next generation of designers.

Old Town, in Fukuoka Japan at the end of October.

in Paju in 2013, Daeku in 2015, and Bangkok in 2017,

students and a fulfilling way for lighting designers to share their “Building up a forum of sharing is the goal of Light Asia, and that

centred around a series of workshops led by international lighting

is what drives us to keep moving.”

Toscano, alongside local students and lighting professionals,

was an amazing experience as a lighting designers; having the

designers from dpa, Arup, OneLux Studio, Douet Design and AF policy makers from local government and the general public.

Based on educating the next generation of lighting designers

Luana Lampis of AF Toscano, said: “The Light Asia 2018 workshop opportunity to spread the culture of light among students who are approaching lighting design for the first time, this means sharing

and promoting the importance of designed lit environments,

professional skills with an open mind, ready to see and perceive

edition saw designers and students collaborate to create a new

from all over the world and learn new design approaches.”

Following an introductory symposium, in which each designer

and a unique opportunity to share my passion for my job, as

alongside the sharing of ideas and experiences, the 2018

lighting design for the Jotenji Temple in Hakata Old Town.

light with new eyes. It was a unique experience to meet colleagues Florian Douet of Douet Design added: “It was a shining experience,

held talks on issues related to lighting, such as Circadian Rhythm,

well as to illuminate the Butsu-den and its gates, a peaceful and

Technology, each of the five designers led a team of students to

in three days is amazing. I’m very proud of the students and of

Light as Art, Lighting and Urban Space Quality and Lighting Visual create a lighting scheme for a particular space within the temple.

Over the course of three days each group, under the direction,

inspiring place of workship and contemplation. What we acheived their ability to put into practice so much new information.”

OneLux’s Yon Choy continued: “Light Asia was a unique

mentoring and guidance of their lighting designer, created

experience that I’ve never had in thirteen years as a lighting

through to concept development and the final installation.

people in the field, and I’ve earned a broader perspective on

a full-scale installation, from the initial design process,

On the final day of the event, each group presented the lighting

concept, and shared it with all other attendees. The installations were then open to the public as part of a local festival.

Manufacturer KKDC has been the main sponsor and supporter of the event since its inception, and Bo Sun Lee, Director of KKDC,

was very pleased with the outcome. “It was very successful,” he

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designer. I’m grateful to meet such passionate and inspiring the way we work and the approach to lighting design.

“We were given quite an ambitious project, but the results

that we achieved were astonishing, and I would like to applaud the students’ creative design ideas and craftmanship.” www.hakata-light.jp www.kkdc.lighting

LEDFlex offers premium linear LED solutions for lighting projects suitable for architectural, urban, commercial, and residential applications.

This image features the installation of their smallest fixture which is as narrow as 6mm in width.

Tel 020 37452623 Web www.ledflexgroup.com email info@ledflexgroup.com

Light Work LED Flex collaborated with Elektra Lighting to illuminate the mixed-use spaces at Mortimer House in London.

S

et in the heart of London’s

create an intimate ambience as well as to play

a new approach to the concept of

In the workspaces and private member’s

Fitzrovia, Mortimer House takes

shared working spaces, offering a

new perspective to ‘work, rest and play’. The space consists of intuitively designed team

offices, meeting rooms, event spaces, living room, terrace, studio, gym and restaurant, providing a multifaceted experience for

members to create, work and unwind in equal measure.

Elektra completed the lighting design and created the space around the theory of

Maslow’s Hierarchy of Needs, primarily

using elements of space and lighting to fulfill human needs. In the basement, cool white

lighting is used to awaken and refresh your circadian rhythm in the gymnasium areas.

LED Flex’s Flexi ProPanels were installed as a principal source of lighting in most other spaces, whilst Eco Flex 120 and 240 were

used for cove lighting and wall grazing. Micro Neon SV from LED Flex’s Neon Range has

been used for contour and feature lighting.

All of these products were installed in warm

temperatures, ranging from 2100K-2700K to

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emphasis on exclusivity.

lounge, the lighting becomes more focused with localised task lighting on desks. The narrower less focused lighting creates an

intimate environment and encourages a sense of belonging.

“Lighting is not a cookie-cutter office lighting scheme, but an integral part of the concept, which addresses our five basic needs. Each area had been carefully considered to help create the optimum wellbeing – not just

physiological but psychological as well. This

took the lighting from wellbeing into another dimension and set the standard for the

future,” explained Neil Knowles, Director at Elektra Lighting Design.

“Mortimer House was not trying to be a

traditional office. Instead it is an art-deco

masterpiece, a place to live, breathes, work, relax, eat, network and party. Lighting is integral and essential part to this.” www.ledflexgroup.com

www.elektralighting.co.uk

CASE STUDY

Highlighting Heritage With the help of L&L Luce&Light fixtures, Norwegian lighting design studio Zenisk has transformed the façade of the Bergen Børs Hotel, highlighting the building’s unique design and heritage.

O

riginally housing the old stock

the contrasts in the materials and architectural

Bergen, Norway, which dates back

interiors.

exchange, the Bergen Børs Hotel in

elements, and perfectly reflects the hotel’s refined

to 1862, was recently renovated by

Rather than completely light the entire façade,

Swedish architecture and design studio Claesson

they have created a careful composition of

by Norwegian lighting design studio Zenisk. Given

and volume of the building are easily recognisable.

that it is a major landmark in the city, the work of

at night, the building is perceived as an organic

Bergen is a rainy city, and the natural light is often

Zenisk chose L&L Luce&Light products for the

days the façades of the buildings reveal an eye-

of compact dimensions, precision optics and

project was therefore aimed at reproducing the

fixtures’ presence in the façade must be pared back

even on dull days.

precision optics substantially reduces light spill.

obvious at first sight that the building is a hotel,

architectural elements: powerful linear profiles –

warm lighting that underlines the uniqueness

surfaces of the vertical pillars, horizontal frames

setting.

At the same time, Trevi linear profiles have the

surrounded by three other historic buildings.

intensity. For the gable in relief above the main

strengthens the three-dimensional perception

outline the columns, Zenisk used Spot projectors,

a comforting sense of security and spatial

elements into relief to theatrical effect.

Working in close collaboration with the architects

products capable of precisely highlighting the

luxury hotels in the city – the lighting designers

them,” said Zenisk.

Koivisto Rune, while the lighting was developed

horizontal and vertical elements so that the shape

the building’s historical significance, and the fact

An intelligent use of light and shade ensures that,

lighting its façade was of primary importance.

whole whose entire outline has been redesigned.

diffused through the clouds. However, on sunny

façade as they offer the perfect solution in terms

catching chromatic composition. The lighting

quality of light. As this is a historical building, the

façade’s colours as if it were bathed in sunlight,

and minimally intrusive. In addition, the use of

Further to this, designers wanted it to not be

A mix of L&L devices was used to light the different

and that passers-by should be attracted by the

Neva and Neva Mini – were used to foreground the

of the façade, perfectly integrated into its urban

and exposed red bricks.

The Bergen Børs Hotel overlooks a square

function of completing and harmonising the light

The façade lighting is a vertical gesture that

entrance, the frames above the windows and to

of the space and, at the same time, helps produce

which produce a contrasting light, throwing these

orientation.

“We were looking for compact and reliable

and the client – De Bergenske, who own several

historical façades while integrating perfectly in

have created an elegant solution that highlights

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Ensemble Performance ADO Lights helped to create an elegant lighting scheme for the Clara & Robert collection of buildings in Düsseldorf, bringing a gentle illumination to the exterior, and introducing an energyefficient interior concept.

W

ith its brick walls, a part of

embedded in the glass may be visible

emerge from a new building.

provides a pleasant, homogeneous light,

the former barracks seems to

as tiny dots. Switched on, LED Around

Its metallic outer skin, with

40 percent being emitted upwards and

its small, irregularly arranged windows

60 percent being emitted downwards.

impression does not spring from nowhere:

big advantage, for example, when using a

of Düsseldorf is called Clara & Robert; the

The workplaces were also equipped

Schuman as, from 1850 the composer,

luminaire. This not only ensures the

director of music in Düsseldorf.

their intelligent but primarily energy

realised by the architectural office of Sop

equipped luminaires automatically react

the lighting concept for the interior and

Each luminaire is equipped with a presence

the adjacent new building, coming from

is at his/her workplace and switches the

On Robert, Lightlines integrated in the

circuitry ensures a pleasant ambience. It

entrance area of the Saarhaus of the former

in a network. This means that workers from

whose angles can be individually chosen,

on their desks, while other unoccupied

stainless steel housing of these fixtures has

just ten percent of the possible light

withered leaves can affect the light.

In the Clara part of the building, ADO

the historical part of the ensemble. This

luminaires as well as the lighting in the

the interior lighting. It is a silent aesthetic

a recessed and a pendant luminaire.

perception of the anchor tenant – auditing

here, as the operation of the recessed lights

firm has merged its various locations,

at night or to provide emergency lighting

town, in the Robert part of the building and

luminaire LED Linargo emits indirect

newly created offices were equipped with

glare-free illumination downwards. During

it lights conference and meeting rooms,

be switched to indirect illumination. For

profile and a high-quality finish. Switched

is desired – simply because exceptional

a light and airy appearance. Microprisms

www.ado-lights.com

reminds one of a piano keyboard. And this

The luminaire is infinitely dimmable, a

this ensemble in the Derendorf district

beamer for presentations.

name paying tribute to Robert and Clara

with the LED Around as a freestanding

supported by his wife, was the municipal

mandatory 500 lux per desk. Thanks to

This striking ensemble was planned and

efficient overall concept the sensor-

Slapa Oberholz Pszczulny Architekten, with

to any increase or decrease in daylight.

exterior of both buildings, together with

detector: It detects whether or not a person

ADO Lights.

luminaire on or off accordingly. Swarm

façade guide the viewer’s eye to the

can be used to combine several luminaires

Ulan Barracks. LED Drainlight wallwashers,

this group who are present have full light

illuminate the old walls from below. The

desks in this group are illuminated with

a glass cover to ensure that neither dirt nor

output.

The wallwashers and Lightlines emphasise

Lights has contributed flush fitted wall

sparingly ornamental effect is continued in

foyer. LED Linargo was used as both

that corresponds with the reliable public

Efficiency was once again paid attention to

firm Warth & Klein Grant Thornton. The

can be programmed to emit less lumens

which had been scattered throughout the

in case of a power failure. As a pendant

now occupies 7,400 square metres. The

illumination upwards and direct but still

the LED Around. As a pendant luminaire

the hours of darkness the luminaire can

offering both, a slim minimalist aluminium

example, if illumination of the building

off, the lamp appears transparent, with

architecture should also be visible at night.

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CASE STUDY

Flex and Relax The new Byulmadang Library in Starfield COEX Mall, Seoul, South Korea, features a beautifully simple lighting scheme that utilises the FLXible Neon from Feelux.

S

tarfield COEX Mall’s recently opened Byulmadang Library has

been gaining popularity among tourists, becoming the latest new cultural attraction for visitors to Seoul, South Korea.

Starfield COEX Mall is a trendy cultural retail complex, providing

entertainment, restaurants and shopping for its visitors. The new library,

spread across 2,800sqm over two floors, offers a cultural place for people to

rest, meet and communicate. The space is dominated by three giant, thirteenmetre-high bookshelves, filled with around 50,000 books and magazines, and provides a space for art and literature-related events.

Previously, the library was a complicated structure with very plain decoration - a simple and clean space, but without anything to attract visitors. With a

plan to create a signature area within the COEX Mall, the owners’ main focus was to bring a sense of vitality to the space.

Taking inspiration from the Tsutaya Library and Takeo City Library from Japan, the mall owners felt that lighting effects were a key factor in the redesign, helping to create a cosy atmosphere for visitors.

Feelux’s FLXible Neon has been applied in 1,000-metre sections, bringing a

super-slim and continuous, spot-free illumination. It’s flexible form allowed for a more consistent, uniform installation. The 3,000k warm white colour softly glows, and helps to give a feeling of warmth in the library.

Now, the Byulmadang Library provides a lifestyle-based cultural space, and is considered as a new landmark for the people of Seoul. www.feelux.com

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Pics courtesy of IALD

Enlightening Europe The third instalment of IALD Enlighten Europe was held in Barcelona in early November, bringing together lighting designers, manufacturers, students and friends from all around the world for a three-day celebration of light. arc’s Matt Waring made the journey to join in the festivities.

T

he third edition of IALD Enlighten Europe came to

energy efficiency in lamps to lighting and human health.

educational conference to the lighting design

step forward in the recognition of the lighting design profession,

Barcelona from 7-9 November, bringing a packed community.

Hosted at the Hotel Pullman Skipper, on the shores of the Balearic

Sea, the three-day event brought hundreds of lighting designers and manufacturers from around the world together under one roof for a celebration of light.

The event featured a series of conferences, workshops and

networking opportunities, encouraging new working relationships and re-affirming existing ones.

This year’s conference programme featured three educational tracks focusing on the multiple facets of practicing lighting design: Art,

Technology, and Professional Tools, and the first day of the event saw the introduction of a series of hands-on workshops. These

workshops covered topics as varied as the application of circadian lighting in elderly care, active and reactive lighting, and a roundtable discussion on how to make qualitative aspects of lighting standards the ‘hero’.

The first day of proceedings also featured a presentation from John Martin, Dawn Latham and Claire Couet of the

IALD, discussing the role that the organisation plays in EU regulatory affairs. The IALD has worked diligently to gain

status as a ‘stakeholder’ in the European regulatory processes that may affect lighting designers - processes ranging from

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The recent developments highlighted in this session point to a great and the role of the IALD in EU discussions on lighting regulations.

Continuing on this trend, former IALD President Victor Palacio

chaired a panel discussion with four acclaimed European lighting designers - Andreas Schulz of Licht Kunst Licht, Sara Castagne

from LUMINOcité, Rafael Gallego from AureoLighting, and Susanna Antico of Susanna Antico Lighting Design - entitled ‘Raising the Profile of the Profession in Europe’. Here, the group discussed a myriad of factors that are helping to boost the reputation of

the profession, from the aforementioned work of the IALD, the growing availability of lighting design courses, and the strong

sense of community that exists within the field - something that was on display throughout the event. Alongside this, the panel

discussed more contentious issues, such as the hot topic of the

moment - human centric lighting and circadian rhythms, with some arguing that this is merely a case of the lighting industry “searching for new tools to sell luminaires”, while others

suggested that the lighting design community needs to be more

proactive and involved in the development of this new technology in order to create something that is actually human-centric.

The second day of the event began with an opening keynote from

designer and entrepreneur Sandra Rey, founder and CEO of Glowee - a start-up company that makes lighting systems by harnessing

EVENT

Tony Esposito, a lighting quality researcher - who, in a point/

counterpoint system, had to argue the case for or against a number of lighting issues, ranging from TM-30 vs. CRI, RGBAW colour

change vs. natural light, and the pros and cons of smart lighting

and the IoT. Although light-hearted in its nature, the interactive

discussion raised a lot of interesting points, and helped to inspire the healthy debate between attendees throughout the show.

This debate continued as day two culminated in an in-depth,

interactive Lighting Cross Talk. A popular feature among both

designers and manufacturers, the Cross Talk gives designers the chance to sit down with lighting manufacturers in a no product, no pressure environment where they can give candid feedback on the industry, share their thoughts for future products and

services, hear about the latest offerings from each manufacturer and discuss topics and issues of mutual interest. An exclusive

feature to IALD Enlighten events, manufacturers have said that the Cross Talk provides them with the best feedback they get all year, while designers say that they enjoy improved relationships with

these manufacturer groups long after the conference has ended.

Day three featured a diverse selection of talks across all three

educational tracks. Claudio Ramos delved deep into the subject of

Emotional Intelligence and how this can impact the design world,

while Dean Skira broke down a concept he refers to as ‘Lighting 4C’, stressing the importance of creativity, complexity, contradiction and consequence as four main pillars of lighting design.

Elsewhere, Linus Lopez held a fascinating talk on the subtext of

context in lighting design. Here, Lopez discussed the importance of context, whether that be historical, geographical, or even personal, and how this influences and shapes the way that you think, before delving into what this means when it comes to lighting design.

On the more technical side of things, Kevan Shaw examined the practical applications of luminance-based design, and

Isabel Sternkopf of Licht Kunst Licht looked at the emerging trend of luminaires that produce ‘artificial daylight’.

In a similar vein, Carla Wilkins and Andrés Sanchez of Lichtvision

discussed the growing influx of new technology on lighting design,

and how the functions of lighting can extend far beyond illumination.

This includes its role in the wider connected world of IoT, and how lighting can be used as a tool to harness data, but also the ways

in which new technology, such as virtual and augmented reality, the power of one of nature’s superpowers: bioluminescence.

can be used in the design process, meaning that new technology

Glowee has opened the door to the creation of new, electricity-free

As with all IALD Enlighten events, each day culminated with a

The potential to grow your own light source was something that

with an opening reception at El Palauet Hotel, sponsored by Erco,

no doubt a lot of further discussions following the event.

by Nordeon Group at Ocaña, a cocktail bar just off the famous

kicked off in earnest, with discussions on museum lighting, how

performances. The final night saw attendees invited to a special

and lighting designers, and the future of ‘vernacular lighting’,

show events form an integral role in events like IALD Enlighten

cultural relation to trends in lighting, asking whether there could

both old and new, and this year’s festivities were no exception.

depending on geography. With climate used as a starting point,

Danielle Feinberg, Director of Photography - Lighting at Pixar

from Scandinavia and Alpine Europe to the Far East, the desert and

role that lighting plays in bringing Pixar’s animated features to

differing architectural styles, before pondering what such trends

likes of Brave, Wall-e and Coco, highlighting how light was used

The highlight of the day though was undoubtedly the Lovers of

studio goes to create lighting that is as realistic as possible.

of designers and lighting experts - Chiara Carucci of Tengbom;

standing ovation from the packed out hall - a fantastic way to

Trylski, Anna Sbokou of ASlight, Kuldeep Vali of Cooledge, and

www.iald.org

Utilising the bioluminescent properties of marine microorganisms,

can act not only as a design component, but a design tool also.

sources of light, opening up a world of new design possibilities.

reception from one of the event’s core sponsors. The first day ended

fascinated the audience, sparking a number of questions, and

while day two ended with an extravagant ‘Red Light Party’ hosted

Following the keynote, the event’s series of talks and seminars

Las Ramblas, complete with music, dancing and breath-taking

to efficiently use daylight, the collaboration between architects

closing reception at Simon Group’s headquarters. Such post-

in which Anna Sbokou and Jörg Frank Seemann examined the

Europe, acting as a great way to relax and socialise with friends

be an approach to lighting that carries social and cultural context,

The event culminated in an enthralling closing keynote from

Sbokou and Seemann looked at the varying styles of architecture

Animation Studios. Feinberg came to Barcelona to discuss the

even the rainforest, and the role that lighting plays within these

life. Throughout her presentation, she gave examples from the

reveal about where lighting may move towards in the future.

in each feature, and the lengths in which the Oscar-winning

Light debate. Led by Ron Steen of Xicato, the debate featured a panel

So inspiring was Feinberg’s presentation that she received a

Christopher Knowlton of 18 Degrees; independent designer Tad

end an insightful, educational and entertaining few days.

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Pics: 5th Avenue Photography

Asian Fusion The Professional Lighting Design Conference successfully completed its first Asian edition of talks and exhibitions this October.

T

he well-known European conference PLDC cast its net

further to capture audiences in Asia and North America with its latest edition based in Singapore this year.

Aiming to demonstrate the changes in our society in

terms of lighting, PLDCâ&#x20AC;&#x2122;s expansion to Asia was representative

of the on-going development towards smart solutions for urban issues, such as lighting and public safety, mobility and IoT. With an attendance of 774 international visitors, the event

offered an array of interesting and educational talks, workshops and excursions, including the Gardens by the Bay, Atlas bar and

South Beach development. The Gardens by the Bay tour, held by

designers from Lighting Planners Associates (LPA), took attendees through the iconic lit super trees and large glass domes that house a large collection of national and international plant species and an incredible indoor waterfall. The original lighting design was completed by Speirs + Major and LPA in 2012. In recent years,

the lighting has been heavily manipulated by overruling local

councils and public opinions to be brighter, less design orientated and more practical, which has forced it into a design that is now, unfortunately, drastically different to the original concept.

The second excursion was to the Atlas bar, which is located in

the recently redesigned Parkview Square building in the historic neighbourhood, Bugis. Klaasen Lighting Design completed the interior lighting scheme in 2017. The art deco inspired design of the building was an important factor in the design process

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EVENT

for the lighting scheme. Cheryline Chua from

studied and a profession where practitioners

in the project, gave a tour of the space and

competence with time. The PLD Alliance, a

Klaasen Lighting Design, who was involved

demonstrations of different light scenarios.

The third excursion to the South Beach

mixed-use development took attendees to the heart of the city to witness the collaboration between Foster+Partners and Philippe Stark

Studio that created a mixed-use complex with hotel, office, residential and retail spaces.

Light Cibles Singapore developed the overall scheme for this project. Brice Schneider was the lead lighting designer for the project during his time with Light Cibles, and

headed the excursion through the spaces.

During the conference, the CPD platform, an

educational initiative that will offer professional

training from a wide range of providers, as well as

encourage self-study on all levels, was presented.

PLDCPD will deliver the structure and back-up

required for high-quality continuing of education.

The concept is in line with the guidelines

presented by the EU and fulfilled the requirements for applying for political recognition of

can continue to expand their know-how and

movement founded to represent the international lighting community, took on the initiative to restart the process to achieve this goal.

It was also announced that the Professional

Lighting Design magazine will cease to be available in print, but will continue to be published online

by the VIA publishing company. This recent online relaunch brought with it some new features to the platform, including a new aesthetic.

The next PLDC event will take place in the

Netherlands at the Ahoy Rotterdam convention

Far Left Audience members engaged with conferences across the two days that covered numerous varieties of lighting topics from plastic waste from luminaire manufacturing, to circadian rhythm impacts on workers at the Halley Research Station in Antarctica and Key Note talks on the lighting design process for the renowned TV drama, Game Of Thrones.

Top Left Attendees group together as part of the moderated discussions sessions, where ideas and inspiration were shared.

Middle Left Joachim and Alison Ritter open the gala evening dinner event to close the PLDC 2018 show.

Bottom Left Sven Martinâ&#x20AC;&#x2122;s workshop engages audiences in an interactive workshop session.

Right Inside the Cloud Dome, the sister to the Flower Dome that makes up part of the Gardens by the Bay.

centre in 2019. The motto for this edition will be merging masterminds, which emphasises

the importance of the experts and new talents involved in the PLDC events over the years.

Rotterdamâ&#x20AC;&#x2122;s cityscape matched this motto well due to its combination of modern architecture,

design and technology alongside its historically rich maritime and industrial background. www.pld-c.com

Lighting Design as a scope of work that can be

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153

Panel Debate David Morgan takes a closer look at the expansion of Applelec’s ventures into the world of OLED technology and its various applications in the industry.

I

t is ironic that OLED, one of the most recently developed light sources, is being marketed in the UK by a company that started life

as a traditional metal fabricator. Applelec celebrates 20 years in business this year.

Over this period it has developed first into

illuminated signage, then into LED lighting

panels and now into OLED panels.

Applelec was started by two boyhood friends, Ian Drinkwater and

Paul Stothers, who first met at the age of 13. Ian was employed in his father’s metal working company and Paul joined as an apprentice in his early 20s. Ian is now the MD of Applelec, looking after business development and strategy, with a passion for innovation and R&D. Paul is the Production Director.

Applelec were early adopters of LED light sources as a way of

replacing fluorescent lamps for illuminated signage. After seeing

Korean-made side-illuminated prismatic panels at a lighting show in Hong Kong that had been originally developed for use with LCD TVs, Ian realised this would be an excellent back light source. He

recognised it would work for not only signage, but also for general

architectural and retail lighting. Marketed in the UK under the LED

Light Sheet brand, the material has been enthusiastically adopted by architects, interior designers and lighting designers for use in a wide variety of applications. Applelec has been awarded the UK licence to the three patents covering the construction of LED Light Sheet.

Notable projects that Applelec has supplied LED Light Sheet for include back lighting the windows of the Tardis in Dr Who and integrated into New Dawn, the contemporary light sculpture

celebrating Women’s Suffrage by artist Mary Branson, situated at the Houses of Parliament.

The latest venture for Applelec into the world of lighting materials has been to distribute OLED panels from both LG Display and

OLEDWorks to complement their existing LED Light Sheet business.

I reviewed the OLED materials from LG Display for arc magazine

in 2016 and it seems that full scale production of their range was

delayed for a couple of years while a new production facility was built.

The LG OLED products are now in production and marketed under

the Luflex brand name. The Luflex range now includes nine different OLED panel products, including both rigid and flexible panels with their largest size flexible panel at 300mm x 300mm, the largest

available in the market. The company’s main business is producing display components and systems for TVs, mobile phones and other digital devices.

While OLEDs for display use and for lighting applications share

the same basic technology and science, it is not clear how much crossover there is in the production details of the two types of

material. The most impressive applications for AMOLEDs (Active

Matrix Organic LEDs) to date are the flexible displays being proposed for flip phone designs, and in huge screen TVs including the 88-

inch LG TV. This size has been shown in prototype form this year

at various trade shows. The TV application is a high volume use for OLED materials and presumably helps to provide the commercial support for products to be used in lighting applications.

The second OLED brand being marketed by Applelec in the UK is from the US company OLEDWorks. OLEDWorks purchased the Philips OLED business Lumiblade at the end of 2015 after Royal Philips

decided to exit the lighting industry by floating the lighting division as a public company with a new brand name.

OLEDWorks, based in Rochester NY, was formed in 2010 and the

management team includes John Hamer, who was responsible for David Morgan runs David Morgan Associates, a London-based international design consultancy specialising in luminaire design and development and is also MD of Radiant Architectural Lighting.

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

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commercialising OLEDs at Kodak in the late 1990s. OLEDs were

invented at Kodak in the late 1970s and AMOLED displays were used in early Kodak digital cameras.

The OLEDWorks flexible panels branded LumiCurve Wave (Applelec brand it the Ripple) are based on the super thin Willow glass from

DAVID MORGAN

Corning. This material is only 0.05mm thick, incredibly flexible and

The LG website features a small number of completed projects in

leading to a longer working life and lower lumen depreciation.

lighting for university reading rooms, and in the Seoul Palace

provides a better hermetic seal for the panels than polymer materials Apparently, this glass is produced in roll-to-roll process, which

opens the possibility for a lower cost continuous OLED production at some point the future. One downside to the use of Willow glass

is that the Ripple panels are quite fragile and need careful handling during assembly and a protective cover when in use, which will increase the overall thickness of the luminaire.

Applelec presented OLED panels from both brands side by side at

the recent darc room exhibition and some differences in output and

light quality were evident. The OLEDWorks panels appear to be more powerful than those from LG currently and seem to provide a more attractive lit appearance.

The Lumiblade Brite 2 FL 300 L is the brightest warm white OLED

panel available, providing up to 300 lumens from a panel 220mm

x 46mm wide and 1.4mm thick, with a surface brightness of up to 7,000 cd/ mtr2 ( Nits ).

With an efficiency of 60 lumens per watt with 3,000K 90 CRI and

lifetime of 10,000 hours to L70, these sources are an improvement on previous OLED panels but the overall performance will need to improve to compete with panels based on traditional LEDs.

It is exciting that the long-promised flexible OLED panels are now

in production and available for use by luminaire manufacturers and lighting designers.

Korea where their OLED panels have been used, including task

Museum display cabinets. Applelec has recently supplied OLED panels for use in a duty-free cosmetics display project and also

for use in decorative pendants, indicating that there is a potential market for this technology.

OLED panels have a number of inherent benefits over conventional LED side lit or back lit panels. These include a completely dot free and even lit effect, low levels of blue light in the spectrum, broad

spectrum and mechanical flexibility. However, at the moment the efficiency, life expectancy and lumen depreciation are worse than

conventional LED panels while the cost is higher. If OLED technology and production processes develop to overcome these limitations

then larger volume applications could emerge in general lighting.

Incorporating flexible LED panels into automotive applications may

be one of the higher volume markets to develop in the medium term.

For Applelec the addition of both OLED brands to their existing

portfolio of lighting panels is a great opportunity to gain from the

marketing activity surrounding the technology and to be in a position to offer the most appropriate lighting solution for any project.

Applelec foresees growth in the OLED market and have a long-term commitment to both partners. www.applelec.co.uk

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PRODUCTS

New Products

We take a closer look at some of the new lighting products hitting the market.

Flex Tube Pixel SE Acclaim Lighting Flex Tube Pixel SE is a flexible, side-emitting LED strip that features RGB control of every 3.27-inch section for virtually any exterior or interior lighting application. IP68-rated and submersible to three feet, Flex Tube Pixel SE has a highly durable, impactresistant, PVC body that can be ordered to length to suit project requirements for customised lighting applications. Flex Tube Pixel SE provides a 160-degree beam angle, operates off of 24-volt DC power and produces 90 lumens per foot. www.acclaimlighting.com

Omnia Series Nexoluce The Omnia series by Nexoluce features uplights, downlights and projectors that are able to supply up to 24W, with a sleek body starting from 10.8cm in diameter and 7.5cm in depth. The COB version of Omnia hosts a new generation of Bridgelux LED and reaches 160lm/w with a variation of narrow, medium, wide and asymmetric optical systems. The other option of the product hosts CREE Power LEDs PCB with either three or nine units. The light beam angle ranges from 3.5 to 86 degrees. www.nexoluce.com

Krane Arcluce Krane combines unique and innovative design to solidity and elegance. It is available for pole installation in single or double application, both provided with a linear soft optic for high visual comfort without glare and no light pollution. In an elegant and solid extruded aluminium body, Krane finds its natural position in the most modern urban areas, it is the ideal solution for lighting business districts, new town squares and prestigious parks. www.arcluce.it

Slash unonovesette Slash is designed for outdoor in-ground or surface mounted applications. It is available with different optics including wall washing and wall grazing. The internal optical system is tiltable +/- 20° from the outside of the fixture with a dedicated knob to minimise light pollution and optimise the light effect. Glare control is further enhanced by the unique linear antiglare louvre, which is especially designed for wall washing and grazing applications providing exceptional uniformity. www.unonovesette.it

Spot Vario LEDVANCE The Spot Vario provides the ultimate flexibility in retail lighting installations. This recessed spotlight can be used as a classic downlight or as a wall washer. As a result, retailers can reconfigure their installation according to need, using accent or general lighting to illuminate temporary displays and promotions to best effect. Spot Vario is easy to install because it is connected to an external driver with a bayonet connection.

The luminaire and the ECG can therefore be easily separated to allow DALI or DIM devices to be connected. www.ledvance.co.uk

DIALux evo 8.1 DIAL With DIALux evo 8.1 DIAL has developed a new version of its lighting design software, which is now available for download free of charge. With this update the software is not only faster but also offers many new features, which make the userâ&#x20AC;&#x2122;s work easier. Among the new features are a help function, an assistant for importing DWG plans and documentation for zones extending over several floors. www.dial.de

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Interieur Design

As Biennale Interieur celebrated its 50th anniversary, we look at some of the lighting highlights from the Belgian show.

Pista Modular Lighting Systems Pista is a thin and slim magnetic track rail system that is customisable in both length and configuration. With Pista you can combine linear LED, for general lighting, and spots, for accent lighting. Twin Bracket enables designers to use two parallel rails to create symmetrical or asymmetrical configurations, while Night Light is a light fixture in disguise: when the light is on, the black diffuser creates a soft glow. When off, it looks like an elegant black accent. www.supermodular.com

Unico XAL Unico represents a truly unique level of flexibility. The downlight offers the right solution for every requirement. Architects and lighting designers can choose between two mounting options (trim or trimless), seven design shapes, nine light insets, three colour temperatures and three control options, all of which can be individually combined. The micro-faceted reflector technology combines precise light control with a high level of efficiency and excellent glare reduction. www.xal.com

Zero Track Flos A surface installed track with minimum physical size, the Zero Track from Flos Architectural allows for the insertion of a variety of dimmable fixtures for accent or general lighting. For a diffuse light, Piero Lissoni has designed Atom, a rectangular or round luminaire available in three different sizes according to the amount of light needed, and an accent element for a direct effect. Also on show was the Find Me spotlights by Jorge Herrera, applicable for a direct lighting beam. www.flos.com

°bloc Eden Design °bloc is a new way of thinking integrated light. Available in spot and stripe variants in a choice of natural finishes such as marble, wood and brass, it is a unique alternative in linear lighting. Modular, easy to install and without any visible fastening elements, the simple form conceals complexity and refinement. Each block is attached to the standard track via either clips or adaptors.

With °bloc, Eden Design has pioneered a solution that creates the freedom to combine diverse luxurious materials in a high-end linear lighting design. www.edendesign.be

Hedra Delta Light Hedra is a series of pendant, spotlight and wall mounted luminaires, available as a full LED solution or for retrofit bulbs.

Hedra adds refinement, finesse and colour to the existing Delta Light product portfolio. Characterised by an atypical hinge, a design element that not only catches the eye, but also serves as storage for technical parts within the luminaire.

Aside from black and white, Hedra is also available in the new Gold Champagne and Black Bronze finishes. The faceted design of Hedra captures and reflects the ambient light with an ever-changing look as a result. www.deltalight.com

Copter In-Track Zumi The Copter In-Track from Belgian manufacturer Zumi is equipped with a 359-degree rotating strip, meaning that light can be directed from the profile onto any desired location, to cast the most light.

Incredibly versatile, the fixture allows for two or more ‘Copters’ to be placed next to each other, without interfering with one another. Its slimline linear profile is available in either white or black, with an opal diffuser, while the ‘in-track’ adapter makes it appear as if the luminaire sticks to the ceiling. www.zumi.be

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「光」に興味のあるデザイナー募集中 Speirs + Major (スピアーズアンドメイジャー)は英国ロ ンドンに本拠を置く「光と働くデザイナー集団」です。 これまで数多くの賞を受賞し、国際的に幅広く活動し ています。

Designers with an interest in light…

Speirs + Major are independent award-winning international designers who work with light.

２０１９年の春より日本に支社を設立するのにあたり、 光に興味のある優れたデザイナーを募集しています。 下記に当てはまる応募者を優遇します。

1. ２－３年間の照明デザインの職歴がある方 2. 英語と日本語の語学力が高い方（基本的に英語の 仕事になります） 3. デッサンが得意な方 4. Photoshop, AutoCAD、Revit、その他3D デザイン Applicants will ideally have had 2-3 years’ previous experience ソフトウェアが使える方 of lighting design and must be fluent in both written and spoken We are opening a studio in Japan in early 2019 and are looking for interested individuals with a passion for light and excellent design and visual communication skills.

English and Japanese. Applicants should be able to hand sketch and be an experienced user of Photoshop, AutoCAD, Revit and a 3D software package.

Salary and benefits will be commensurate with ability and experience.

If you are interested in joining our team, please send your CV and portfolio to: Contact: Karina Armburg Jennings E-Mail: japan@speirsandmajor.com

給与は経験及び能力を考慮の上、相談により決定します。 興味のある応募者の方は履歴書とポートフォリオをEメ ールで担当者宛てにお送りください。書類審査の上、 担当者よりご連絡いたします。 担当者: Karina Armburg Jennings Eメール: japan@speirsandmajor.com 日本で就職できる方のみ募集しています。外国人の方 は就労ビザが必要です。

Japanese work permit essential.

Strictly no agencies. Speirs + Major are an equal opportunities employer.

www.speirsandmajor.com

ADVERTISERS INDEX Guangzhou International Lighting Exhibition...161

Nordic Light............................................... 163

Acolyte.......................................................... 57

GVA............................................................. 101

Panzeri......................................................... 33

ADO Lights................................................. 117

Hacel............................................................. 15

Pharos Controls................................... 69,159

Alto................................................................ 75

Huda........................................................... 103

PLDC........................................................... 123

Anolis........................................................... 4-5

IALD.............................................................. 99

Precision Lighting...................................... 121

Applelec........................................................ 63

KKDC............................................................. 55

Radiant Architectural Lighting................. 119

Artemide...................................................... 31

Kreon............................................................ 79

Remote Controlled Lighting....................... 25

Astro............................................................. 47

Lamp Lighting............................................ 107

Ricoman....................................................... 12

Brick in the Wall.......................................... 41

LED Linear.................................................. 164

Roxo.............................................................. 17

Clear Lighting..................................................8

Led Luks....................................................... 59

Sagitario..........................................................3

Climar........................................................... 65

LEDFlex....................................................... 145

Seoul........................................................... 139

CLS...................................................................6

Light Touch................................................ 159

SLV................................................................ 21

Collingwood............................................... 105

Light.Space.Design.................................... 115

Speirs + Major........................................... 158

darc room.................................................... 13

Lighting Japan.............................................. 96

StrongLED.................................................... 16

3F Filippi..........................................................2

Dial.............................................................. 117

Ligman........................................................ 129

Studio Due................................................. 109

Erco............................................................... 37

Linea Light Group....................................... 87

TM Lighting................................................ 159

Feelux........................................................... 39

Lival............................................................... 23

Top Light.................................................... 113

Forge................................................................7

MBN.............................................................. 10

Unilamp........................................................ 11

formalighting............................................. 127

Megaman..................................................... 43

Unonovesette............................................ 109

Fuhua Electronic ........................................ 14

NDYLight.................................................... 159

Vode.............................................................. 19

Glamox......................................................... 61

Nicolaudie.......................................................9

Wibre.......................................................... 111

ADVERTISING ENQUIRIES SHOULD BE MADE TO JASON PENNINGTON. TEL: +44 (0) 161 476 8350 EMAIL: J.PENNINGTON@MONDIALE.CO.UK

HEAD OF CREATIVE LIGHTING DESIGN NDYLIGHT are seeking a full time Head of Creative Lighting Design for our London Office.

You will be responsible for: • Taking a leading role in the development of the NDYLIGHT business unit work with new and existing clients, with a principal focus on work generation and client relationships within a variety of sectors, including retail, exhibition, commercial, hotels, leisure, sports, health, education facilities, residential, arts, public realm and master plan landscape developments.

• Maintaining existing client relationships with excellent client facing skills and working within a multi-disciplinary organisation to deliver creative lighting design solutions as part of a multiservice appointment.

• Developing the NDYLIGHT brand in the UK and overseas and be self motivated in assuring the growth of an NDYLIGHT studio having its own identity and work-winning potential.

Ghost Train, Shorewood Photography by © Marty Peck

WE’RE HIRING A

PRODUCT MANAGER

Pharos Architectural Controls is an industry leading lighting control manufacturer designing products for architecture, themed entertainment and other specialist industries.

We want you to join our team! Located at our head office in London, we are searching for a technically minded individual who can demonstrate strong communication skills, understand the requirements of our customers and have some knowledge of the architectural lighting industry and lighting control products.

The ideal candidate would be someone who has an engineering or technical background with at least 2-5 years experience of working in a product management or customer-facing technical role.

Salary is competitive and dependent on the level of experience.

Does this role sound like a perfect fit for you?

To find out more or apply simply visit: www.pharoscontrols.com/about-us/careers/ w: pharoscontrols.com | t: +44 20 7471 9449 | e: sales@pharoscontrols.com |

MID-LEVEL PRODUCT DESIGN ENGINEER TM Lighting is the UK’s leading art lighting manufacturer producing a range of award-winning products for the international art market.

We have an exciting opportunity for a Mid-Level Product Designer with strong engineering and lighting knowledge and 3-5 years of relevant experience, to form an on-going and integral part of our design team at our London HQ. The main responsibilities of this role includes working closely with the Design Manager, and Sales & Marketing teams to aid the delivery of new product designs, and undertake design work, update drawings and design documentation.

If you are looking for a career working in a fast-paced, rapidly growing team and you have passion, drive and determination coupled with a fun, easy-going persona, then we would love to hear from you.

Skills and experience: • Extensive experience in product design

• Broad knowledge of modelling software

• Good knowledge of fabrication processes

• Experience in product rendering

• Thorough knowledge of tolerances and finishing • Understanding of electronics, LED, drivers and dimming

• Ability to read and amend lighting layouts • Photoshop/Illustrator

Salary negotiable, dependent on experience. To request the full job description and to apply, please email a copy of your CV and portfolio to: info@tmlighting.com Application deadline 4th January 2019.

TM Lighting, 7 Cubitt Street, London, WC1X 0LN www.tmlighting.com

• Collaborating with other NDYLIGHT studios in NDY’s global offices working on international projects • Participating in technical design and review of projects, provide technical guidance to senior and junior designers, and work with other colleagues in the multi-disciplinary environment to ensure that the level of service and quality of documentation and service provided by NDYLIGHT to its clients establishes NDYLIGHT as the consultant of choice • Ensuring project deliverables meet local standards and guidelines (UK or overseas), as well as relevant local certification To be considered for this role, you will have at least 10 years’ experience in architectural lighting design with a degree in lighting design, interior, product or architecture design or other related field. You will have fantastic organisational skills with a disciplined work ethic to enable the most productive working environment and be motivated by the prospect of design excellence with a practical and commercial awareness. IT skills must include Microsoft Office, AutoCAD, Revit, Photoshop, InDesign and Agi32/DiaLux. Ideally you will have knowledge and experience of sustainability, health and wellbeing in the built environment. You will be an excellent communicator with strong client relationship and project management skills. NDYLIGHT promotes a positive and sociable working environment.

If this position is of interest, please apply by submitting your CV with work examples and a covering letter to e.hewitt@ndy.com by 25th January 2019.

PROJECTS

Event DIARY

Event Diary Industry events where youâ&#x20AC;&#x2122;ll find arc in the months ahead ARCHITECT@WORK 30-31 January London, UK

EXPO LIGHTING AMERICA 5-7 March Mexico City, Mexico

EUROLUCE 9-14 April 2019 Milan, Italy

www.architect-at-work.co.uk

www.expolightingamerica.com

www.salonemilano.it

SURFACE DESIGN SHOW 5-7 February London, UK

LIGHTING FAIR 5-8 March Tokyo, Japan

LIGHTFAIR INTERNATIONAL 19-23 May Philadelphia, USA

www.surfacedesignshow.com

www.messe.nikkei.co.jp

www.lightfair.com

INTEGRATED SYSTEMS EUROPE 5-8 February Amsterdam, Netherlands

LEDUCATION 12-13 March New York, USA

CLERKENWELL DESIGN WEEK 21-23 May London, UK

www.iseurope.org

www.leducation.org

www.clerkenwelldesignweek.com

LIGHTING DAYS 13-15 February 2019 Lyon, France

LIGHT 13-15 March Warsaw, Poland

GILE 9-12 June Guangzhou, China

www.lighting-days.com

www.lightfair.pl

www.guangzhou-international-lightingexhibition.hk.messefrankfurt.com

STRATEGIES IN LIGHT 27 February - 1 March Las Vegas, USA

LIGHT SPACE DESIGN 27 March Melbourne, Australia

LED EXPO THAILAND 27-29 June Bangkok, Thailand

www.strategiesinlight.com

www.lightingdesignsummit.com.au

www.ledexpothailand.com

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#07 Light.Func / Sakina Dugawalla-Moeller

Curated by

“Life is not measured by the number of breaths we take, but by the moments that take our breath away.”

Maya Angelou

What: The night sky in the Ngorongoro Crater & Conservation Area.

Where: Northern Tanzania, East Africa, a mere half day’s ride short of the Serengeti National Park. The skies are untouched with light pollution where the air is clear above the 260sqkm crater.

How: Pure magic. The darkness of the sky makes the stars stand out even brighter, with constellations that are unique to the southern hemisphere. As they move through the sky, they remain in plain view of the horizon; the Milky Way is also better seen due to the tilt of the planet, as opposed to the northern hemisphere. The sheer size of the crater can sometimes create a phenomenon where the skies stay clear above it as storms rage 360 degrees on the edge of the crater.

When: 24 hours a day, 365 days a year. Stargazing can continue in daylight, with a solar scope.

Why: Lighting design stems from the natural; it yearns to create aweinspiring ethereal moments - this sky is what we aim for.

Picture © Annica Opitz - Instagram @annicopter

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